text:
France has Exactly One Month to Remove its Troops from Burkina Faso
2 days ago 1 min read
The military government of Burkina Faso has demanded the departure of French troops from the country, according to the government press agency Agence d'Information du Burkina (AIB). France has exactly one month to remove its troops from Burkina Faso, according to the terms of the 2018 agreement, AIB reported, citing sources. The military government "denounced last Wednesday, the agreement which has governed since 2018, the presence of the French Armed Forces on its territory," AIB reported Saturday. France still has 400 special forces based in Burkina Faso, according to Reuters, to help fight Islamist militants linked to al Qaeda and the Islamic State after years of violence in the region. On Friday, residents in the capital Ouagadougou took to the streets to protest the presence of French troops in the country.
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Thomas, William Joseph; Bernhardt, Beth R.
Librarians at East Carolina University and the University of North Carolina at Greensboro received a 2-year grant to support a combined alternative textbook project. This project engages in a two-pronged approach to reduce students' textbook costs and increase their academic engagement. One strategy is to award departmental faculty mini-grants to use materials that would have no cost to their students, including OER or library resources. The second strategy is to identify required texts that the library already owns or can purchase as unlimited-user e-books. Benefits to students include reduced costs and an increased opportunity for engagement and academic success. This is an Accepted Manuscript of an article published by Taylor & Francis Group in Technical Services Quarterly on May 17, 2018, available online: https://www.tandfonline.com/doi/full/10.1080/07317131.2018.1456844 .
Thomas, William Joseph, and Bernhardt, Beth R.. "Helping Keep the Costs of Textbooks for Students Down: Two Approaches". . . (), May 2018. April 21, 2019. http://hdl.handle.net/10342/6712.
Thomas, William Joseph and Bernhardt, Beth R., "Helping Keep the Costs of Textbooks for Students Down: Two Approaches," , no. (May 2018), http://hdl.handle.net/10342/6712 (accessed April 21, 2019).
Thomas, William Joseph, Bernhardt, Beth R.. Helping Keep the Costs of Textbooks for Students Down: Two Approaches. . May 2018; (): . http://hdl.handle.net/10342/6712. Accessed April 21, 2019.


"I was just weedeating, really."
The thing that makes my trainer so great, and the only reason I have had this much success with a green horse, is that she feels what she sees as if she's the one riding, and can then instruct me verbally as if she was in the saddle. Yesterday, she said it's helping her such to have ridden him so often lately, because she can feel every little thing he's doing to me in the saddle.
And it's working. That lesson was amazing For the first time, she liked something I was doing in my warmup so much she carried it on into and throughout the lesson (small figure 8 circles along the rail with lots of changes of bend).
I explained the pelvis theory to her, and that I have been using that exercise a lot on my own after figuring that out, and she thought about it for a while before agreeing with me and pointing it out to me when I was doing it throughout the lesson.
I gave him a sea salt and vinegar peanut and he liked it.
We spent most of the lesson at a great quality canter, going from walk pirouette to canter over and over, doing large figure 8 circles with quick and controlled transitions in between leads. He was so on my aids, you could have lit a bomb underneath him and he would have still been focused on me. She even asked me to "think half pass" down the long side in right canter to prevent him from swinging out laterally, and we actually kept the bend and moved from the rail to the centerline, so...success?
After an amazing lesson, we popped a gymnastic a few times as a reward for us both, and as I was in the air over it, she started giggling. So I started giggling at her giggling at us and totally failed to ride after the fence. "Did you feel that? Did you feel the way he patted the ground and kept his chest up?! But next time you really need to ride after the fence." Of course.
Trainer ride tomorrow, XC schooling on Sunday either at Twin Towers or Masterson, trainer ride Wednesday, lesson Thursday, packing up and heading to Penny Oaks on Friday!
Your pony is such a badass! You are going to seriously dominate at Penny Oaks!
He is getting there, that's for sure!
You have a great week/weekend ahead!
What a great place to be at in your training before going to an event :) Good luck at Penny Oaks!
yay, sounds so nice. That kind of connection with reinforcement from a trainer is great.


text:
A kabuki (japánul: 歌舞伎) a négy fő japán színházi műfaj egyike (a másik három a bunraku, a nó és a kjógen). A bunraku, a bábjáték háttérbe szorításával a legnépszerűbb polgári színház az Edo-kor (1600–1867) óta. A kandzsik egyenkénti jelentése, balról jobbra a következők: 'énekelni' (歌), 'táncolni' (舞) és 'képesség' (伎). A kabukit éppen ezért gyakran "az éneklés és táncolás művészetének" fordítják. Habár a 'képesség' kandzsija eredetileg az előadóművészre, a színészre vonatkozott, mivel teóriák szerint a kabuki szó a kabuku igéből származik, amely azt jelenti, hogy 'tanulni' vagy 'szokatlan'/'kilógni a tömegből'. Éppen ezért a kabukimono (歌舞伎者) kifejezés eredetileg azokra vonatkozott, akik bizarrul, kihívóan öltözködtek az utcán.

Története

1603–1629: A női kabuki

A kabuki története 1603-ban kezdődött, amikor Izumo no Okuni egy egészen újfajta, tánc-drámás előadásmódot kezdett el bemutatni Kiotó kiszáradt folyómedreiben. A kabuki a 17. századból származik, amikor Japánt a Tokugava sógunátus irányította. Az időszak neve, mely Edo korszak, arra irányul, hogy az ország székhelyét Kiotóból Edóba – mai nevén Tokió – költöztették.
Az előadók, mind a nők, mind a férfiak komikus, rövid színdarabokat adtak elő a mindennapi életről. Ez a stílus hamar népszerűvé vált, és Okunit felkérték, hogy szerepeljen a császári udvarban. A hatalmas siker nyomán hamar rivális társulatok alakultak, és megszületett a kabuki, mint tánc és dráma együtt, melyet nők adtak elő. Ennek megjelenésével sok társulat trágár és szuggesztív témákat vonultatott fel szórakoztatás gyanánt, ahol az előadok gyakran prostituáltak voltak. Éppen ezért, a kabukit ebben az időben "遊女歌舞妓"-nek is hívták, vagyis – éneklő, táncoló prostituált.

A kabuki ekkoriban hétköznapi szórakozássá vált Ukijo, vagy Josivara negyedében, amelyek Edo piroslámpás negyedei voltak. A színpadon megjelenő izgalmas zene, újszerű motívumok, öltözködés, és híres színészek tették nagyszerűvé ezt a szórakoztatási formát. Az előadásokat reggeltől egészen napnyugtáig tartották.  Teaházak vették körbe, illetve voltak összekötve a színházzal, hogy ételt, italt, és nagyszerű társaságot biztosítsanak a szórakozni vágyóknak. A színház környéke tele volt boltokkal, amelyek szuveníreket árusítottak. A kabukit akár nevezhetjük is az akkori japán popkultúrának.

1629-1673: Átmenet jaró kabukiba
A sógunátus nem pártolta a kabukit ebben a formájában, és úgy vélték, bajt hoz, hogy a különböző társadalmi osztályok keverednek az előadások alkalmával. A női kabukit (onna-kabuki) végül betiltották 1629-ben, mivel túl erotikusnak minősítették. Ezután a női szerepeket fiatal fiúk játszották el. Ezt hívjuk vakasú-kabukinak. Mivel azonban még így is túl sok volt a szexualitás, és a prostitúció, így az 1600-as évek közepén ezt is betiltották. Innentől kezdve férfi előadók játszották mindkét szerepkört. A modern, csak férfiak által játszott kabukit jarou kabukinak is nevezik, amelyet ezekben az évtizedekben alapoztak meg. Miután a nőket kitiltották, ellenkező neműnek öltözött férfiak vették át a helyüket (onnagata vagy ojama). Hajukat leborotválták, ha nőt játszottak, akkor pedig parókát húztak, és hangjukat elváltoztatták. Aki női szerepet akart játszani, az kiskorában kezdte el tanulni ezt.  Ez a fajta színház meghatározó volt a városi életstílusban, egészen a modern időkig.

1673-1841: Aranykor
A kabuki a Genroku-korszakban  virágzott igazán. Ekkor formálták meg a struktúráját, és adtak hozzá rengeteg elemet, melyek ma szinte elengedhetetlenek az előadás során. Létrehoztak konvencionális karaktertípusokat. A kabuki és a ningjó dzsúruri – amely a japán bábszínház, és amelyet bunrakunak is emlegetnek – kölcsönösen vett át különböző elemeket egyik műfajból a másikba, hatottak egymásra. Csikamacu Monzaemon  egyike volt a legelső kabuki színdarabíróknak, számos befolyásos művet írt. A legismertebb és legtöbbet emlegetett, a Sonezaki Sindzsú (páros öngyilkosság Sonezakinál) eredetileg egy bunraku volt. A szerelmi öngyilkosság témája gyorsan terjedt, és vált igen népszerűvé, mivel számos igaz történetet dolgozott fel. Éppen ezért 1723-ban betiltották a sindzsú monót, azokat a darabokat, amelyek szerelmesek  közös öngyilkosságát mutatják be. Icsikava Dandzsúró szintén ebben a korban élt, és alkotott maradandót azzal, hogy bevezette a miének nevezett pózt és a kumadori sminket, amely hűen próbálta visszahozni a maszkok kinézetét. Ebből az időszakból származik a kabuki ecset – ezt ma sminkelésnél alapozásra használják.

1842-1868 – szaruvaka-csó kabuki
A sógunátus nem nézte jó szemmel a keveredést, és a kereskedést az előadók, a prostituáltak, és a kereskedők között. A kabuki színházakat eredetileg fából építették, éppen ezért gyakori volt a tűzeset Ukijo kerületében. Amikor a terület, mely otthont adott a Nakamura-zanak, teljesen leégett 1841-ben, a sógun megtagadta a színház újraépítését a tűzvédelemre hivatkozva. Ezt kihasználva a sógunátus 1842-ben a Nakamura-zat, az Ucsimura-zat, és a Kawarazaki-zat Aszakusza területére kényszerítette, amely Edo északi külvárosi részén található. A színészeknek, a színpadi munkásoknak, és mindenkinek, akinek bármi köze volt az előadásokhoz, szintén menniük kellett. Az az életforma, mely nagyban építkezett a színházzal való kapcsolatra, szintén emigrált, de az új, kényelmetlen elhelyezkedés miatt csökkent a népszerűsége, és a színházra fordított figyelem. Ezek a körülmények és a szigorú szabályozások taszították a kabukit, az "underground" megítélés felé Edoban.  A színházak új helyének negyedét úgy hívták Szarukaba-csó, vagy Szaruvaka-macsi. A Tokugava-sógunátus utolsó 30 éve alatt gyakran hivatkoztak erre a városrészre megnevezésként.
1868-ban a Tokugavák megbuktak. A kabuki visszatérhetett az Ukijo negyedbe, és sokkal radikálisabbá vált azáltal, hogy új drámaírók teljesen új műfajokat hoztak létre, és megcsavarták az eredeti történeteket.

