text:
OpenGLRenderContext::OpenGLRenderContext(void)
{
}

OpenGLRenderContext::~OpenGLRenderContext(void)
{
	if (hrc)
	{
		wglMakeCurrent(NULL, NULL);	// free rendering memory
		wglDeleteContext(hrc);		// Delete our OpenGL Rendering Context
	}

	if (hdc)
		ReleaseDC(activeWindow->GetHandleToWindow(), hdc);			// Release our HDC from memory
}

void OpenGLRenderContext::Initialize(Window& window)
{
	RenderContext::Initialize(window);
	hdc = GetDC(window.GetHandleToWindow());//  sets  global HDC

    if (!SetOGLPixelFormat())				//  sets  pixel format
        PostQuitMessage (0);

    hrc = wglCreateContext(hdc);	//  creates  rendering context from  hdc
    wglMakeCurrent(hdc, hrc);		//	Use this HRC.

	SetOGLPixelFormat();
	SetViewport();	// Setup the Screen
}

bool OpenGLRenderContext::SetOGLPixelFormat()
{
    PIXELFORMATDESCRIPTOR pfd = {0};
    int pixelformat;

    pfd.nSize = sizeof(PIXELFORMATDESCRIPTOR);	// Set the size of the structure
    pfd.nVersion = 1;							// Always set this to 1
	// Pass in the appropriate OpenGL flags
    pfd.dwFlags = PFD_DRAW_TO_WINDOW | PFD_SUPPORT_OPENGL | PFD_DOUBLEBUFFER;
    pfd.dwLayerMask = PFD_MAIN_PLANE;			// standard mask (this is ignored anyway)
    pfd.iPixelType = PFD_TYPE_RGBA;				// RGB and Alpha pixel type
    pfd.cColorBits = COLOUR_DEPTH;				// Here we use our #define for the color bits
    pfd.cDepthBits = COLOUR_DEPTH;				// Ignored for RBA
    pfd.cAccumBits = 0;							// nothing for accumulation
    pfd.cStencilBits = 0;						// nothing for stencil

	//Gets a best match on the pixel format as passed in from device
    if ( (pixelformat = ChoosePixelFormat(hdc, &pfd)) == false )
    {
        MessageBox(NULL, "ChoosePixelFormat failed", "Error", MB_OK);
        return false;
    }

	//sets the pixel format if its ok.
    if (SetPixelFormat(hdc, pixelformat, &pfd) == false)
    {
        MessageBox(NULL, "SetPixelFormat failed", "Error", MB_OK);
        return false;
    }

    return true;
}

void OpenGLRenderContext::OnResize()
{
	SetViewport();
}

void OpenGLRenderContext::SetViewport()
{
	int height = activeWindow->GetHeight();
	int width = activeWindow->GetWidth();

	if (height==0)	// Prevent A Divide By Zero error
	{
		height=1;	// Make the Height Equal One
	}

	glViewport(0,0,width,height);		//  Create the OpenGL 'window' to fill the actual window

	glMatrixMode(GL_PROJECTION);
	glLoadIdentity();
	glMatrixMode(GL_MODELVIEW);// Select The Modelview Matrix
	glLoadIdentity();// Reset The Modelview Matrix
}

void OpenGLRenderContext::FlipBuffers()
{
	SwapBuffers(hdc);
	glClear(GL_DEPTH_BUFFER_BIT | GL_COLOR_BUFFER_BIT);
}

redpajama_set_name: RedPajamaGithub


Our alignment process includes using the latest technology. We align all types of vehicles with any rim and tire size. We use the latest technology in vehicle diagnostic equipment to properly diagnose your foreign or domestic vehicle.


text:
Qatari firm buys more shares in Turkey's Boyner
Mar 11, 2017 12:00 am GMT+3
Turkish retail company Boyner Holding A.Ş., has signed a contract to sell 12 percent of Boyner Perakende's issued capital to Qatari Investment fund Mayhoola for Investments LLC for TL 173.1 million.
The statement made to the Public Disclosure Platform (KAP) read that the Mayhoola for Investments LLC entered into a share and sale purchase agreement for the acquisition from Boyner Holding A.Ş. of shares of Boyner Perakende ve Tekstil Yatırımları A.Ş., a subsidiary of the Boyner Group, a non-food retail conglomerate, with a nominal value of TL 6.92 million ($1.8 million), amounting to 12 percent of the total issued share capital of Boyner Perakende, for TL 25 per share (TL 173.1 million) in two stages.
Moreover, following the completion of the first stage, namely the transfer of Boyner Perakende shares with a nominal value of TL 2.71, Mayhoola's shareholding in Boyner Perakende will increase from approximately 30.68 percent to approximately 35.37 percent, while the Boyner Holding's shareholding will decrease from approximately 54.8 percent to 50.1 percent, according to the statement.
Upon completion of both stages of the acquisition in a manner that does not generate a change of management control in Boyner Perakende, Mayhoola's shareholding in Boyner Perakende will be approximately 42.68 percent, while the shareholding of Boyner Holding in Boyner Perakende will be approximately 42.8 percent.
In April 2015, Qatari investment fund Mayhoola for Investments bought a 30.7 percent stake in Turkish retailer Boyner Perakende for TL 885 million.