A kabuki elemei

A színpad
A kabuki színpad egyik jellegzetességét, hanamicsinek hívják (花道; virág út), egy sétány, amely a nézők közé visz, és amely lehetőséget biztosít a színészeknek a drámai belépésre. Okuni szintén gyakran adott elő kíséretével a hanamicsin, éppen ezért a későbbiekben jellegzetessé vált, hogy nem csak a bejövetelkor használták, de a színdarab fő jeleneteit is a színpad ezen részén játszották el. A nézőtér bal és jobb oldalán páholyokat helyeztek el. 1758-ban a világon talán először mutattak be forgószínpadot, melyet Namiki Sózó készített el, és amelynek átmérője a 17 métert is elérte.

A színészek
Sikamacu korában a színészek külön társadalmi osztályt alkottak.  A szereplőtípusra specializálódott színészdinasztiákat címerekkel különböztették meg egymástól. A mesterség apáról fiúra szállt. Abban az esetben, ha nem volt örökös, a családfő örökbefogadott egy általa tehetségesnek vélt színészt, hogy továbbvigye a család nevét és tudását. A fiúgyerekeket  ötéves  korban kezdték el tanítani, és ez életük végégig tartott. Ezt a folyamatot a legidősebb férfi kísérte mindig figyelemmel.  A következő generáció így mindig beleszületett a színházi életbe, így nem állt tőlük távol ez a fajta világkép.
Japánban a kabuki kialakulásakor még teljesen ismeretlen volt a rendezői színház, így a próbákat a drámaíró vagy a társulat vezetője koordinálta, habár akkoriban a színészek nem tudták végig a szerepüket. Hatalmas szerepet játszott náluk az improvizáció az előadás során.

Ma is működő színházak Japánban

 Akita
 Kosaka
 Tokió (város)
 Kabuki-za
 Meidzsi-za
 Sinbasi Enbudzsó
 National Theater
 Kiotó (város)
 Minami-za
 Oszaka (város)
 Shin-Kabuki-za
 Osaka Shōchiku-za
 Nagoja prefektúra
 Misono-za
 Fukuoka prefektúra
 Hakata-za
 Kotohira (város)
 Kanamaru-za

Kapcsolódó szócikkek
 Csikamacu Monzaemon

Források

 Ronald Cavaye: Kabuki: A Pocket Guide. 1993, Tuttle Publishing
 Ronald Cavaye, Paul Griffith and Akihiko Senda: A Guide to the Japanese Stage. 2004, Kodansha International
 Ernst, E.: The Kabuki Theatre.1956, New York, Oxford University Press
 Vihar Judit: A japán irodalom rövid története. 1994, Nemzeti Tankönyvkiadó

További információk
 Sok minden a kabukiról, angolul
Nakamura Matazó: Kabuki az öltözőben és a színpadon. Egy kabukiszínész élete; ford. Fábri Péter, jegyz. Duró Győző; Gondolat, Bp., 1992

Fordítás

Japán irodalom
Japán kultúra
Színházművészet
Az emberiség szellemi kulturális öröksége

redpajama_set_name: RedPajamaWikipedia


text:
'Foolish' and 'negligent' landlord hit with substantial fine
A company has been labelled 'foolish' and 'negligent' by a judge and hit with costs totalling more than £11,000 for failing to license a huge portfolio of properties in Liverpool.
Roach Estates and Property Management Limited of Duke Street in Southport was charged with failing to license 29 properties as part of the city's Landlord Licensing scheme, and found guilty in its absence in October.
During the sentencing hearing on Thursday 12 December, District Judge Wendy Lloyd heard how the properties, located throughout the city, had remained unlicensed for substantial periods of time, meaning that the council's role as a regulator in ensuring minimum standards in terms of gas, fire and electrical safety was undermined and had potentially put the tenants at risk.
Judge Lloyd commented that the company's culpability was 'high' and it had acted 'foolishly' and 'negligently' in failing in its duty to license the properties during the relevant offending periods and left tenants potentially vulnerable to adverse conditions.
They were fined £8,700, plus costs of £2,458.22 and a victim surcharge of £170.
Liverpool's Landlord Licensing scheme began in 2015 with the aim of improving standards in the private rented sector, and so far 49,000 licences have been issued.
Around 20,000 compliance actions have been carried out, with 70 percent of inspected properties found to be in breach of their licence conditions, more than 2,000 legal and fixed penalty notices have been issued and over 150 landlords prosecuted.
Tenants and members of the public can check if a property has the required Landlord Licence at https://liverpool.gov.uk/landlordlicensing and report unlicensed properties to unlicensed.landlord@liverpool.gov.uk
A bid to renew the scheme for another five years from April 2020 has been submitted to the Government.
Liverpool City Council's Deputy Mayor and Cabinet member for housing, Cllr Lynnie Hinnigan, said: "The landlord licensing scheme is vital in delivering better conditions for tenants in privately rented properties and making sure they are not at risk from things such as dangerous electrics, faulty gas appliances or a lack of fire doors.
"The vast majority landlords are working positively with us, but some are still wilfully ignoring the law.
"Where we find evidence that landlords are blatantly ignoring the rules we will take them to court and, as in this case, they risk a hefty fine."
Pictured: The house painted yellow with a brown door, on Ruskin Street in Kirkdale, was among the 29 unlicensed properties

redpajama_set_name: RedPajamaCommonCrawl


JCoSS has received notification from the Department of Education that our bid to become a Science Specialist College has been successful.
We have celebrated this event with staff and students by commencing JCoSS with a 'Bubbles' cross curriculum project. The students participated in an exciting series of activities which included a treasure hunt, a balloon launch, a BLP (Building Learning Power) activity, a presentation from the Science Museum, bubbles lessons from the English, Maths, Science and Jewish Education faculties and Rosh Hashanah celebrations.
Our Specialist Status enables us to incorporate numerous exciting Teaching and Learning opportunities throughout the curriculum and year for JCoSS students, students at our partnership schools (Akiva, Hadley Wood, Firth Manor, Livingstone and Woodhouse Sixth form College) and our wider community.
Look out for further information on how to obtain tickets for the festive lecture series later this half term.
Our Science Specialism is going to offer a fantastic and varied series of events which is sure to be exciting, inspirational and above all enjoyable and we look forward to seeing you all there.


text:
Home Reports Jawaharlal Nehru was vacationing on Navy ships way before Rajiv Gandhi
Jawaharlal Nehru was vacationing on Navy ships way before Rajiv Gandhi
SatyaVijayi Staff
Prime Minister Narendra Modi stirred a fresh controversy by digging out some old deeds of the Gandhi family on Monday. He reminded people of how Navy's warship INS Virat was once used like a private vehicle for Rajiv Gandhi and family during their vacations.
In 1998, Rajiv Gandhi and family including his in-laws had boarded on INS Virat to reach one of the islands in Lakshadweep cluster to spend a vacation. However the tradition of using Navy's properties for personal purposes was started long before Rajiv Gandhi. The credit for this tradition goes to none other than country's first PM, Jawaharlal Nehru himself.
At a time in 1950, when the entire country was trying to recover from the scars of partition, PM Nehru used INS Delhi, which was a light cruiser built for the Navy in 1933 and was known as HMS Achilles in the British Raj, in 1950 to vacation with his family.
This was not the only instance when Navy ships had the fortune of personally serving members of the Nehru-Gandhi family. In fact, PM Nehru had sent a warship INS Trishul to pay tribute in the funeral of a lady with whom many of believe he had an affair with, Lady Mountbatten.
As per her wishes, Lady Mountbatten was buried deep inside the sea, and INS Trishul was used as one of escorts. Lady Pamela Hicks, daughter of Lady Mountbatten remembers, As her bereaved family steamed away from the scene after casting wreaths at the spot, the Indian frigate INS Trishul "quietly took our place and, on Panditji's instructions, marigolds were scattered upon the waves".
Previous articleRahul Gandhi's mentor Sam Pitroda makes a shocking statement on 1984 Sikh Riots, draws ire from Twitter
Next articleCongress party makes false claim about Supreme Court dismissing a petition by Subramanian Swamy over Rahul Gandhi citizenship
https://satyavijayi.com/
'King of spices' and patron of Vedic culture, Mahashay Dharampal Gulati passes away
Constant elections impact development work: PM Modi once again bats for 'One Nation One Eldction'


text: TWO EIGHTEENTH CENTURY REGISTERS OF ST. MARY'S YSTRADFELLTE By F. L. LOVERDIGE ON 25th March 1754 Lord Hardwicke's Act for the better preventing of Clandestine Marriages' came into force. Previously any marriage celebrated by an Anglican priest was valid, even without licence or banns, though con- sidered undesirable. So here a register was duly provided in the prescribed form for marriages' Solemnized in the Parish of Ystradvelltau in the County of Brecon and Diocese of St. David's, William Griffith and Morgan Prees the Church Wardens of the parish of Ystradvelltey in the year of our Lord one thousand seven hundred fifty and three'. The first entry was on 7 May 1754. It continued till 1812 and is the oldest register now possessed by the church. It was kept throughout in English, though even a hundred years after 1754 it was written of the district, Few of the inhabitants can speak English.' (Clarke, S. Wales Itinerary, 1853). The register records 316 marriages in 59 years, an average of over five yearly but in fact varying from one to eleven, and showing no significant change in annual numbers through the period. The population of the parish was 669 in 1801. In 1901 it was 549, and tending to decrease in agricultural Ystradfellte faster than it increased in industrial Pontneddfechan. Only 94 of the men registered sign their own names. This is nearly 30 per cent, say one in three 228 are illiterate in that they only make a mark. For the women the corresponding figures are 29 and 287, showing that less than 10 per cent could write. This would seem to show that the schoolmaster, seen in the church by Byng on the 8th of August 1787, (Torrington Diaries), then at work with the children, in his hat, (who) seeing me uncover'd follow'd my godly example had not had a very wide impact. But more may have been able to read than could write. As to provenance, 223 men and 306 women are of this parish', while 93 men and 10 women come from elsewhere, nearly all from well within 15 miles away. Men come from Penderyn (22), Cadoxton (19), Ystradfodwg (14), Ystradgynlais and Defynnog 7 each, Merthyr Tydfil and Cantref 4 each, Abeardare and Glyncorrwg 3 each, Llandetty? two, Llansantffraed, Swansea, Neath, Wenvoe, Michaelston, Llanwenarth, Vaynor and Gellygaer one each. Six of the women come from Cadoxton, two from Ystradfodwg, one each from Merthyr Tydfil and Cantref. Presumably a majority of these ten remained in Ystradfellte, while most of the 306 would leave the parish. This list shows that population movement was very local. Unfortunately it is exceptional for any details other than the bare names and date to be given. In no case are double Christian names registered but they did not become common until the second half of the nineteenth century.