redpajama_set_name: RedPajamaCommonCrawl


Recorded in May 2018 at Power Station Berklee NYC by Pete Karam, mixed in August 2018 at Meridian Studios in New York by Antonio Sanchez and Pete Karam.
Antonio Sanchez considers himself a fortunate man, blessed in family, education and in having spent a peaceful and creative quarter of a century in a country that welcomed him and his talents. But the America of 2018 is not the America of 1993. The America of today has turned its back on the mutual and pragmatic relationship that used to exist with its nearest southern neighbor, Mexico. Jazz music has always had an element of protest and Lines In The Sand is a superb example of music that makes its strong point without surrendering even a fraction of its musicality. Sanchez is more than a drummer; he is a complete musician, heard here on keyboards and as a vocalist, as well as behind his kit. He is, though, one of those rare percussionists who can make the familiar drum set sound like a single instrument one minute, and a complete orchestra the next.
Antonio Sanchez, compositore e batterista di fama internazionale, confeziona una suite che non è solo un tributo e un atto di solidarietà nei confronti dei migranti che quotidianamente tentano di varcare il confine tra Messico e Stati Uniti in cerca di una vita migliore, ma anche un atto d'accusa contro le politiche demagogiche e piene di retorica di una Casa Bianca ormai sorda a ogni istanza umanitaria o di cambiamento. Sanchez ricorda nelle note di copertina di Lines in the Sand che lui stesso un tempo fu un immigrato: nel 1993 partì da Città del Messico per andare a Boston a studiare al Berklee College of Music, diventando, anni più tardi, uno dei jazzisti di maggior successo (è sua, ad esempio, la colonna sonora di "Birdman" del regista Alejandro Gonzales Inarritu che gli è valsa un Golden Globe) e guadagnandosi, fra l'altro, anche la cittadinanza americana. Ma quella era un'altra America: oggi c'è un muro a far intendere bene a chiunque che i tempi dell'american dream sono decisamente finiti. Sanchez prova, dunque, a risvegliare le coscienze con un lavoro corale, ricco di insinuanti melodie e di grande accessibilità. A fargli da spalla i Migration, solido quartetto di professionisti dove spicca la brillante vocalist Thana Alexa. Una fusion gentile, quasi sommessa, con venature progressive che ricorda, in alcuni passaggi, i lavori strumentali del francese Patrick Forgas con la sua Forgas Band Phenomena, guarda caso un altro batterista-compositore. Tra i brani più riusciti, "Long Road", dove Sanchez può fare sfoggio del suo drumming fantasioso e incisivo, mai sopra le righe, e "Bad Hombres Y Mujeres", contraddistinto da un groove trascinante con i solisti impegnati a improvvisare su un tema complesso continuamente spezzato e ripreso.
With Lines In The Sand, Antonio Sanchez sounds a call not only to action, but also about action. Fortified by the talents of his Migration band, the drummer/composer analyses revolution as the heartbeat of jazz, deploying sonic avatars across a montage of police brutality and protest. Over a delicate bed of John Escreet's Fender Rhodes, the three-part suite Travesía unravels its politics into a patient groove. Like a thickly canopied forest, it affords only occasional shafts of light to mark the way. As drums announce themselves as being fully present, tenor saxophonist Chase Baird and vocalist Thana Alexa cut through the foliage, fulfilling a promise of a clearing. At the other end of the album is the two-part title track: an epic testament to memory, given photorealistic depth by Alexa's wordless brushstrokes. Cell by cell, it builds from the ground up, anchored by bassist Matt Brewer. Before that, the band travels a "Long Road", along which Sanchez's tenure with Pat Metheny comes to bear. While it shares the album's feeling of travel, here a darker shadow blankets the way ahead. Rather than idealize the landscape, Sanchez finds corruption in it and turns it like a stone in a river, until it's smoothed into something beautiful and humane. In the tracks that follow, he finds greater urgency, drumming with narrative purposes. The song "Home", set to lyrics by Alexa, plants hope amid the tectonic harmonies. She crafts a sense of belonging in solitude, and seems to understand that the body is both a beginning and an ending. If only it can survive the night, she seems to say, it can greet the day, renewed.
Es ist ihm wichtig. Zwei klein geschriebene Bookletseiten lang erklärt Antonio Sanchez, warum er die USA mag, als mexikanischer Immigrant, der 1993 Richtung Boston zog, weil er dort die Musik machen konnte, die er wollte. Wie er offen empfangen und unterstützt wurde, bis er war, was er ist – einer der besten Jazz-Schlagzeuger der Welt. Und wie ratlos, wütend, hilflos es ihn macht, dass heute staatlich geförderter Hass die Diskussion dominiert. Deshalb "Lines In The Sand", aufgenommen im Quintett unter anderem mit Pianist John Escreet und Sängerin Thana Alexa, eingespielt mit einem Mix aus Melancholie, Nachdenklichkeit und Pathos. Man hört Sanchez an, wie ihn die Spannung durchströmt, kraftvoll werden lässt, wenn er mit rockig trockenem Sound die melodiös weit ausholende Musik kommentiert, konterkariert. Am besten laut hören und daran denken, dass Jazz ohne die Vielfalt der Menschen tot ist.
Like countless other Americans, drummer Antonio Sanchez was appalled by the anti-Mexican rhetoric Donald Trump spewed during his presidential campaign. On his 2017 album, Bad Hombre, the Mexico City–born jazz artist — best known for his groundbreaking solo-percussion score to 2015 Best Picture winner Birdman, as well as his extensive work with Pat Metheny — took one of Trump's most infamous phrases as its title, turning bigotry into empowerment. "[B]ad hombres are, by his definition, Mexicans — mainly Mexicans — and Latinos that are rapists and are criminals," Sanchez told Southern California Public Radio's The Frame. "And that we are just bringing the country down single-handedly almost. So this album is like a direct answer to that rhetoric saying there's a lot of Mexicans that we live in the States, we contribute to society, we're good people, we're hard-working people, we're creative people and we're not going anywhere. So he might as well get used to that idea." Sanchez furthers his reclamation of the term on Lines in the Sand, a new LP with his band Migration, out Friday in the U.S. Themed around the dark side of the immigrant experience — "[t]his is about the kind of immigrant who is constantly being demonized, ostracized and politicized by a powerful few in the name of a misguided nationalism …," Sanchez writes on his website — the album features lengthy, prog-like suites bookending shorter tracks that zero in on a specific feel. One of the latter, "Bad Hombres y Mujeres" shows off the group's startling virtuosity and sleek rhythmic drive. The fusion-esque piece builds on a prowling, minimal vamp, laid down by keyboardist John Escreet and bassist Matt Brewer. As Sanchez darts and weaves around the rhythmic foundation, vocalist Thana Alexa and saxophonist Chase Baird sync up for hyper-complex melody lines. Midway, through, the feel switches to a throbbing half-time groove. We usually think of protest music as something raw and immediate; this, though, is fiercely controlled. The track's borderline-superhuman tightness makes it feel that much more defiant, explicitly illustrating Sanchez's script-flipping assertion of personal worth. If this is what bad hombres y mujeres are capable of, the music implies, we should all aspire to that status.
Depuis «Migration» en 2007, il s'agit du sixième album studio qu'Antonio Sanchez enregistre comme leader. Naturalisé américain en 1993, le batteur d'origine mexicaine joue ici pour souligner la déshumanisation des migrants d'aujourd'hui. Le locataire de la maison blanche est forcément visé, mais la sortie prématurée de l'album en Europe est porteuse de sens, les pays européens s'étant aussi illustrés par leur politique migratoire répressive. «Lines In The Sand», c'est l'épopée musicale des migrants irréguliers. La complexité rythmique des compositions embrasse les notions de rupture et de continuité, un écho à la situation migratoire extraordinaire qui se prolonge et devient la norme. Çà et là, de subtils changements harmoniques altèrent la coloration des thèmes mélodiques, comme pour redonner espoir à ceux qui n'en ont plus. Les morceaux aux titres évocateurs sont parfois construits autour de plusieurs mouvements. Antonio Sanchez a fait le choix de ne pas les scinder, forçant l'oreille attentive de l'auditeur sur la situation qu'il dénonce. Il ironise dans une interview pour Jazz Maastricht, «Si tout était parfait, on ferait tous du smooth jazz».
Venijnig en vol uit het hart valt de Mexicaans-Amerikaanse drummer Antonio Sanchez in de hoestekst president Trump aan op diens migratiebeleid. Sanchez, zelf immigrant, nam zijn nieuwe plaat op toen Zuid-Amerikaanse vluchtelingen in de VS massaal werden opgepakt, ouders en kinderen van elkaar gescheiden. Sanchez' boosheid klinkt natuurlijk niet alleen in zijn woorden door. Ook de muziek is dreigend; vooral door de donkere bastonen, de wrange akkoorden op piano of Fender Rhodes, de felle saxofoon en grillig giftige zang. Om zijn intenties meer kracht bij te zetten, gebruikte Sanchez samples van sirenes en schreeuwende agenten. De gezongen gedichten en teksten zijn al even expliciet. Geen mens zal de bedoelingen van deze musici verkeerd begrijpen. Misschien is daarom de muziek niet altijd even spannend. Sanchez is een fantastische drummer, maar heeft als componist nog niet een herkenbare signatuur gevonden. Toch weegt een ander euvel zwaarder. Met name in 'Home' doet de dik aangezette dramatiek de muziek een knellend korset om. Daar komt het dilemma van het engagement aan het licht. Zonder politiek is alles vrijer.
On his follow up to last year's powerful solo effort, Bad Hombre, Mexican-born drummer Antonio Sanchez continues to create music inspired by the controversies regarding the current U.S. administration's immigration policies. Sanchez' group Migration features the voice and effects of Thana Alexa, along with Chase Baird (tenor saxophone and EWI), John Escreet (piano, Fender Rhodes and synthesizer) and Matt Brewer (acoustic and electric basses), an electro-acoustic excursion with a palpable narrative contour much like the leader's award-winning soundtrack work. The opening three movement suite, "Travesia" (Crossing), is introduced with the sampled sound of a wailing siren and approaching footsteps after which anxious voices are heard, including a woman pleading, "Do you have a warrant?" and man shouting "Officer, this is wrong!" Ambient keyboards, ethereal EWI and atmospheric vocalizing conjure the image of a starry desert night as the steady rhythms of bass and drums invoke the sensation of a labored march at the first movement's onset. The episodic 20-minute piece traverses a wide variety of emotional terrains, including optimism, dread, strength and vulnerability, with Nathan Shram's viola and Elad Kabilio's cello respectively lending additional textural sonance to the suite's second and third movements. "Long Road", which follows, is a lyrically buoyant dirge embodying a spirit of hope, evinced by soaring vocals and propulsive drumming. On "Bad Hombres Y Mujeres" the ensemble expands the aggressive sound of the title track of Sanchez' previous album with swirling electrified tonalities while "Home", with lyrics by Alexa, is a poignant, delicately rocking outing. The album's title track, a 26-plus-minute, two-part suite, potently closes the date, with Part I including a fragment of the Paola Gonzalez/Karla Gutierrez poem "At The Wall, US/Mexican Border, Texas 2020" read by the authors and Part II incorporating Jonathan Mendoza's recitation of his "Blood Country (after Safia Elhillo)", to speak directly to the issues the music compellingly addresses.
Quando nel 2005 il Pat Metheny Group ha pubblicato The Way Up, una monumentale suite di quasi 70 minuti composta da 4 brani che attraversano così tanti generi difficilmente riconducibili solo all'etichetta jazz, è diventato un successo immediato che sarebbe apparso nella maggior parte delle liste del meglio di quell'anno. Riuscendo a toccare uno dei migliori momenti creativi e propulsivi della band, quest'album è un momento di passaggio importante per ridefinire il modo in cui un narratività decisamente poco jazz poteva essere sviluppato da artisti jazz. All'epoca, dal punto di vista personale, mi sentivo come se si fosse creato un ponte tra i miei ascolti jazz e quelli di progressive rock: oggi mi rendo conto di come gli artisti appartenenti ad un'area o all'altra abbraccino questo senso di narratività in maniera diversa. Quella che sarebbe sembrata una montagna difficile da scalare per qualsiasi artista jazz – difficile ad esempio per il rischio di mettere a repentaglio qualsiasi forma di improvvisazione durante la navigazione attraverso complessi di ostinati e contrappunti – non è apparsa, invece, spaventosa per il batterista Antonio Sanchez. L'ormai collega di lunga data di Pat Metheny ha rianimato quella narratività e quello stesso stile di composizione strutturata con la sua band Migration, ora con un'altra registrazione estremamente sviluppata e di considerevole durata, dal titolo Lines in the Sand. Tuttavia, ciò che colpisce di più di questa registrazione, marcando una differenza tra ciò che è avvenuto prima, è la necessità di raccontare una storia contemporanea. La storia sta accadendo ora, la storia è di fronte ai nostri occhi ogni giorno nelle notizie. È la storia degli immigrati che affrontano la disperazione al confine sud degli Stati Uniti. Antonio Sanchez ritorna a quella stessa narratività di The Way Up per raccontare questa storia. Mentre Lines in the Sand viene pubblicato, la storia che racconta si svolge sotto i nostri occhi. La carovana di immigrati centroamericani ha raggiunto il confine americano e cerca di forzare il confine per entrare negli Stati Uniti, respinta con una reazione violenta. I maltrattamenti applicati agli immigrati stanno causando un'agitazione nell'opinione pubblica degli Stati Uniti. Sono orgoglioso di essere un immigrato. Orgoglioso di essere messicano e orgoglioso di essere americano, dice Antonio Sanchez nel booklet del nuovo lavoro pubblicato con la produzione del suo ormai storico collaboratore Ermanno Bassi per CamJazz. Il batterista non fa alcun mistero di quale parte lui stia, dicendo che alzare i confini è un calcolo deplorevole e maliziosamente politico alimentato dal presidente degli Stati Uniti, a cui si oppone pubblicamente fin dalla data della sua elezione. Quando l'avventuroso duo di batteria e samples intitolato Bad Hombre fu pubblicato nel 2017, un Antonio Sanchez arrabbiato ed inquisitivo era raffigurato in copertina su uno sfondo nero. Il riferimento era ai bad hombres, l'appellativo deplorevole con cui il presidente degli Stati Uniti aveva chiamato i messicani. La copertina di Lines in the Sand raffigura una donna vestita di rosso sul lato un muro gigantesco che arriva fino in mare, tenendo i confini ben chiusi. Quello che sembra uno scenario distopico, filtrato dagli effetti speciali nella foto, sta diventando realtà. Antonio Sanchez é stato per lungo tempo in tour negli ultimi tre anni con la sua band Migration: dopo aver pubblicato l'omonimo disco, il gruppo Migration è diventato un progetto a lungo termine. The Meridian Suite, uscito nel 2015 con il nome di Antonio Sanchez & Migration, é stato il primo lavoro ad essere caratterizzato da una lunga suite, invece che singole tracce slegate. In quell'occasione non c'era nessun ospite di lusso, a differenza delle registrazioni passate. Era il segno che il batterista stava dando corpo alla sua visione, una direzione precisa in cui la composizione e l'improvvisazione potevano interagire in questa rete di complessità, ed era pronto a svilupparla con la sua formazione. Sebbene l'improvvisazione non sia in alcun modo secondaria in questo progetto, svolge comunque un ruolo diverso rispetto a qualsiasi altra sessione di jazz. Anche se sviluppato attraverso un quadro molto preciso, ad es. la durata della suite non è maggiore o minore durante la sessione live rispetto al disco, tuttavia contiene una serie non scritta di regole su come ampliare o limitare lo spazio di improvvisazione. La line-up della band Migration è stata abbastanza stabile attraverso le due registrazioni, con il solo Chase Baird al sassofono ed EWI come nuovo membro. La cantante Thana Alexa é il collegamento più evidente con il suono degli anni '80 del Pat Metheny Group; si muove abilmente tra le linee soliste e contrappone le linee ritmiche, a volte all'unisono con Baird, che a sua volta si concentra principalmente sul lato ritmico. Matt Brewer sta diventando un collaboratore di lunga data di Sanchez e aggiunge sempre una tavolozza di grande estensione alle poliritmie virtuosistiche sviluppate dal batterista. E, infine, John Escreet, uno dei musicisti più sorprendenti e impossibili da decifrare in circolazione. La sua ultima opera da solista Learn to Live mostra con quanta facilità riesce a navigare tra funk, jazz contemporaneo, fusion e così via. Sempre capace di mostrare soluzioni imprevedibili attraverso il suo modo di suonare. Voci di donna si uniscono in un grido di disperazione, sullo sfondo le sirene della polizia, urlano 'Vergogna!' durante l'intro di Lines in the Sand, non a caso intitolata Travesia. Il viaggio parte da un tappeto di piano elettrico su un Re armonizzato da voce e basso in maniera sottilmente sfuggente e sospinto dal solito playing intricato di Sanchez. Questo stesso arpeggio di tastiera a loop è il campione principale di Nine Lives, la penultima traccia in Bad Hombre: mantenendo lo stesso spirito implacabile, ballonzolando avanti e indietro tra il guidare il ritmo e la costruzione di un'armonizzazione metrica, ora é l'introduzione perfetta che impone un feel ben preciso per l'intera suite. Ancora quando le tracce si spostano