Title Jonction du Poprad et du Dunajetz aux deux Wisloka = Verbindung des Poprad und der Dunajetz mit den beiden Wisloka fl.
Note 1 map : colour ; 38 cm x 50 cm, on a sheet 39 cm x 52 cm. Dissected into 4 sections and mounted on a linen backing. The road and the canal system are hand coloured. The cartouche is in both French and German.
Note Printed map. Visual scale [106 mm = 5. Deutschen Meilen 15 auf einen Grad]. This is map number 4 of a set of maps comprising Accession numbers 9208, 9209, 9210, 9211, 9212 and 9213. Map shows canals joining the Poprad and Dunajetz Rivers (Slovakia) with the Wisloka River (Poland). Acquired as part of the Cholmondely Collection.


text:
Augmented reality research app launched
Equity research firm Shareclarity says its new augmented reality (AR) research app will enable users to access a wealth of investor-related information in an instant via their mobile camera.
Tuesday, February 12th 2019, 6:00AM
Daniel Kieser
It said the app would give investors faster and more transparent access to investment material – including share price, key financials, relevant media articles, and analyst insights.
The app covers the more than 270 different listed companies within the Shareclarity portfolio from throughout New Zealand, Australia and Hong Kong.
Daniel Kieser, founder and managing director of Shareclarity, said the initiative was the culmination of several months of hard work by a large team of developers and analysts.
"Our AR app, which we believe to be the first of its kind in our category, lets time-poor investors find what they're after without even typing. All they have to do is point their phone at the name of one of the firms we cover - in an email, newspaper, website or street sign - and we'll instantaneously overlay our research-based analysis and insights.
"Technology is creating new ways for people to access and interact with information all the time. While we're obviously excited about this development, there's even more to come from Shareclarity in the near future, including voice controls and modular research. Soon, instead of receiving a lengthy, staid broker report, you'll be able to download, post, send and receive the parts you want via email, text, WhatsApp, Messenger and other channels."
With operations in both New Zealand and Australia, the launch of the Shareclarity app is designed for investors, wealth advisers, fund managers and financial institutions on both sides of the Tasman, and Asia.
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Something does seem to have changed. I enabled the API, created a key and ran a few queries with a file that is under 5 minutes in length. I never did get a positive response from the API, but my project is now marked abusive in the google console with over 18,000 hits. The appeal screen has no submit on it, only a cancel.
I was able to use your solution but could only get the output out of the first 10 seconds only !! wherein, my audio flac file is of 31 seconds. Any idea, why this wont be working ??
i tested this one out using curl on a flac input and it looks interesting.
IMO — relevant due to IBM making increasing efforts to roll-out a dev stack and dev console that may work for people having issues with the rate-cap over at Google-speech.
Any suggestion for doing the same trick on Android?
No, it just seems to support FLAC and some form of Speex.
Hi, i am unable to find speech-to-text api on google developer console, is there still a Google streaming speech recognition webservice there?
can i simply change your code to .
It does accept wav file here. https://github.com/gillesdemey/google-speech-v2 do i need to change the URl to https://www.google.com/speech-api/v2/recognize ?
i am also unable to find speech-to-text api on google developer console,could you tell me ?
I tried to run the script as it is. But I was not getting the output at all. Probably there is something wrong with my flac file. Can you share the flac file you have tested with. It would be very much helpful. Thanks.
It's working good on my hosting. But It's not work on my Localhost. I used Xampp. it just return "Array ( )". I don't what is the problem. please help me.
I have followed all your above instructions but, still i am not getting output.
2. Properly setup API key in application.
How i can check that google is providing proper response?
The google API url is outdated. This demo and other 100 along with it are obsolete. Google screw all of them..
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I definitely appreciated every little bit of it and I have you book marked tto check out new stuff in your web site.


For quite a while web pros were taught to put the most fascinating and fundamental pictures, information, and associations over the wrinkle line. This idea has held tight for quite a while, anyway with the changing way individuals are getting to the web the cover is failing horrendously a quiet death. One of the central reasons is the universality of mobile phones, for instance propelled cells and tablets. Since their screens are considerably more diminutive than a PC or a PC the time when the customer needs to scroll has lessened basically.
What is The Fold and Where Did It Come From?
The articulation "the overlay" starts with print media, especially everyday papers. Most everyday papers are demonstrated accessible to be bought fell into equivalent amounts of. Editors put the catchiest highlights and exceptional pictures over this cover line to bait peruse to purchase their preparations. This idea navigated into web design and has had a strong balance in the business for quite a while.
The way in which we get to the web is changing and changing at a fast pace. According to Search Engine Watch, flexible access to the web outpaced work territory gets the opportunity to immediately in 2014. So what are each one of these people doing with their mobile phones? Here's the lowdown from Online Publishers Association/Frank N. Magid Associates: Almost all adaptable customers use their contraptions to get to substance and information, in excess of 60 percent use their PDA to get to the web and peruse their messages, practically 50 percent use them to check out music and play redirections, and 15 percent use their phones to make online purchases and read an advanced book.
For business people, this move to flexible utilize suggests the way in which we consider web arrangement needs to change. Where once the most fundamental information and associations were set over the overlay organizers directly ought to change the way in which they put information and design areas. Instead of having joins taking customers to another page one page destinations are getting in commonness. Parallax design allows customers to look down the page to find the information they require rather than clicking joins. This kind of setup makes a site generously less requesting for an adaptable customer since sitting tight for interfaces with exchange can require critical speculation and convenient customers are broadly worrisome.
In case the overlay is dead where do you put things? The most elevated purpose of the page still has required since this is the thing that customers will see when they touch base on your pages. Your logo, course contraptions, and highlights ought to art exhibit be on the most astounding purpose of the page. Any references which lead the customer to more information or another page with purposes of intrigue should in like manner be near the most astounding purpose of the page. Advancements should be close essential substance. This infers your commercials may be near the base of the page, yet that is okay. Studies exhibit that notices set close related substance section better than anything advancements staying singular near the most noteworthy purpose of the page.


Union Gospel Mission is starting to cook turkeys now and could use a few more turkeys in order to be prepared to serve over 800 meals on Thanksgiving Day. Another need for the event is coffee.
"We could use a few more turkeys and we always need coffee," said Lori Quinney, food service coordinator at Union Gospel Mission.
Union Gospel Mission's Thanksgiving Day event takes place on Thursday, November 23 from 10:00 a.m. -- 1:00 p.m. at Union Gospel Mission at 15 NW Third Avenue. This year's event will take place inside the Mission, rather than a large tent outside as the event has been in previous years.
In addition to turkey, the menu includes 350 lbs. each of mashed potatoes, stuffing and fresh candied yams, 75 gallons of turkey gravy, 72 lbs. of cranberry sauce, 240 pumpkin pies with whipped cream, 1200 dinner rolls with butter and 100 gallons of coffee.
Turkeys and coffee can be dropped off at 3 NW Third Avenue in Portland. Union Gospel Mission is also seeking financial support for Thanksgiving events. Donations can be made online at www.ugmportland.org or mailed to 3 NW Third Avenue, Portland, Oregon 97209.


text:
Q: ListView items not displaying in android tabbed fragment activity I can't figure out what's wrong with the code that the items on my list view on a fragment that is called from a Tabbed activity are not displaying any items from my string array.
I have set the background of the text view and the list view to see if it has actually been displayed, and it does. I can see the textview at the top and the yellow background of the list view below.
fragment_display_questions.xml
<FrameLayout xmlns:android="http://schemas.android.com/apk/res/android"
xmlns:tools="http://schemas.android.com/tools"
android:layout_width="match_parent"
android:layout_height="match_parent"
tools:context="layout.DisplayQuestionsFragment">

<!-- TODO: Update blank fragment layout -->

<RelativeLayout
    android:layout_width="wrap_content"
    android:layout_height="wrap_content">

    <TextView
        android:text="TextView"
        android:layout_width="wrap_content"
        android:layout_height="wrap_content"
        android:id="@+id/textView2"
        android:layout_alignParentTop="true"
        android:layout_centerHorizontal="true"
        android:layout_marginTop="18dp"
        android:background="#ffff00"/>

    <ListView
        android:layout_width="fill_parent"
        android:layout_height="333dp"
        android:id="@+id/listview"
        android:layout_below="@+id/textView2"
        android:layout_alignParentLeft="true"
        android:layout_alignParentStart="true"
        android:background="#ffff00"
        android:layout_marginTop="156dp" />

</RelativeLayout>

Here is the java code in the onCreate method of DisplayQuestionsFragment.java
@Override
public View onCreateView(LayoutInflater inflater, ViewGroup container,
                         Bundle savedInstanceState) {
    View view =  inflater.inflate(R.layout.fragment_display_questions, container, false);

    String[] questions={"Question 1","Question 2"};

    ListView lv = (ListView) view.findViewById(R.id.listview);

    ArrayAdapter<String> listviewadapter = new ArrayAdapter<String>(
            getActivity(),
            android.R.layout.simple_list_item_1,
            questions
    );

    lv.setAdapter(listviewadapter);

    return view;
}

There is no error return it's just that the items aren't there in the list view. Please help and give some inputs.
Thank you very much!