da questo rubato a una parte più costruita e legata al tema principale dopo 3 minuti, l'atmosfera mantiene una sorta di stato riflessivo e ambiguo. Le note di pianoforte liquido di John Escreet si mutano in una serie di triadi ritmicamente complesse (un mix di battute da 4, 2 e 7 quarti) che mette ancora in mostra la voce delicata e precisa di Thana Alexa. La narrazione si svolge con un ritmo lento, non spingendo troppo: l'ascoltatore é davanti a un film, i primi 10 minuti di Travesia hanno una sensazione quasi da colonna sonora, da non scambiare con la più abusata definizione della parola 'cinematico'. Insomma, la musica non é atmosferica, ma é il suo svolgimento tematico a suggerire una narrazione cinematografica. Non c'è da meravigliarsi se, sopra un pedale modale guidato dal piano acustico, le orchestrazioni di violoncello e viola prendono la scena per suonare un tema dolce e commovente a circa 10 minuti. Fino a quando la traccia non termina in una progressione di accordi che ricorda molto da vicino Pat Metheny e si muove di nuovo sotto un ritmo complesso di battiti. Quando il batterista Antonio Sanchez si é trasferito a New York nel 1993, é diventato ben presto un session-man affermato collaborando con personalità del calibro di Chick Corea, Gary Burton, Michael Brecker, Danilo Perez, oltre a Pat Metheny. Il chitarrista elogia spesso il ruolo chiave del batterista nel suo modo di suonare: Metheny menziona le sue abilità orchestrali come una delle ragioni per cui é membro di così tanti progetti in cui lui stesso é presente. Ovviamente, queste abilità hanno svolto un ruolo chiave nello sviluppo dei progetti dell'ultimo PMG e dei suoi progetti solisti. Tuttavia ha iniziato la sua carriera da solista con Migration, pubblicato con CamJazz, solo nel 2007. Mentre si muove senza intoppi attraverso le collaborazioni di molti dei più affermati musicisti jazz – ad esempio i trio di superstars che suonano in Three Times Three – ora sembra sul punto di spingersi oltre nuovi confini con la sua visione. A seguito della vittoria del grammy per la colonna sonora del film Birdman, ha portato questo lavoro in un interessante tour di batteria più film e poi ha esplorato il solo batteria ancora con il menzionato Bad Hombre. Poi si é rivolto anche alla parte opposta dello spettro per un'opera orchestrale. All'inizio di quest'anno ha pubblicato Channels of Energy insieme a Vince Mendoza e alla WDR Big Band, mettendo la complessa architettura delle sue tracce ancora più a rischio, come un trapezista sulla corda, in un'opera energetica e poderosa. Mentre Lines in the Sand è ancora caratterizzato da questa stessa cifra orchestrale, la differenza rispetto al precedente lavoro di quest'anno sta nel modo in cui sviluppa un senso di narratività attraverso la sua scrittura. Sanchez è un batterista diplomato al pianoforte, spesso paragonato con un altro batterista e pianista come Jack DeJohnette, e questo influenza il suo stile in modo molto spontaneo. Trae ispirazione dal jazz contemporaneo, dal latin, colpisce in maniera incisiva sui piatti anche quando suona jazz, o mescola facilmente le sue influenze, come ad esempio i Rush -da sentire il pattern di sestine ispirato a Neil Peart a circa 8 minuti in Travesia-, con clave o ritmi derivati dal latin. Lo sviluppo narrativo si snoda attraverso le tracce intermedie di Lines in the Sand: tre più corte rispetto alle suite più lunghe piazzate in apertura e chiusura, che rimbalzano dallo stato più calmo al più frenetico. Long Road è una progressione di accordi discendente caratterizzata da un'atmosfera lirica che consente armonizzazioni a la Metheny della voce di Thana Alexa attraverso un crescendo emotivo, mentre Bad Hombres Y Mujeres è l'esatto opposto. Anche in questo caso il riff di inizio, un uptempo da jazz rock anni '70 portato da basso e Fender Rhodes, viene preso direttamente da Bad Hombre, questa volta dal brano che da il nome all'album. Quindi le montagne russe più folli, poliritmie e salti di intervalli impossibili che Thana Alexa e Chase Baird giocano sul più alto livello di linee di unisono virtuosistiche. Matt Brewer, che si muove nell'intero disco dal basso acustico a quello elettrico con invidiabile facilità, e John Escreet sostengono un ritmo di due su tre, una sorta di clave nascosto, mentre Antonio Sanchez va su e giù all'interno di una rete poliritmica senza apparente difficoltà. Questa follia è interrotta dal chorus, uno standard rock con un basso pulsante, ingannato da Sanchez attraverso multipli battiti irregolari, e poi gli scambi di assolo tra il Fender di Escreet e l'EWI di Baird. Un picco di fusion virtuosistica ad altissima difficoltà, dove é evidente l'influenza di Cobham, mescolata con una sorta di aggressività da prog metal. Il trittico è chiuso dalla intensa ballad Home. Ancora un'altra traccia precedentemente sviluppata da Bad Hombre, questa volta con l'aggiunta dei testi di Thana Alexa. Gli accordi lasciati risuonare dal piano elettrico danno un po' di riposo alla band, un momento riflessivo. Il testo è una storia che fa navigare l'ascoltatore attraverso il sentimento di una trasformazione progressiva, la speranza e il desiderio che influenzano la partenza e l'arrivo in una nuova casa in cui vivere. Le triadi di accordi sembrano muoversi in una strana progressione, aggiungendosi ciascuna sopra lo strato del precedente, come la neve sulla sabbia, passando attraverso modulazioni adiacenti, salendo in una scala a spirale. La voce di Alexa da la sensazione di una ballata molto emozionante e inaspettata, giocando con carezze jazz e strappando sfumature più aggressive. Aperto da un pattern ruminante di pianoforte minimalista, che sembra andare sottilmente sfasato da un momento all'altro, la suite Lines in the Sand è nuovamente pervasa da un senso di sviluppo prolungato. Il tema iniziale inizia dopo tre minuti, di nuovo con la voce e il sassofono che suonano le note all'unisono, che si muovono attraverso ritmi mutevoli e si arrampicano attraverso le progressioni tonali prolungate del brano. Mentre gli assoli di Brewer al basso elettrico, Alexa ed Escreet al piano elettrico articolano un tempo lento, l'intera suite è incentrata sullo svolgimento di una narrazione emotiva intima. Tutto si rompe con una potente interruzione a circa 13 minuti. Prima le parole in parlato dal poema 'At the Wall, US/Mexican border, Texas 2020' di Paola Gonzalez e Karla Gutierrez, poi un rock veloce che apre la strada ad esaltanti assoli di fusion di Escreet al Prophet synth, capace di aggiungere uno dei momenti più intensi dell'intero lavoro. La chiusura è di nuovo rappresentata dal recitativo, questa volta da Jonathan Mendoza che ripete il suo "dichiaro fedeltà a" nel poema 'Blood Country (after Safia Elhillo)'. Lines in the Sand è un'intensa suite jazz contemporanea, che non nasconde influenze provenienti dagli anni elettrici di Chick Corea, dal PMG e persino dal progressive rock e li mescola in modo coerente. Ma è anche un lavoro altamente emotivo che mostra chiaramente l'intento dell'autore di raccontare una storia. La narrazione non è mai un limite che incapsula la creatività dell'improvvisazione; se questo disco parla, invece, del rompere le mura indicate della politica, gioca anche un ruolo nel rompere i muri tra le etichette dei generi musicali.
Antonio Sánchez revient avec "Lines In The Sand"
Un an après son projet expérimental en solo "Bad Hombre", le batteur retrouve son quintet Migration et dévoile la vidéo de "Bad Hombres Y Mujeres". Né à Mexico City et installé à New York en 1993 avant d'être naturalisé, le maître percussionniste continue son combat contre la politique discriminatoire de Donald Trump. Une résistance en musique dans la droite lignée de ce jazz militant et avant-gardiste qui a bouleversé la musique du XXème siècle. Mais c'est bien dans l'Amérique d'aujourd'hui qu'Antonio Sánchez puise son inspiration exacerbée par un pays à nouveau divisé et en proie à ses vieux démons haineux. Après son projet solo expérimental et cathartique Bad Hombre, le batteur retrouve son groupe Migration sur l'album Lines In The Sand, un nouveau sommet de jazz contemporain attendu le 30 novembre sur le label Cam Jazz. Compagnon de route d'Avishai Cohen, Michael Brecker, Enrico Pieranunzi, Gary Burton ou Chick Corea et membre du Pat Metheny Unity Band depuis 15 ans, le batteur et compositeur Antonio Sánchez a déjà sorti cinq albums avec son quartet Migration. Un talent rythmique inouï, une écriture précise et libre qui l'ont conduit à composer la géniale bande-originale frénétique de Birdman, le film oscarisé de son compatriote Alejandro G. Iñárritu. En 2016, il compose aussi la musique du film-documentaire Política, manual de instrucciones du réalisateur espagnol Fernando León de Aranoa. Sur la vidéo de ce premier titre Bad Hombres Y Mujeres on peut le voir en studio avec la chanteuse Thana Alexa, le claviériste John Escreet, le bassiste Matt Brewer et le saxophoniste Chase Baird, musiciens surdoués de ce quintet dont la pulsation résonne comme une urgence, celle d'un pays en détresse.


text:
Q: Absorption of a gas into a solid When a gas interacts with a (crystalline) solid, some scenarios may happen:

*

*scattering: gas atoms will not stick or penetrate (do not interact with the solid)

*Adsorption: gas atoms stick to the surface

*Absorption: gas atoms penetrate into the solid and reside between other atoms in the bulk of the matter (like what happens in doped Silicon)

Regarding the 3rd case, I want to know under what circumstances (temperature, pressure, atomic radius of the gas atoms, crystal structure of the solid) a gas can penetrate (absorb) into a crystal (absorption), and what effects does the addition of the gas atoms to the crystal structure have on the solid's statistical/thermodynamic properties.

A: For an important special case, look up the topic of Hydrogen Embrittlement of Irons and Steels. This is not my field - I have a layman's interest for the reason discussed below, but I believe it illustrates some rough rules of thumb for when absorption into metals happens.
The main process whereby absorption happens begins when the $H_2$ bond is cloven by the metal - there is likely to be a pretty quantum mechanical description of this process whereby the atomic electrons interact with the conduction electron sea in the metal, but I shall leave another answer to give a reference as I am not aware of one and I am not a chemist, so this isn't my field. However, such cleaving is well known to happen experimentally, and the Wikipedia article on bond dissociation energy states that the $H_2$ bond is strong (indeed quite comparable to all the other bonds listed there) and only cloven by metals or strong oxidants. So this is the first requirement: most often the target crystal will be a metal or a strong oxidant.
The hydrogen atom is especially small so this helps the penetration of a proton electron pair into a lattice: the small size means that the charges are "well shielded" so the Coulombic potential barrier to penetration is going to be smallish. This characteristic also helps the second stage of the process whereby lone hydrogen atoms recombine in "voids" inside the metal. The $H_2$ molecule is small, thus helping this process too.
The Wikipedia article on Hydrogen Embrittlement also states the fairly obvious that the process is helped by high hydrogen pressures and temperatures, the former begetting high concentration gradients, the latter kinetic energy to raise the probability of tunnelling through Coulombic potential barriers.
This issue is an extremely important issue either in the design of the bottles and flasks for high pressure hydrogen, or in the design of "sponge" substances that can store hydrogen. At least one of these technologies is needed to make hydrogen fuel cell technology workable. One of the desirable characteristics of oil is that huge amounts of energy can be transported for little energy expenditure - an important property for mechanised agriculture. In contrast, some way to "package" energy is need for the use of e.g. solar energy for this purpose. The electrolysis of water by solar and storage of the hydrogen produced is one proposed solution to this problem.

redpajama_set_name: RedPajamaStackExchange


Looks like I'm going to be GM'ing next; are there any issues we need to talk about first?
How about "not more than 2 in a row"? Like I said that could be a problem otherwise when you need to trick someone (like lovers)?
No more than twice in a row sounds fair.
At the end of Prep Phase, Vermouth will be presented with a disguise of the GM's choosing. She will be disguised from the start of Night 1. She will not have a choice about this.
Each 2 Day phases, however, Vermouth has the option to forfeit her disguise for 2 phases in exchange for the White Suitcase. If she chooses to do so, she will PM the GM during the Day Phase asking for the white Suitcase, and the GM will assign her a White Suitcase action(s) for the following Night Phase. During that phase and the following Day phase, Vermouth will not be disguised and her stats (Interrogation, observe/stalk, items, etc) will revert to their non-disguised state during that time.
Example: Vermouth is disguised as Shinichi on N1. On D1, she elects to forfeit her disguise for the White Suitcase. The GM gives her the "Observe/SO" action from the suitcase, and she may use that action on N2. For N2-D2, Vermouth is not in disguise. Starting N3, her Shinichi disguise and disguised stats are back and she loses the White Suitcase action. She may forfeit her disguise again at the end of D3 for a new White Suitcase action to use on N4, but she will be disguised again for the duration of N3-D3 first.
Of course, Vermouth does not have to do this if she doesn't want to; she can use her disguise the whole game if she wants. I thought it might help her not be a "worse" anokata though, since she would be able to possibly blend better and also avoid arrests on certain phases if she knows they're coming. Thoughts?
Let me just necro this thread of two years past :V.
- Kogorou's current action may need changing if the role is kept. We have a lot of protector-types already. Possibly a modified interrogator, which would be in-line with his old role and also mean an adult interrogator to shield Eri/Kujou. Not sure yet.
- Yamamura wasn't exactly trialed but I liked the possibility that he could basically preserve a will if it was thought someone would die anyway. It has potential.
- This is more throwing a thought out there than something that's had thought put into it, but with the number of timezone issues we had with a small game, would lengthening phases help to counter this? Or would it mean that people would have to commit more of their time to the game?
- It's been suggested to make it so Sonoko can't be in games under 15 players. I'm okay with that either way because GM's discretion (I'd probably put 10 as the absolute minimum?) but think that there should probably be a limit on lovers for sure. Something like 18? So if Yumi was in a 16 player game lovers wouldn't be an option.
1:5 for BO:Total players. BO chosen to have more investigative powers for story purpose (and to reduce the number of crimes committed in total in response to less police presence). This led to 1:4 for non-Town:Total Player.
Civs were mostly supports instead of investigative.
Despite odds against BO, they won.
Shadowman needs some changing to make it so that it's easy to suspect him/her/it (which I know is going to be done for Round 77).


This summer we are off to a fair few festivals. With Camp Bestival to kick off and Victorious to end. Over the years I have worked out that overpacking for a festival is a massive no-no. With tonnes to carry, I seemed to have worked out a refined list of must have items that I can take to any festival.
I thought I would share some of my favourites with you to give you some inspiration and help you fill your rucksack for a day at a festival!
A lightweight pack away rain mac - After Camp Bestival last year, we are prepared for any weather! A lightweight rain mac is essential to throw in the bottom of your bag incase of any sudden downpours. We tend to pack one in each bag, knowing that if we split up we all have coats! I picked this one up for Max from Matalan, but you can get them anywhere.
Primo Vino wine - I am a huge fan of practicality at festivals and Primo Vino wine is no exception. With sparkling white wine in a can, you know that you can easily pack this in your bag and you won't be stuck with the no glass rule! It's a perfect size for a refreshing glass and the can is mighty adorable too! Oh and they taste absolutely divine.
Ion8 water bottle - A good water bottle is essential at festivals. With multiple refilling stations you can keep hydrated and know you won't be at risk of leaking everywhere or wasting money on lukewarm water. I tend to take a squeeze bottle of squash in my bag too, to give a bit of flavour and this bottle is the perfect size. I also love that the Ion8 bottle is guaranteed not to leak and there is a one button open meaning muddy hands won't be grappling at the lid.
Sommar Ikea cool bag - I am always on the lookout for the perfect cool bag and I think that this one has ticked the boxes. It's roomy enough to fit in all my snacks (I'm on Slimming World and Max is fussy!) yet small enough to sit in my bag comfortably and have room for everything else. It's also lightweight enough that it can collapse and fold away when all the food has been eaten.
A Little Disco glitter - You can't go to a festival and not have some glitter on you. This glitter from A Little Disco is perfect as it's biodegradable and plant based, so not only will you look fab, but you will also be using an eco friendly product. I think we are going to pop this on over the weekend on my birthday to give us a bit of sparkle!
Canon G7x Mk2 - Obviously I have to take a camera to a festival. With little space to pop my DSLR in my bag, I always tend to go for my trust G7x that not only takes fab photos, but videos too! I'm going to be capturing all the festivals we go to and creating fabulous memories for us to look back on.
Handy wipes - These are essential for not only a festival, but also any other days out. I'm forever cleaning up mucky fingers and faces, so these wipes are perfect for fitting in the bag to keep incase we need them.
Suneez sunglasses - Max seems to have broken about 5 pairs of sunglasses this summer alone, so this festival season we are now opting for some fantastic Suneez sunglasses. Not only do they look cool, come with a case and a neck strap, they are also pretty indestructible. Made of pliable rubber, these sunglasses are perfect as I know that accidentally dropping them won't cause them to break!