A: Try this,
android:layout_height="wrap_content"
android:layout_marginTop="10dp"

Note: One thing should be noted that instead of using String Array use String arraylist it may solve the issue once and for all.

redpajama_set_name: RedPajamaStackExchange


We're hiring for a variety of roles across the company and are searching for talented people who are excited about our mission and can add to our one-of-a-kind culture.
This position will lead projects that establish content management best practices, localize technical content for new regions and develop web and mobile applications that make content more accessible. This position requires someone who has a passion for learning. This role develops skills with documentation and content management. We are looking for an individual who thrives on empowerment and accountability. This position is on the Learning and Information Development team.
We are looking for photographer well versed, eager and creative in shooting for, and editing, photos of various product for our e-commerce website. The right candidate must possess comprehensive technical knowledge in the setup and operation of a variety of cameras and accessories and be competent in advanced principles of product photography and post-production.
Marketing Manager is one of the most important job profiles in the e-commerce field. The main job responsibility of an e-commerce marketing manager is to carry out effective marketing strategies to increase the company's profit.


text:
Mapusa ist eine Stadt im indischen Bundesstaat Goa.

Die Stadt ist der Teil des Distrikt North Goa. Mapusa hat den Status eines Municipal Council. Die Stadt ist in 15 Wards gegliedert.

Demografie
Die Einwohnerzahl der Stadt liegt laut der Volkszählung von 2011 bei 39.989. Mapusa hat ein Geschlechterverhältnis von 968 Frauen pro 1000 Männer und damit einen für Indien üblichen Männerüberschuss. Die Alphabetisierungsrate lag bei 92,1 % im Jahr 2011. Knapp 69 % der Bevölkerung sind Hindus, ca. 17 % sind Christen ca. 14 % sind Muslime und weniger als 1 % gehören einer anderen oder keiner Religion an. 8,9 % der Bevölkerung sind Kinder unter 6 Jahren.

Wirtschaft
Mapusa liegt in der Nähe eines der wichtigsten Zentren der Tourismusindustrie in Goa. Die Nähe von Mapusa zu vielen Stränden im Norden von Goa macht es zu einer geeigneten Basis während der Touristensaison (November bis April). Da Mapusa eine hauptsächlich kommerzielle Stadt (für Einheimische) mit einer großen Wohnbevölkerung ist, verfügt Mapusa aber nur über eine begrenzte Anzahl von Hotels und Unterkünften. Von wirtschaftlicher Bedeutung ist außerdem seine traditioneller Markt.

Sehenswürdigkeit
Mapusa hat nicht viele eigene Sehenswürdigkeiten. Es gibt ein paar städtische Gebäude aus der Kolonialzeit auf dem Altinho-Hügel. Dazu gibt es mehrere Tempel und Kirchen. Die Kirche Our Lady of Miracles wurde 1594 erbaut und seitdem mehrmals umgebaut.

Galerie

Einzelnachweise

Ort in Goa
Municipal Council in Goa
Distrikt North Goa


text:
Support El Museo
About El Museo
On View Now
La Trienal
Raphael Montañez Ortiz
Zilia Sánchez, Detail of Troyanas (Trojan Women), 1984. Acrylic on stretched canvas,
54 × 95 3/8× 11 1/4 in., Compañía de Turismo de Puerto Rico, San Juan.
Photo: Rhiannon Newman
Zilia Sánchez: Soy Isla (I Am an Island)
On view November 20, 2019 – March 22, 2020
Organized by The Phillips Collection, Washington, DC
Curated by Dr. Vesela Sretenović, Phillips Senior Curator of Modern and Contemporary Art
Zilia Sánchez: Soy Isla (I Am an Island)is the first museum retrospective of the prolific, innovative, and yet largely unknown artist Zilia Sánchez (b. 1926, Havana – lives and works in San Juan). The exhibition features over 40 works from the early 1950s to the present, including paintings, works on paper, shaped canvases, sculptural pieces, graphic illustrations, and ephemera. The retrospective traces Sánchez's artistic journey from her early days in Cuba to her extended travels in Europe in the 1950s and residence in New York in the 1960s, and finally her move to Puerto Rico, where she has lived and worked since the early 1970s.
Learn more about Zilia's artistic trajectory and full chronology >
Zilia Sánchez: Soy Isla is accompanied by a major publication and newly commissioned artist's documentary about her life and practice.
The presentation of Zilia Sánchez: Soy Isla (I Am an Island) at El Museo del Barrio is supported by The Jacques & Natasha Gelman Foundation, series sponsor of El Museo del Barrio's Women 's Retrospective Series. With additional support from The Isabel and Agustín Coppel Collection, and Galerie Lelong & Co.
Over the course of its fifty year history, El Museo del Barrio has published numerous exhibition catalogues and brochures in keeping with the institution's commitment to education and the promotion of Latino arts and culture. These publications are important scholarly resources that in many cases represent the first, and in some instances, the only existing references on particular artists and/or subjects. Featuring illustrations and texts by artists, scholars, museum professionals, and other experts, these publications reflect El Museo del Barrio's rich exhibition history, as well as its long-standing role as a leader in the Latino cultural field. Full text digital reproductions of these historical publications are available for open access to the public via the links below.
This video was commissioned to accompany the exhibition. Conceived as a poetic, non-linear artist's documentary, it presents the most recent interview with Zilia Sánchez. It was shot in the spring of 2018 in San Juan and produced by VideoArt Productions with director Martin Huberman and production assistant Edgar Romero. The original score is by pianist George X. Fu.
Special thanks to Beatriz Bolton and the Dosal Family Foundation for their generous support of the project and to Jeremy Ney and Vesela Sretenović for their contributions.
WORKS BY ZILIA SÁNCHEZ ON VIEW
(Top L-R): Zilia Sánchez, Troyanas (Trojan Women), polyptych, from the series Módulos infinitos (Infinite Modules), 1967. Acrylic on stretched canvas, 71 3/4 × 54 × 9 1/2 in., Collection of Laura Delaney Taft and John Taft, promised gift to Walker Art Center, Minneapolis; Zilia Sánchez, Topología erótica (Erotic Topology), 1960–71. Acrylic on stretched canvas, 41 × 56 × 13 in., Collection of Jose R. Landron, San Juan; and Zilia Sánchez, Lunar (Moon), 1985. Acrylic on stretched canvas, 71 1/2 × 73 1/2 × 14 in., Collection of Ignacio J. López Beguiristain and Laura M. Guerra, San Juan.
(Bottom L-R): Zilia Sánchez, Lunar con tatuaje (Moon with Tattoo), c. 1968/96. Acrylic on stretched canvas, 71 x 72 x 12 in., Collection of theartist, Courtesy Galerie Lelong & Co., New York; and Zilia Sánchez, Encuentrismo ofrenda o retorno (The Encounter–offering or returning), video of a performance, 2000, Berezdivin Collection, San Juan.
1230 Fifth Avenue at 104th Street
212.831.7272 | info@elmuseo.org
El Museo Fund
Sponsor-A-Seat
TERM © 2015 El Museo del Barrio all rights reserved


Shania Twain may live in a Swiss castle, but her homeland has honored her with eight nominations for the Canadian Country Music Association awards. Meanwhile, Aaron Lines earned six nominations, with Terri Clark close behind, with five.
Twain's "Forever and For Always" earned nominations for single and song of the year, and Up! landed two nominations, for album of the year, and top-selling album. Two of Twain's videos, "Forever and For Always" and "I'm Gonna Getcha Good!" will compete for CMT video of the year, along with clips from Clark, Lines and Gil Grand.
Lines scored nominations for album of the year, for Living Out Loud, and single of the year, for "You Can't Hide Beautiful." He also appears among the nominees for the Rising Star award, along with Samantha King, Jake Mathews, Deric Ruttan and Dean Tuftin.
Clark's Pain to Kill earned an album of the year nomination, and "I Just Wanna Be Mad" caught a nod for single.
Twain, Lines and Clark are each nominated for the Fans' Choice Award, along with Paul Brandt and Carolyn Dawn Johnson. The Dixie Chicks, Alan Jackson, Toby Keith, Anne Murray and Twain are the finalists for the top-selling album category.
Nominees for group or duo of the year include Doc Walker, Emerson Drive, Ennis Sisters, The Good Brothers and Poverty Plainsmen. Nominees for roots artist or group of the year include Kathleen Edwards, Great Big Sea, Sean Hogan, the Corb Lund Band and Jimmy Rankin. Other nominees include Lisa Brokop, Adam Gregory, Brad Johner, Jason McCoy, Duane Steele and Michelle Wright.
Performers will be announced in the coming weeks, and the ceremony will be held Sept. 8 in Calgary.


text:
≥Veranstaltungen≥≥Archiv≥≥≥
• Auditorium des DAM
60596 Frankfurt am Mai
Vortragsreihe BAUHAUS/ARCHITEKTUR
Time's up for the Bauhaus? Reconsidering a Legacy
Hilde Heynen
Link to the Video Lecture
During the last decades feminist historians have revisited the Bauhaus, asking about the role of women and gender in this famous school. Unsavory details have come to the fore – such as e.g. the affair of Hannes Meyer with Lotte Beese, which obliged her (not him) to leave the school and to postpone her graduation as an architect with some 15 years. A lot of documentation has been collected about the reduced opportunities for women at the school, the discrimination they encountered in their professional lives and the general condescension towards their work. This lecture will give an overview of this recent feminist historiography, raising the question whether a general re-appraisal of the Bauhaus is not in order, rather than an uncritical celebration of its 100thyear anniversary.
The lecture was followed by a Q&A session and a conversation with Carsten Ruhl
Hilde Heynen is a professor of architectural theory at the University of Leuven, Belgium. Her research focuses on issues of modernity, modernism and gender in architecture. In Architecture and Modernity. A Critique(MIT Press, 1999) she investigated the relationship between architecture, modernity and dwelling. She also engaged with the intersection between architecture and gender studies, resulting in the volume Negotiating Domesticity. Spatial productions of gender in modern architecture (co-edited with Gulsum Baydar, Routledge, 2005). She co-edited the Sage Handbook of Architectural Theory (with Greig Crysler and Stephen Cairns), which was published in 2012. Her intellectual biography of Sibyl Moholy-Nagy is forthcoming (Bloomsbury, 2019; Sandstein, 2019).
The Bauhaus lecture series is conceived as a commentary to the Bauhaus 100th anniversary. In fourteen lectures and talks, the reception, migration and critique of the Bauhaus and its architecture are presented through a critical perspective.
Download this poster as PDF


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[Translate to English] [Show original] Maailman vanhin suomenkielinen sanomalehti. The world's oldest English newspaper.
[Translate to English] [Show original] Lue uusimmat uutiset ja katso kiinnostavimmat KSML.tv:n videot sanomalehti Keskisuomalaisen verkkopalvelusta KSML.fi:stä. Read the latest news and see the most interesting KSML.tv:n videos on the site of the Finnish newspaper Central KSML.fi:stä.
Well done, KSML.fi - Keskisuomalainen. They seem to value dialog with the online audience.


text:
package com.joywifi.knowledge.controller;

import com.joywifi.knowledge.entity.Comment;
import com.joywifi.knowledge.service.CommentService;
import com.joywifi.knowledge.util.Constants;
import org.springframework.beans.factory.annotation.Autowired;
import org.springframework.data.domain.Page;
import org.springframework.data.domain.Pageable;
import org.springframework.stereotype.Controller;
import org.springframework.ui.Model;
import org.springframework.validation.BindingResult;
import org.springframework.web.bind.annotation.PathVariable;
import org.springframework.web.bind.annotation.RequestMapping;
import org.springframework.web.bind.annotation.RequestMethod;
import org.springframework.web.servlet.mvc.support.RedirectAttributes;
import org.springside.modules.persistence.SearchFilter;
import org.springside.modules.web.Servlets;

import javax.servlet.http.HttpServletRequest;
import javax.validation.Valid;
import java.util.Map;

@Controller
@RequestMapping("comment")
public class CommentController {

    @Autowired
    private CommentService commentService;

    @RequestMapping(value = "/", method = RequestMethod.GET)
    public String list(Pageable pageable, HttpServletRequest request, Model model) {
        Map<String, SearchFilter> filters = SearchFilter.parse(Servlets.getParametersStartingWith(request, Constants.SEARCH_PREFIX));
        Page<Comment> comments = commentService.findPage(filters, pageable);

        model.addAttribute("comments", comments);
        return "comment/list";
    }

    @RequestMapping(value = "{id}", method = RequestMethod.GET)
    public String show(@PathVariable("id") String id, Model model) {
        Comment comment = commentService.get(id);
        model.addAttribute("comment", comment);
        return "comment/show";
    }

    @RequestMapping(value = "new", method = RequestMethod.GET)
    public String _new(Model model) {
        return "comment/new";
    }

    @RequestMapping(value = "create", method = RequestMethod.POST)
    public String create(@Valid Comment comment, BindingResult result, RedirectAttributes redirectAttributes) {
        if (result.hasErrors()) {
            return "comment/new";
        }

        commentService.save(comment);

        redirectAttributes.addFlashAttribute("msg", "新增评论成功");
        return "redirect:/comment/";
    }

    @RequestMapping(value = "edit/{id}", method = RequestMethod.GET)
    public String edit(@PathVariable("id") String id, Model model) {
        Comment comment = commentService.get(id);
        model.addAttribute("comment", comment);

        return "comment/edit";
    }

    @RequestMapping(value = "update/{id}", method = RequestMethod.POST)
    public String update(@PathVariable("id") String id, Comment comment, BindingResult result, RedirectAttributes redirectAttributes) {
        if (result.hasErrors()) {
            return "comment/edit";
        }

        commentService.update(id, comment);

        redirectAttributes.addFlashAttribute("msg", "更新评论成功");
        return "redirect:/comment/";
    }

}

redpajama_set_name: RedPajamaGithub


text:
What is Difference Between Jboss and Weblogic
weblogic interview questions / By Admin
Question: What is Difference Between Jboss and Weblogic ?
Answer: Application servers play a major role in modern enterprise computing by acting as the platform for the development, deployment, and integration of enterprise applications. Application servers facilitate common functions, such as connection, security and integration. This allows developers to focus only on the business logic. Two of the popular Java EE-based application servers are WebLogic and Jboss application servers. Typically, WebLogic is used in large enterprises, while JBoss is preferred by small/midsize companies. (What is Difference Between Jboss and Weblogic)
What is WebLogic?
WebLogic (Oracle WebLogic Server) is a cross-platform Java EE application server developed by Oracle Corporation. WebLogic server offers a family of products based on Java EE platform. Apart from the application server, it is composed of WebLogic Portal (an enterprise portal), EAI (Enterprise Application Integration) platform, WebLogic Tuxedo (a transaction server), WebLogic Communication Platform and a web server. Current version of the application server is WebLogic Server 11gR1, which was released in May, 2011. WebLogic application server is a part of the Oracle Fusion Middleware portfolio. Major databases such as Oracle, Microsoft SQL server, DB2, etc. are supported by the WebLogic server. An Eclipse Java IDE called WebLogic Workshop comes with the WebLogic platform. WebLogic application server is interoperable with .NET, and can be easily integrated with CORBA, COM+, WebSphere MQ and JMS. BPM and data mapping is supported by the Process Edition of the server. Furthermore, WebLogic server provides support for various open standards like SOAP, UDDI, WSDL, WSRP, XSLT, XQuery and JASS. (What is Difference Between Welogic Server and WebSphere)
What is Jboss?
JBoss Application Server (JBoss AS) is a free and open source application server developed by RedHat. It is a Java EE-based application server, which not only runs on Java but implements the Java EE portion as well. JBoss is a cross-platform server, which runs on any system running Java. Current version of JBoss is 6.0, which was released in December, 2010. JBoss currently supports Java EE 6 Web Profile (but the full Java EE 6 stack is not supported). JBoss supports various technologies including AOP (Aspect Oriented Programming), clustering, caching, distributed deployment, EJB, JPA, JASS, JCA, JME, JMS, JNDI, JTA, JACC, Java Mail, JSF, JSP, Web services, JDBC and OSGi. (company)
What is the difference between WebLogic and Jboss?
Although, WebLogic server and JBoss server are two of the popular Java EE-based application servers, they have their own differences. WebLogic application server is developed by Oracle, while JBoss application server is a free and open source product. Latest version of JBoss server supports Java EE 6 Web Profile, but the latest release of WebLogic server only supports Java EE 5. You can change console requirements depending on the requirements in WebLogic, as Self Console 7001 is included, but since JBoss is dependent on Tomcat Server, this is not possible in JBoss. Multiple ways of deployment is possible in Web Logic, while Ant alone could be used for deployment in JBoss, and it is very quick and easy.
Even though, WebLogic is an expensive product, it has several features that are not provided in JBoss. For example, WebLogic's web-based administrator console can be used for the configuration of JMS, Data Sources, and security settings, etc. Mind you, configuration and administration is pretty simple in JBoss, but a UI is not provided. While, clustering is supported for all the APIs in WebLogic, clustering is supported only for some of the features in JBoss. WebLogic offers JMS clustering whereas, JBoss does not. Standard JDBC API is used for database connectivity in WebLogic, but database connectivity is available in JBoss only through jca-jdbc wrappers, which means that sometimes the programmer has to write his own code.
WebLogic is highly expensive, given that having a separate web server incurs additional cost, while vertical scaling (e.g. addition of more CPUs) costs extra money as well. Despite its cost, WebLogic is used more in industry due to its reliability. But, for projects that are not overly complex, JBoss is a good option (as its performance is still not proven in production environments), since it is free. Therefore, JBoss is more popular among small to midsized companies who are unable to afford the high priced WebLogic.
SVR offers Weblogic Training with these facilities:
Click here To Get Free Access to 50+ Weblogic Tutorial Videos
Check Demo Video:
Check more Tutorial Videos


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Made of kiln-dried solid wood using old-world construction techniques, the 36" Alvito Single Bath Vanity is built to last a lifetime. The hand-applied finish and antique pewter hardware complete the classic look of this antique bathroom vanity. Choose from many beautiful countertop options including Cream Marble, Black Granite, and Travertine. A matching linen cabinet is also available. We carry a large variety of single bathroom vanities in various styles, sizes, and materials. Don't forget an elegant mirror to match your new vanity.