Have an early warning system for my flood pumps in the basement/garage because when they fail I have anywhere from 5 to 50 cms of water inside when all is said and done.
Mainly because of the last point, but also because of the potential complexity of finding an existing system that would allow me to achieve all my stated goals, the choice on what hardware and possibly software could be used left the project in a "Would like to do it but it costs too much" state for some time, until I stumbled on the OpenEnergyMonitor web site, that is.
The project consists of various building blocks, a mix of hardware and software components geared towards collecting energy consumption data (and more in general, data) , transmitting it to a central node for processing, displaying and eventually generate alerts based on predetermined rules.
Also, one requirement (self imposed) was to have as much separation between potentially hazardous connections (220v here in Italy) and the monitoring equipment, all running on 5v power and physically disconnected from the 220v connections.
All this information (except the weather graphs that use the wugraphs external tool) is logged graphed and displayed using emoncms.
All of this could never have happened without all the information and tools provided by the openenergymonitor guys, but I'm proud of the things I was able to add by myself (without getting electrocuted).
I'll try to follow up with some photos of the actual hardware in place.


text:
Jonathan Gresham
Jonathan Gresham is an American professional wrestler who owns and runs the Terminus: Modern Age Grappling promotion. He is currently signed to Ring of Honor where he is the current Undisputed ROH World Champion in his first reign. He is also the Progress Wrestling World Champion in his first reign. Gresham has also been a part of WWE, appearing on their developmental territory NXT from 2010-2012 before making his main roster debut in 2012 as enhancement talent. In 2013, he started working for TNA under the ring name Magnus, winning the NWA World Heavyweight Championship twice before departing for Ring of Honor in 2017.
AEW News & Rumors
Details On Jonathan Gresham "Cussing Out" Tony Khan
Gresham had a significant conversation with Khan ahead of his death, according…
AEW Battle Of The BeltsAEW News & Rumors
Jonathan Gresham Injured At Battle Of The Belts
Gresham was unable to travel last week because of an injury sustained…
Stephen Ecort April 18, 2022
AEW News & RumorsPro Wrestling
Jonathan Gresham in talks with AEW or ROH
Jonathan Gresham could be working for Tony Khan, whether that's in AEW…
Stephen Ecort March 17, 2022


text:
Lessons of Worth: L'Oréal Paris Celebrates Self-esteem and Women's Empowerment
Because we're all worth it!
Beauty is deeply embedded in L'Oréal Paris' DNA. As part of the Lessons of Worth campaign, the brand is celebrating women's empowerment.
L'Oréal Paris' ambassadors get behind the campaign to spread the word
L'Oréal Paris' message is a call for women to believe in their self-worth and recognize their innate value both as women and as individuals. To spread the word more powerfully than ever before, the brand has enlisted the help of its ambassadors. In testimonials, they talk about how the tagline's words have empowered them. Two years ago, actress Viola Davis was the face of the campaign. L'Oréal Paris is sharing a new series of inspirational testimonials from spokespersons including Kate Winslet, Liya Kebede, Nikolaj Coster-Waldau, Camila Cabello, Yseult, Leila Bekhti, Bebe Vio, Nidhi Sunil, Helen Mirren, Jane Fonda, Eva Longoria and Andie MacDowell. They explain what the tagline means to them and call on women everywhere to do likewise.
"As we all walk through the world, we can show up for each other, whatever our differences, because in unity and with acceptance we can be greater together. So let's lean on one another, celebrate each other, and know that being authentically you is all that matters."
An ode to self-esteem for women everywhere
Coined in 1971 by Ilon Specht, a 23-year-old female copywriter, L'Oréal Paris' tagline embodies the brand's daring spirit and commitment to women. The first tagline to celebrate beauty in all its diversity and to be presented by a woman's voice, "Because I'm worth it" has travelled around the world in the last half-century. It exemplifies L'Oréal Paris' vision of beauty as something universal and inclusive, embracing all cultures and identities. The brand's spokespersons personify this vision.
"We wanted to create a spirit of sisterhood and unit our global family of inspirational spokespeople to convey strong messages on self-worth to all women. Our spokespeople share how they have gained strength, courage and confidence through their personal exQuote periences, and provide inspiring and uplifting stories that women can relate to."
Delphine Viguier, L'Oréal Paris Global Brand President
Discover more about L'Oréal Paris


text:
Q: JSF not displaying first row, first column data I have a very simple page that is displaying canned data.  I experienced this problem with data from a DB so I made this simple example and still have the issue.  When this page is navigated to for the first time for a session, the first column in the first row shows no data.
It doesn't matter if I change the scope to request or session, nor does it make a difference if I use firefox or IE.  All I know is that if I reload the page or navigate away and come back it will all of a sudden show my data - until I close all instances of that browser and load up a new one.  Then, again, it won't show my data until I reload the page.
The question is why does my beloved first title of my first book never show up until i reload the page ("Operating System Concepts" doesn't show, but "Silberschatz" does)?
Below is the relevant code.
HomePage.java:
public class HomePage {

    private Book[] books;

    public HomePage() {
        books = new Book[3];
        books[0] = new Book("Operating System Concepts", "Silberschatz");
        books[1] = new Book("Learning Sql", "Beaulieu");
        books[2] = new Book("Effective Java", "Bloch");
    }

    public Book[] getBooks() {
        return books;
    }
    public void setBooks(Book[] books) {
        this.books = books;
    }
}

Book.java
public class Book {

    private String title;
    private String author;

    public Book() {}

    public Book(String title, String author) {
        this.title = title;
        this.author = author;
    }

    public String getTitle() {
        return title;
    }
    public void setTitle(String title) {
        this.title = title;
    }

    public String getAuthor() {
        return author;
    }
    public void setAuthor(String author) {
        this.author = author;
    }
}

home.jsp:
<html>
  <%@ taglib uri="http://java.sun.com/jsf/core" prefix="f" %>
  <%@ taglib uri="http://java.sun.com/jsf/html" prefix="h" %>

  <link href="../css/styles.css" rel="stylesheet" type="text/css" />
  <f:loadBundle basename="omitted.for.anonymity.bundle.home" var="msgs"/>

  <f:view>
    <body>
      <h:form>
        <h:panelGrid columns="2" columnClasses="sideControlColumn,contentColumn">
          <f:facet name="header">
            <f:subview id="header">
              <jsp:include page="header.jsp" />
            </f:subview>
          </f:facet>

          <f:subview id="sideControl" >
            <jsp:include page="sideControl.jsp" />
          </f:subview>

          <h:dataTable value="#{homePage.books}"
                var="book"
                styleClass="homeTable"
                rowClasses="evenColumn,oddColumn"
                >

            <h:column>
              <f:facet name="header">
                <h:outputText value="#{msgs.columnHeader1}"/>
              </f:facet>

              <h:outputText value="#{book.title}" />
            </h:column>

            <h:column>
              <f:facet name="header">
                <h:outputText value="#{msgs.columnHeader2}"/>
              </f:facet>

              <h:outputText value="#{book.author}" />
            </h:column>

          </h:dataTable>

        </h:panelGrid>
      </h:form>
    </body>
     </f:view>
</html>

faces-config.xml:
<?xml version="1.0"?>
<!DOCTYPE faces-config PUBLIC
    "-//Sun Microsystems, Inc.//DTD JavaServer Faces Config 1.1//EN"
    "http://java.sun.com/dtd/web-facesconfig_1_1.dtd">

<faces-config>

    <navigation-rule>
    <from-view-id>/pages/login.jsp</from-view-id>
        <navigation-case>
            <from-outcome>login</from-outcome>
            <to-view-id>/pages/home.jsp</to-view-id>
        </navigation-case>
    </navigation-rule>

    <navigation-rule>
    <from-view-id>/pages/home.jsp</from-view-id>
        <navigation-case>
            <from-outcome>searchForBooks</from-outcome>
            <to-view-id>/pages/searchCriteria.jsp</to-view-id>
        </navigation-case>
    </navigation-rule>

    <navigation-rule>
    <from-view-id>/pages/searchCriteria.jsp</from-view-id>
        <navigation-case>
            <from-outcome>searchForBooks</from-outcome>
            <to-view-id>/pages/searchCriteria.jsp</to-view-id>
        </navigation-case>
    </navigation-rule>

    <navigation-rule>
    <from-view-id>/pages/searchResults.jsp</from-view-id>
        <navigation-case>
            <from-outcome>searchForBooks</from-outcome>
            <to-view-id>/pages/searchCriteria.jsp</to-view-id>
        </navigation-case>
    </navigation-rule>

    <navigation-rule>
    <from-view-id>/pages/searchCriteria.jsp</from-view-id>
        <navigation-case>
            <from-outcome>search</from-outcome>
            <to-view-id>/pages/searchResults.jsp</to-view-id>
        </navigation-case>
    </navigation-rule>

    <managed-bean>
        <managed-bean-name>book</managed-bean-name>
        <managed-bean-class>omitted.for.anonymity.beans.Book</managed-bean-class>
        <managed-bean-scope>session</managed-bean-scope>
    </managed-bean>
    <managed-bean>
        <managed-bean-name>homePage</managed-bean-name>
        <managed-bean-class>omitted.for.anonymity.beans.page.HomePage</managed-bean-class>
        <managed-bean-scope>session</managed-bean-scope>
    </managed-bean>
    <managed-bean>
        <managed-bean-name>searchCriteriaPage</managed-bean-name>
        <managed-bean-class>omitted.for.anonymity.beans.page.SearchCriteriaPage</managed-bean-class>
        <managed-bean-scope>session</managed-bean-scope>
    </managed-bean>
    <managed-bean>
        <managed-bean-name>searchResultsPage</managed-bean-name>
        <managed-bean-class>omitted.for.anonymity.beans.page.SearchResultsPage</managed-bean-class>
        <managed-bean-scope>request</managed-bean-scope>
    </managed-bean>

</faces-config>

A: Table that sets a book request scope variable:
<h:dataTable value="#{homePage.books}"
    var="book"
    styleClass="homeTable"
    rowClasses="evenColumn,oddColumn">

Managed bean that sets a book session scope variable:
<managed-bean>
    <managed-bean-name>book</managed-bean-name>
    <managed-bean-class>omitted.for.anonymity.beans.Book</managed-bean-class>
    <managed-bean-scope>session</managed-bean-scope>
</managed-bean>

Just guessing, but I wonder if the Expression Language is resolving the session bean here for some reason. It shouldn't - the ScopedAttributeELResolver "searches the page, request, session and application scopes for an attribute with the given name and returns it, or null if no attribute exists with the current name." But it isn't beyond possibility that there is a bug in the Expression Language implementation. Try changing the name of the var attribute to avoid collision or resolve it explicitly to the scope using #{requestScope.book.title}.
<!DOCTYPE faces-config PUBLIC
  "-//Sun Microsystems, Inc.//DTD JavaServer Faces Config 1.1//EN"
  "http://java.sun.com/dtd/web-facesconfig_1_1.dtd">

I notice from your doctype that you're using JSF 1.1. I recommend upgrading to at least 1.2 (preferably 2.0) if you can.


text:
Q: Laravel 4 Check if logged in (javascript) Evening,
I have one (maybe simple question), which I can't figure out how to do on my own. I'm using Laravel Framework version 4.
How can I check if a user is logged in within javascript? I want the menu bar to fadeout when a user scrolls 100px down, but if the user is logged in then I want it to fadeout when the user scrolls 150px down..
This is how the javascript looks like by now:
(function ($) {
$(document).ready(function(){

$(window).scroll(function() {
    var yPos = ( $(window).scrollTop() );
    if(yPos > 100) { // show sticky menu after screen has scrolled down 200px from the top
        $("#fixed_header").fadeIn(100);
        $("#fixed_header_konto").fadeIn(100);
        $("#header").fadeOut(100);
        $("#header_konto").fadeOut(100);
    } else {
        $("#fixed_header").fadeOut(100);
        $("#fixed_header_konto").fadeOut(100);
        $("#header").fadeIn(100);
        $("#header_konto").fadeIn(100);
    }
    });
  });
}(jQuery));

A: I believe you can do it in your view by using the following code:
@if(Auth::check())

  <script>{{ 'var logged = true;' }}</script>

@endif

That way you can check the logged value via javascript to check if the user is logged in.

A: You may use a view composer to dump the logged in user data (you may just pass a flag either) directly to the JavasScript using something like this:
View::composer('layouts.master', function($view) {
    $user = null;
    if(Auth::check()) {
        $user = Auth::user();
    }
    $view->with('authUser', $user);
});

Your master layout:
<!DOCTYPE html>
<html lang="en">
    <head>
        <script>var userObj = {{ $authUser or 'undefined' }}</script>
    </head>
    <body>
        <!-- content -->
    </body>
</html>

Now, you may able to check if the user is logged in or not by using something like this:
<script>
  $(function(){
    if(userObj) console.log(userObj);
  });
</script>

This is from my last article written on march 6th March, 2014 on Heera.IT, check the article for more detailed explanation. Also, you may don't need to dump the whole user object but it's fine.


There are a definite lot people that devote more time to and money going to concerts. Ideal for knowing the important points about concert tickets a necessary thing of these people. Can make knowing details about concert tickets an crucial thing for these kind of people.
I was skating along pretty greater than the last number of years. I own a family house that I love, work with an industry that pays pretty well, had an ok family – less as Suze Ormond recommends, but enough to feel fairly pretty sure. I could go out to dinner, buy Concert Tickets, take trips, and never worry whether I could pay my mortgage. But now, I am not sure anyone which not been affected using the economy. Layoffs, pay cuts, reduced working hours. Add to that any unexpected issues (for me exercises, diet tips a collapsed sewer pipe, which I do not wish modest worst enemy), and your once comfortable existence may be getting just a little bit tight.
Something else I noticed was that many of these folks have 'abundance' mentality. I mean , they don't seem threatened by their "competition." They know there is sufficient fanhood and business go to 'round. The aren't bashing each other useful.
DH: Yeah, I'm totally OCD. Not clinically, but probably pretty close. I've a practice of going through my drawers, probably once every two weeks, and putting together a huge bag of clothes, we then use to a resale store called Crossroads, or Buffalo Exchange in Houston. I sell my clothes and with whatever money they give me, The year progresses and get a whole ton of new patch. I don't really shop at the mall or buy anything new. I'm a huge clothes recycler. Plus, I cannot stand to have too much, but just loads of. I hate not capable to find stuff. I used to do a lot of laundry and wonder why I had all those clothes, hence it got me in the habit of smoking of getting rid of a lot of stuff. I definitely hate clutter. I that with furniture very.
Once they're on your list then you can inform them about your Affiliate Website(s). Better yet, you can send these phones your special website consists of links to your various Internet programs you fall under.
So to acquire giving away something totally worthless, the Krishna pockets $1. Those dollars always add up when you're doing all this day Romeo Santos Tour San Jose long, every business day.
TIS: Yeah, that sounds awesome. So, I've always wondered, in parts 4 & 5, were any screams when Michael was chasing you real, or was everything really just acting?
Remember, it's a small world in online classifieds, so be good to your neighbour. For anyone who is buying, buy reasonable. When you are selling, cost the right reasons and be upfront with buyers about the goods own. It's all about making good connections.