We supply various types of network connected water leakage sensors for oil, water, diesel, petrol etc.This infographic shows our IP based, network connected water leak detection sensors. Apart from central monitoring, it can also generate Email, SMS and phone call alerts. We have different models for different applications.
Please read more on our network connected leakage detection sensors in United Arab Emirates.
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text:
Medium Cool: Robert Paige Q&A
Textile artist Robert Paige speaks after the July 12, 2013 screening of Medium Cool (in which he appeared during the Black revolutionaries scene) at the Logan Center for the Arts, part of the "Revolution on Film" series.
Rebecca Zorach [RZ]: I have the great pleasure of introducing Robert Paige, who was one of the black militants in the black militant scene, [audience applause] and I'll just say a few words.
He's a renowned fiber artist and textile designer, with many connections to AfriCOBRA. He shared studio space with Wadsworth Jarrell, and he's actually the one who gave the group the term 'koolade colors.' He studied at the school of the Art Institute of Chicago, he's travelled extensively in Europe and Africa researching designs and techniques, and his distinctive bright geometric patterns in his designs have appeared in many major retail stores here in Chicago and nationwide. So, it's wonderful to have him here and to be able to have some of his reflections on the experience of being in the black militant scene in the film.
We had hoped that Barbara Jones-Hogu would also be able to be present: she was not able to at the last minute. But she sent me an email, and I thought I might just read a few words from that before posing an initial question to Mr. Paige. So, she says, "Thank you for the offer for me to say something about the film. It was my first introduction to be in a film of this importance. Everyone that appears in the apartment in the film had an opportunity to talk about their concerns of the civil rights movement and their experiences and analysis of that time, which was related to the riots that occurred after the death of Martin Luther King, and the social and emotional climate, thoughts, and feelings of that time, leading into the Democratic Convention. Much of that footage was cut, because the film took on a different development. Those who spoke were mostly artists—visual, musicians, actors, designers, etc. They were not members of the Black Panthers." There's a sort of impression that they may be, that I think a lot of people get from the film, although it's not actually stated in the film, but I think some people have that impression. And then she goes on and says, "many controversial persons left the city in order to not experience any overt aggression toward them based on the fact that the Chicago Police Department was preparing strenuously for combat and aggressive actions against them." So that was just a few words that she had to say. And I just wanted to start by asking you, do you remember how you got involved and what you knew about the film before you found yourself in that apartment?
Robert Paige [RP]: Yes, what happened was a group of us found out that Columbia College was having a conference down at the Chicago Dental Association on Chicago Avenue. So we met in a coffeeshop—when I say we met, Jeff Donaldson, myself, Muhal Richard Abrams, Bill and Sylvia Abernathy—and so we decided that we would go to this conference. And so the coffeeshop that we were in, it was closing, so then we left there and went over to Gwendolyn Brooks' house, and we stayed up all night, maybe till 2 o'clock in the morning, and we decided that if we're going to go and participate in this, that we should carry signs. And if you hold on a minute: [unfolds sign] This was one of the signs that we created.
Audience Member: Read it!
RP: And it says, "hands off black art!" And so when we got to the conference, we introduced ourselves and one—Anthony Braxton, he was another. Anthony Braxton is from the AACM, Richard Muhal's from AACM, Jeff Donaldson and BJ and myself are visual artists. And so, at the end of the conference, we went to the washroom, Abernathy and I, and Abernathy knew Haskell Wexler, I didn't know him, and so Abernathy was real militant and he says, "ah, there's that m-f something something something" So, I say, well, let me go introduce myself. So I introduce myself to Haskell Wexler, and told him who I was and what I was and invited him to my atelier. So he came out to Hyde Park, so that's actually how we were introduced to getting involved in the film. But once Jeff Donaldson, BJ and myself and Muhal, got there, then we saw all the rest of the performing arts community came. So that's actually how we got involved in it.
RZ: So much of this film is about the sort of intertwining of fiction and reality, and I'm wondering about the sort of reality of that moment—how much did it feel like people were having a conversation, or speaking in a way that was, simply, kind of natural to speak? Or was it, okay: here's an audience, let's speak to this particular audience that we have in front of us at the moment? How much was acting and how much was real, I guess is my question.
RP: Yeah, that's a very important point there, because as I said, when all four of us came, then we say Val Gray and the others, and they had lines! We didn't. So I think that maybe they were hired to participate in it, and we just kind of fell into it.
RZ: But, I mean, Jeff Donaldson has a lot to say, right?
RP: Well, he always has a lot to say. [audience laughter] So when he was speaking… I think that was more impromptu. Yeah, but the other actors, because the lead—the brother that found the money, I don't know if any of you guys know who that was: Sid McCoy. He was on radio and then left Chicago and then eventually went to California and got into acting and so forth. But I think a lot of it was scripted and most of it was improvisational. At least, my part was.
Michael W. Phillips JR. [MP]: Everyone in the apartment got a chance to talk; I was wondering if you remember what you said.
RP: Well, I was kind of the Alfred Hitchcock in the movie. If you can flashback, I was sitting on the sofa next to BJ, and at one point early on, I went over and whispered some words into Jeff Donaldson's ear, and that was it. I wanted to get in on the action.
RZ: For people who don't know, Jeff Donaldson was the one who answered the door. The tall guy who answers the door and at the beginning kind of repeats everything that the cameraman is saying.
Audience Member: I think it's a very—I'm not quite sure if interesting is the best word—but a number of those people who were in the movie are all deceased now! Jeff Donaldson, you mentioned Sylvia, well, Abernathy is dead, Walter Bradford, who else…but I just think it's kind of ironic in a way, you come to a movie and you see this room full of people and you know they're artists and other things, and then when you think about it, if you know them, you know, my goodness. When was the movie made?
RP: '68.
Audience Member: In '68, so it was made right during that…so some of, a lot of that footage was real, then!
RP: Right, absolutely.
Audience Member: So, I mean, it's just kind of chilling at a certain level, if you know the people and you see them in this, and then you reflect and say, my goodness. They're all gone.
RP: Also to that point, when you see the exhibition downstairs and I guess last week they had a panel of Henderson and BJ and the Jarrells and, who else was on that… And I was kind of taken back, because I thought, and was hoping, that they would at least have, or even mentioned, some of the existing members. There's Stevens, is on the scene, and there are a couple others, but yeah, I thought that that would have helped, tied it all together. But you say: Jeff Donaldson, I was at his memorial, and Murry dePillars is no longer on the scene, I was at his memorial. It's kind of frightening, as Barbara said, that it seems like everyone who she's mentioned and that I've mentioned, I'm on a photograph with them. And I collect, of course, all the announcements and articles about my dear colleagues. And you talk about ironic—it's ironic that I'm on pictures with all of them.
RZ: I might want to make a pitch for the DuSable exhibition which is going to—and Artie [Arlene Turner Crawford] is sitting up in the front, second row back—just to say that that exhibition will deal with some of the current members as well as the founding members who are no longer part of the group. But yeah, it sort of brings us up, not necessarily to the present, but further into the history of AfriCOBRA.
Audience Member: I'm just curious about how, when the film was finally released, if your family or friends went to view it, and if it had any impact on your life at that time.
RP: Well, it's interesting. I left Chicago and moved to Detroit in '91. I didn't get back to Chicago till '96, and shortly after I arrived, well, I was artist in residence, of all places, in Cabrini-Green. And there's the Biograph Theater up on Sedgwick or somewhere up there, but anyway, I saw an ad in the paper where Medium Cool was going to be shown and Haskell Wexler was going to be in town. So, I went to the movie of course, talked to him, and at the end of the movie, Ted Koppel was on television at that time, and he interviewed him and myself, but that was the only time that I actually got a chance to see the film other than tonight. I don't know if any of the other members got a copy. At that time, at the Biograph Theater, Haskell Wexler sent me a nice letter and a copy of the film, which I was then able to show Richard Muhal Abrams, who is a part of AACM and lives in New York. I just returned from New York back to Chicago three years ago.
Audience Member: Hello! That was a wonderful film. I wanna present a different aspect of it, because I was, like, there! So, reminisces: the National Guard, the armored vehicles came from Chicago Avenue, the soldiers had had the crosses on their arms. I was there when they were practicing at Camp McCoy, practicing how they were going to treat the rebels, so to speak, the people that they knew were coming. And before the mayor had put out that Shoot to Kill warning, all of those things that happened on screen were in the daytime. At night, the soldiers from the 52nd street armory were the ones that went to the West Side, where they were shooting on 16th street. I hardly see any of those guys there, they came from the 178th infantry, and they were riding in Jeeps with machine guns on them and it was…I mean, I was right there. I recognize everything. And I know where the riot first started: it was behind the bandshell. Okay, they showed the bandshell, when they knocked-over all the chairs, that's when they took all the chairs away from the bandshell but then all the benches were left, were gone from there, and then from that point on it was just a bandshell, and they had to bring chairs in. But the riot started over where the statue was, behind that, just south of the Conrad Hilton. And it was so reminiscent, like I was being there…
Audience Member: Hi. I was around when AfriCOBRA was formed, and I wasn't aware of this movie—of course, I was pretty young in '68—but two questions: why did it change from COBRA to AfriCOBRA when they got to the East Coast, and what impact would you say this film had upon the group?
RP: Other than the formation of the organization, I don't think it had any effect on it. As I said, when it was formed as COBRA in Chicago, we did—I didn't say, but we did—get an opportunity, or had the group come out to the Affro-Arts Theatre, Phil Cohran's theatre, on Oakwood Boulevard. So we did make that kind of an impact on an organization that was only supposed to come here and visit only white not-for-profit organizations. That's what really kind of put a cramp in our butts, that they were going to come to Chicago and were not going to come to the South Side or to the black community to look at our not-for-profits. Because at that point, we had a lot of things happening in Chicago. Like I said, there was a [Teesta] Shop on 75th street, the Ellis's had their bookstore on 64th and Cottage Grove, and [Ad-Fam], there was a lot of shit happening—excuse me—I mean, when you look around now, there ain't nothing happening. I
mean…I'm sorry! [moderators laugh] The Logan Center, the DuSable Museum, the South Side Community Arts Center, I mean, but there were a lot of things going on at that point.
RZ: Maybe I could ask you to elaborate on something you said a moment ago, about the difference between those days and now, and if you see any, if you have any thoughts about. You suggested that there's less going on now than at that time. Is there a reason for that, or are there things that you can point to, that are kind of important things that are happening now, or directions that people could take?
RP: Okay, as I said, I left Chicago and moved to Detroit in '91, and would come back and forth. Then, actually, Dr. Carol Adams brought me back to be artist-in-residence in Cabrini-Green, and I saw, I mean, I saw devastation in my community—I'd ride down King Drive and saw just vacant lots and vacant lots. And I just felt that there was not enough attention, or pressure on the powers-that-be, to try to either put some money in the community to rehabilitate a lot of the homes or try to get any kind of activities. When I grew up, I grew up at 61st and Langley. I used to skate in the Midway, before the skating rink, I used to skate from Ellis all the way to Woodlawn! And I mean, and hide from my mother and father at the Fountain of Time, right at the top part! And fish in the lagoon and they used to have music up on Seven Hills, and they had boats and things. So, tell me! I had a wonderful childhood, in terms of, I went to [?] Sexton School. The Davises, Allison Davis, [?] Davis, Dr. Davis, from the University of Chicago, used to take me fishing, he lived across the street on Langley. You know, excuse me, I keep using this s-h-i- but it keeps going down, down, down!
Audience Member: Bob, what do you think was part of the movement of artists out of the city, around '70? So many people left town. What do you think about that, and what is the effect of that on Chicago now? I mean, the whole: AACM, and Jeff, and Murry and so many people left town. What do you think about that?
RP: I don't really know. I remember hearing Jesse Jackson—I had a carriage house right behind PUSH, and in a conversation, it was kinda like across the fence—and he made a statement, I don't know if I understand what it means, but I'll repeat what he said. He said, "it's something about Chicago," and he was talking about himself and he was talking about, of all people, Mr. T, and he says, "it's something about Chicago, when they see your drawers, then they don't want anything to have to do with you." Now, I'll speed forward, and when I lived in Detroit, I was more respected from living in Detroit, coming back to Chicago and doing things, than I did when I was here. And when I was in New York City—I was in there for ten years—and I was able to while I was there, get an opportunity to spend three months in South Africa, with [the N.W.?] Foundation. I was able to develop a line of fabrics for Kmart that sold in 2,000 stores. And these are things that don't happen here. You can see why it doesn't happen here as opposed to a place like New York City, where everything is happening, but to your point I think that everyone feels that Chicago is a wasteland in terms of visual and performing artists, and they want to take that opportunity to try to further their careers. And so they move. And in some cases it works out and in some cases it doesn't.
Jacqueline Bradford: Good evening everyone. My name is Jacqueline Bradford, I'm Walter Bradford's daughter. Can I just appreciate the opportunity to see my father and be around all these wonderful people who knew him, and did so much for our community. But I wanted to ask about OBAC. And if OBAC in some way was the catalyst for AfriCOBRA.
RP: Probably so. I wasn't around OBAC—Dr. Adams left, she was in the audience, she's no longer in the audience now but she could probably talk to that point.
MP: And, just to clarify: Dr. Adams is getting an award from ASE, the Chicago African Storytellers Association, this evening, so she was here briefly and then went to the south end of the Logan Center to get the award. So I'm sure she would have loved to stay the whole time, but she's bouncing between the two!
Audience Member: Most people know OBAC from Haki and the Writer's Workshop, and Gwen, but when OBAC started out in the Urban Progress Center over in Englewood, OBAC had many facets. It had writers, it had dance—which I was part of—it had photography which Bobby Sengstacke, and Onikwa and [?], Edward Christmas and all of those people. It had painters, it had jewelry makers, it had all of those different facets, but finally OBAC and the visual arts put up the Wall of Respect. And then what happened as, I think, what you were talking about, Bob, is that a prophet in his own land, that thing. People, as you said, they, "I don't know, man, who does he think he is," so you had to go somewhere else to get some recognition and make a living and further your career. And people when they got recognized because Chicago was the nucleus of the African-centric, and still has a whole lot of it going on, people were asked to come. It didn't just people run away, people were asked! Like, ooo-ee, somebody wants me! And people don't just think of me as just that person that hangs around their backyard! And that's what happened to Organization of Black American Culture, OBAC, it was all inclusive of all the arts.
Aki Antonia: I just wanted to say, my name is Aki Antonia and I write a blog called the Bronzeville Arts Blog. Having been growing up around the black artists movement, and the musical movement—I'm also a musician—I've seen the evolution of what happened in response to what you were saying. When AfriCOBRA moved to New York, there were still a lot of viable organizations like the Black Artist Guild, which was founded by Turtel, artist Turtel Onli. They had a lot of artists from the Art Institute.
RP: BAG.
Aki Antonia: Also called BAG. They had a number of artists like Dalton Brown, Kenneth Hunter, Espi Eph, and they had a very viable relationship with the South Side Community Arts Center, which has always stayed viable. And Turtel went on to create something called the Black Age of Comics, which is still very much a part of where many illustrators and artists are today. The DuSable Museum began to evolve, and include many of the artists work who had come from the 70's to that time period. The African Fest emerged, Jazz in the Alley was the evolution out of AACM—there were still a lot of very strong AACM members in Chicago in the 70s, 80s, 90s. Muntu Dance Theatre under the beginnings of Alyo Tolbert, came out of Hyde Park mixed with a lot of the different jewelry makers and artists, and there were art fairs. It was still a very vibrant community that evolved through the 70s and 80s and 90s. I know, 'cause I participated. And then we had our Jazz festival downtown, South Shore Jazz Fest, and then we had Transitions East, we've had all kinds of different clubs, NTU. So, it was still a very viable community that grew and is still vibrant today, but you have to find the pockets. A lot of people have passed. A lot of people went mainstream, so to speak, and a lot of people did move around. But we still have a very thriving community, arts community in general, and you still see evidence. Like the Hyde Park Jazz Fest, we've watched that evolve from one place to where it is now.
RP: That's all very true, but at the point that I'm talking about, and I think someone else may have mentioned: there were things happening…AACM had scattered sites every week. The Hyde Park Art society is a whole 'nother ballgame, you know. Turtel and BAG, BAG's Espi Eph, who you spoke to, they had keys to my silkscreen studio when I lived behind PUSH and they learned screen print in there; I'm talking about things of that nature. Of course there are things, but the sister said that people brought some of the musicians, and some of the visual artists to Chicago, that's true. But in most part, the adventurous attitude and the need for exposure lead you somewhere else.
My first trip to Milano, Italy in 1964, speaking no Italian whatsoever but knowing that that sky goes all over the world, no reason for me only to see it here in Chicago, got me on an airplane to go. To sell textiles in Milano. So, things are happening, but when you look at a big picture, there were things happening more, at a point, then now, even though things are still happening. I'm not that one, like I tell my students: in order to lead the orchestra you have to turn your back on the crowd. So sometimes you have to flip, you have to get up and get away. It's alright, see. I'm a Jazz cat, I know all the cats. And when I get a little crazy in the head from doing my work, I go and hear some music or call some of my music friends. 'Cause this is a solitary thing, that these visual artists do. But if it's happening, it's happening, but I would say it is too loose for me.
See, I'm a fine artist in a commercial body. I had trouble. I guess I found out later on that was one of the problems that Jeff had with me—and I didn't know he had it—was that I was thinking about the commercial aspect and interested very much in building a bridge for young aspiring artists to cross. And still we're doing that. That's how Turtel and them, I gave Turtel, BAG—and their logo was a busted watermelon with red, black, and green—keys to use my studio! And I worked with, of course, my dear friend, no longer with us, Maggie Daley, in Gallery 37. So I've always been interested in who's gonna be responsible for building that bridge for these young kids? They don't have a clue of what's going on.
Alice Singleton: Hi, my name is Alice Singleton. I'm actually the niece of Jeff Donaldson. To your point, you're talking about why we're not reaching out to young kids and old kids like me—and I can tell you what my experience is in Chicago. In 1968—'68, '70, you tell me—my uncle owned an African art store called Sticks and Stones, right over on 87th and Cottage Grove.
RP: Okay, but first it was in Harper Court.
Alice Singleton: Okay, so, I'm 7 or 8 years old, I don't remember the to Harper Court. I remember going to 87th street. Now, I'm going to tell you what else I see, and I continue to see— and I'm not even frustrated by it anymore, but I've accepted that this is the reality—I keep hearing everybody talking about Bronzeville and Hyde Park and Hyde Park and Bronzeville and you know what? I live in Rogers Park! And I've lived on the north side of Chicago since 1978. I moved on the north side of Chicago when I was less than 18 and a half years old and I ain't got no intention of coming back.
But what I will tell you is there are a ton of black people on the northwest side of Chicago and on the north, and I've lived in Logan Square, I've lived in Bucktown. Rogers Park, Edgewater. Tons of black people! To quote Redd Foxx, "Enough black people to make a Tarzan movie!" And then there are the Hispanic people that live there, the Latinos, the Mexicans and the Puerto Ricans and the Dominicans. And then there are the Asian, Indigenous populations. Oh, and the black people who live in Gresham. And in Chicago Lawn. And if you can't pull your heads out your ass and come out of Hyde Park and Bronzeville and reach out to these people and if they have to keep just getting on the bus to find you, then you're dead. This doesn't exist. You're dead!
As for the commercialization of art, well, you know what? If it hadn't of been for Robert Plant and Led Zeppelin—I'm a huge metalhead—so if it hadn't of been for Robert Plant and Led Zeppelin, and Mick Jagger and the Rolling Stones, the blues would be dead, if they had to depend on us. So if you wanna reach these people that you think you should reach, including the poor white people, or the white people who are now going back to poor—they had it good for about twenty years, they fattened them up for the kill—you wanna reach all these people? You need to come out of the University of Chicago for a minute. You need to come out of Bronzeville for a minute. And you need to reach them. You cannot get—the Chicago Defender is now, for the most part, dead, because they wouldn't sell a paper past 35th street. They didn't want to do it. They wouldn't even go sell a paper on the west side.
And there are millions of black people in this city, and millions of children and old children who don't have Dr. before their name and PhD after it, who aren't being reached by what you claim is an important message. And I say 'claim,' because if it was that important, you'd be getting it out to them. And you're not doing it. And it hasn't been done, and it was never done. At some point it stopped. I don't know why, I don't really care why anymore.
I do agree with your point, and I think it goes way beyond art in terms of, you have to go someplace else to be important to Chicago. I had a friend who is a software developer, he couldn't get anything going on in Chicago; he's white, All-American kid, he moved to Houston, then he moved to Milwaukee, then he sold his company three years ago for $250 million. Couldn't get anything going in Chicago. This is the way Chicago is. Maybe I'm channeling the ghost of my uncle—who was an atheist, so I don't know what I'm channeling, maybe I got gas—but as he would say, "Chicago is just a big plantation."
And a lot of us are comfortable in participating in those plantations, and we're getting—and I don't mind saying it, if I'm not invited ever back here again—but I was thinking about it the other day: here is a school that has a hospital, and a hospital that does not have a trauma center. My daughter, one of her good friends, the only reason why she was allowed to come to this trauma center—Hadiya Pendleton, when she was shot in January—was because she was under 18. And so millions of people are transported away from this hospital, but this school and this hospital included have received billions upon billions upon billions upon billions of dollars every single goddamn year, and everybody sits around comfortable. So when we talk about the comfortability of these upper middle class white folks in Naperville? We ain't no better either!
So you wanna reach these kids? They're in Gresham. They're in Rogers Park. Yeah, they're all over. And if you wanna reach them, they're children, you're not: get up and go figure out how you're gonna reach them. Make a plan—and I'm not talking to you, I think you get it—but make a plan to go reach them. If you don't want to reach them, then shut up complaining about that this thing is dying, because you know what? Then you're passé and you should die. You serve no purpose.
RZ: I do want to say that one of the protestors who was arrested at the hospital was actually here tonight. So there is activism that continues with regards to the University of Chicago Hospital. And I think that that call to responsibility is a really important one. I think we're running out of time, but I'm happy to close with any words that you might have in response.
RP: I think it's all happened.
RZ: All right! Well, thank you all very much.
Philemon Najeib: Can I get one question in to our guest please? My name is Philemon Najeib, and I heard a lot of names here, today, bandied around. Some that I didn't hear, that I'm sure are on our distinguished guest's mind: Harold Okoro Johnson, one of the cofounders of ETA, and Mr. Jim Taylor, who established the Community Film Workshop of Chicago, one of six.
RP: Jim Taylor?
Philemon Najeib: Yes, sir, J.T. as we affectionately knew him. And I just wanted to thank you for coming forth. Chicago, I don't think a lot of you realize, it is second city no more. So, when we talk about people leaving Chicago for greener pastures, there's also the reverse of that. Sort of like families leaving and going back down to Mississippi. So there are people now coming from the East and the West, and the Midwest, to Chicago because it's beginning to turn into quite a media town. And I just wanted to share that and thank you, sir, very much.


text:
Q: How can I get the end row of my sheet (not the last row with data) in Google Sheets Scripts? I would like to know how can I get the end row of my sheet (not the last row with data). Is there a simple code to get that?

A: Solution:
You can use getMaxRows() to get the end row number.
Sample:

Reference:
getMaxRows()

A: A lot of people want to do this because they don't want to have to scroll down past all of their data so the typical approach is something like this:
function getFirstRowAfterAllData0() {
  const ss = SpreadsheetApp.getActive();
  const sh = ss.getActiveSheet();
  sh.getRange(sh.getLastRow()+1, 1).activate();
}

But if sh.getLastRow() equals sh.getMaxRows() then this won't work because the script can't go to a line that doesn't exist and so you'll find that this approach will work in that situation also.  It adds another row to the bottom when there aren't any available rows after your data.
function getFirstRowAfterAllData() {
  const ss = SpreadsheetApp.getActive();
  const sh = ss.getActiveSheet();
  if (sh.getLastRow() < sh.getMaxRows()) {
    sh.getRange(sh.getLastRow()+1, 1).activate();
  } else {
    sh.insertRowAfter(sh.getLastRow());
    sh.getRange(sh.getLastRow()+1, 1).activate();
  }
}


text:
Brest Arena este o sală multifuncțională din Brest, Franța, având o capacitate de 2000–5000 de locuri, în funcție de configurație. Brest Arena a fost inaugurată pe 13 septembrie 2014, cu scopul de a găzdui mari competiții sportive, antrenamentele echipelor sau concerte de mare amploare.

Context

Aglomerarea Brest nu dispunea la începutul anilor 2000 de o infrastructură suficientă capabilă să găzduiască mari concerte sau evenimente sportive de anvergură. Pentru concerte și spectacole, principalele săli erau Quartz (1500 de locuri), La Carène (1300 de locuri) și Parcul Expozițional Penfeld (12000 de locuri). Nu exista o sală de mare capacitate construită special pentru găzduirea concertelor din cadrul marelor turnee naționale. În ceea ce privește evenimentele sportive, Consiliul Regional al Bretaniei considera ca prioritate construirea în vestul regiunii a unei infrastructuri capabile să găzduiască marile competiții și turnee. Inițial, deci, sala de concerte și arena sportivă au fost propuse ca două proiecte separate de către lista electorală a uniunii de stânga la alegerile municipale din 2008: realizarea unui Zénith în zona Froutven și construirea unui Palat al Sporturilor pe malul drept al fluviului Penfeld.

Însă reducerea finanțării publice, în special a celor de înzestrare a instituțiilor de stat, și contextul crizei financiare mondiale, au pus sub semnul întrebării aceste angajamente. A fost deschisă o dezbatere la scară națională privind necesitatea construirii de săli multifuncționale în detrimentul celor proiectate pentru o singură activitate. Această dezbatere a fost alimentată în mod special de "raportul Constantini - Arena 2015", făcut public în martie 2010 de către Secretariatul de Stat al Sporturilor. Acest raport favoriza clar ideea de multifuncționalitate a marilor săli de evenimente:

"Separarea utilizării între spectacole și sport, dacă se prelungește, va conduce sportul profesionist francez de sală către un ireversibil impas și va împiedica perspectivele lui de dezvoltare. Franța trebuie imediat, fără întârziere, să intre în era sălilor multifuncționale moderne. În momentul în care capacitatea financiară a colectivităților teritoriale face obiectul unei vigilențe crescute, cum am putea întoarce spatele unui obiectiv de raționalizare și de punere în comun?"

Acesta a fost contextul în care Brest Métropole Océane a hotărât, în 2010, fuziunea celor două proiecte și a decis realizarea unei săli polivalente care să permită găzduirea în același loc a unor spectacole sportive și a unor concerte. Această construcție multifuncțională a fost inițial numită Marea Sală de Spectacole Sportive și Evenimente (în ), prescurtat G3SE, primind ulterior titlul de Arenă, în 2012.

Sala a fost ridicată în zona numită "Polygone", în cartierul Malul Drept din Brest, cu scopul realizării unui echilibru între marile săli similare ale aglomerației Brest și pentru a favoriza dezvoltarea vestului metropolei. Arena a fost realizată pe locul unui fost poligon de tir, ulterior terenuri de manevră pentru exercițiile marinei și pistă de aterizare, mai apoi barăci militare și în final terenuri de fotbal.

Prezentare
Având o capacitate variabilă de 2000–5000 de locuri în configurația "sport" și de 6000 de locuri în configurația "spectacole", această incintă găzduiește, începând cu septembrie 2014, manifestări sportive de înalt nivel și spectacole muzicale.

Arhitectură și caracteristici tehnice

Proiectul arhitectonic al Brest Arena a fost încredințat biroului Herault-Arnod Architectes, care a câștigat concursul din februarie 2008. Proiectul, având o suprafață utilă de 14500 m2, a fost realizat în colaborare cu dUCKS scéno pentru scenografia sălii și cu cabinetul Lasa pentru studiile acustice.

Sala este echipată cu un sistem de încălzire prin podea.

Exteriorul este placat în mare parte cu oțel gri metalizat. Aspectul său este caracterizat în special prin "coșurile" sale, care amintesc de cele ale pacheboturilor. Zece dintre ele servesc la iluminarea naturală a sălii prin intermediul luminatoarelor, iar celelalte două asigură ventilația ansamblului.

Brest Arena este prima sală din Franța care a dispus de marca "Arenă".

Acces
Lângă sală a fost construită o parcare de 520 de locuri. Sala este de asemenea direct conectată la linia A de tramvai prin intermediul stației "Polygone".
Accesul în sală se face pe două pasarele: una care leagă parcarea de sală, cealaltă care leagă sala de stația de tramvai.

Evenimente

Evenimente sportive
Brest Bretagne Handball este clubul găzduit permanent de sală. Clubul de baschet Étendard de Brest a disputat și el acolo câteva meciuri de gală. Clubul de hochei pe gheață Albatros de Brest nu poate totuși juca în Brest Arena, deoarece dimensiunile sălii nu permit instalarea terenului.

Evenimente găzduite
 Campionatul handisport al Franței de Tenis de Masă, pe 23-24 mai 2015
 Cupa Președintelui de la Campionatul Mondial de Handbal Masculin din 2017
 Campionatul European de Lupte Inter-celtice
 Meciurile Grupei D de la Campionatul European de Handbal Feminin din 2018

Alte evenimente

Referințe

Legături externe
  Pagina oficială
  Brest Arena pe pagina biroului de arhitectură Hérault Arnod

Brest Arena
Brest Arena
Arena Brest
Arena Brest
Arena Brest


text:
2019-01-29 2019-01-29 While an expert with 30-plus years of experience might seem like the obvious choice, a newbie can give you... Best Lawyers
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Should You Opt for a Career Expert Witness or a First Timer?
Erin Quinn-Kong / Best Lawyers January 29, 2019 4:14 PM
An expert witness must be credible, knowledgeable, impartial, and articulate. But like with most things in life, there is no clear-cut answer to the question of choosing between an experienced expert witness and a first timer. "It depends entirely on the case," says Zachary D. Silbersher of Kroub, Silbersher & Kolmykov PLLC, a patent-litigation boutique firm in New York City that he co-founded. "There are pros and cons to each."
Silbersher says most litigators turn to career expert witnesses first. "You want someone with the best credentials possible, like a professor emeritus with 30-plus years of experience," he says. "That way, it is as hard as possible for the other side to impeach the pedigree of the witness."
Plus, someone who has experience as an expert witness knows how to speak technically yet eloquently at a deposition and at trial, so that people on the jury can understand them. "You'll run across experts that are extremely knowledgeable in their fields, but they've got to be able to turn that technical knowledge into something a non-expert understands," says Braden Perry, a former federal enforcement attorney based in Kansas City who also serves as an expert witness in regulatory and financial litigation matters. "That's the biggest thing—being able to provide opinion to lay people in extremely complex issues."
Silbersher agrees. "Sometimes, intelligent people are not that good at communicating thoughts to a lay person," he says. "It's one thing to speak to your industry peers about technical things, but it's quite another to make a jury understand. A career expert witness can excel at that."
But using a polished witness who has worked hundreds of cases can also have its drawbacks. "Juries don't like to hear that a person is an expert witness, so it can look bad if someone is too practiced," Silbersher says. But the worst-case scenario is that the opposing counsel can use a witness's past testimonies against them. "There's a record of what they have said in other cases, so the worst thing you can do is put an expert on the stand who says that x equals y, but the opposing counsel can then say, 'But you said x doesn't equal y in another case.'"
That isn't an issue with a first-time witness. Silbersher believes litigators are often timid about hiring new witnesses when they shouldn't be. "I think there can be too much emphasis on 30 years of experience," he says. "There are articulate, passionate younger people who are very sharp and not as easily tarnished from other cases."
A newbie witness can also become a must when the case requires someone with a very specific knowledge base. "We were working on a case with a semiconductor, and we had a hard time finding someone to speak specifically about it," he says. "We needed a post-doc or grad student who had been studying it. So, in that case, a first-time witness was preferable and inevitable."
And while new experts typically require more prep time, Silbersher says some people "just get it."
Matthew Hoffman, the managing partner of RoundTable Financial Group in New Canaan, Connecticut, is one of those people. The alternative assets expert was consulting with GLG on a project in 2012 when a case came up that required someone with his background. "GLG hired me and guided me into this," he says. He's been an expert witness on two cases each year since and is working on his 12th case now.
Being an expert witness fits perfectly with Hoffman's personality. "I'm very factual and black-and-white," he says. "I don't give too many opinions, and I view things as right and wrong. If there are gray areas, I probably lean one way or the other."
Hoffman is also an experienced public speaker and lecturer who likes a challenge and has specialized expertise. "If a case is generic, you can go to a general expert witness," he says. "But I work in a specialized, nuanced area of alternative investments. My opinion most likely won't be reused; nothing I've worked on has been similar to another case."
In the end, the most important thing is choosing an expert witness you trust to put in the work and propel your case forward, whether they are experienced on the stand or not. "Everyone has their first time being an expert witness," Perry points out. "Frankly, it's a matter of making sure you're comfortable with them."
Erin Quinn-Kong is the former editor-in-chief of Austin Monthly and was previously an editor at Allure and Us Weekly. She writes for GLG, the platform that connects professionals with insight, and has written for a number of publications, including The Alcade, OpenTable.com, and Women's Day. When she's not telling other people's stories, you can find her exploring Austin, Texas, with her husband and two young children.
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