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'Finding Fanny' trailer finds over million views, makers happy
Home Bollywood News 'Finding Fanny' trailer finds over million views, makers happy
Bollywood News Hot News
Bollywood Bubbleon July 10, 2014
Within a day of its launch, the trailer of "Finding Fanny", an English language film by Indian director Homi Adajania, has found over a million views on YouTube. The movie's makers are "very happy" with the response.
The trailer is said to have got one million views within 22 hours of being uploaded on the online video-sharing website.
"Content is king and the reaction to 'Finding Fanny' trailer proves just that. This is the movie to watch out for this year and we are very happy with the response and feedback that we have been getting on the trailer," Vijay Singh, CEO, Fox Star Studios, said in a statement.
The quirky comedy stars Arjun Kapoor, Deepika Padukone, Naseeruddin Shah, Pankaj Kapur and Dimple Kapadia in key roles. The trailer itself is a peek-a-boo into the joyride that the film promises to be.
Producer Dinesh Vijan said: "'Finding Fanny' is a film that needed the support of the online community and we are overwhelmed with the response to our trailer. People, especially the youth, are loving the five odd ball characters and embracing the madness that they bring."
Presented by Fox Star Studios, "Finding Fanny" is produced by Maddock Films. The film releases Sep 12.
Inputs by IANS
Arjun Kapoor Deepika Padukone Finding Fanny Fernandez Naseeruddin Shah Trailer


Reading about the various names being "floated" for the Trump Cabinet is a nightmare come to life. We should have no illusions about what is coming our way.
Cleveland's airport welcomes visitors to the 2016 Republican National Convention; at the convention itself, the wheels fall off the welcome wagon.
First Woman On The Supreme Court was born on March 26, 1930.
The right-wing Conservative Party government of Stephen Harper has finally succeeded in imposing U.S. Republican Party style voter suppression legislation in Canada.
The Conservative party government of Stephen Harper has agreed to modify legislation that critics charge is designed to help the Conservatives steal the 2015 elections.


The Oklahoma City trailed Brooklyn by 23 points at one point on Wednesday evening, but that did not stop Paul George and Russell Westbrook as the Thunder roared back in the fourth quarter to defeat the Nets 114-112.
Both the Thunder and the Nets came out shooting fire to start the game, specifically from long distance. Just three minutes into the game, both teams had hit two threes each, and the OKC led 10-8. The Thunder maintained their lead for most of the opening quarter, but they cooled off quickly, and the Nets jumped out to take a 26-24 lead to finish off the first.
The second quarter continued the cold shooting for OKC, and Brooklyn ran off 10 quick points before the Thunder could find the hoop over four minutes into the period. The Nets kept scoring, and the Thunder kept struggling, and midway through the second, Brooklyn held a 19-4 advantage in the quarter. The Net went up by 19 at one point, and the Thunder was able to cut into the deficit some, but at the half, it was all Brooklyn as the Nets led 62-46.
The third quarter was more of the same for OKC as the Nets took their largest lead of the night 75-52 just a little over 3 minutes into the second half. A 7-0 run in response by OKC looked like a turning point, but the Nets ran off 6 quick points of their own to go right back up by 22 midway through the period. The Thunder never really could get much going, and at the end of the third, the Nets led 93-75.
The fourth quarter opened up with a couple of free throw for Brooklyn as they pushed their lead back to 20. All hope was nearly lost, and with 7:25 left in the game, OKC still trailed 100-85.
Insert Paul George takeover game.
In the final 7:11 of the game, it was almost all George. He scored 25 of the Thunder's final 29 points, and OKC was able to do just enough to get themselves back into the game. With just 8.1 seconds left on the clock, the Thunder ran a perfect play out of a timeout to set up PG for the game winner, and he delivered.
After the make by George, the Nets had 3.1 seconds to try to tie or win it, but Russell Westbrook was able to make a play and deflect the ball out-of-bounds with just .1 of a second left. Brooklyn was unable to get the tip in, and the Thunder escaped with a 114-112 win.
Paul George played his best game in a Thunder uniform and perhaps the best game of his career as he led OKC back from 23 down and hit his first career-game winner.. George finished the game with 47 points on 15-27 (55.6%) from the field, including 6-13 (46.2%) from three, and 11-14 (78.6%) from the free throw line. He also grabbed 15 rebounds, including 3 on the offensive end that turned out to be extremely clutch, while dishing out 4 assists. Of George's 47 points, 35 came in the second half and 25 came in the 4th quarter, a career-high single-quarter total for him and a franchise-high for a single quarter. His offense brought the Thunder back from the dead, but his defense should not be overlooked. He had 1 block and 0 steals on the night, but he had a number of key deflections, and he was everywhere he needed to be, especially when it counted.
Settling for Jump Shots Has To Stop: When the Thunder is facing any type of real deficit, they tend to default to one move on offense: shoot a jump shot. It makes sense that whenever you're down by double digits that you need to do whatever it takes to play catchup, which means shooting threes, but this team is not a good three-point shooting team. They're not even an average three-point shooting team. Simply put, this team succeeds when the defense plays well and forces turnovers and allows them to get out into transition to score easy points in the paint. When the defense cannot make stops, the offense has to figure out a way to score points. Ideally, that means kicking it inside to Steven Adams, not jacking up ugly shots after dribbling the ball for 20 seconds of the shot clock.
Resilience is Key: So many times, I have seen Thunder teams fold when things get tough and walk away with a loss. Time and time again this season, that has not been the case. Tonight was no different as the Thunder got down by a lot early in the game, and push after push to get back into it was shut down by Brooklyn's three-point barrage. Even still, OKC did not quit, and while one man got most of the glory for the night, it was the team effort that allowed the Thunder to leave town with their fourth consecutive win.
Congrats to Russell Westbrook: Russ had perhaps one of the quietest triple-doubles in his storied history of racking up stats. Westbrook finished the night with 21 points, 17 assists, and 15 rebounds to record his 4th triple-double of the season and 108th of his career. The stat line makes him sole owner of third place on the all-time triple-double list, ahead of Hall of Famer Jason Kidd. Westbrook's role in the Thunder's comeback should not be overlooked as he had 5 assists in the fourth quarter, including 4 to Paul George, as well as the game-sealing defensive play in the final seconds.
The Oklahoma City Thunder is headed to Chicago to take on the Bulls for the last leg of this 3-game road trip before heading home. The Thunder takes on the Bulls on Friday, and Chicago has not had a great season so far. At 5-20, the Bulls are the worst team in the NBA. Tip-off is set for 7 PM, and the game will be televised on Fox Sports Oklahoma. The game will also be broadcast on the radio on WWLS 98.1 FM.


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Three Strikes
SI's lead baseball writer takes you deeper inside the game. This is just a taste of what you'll get online.
It may be very early in the season, but it's not too early to foresee painful calls that will have to be made in Boston, Chicago and Tampa Bay regarding what should be done about David Ortiz(below), Alfonso Soriano and Pat Burrell, three former sluggers, born within 11 months of each other, making $39.5 million combined, who are off to miserable starts on the heels of poor seasons last year. All of them are smack in the crosshairs of the two fastest-growing influences these days on how players are quickly devalued: age and lack of defensive skills.
Since signing a five-year, $91.5 million extension with the Cubs in 2007, Carlos Zambrano, 28, has thrown like a No. 3 starter and has been appreciably worse than he had been before the extension, pitching to a 4.07 ERA. Where is the growth?
Within three days last week, the Orioles, Indians and Blue Jays all drew the smallest crowds in the history of their current ballparks. It was a cold reminder that the halo effect of a beautiful new ballpark, like the smell of a new car, is not a lasting one.
BRAD MANGIN (ORTIZ)


Abstract: Although micelles are commonly used for drug delivery purposes, their long-term fate is often unknown due to photobleaching of the fluorescent labels or the use of toxic materials. Here, we present a metal-free, nontoxic, nonbleaching, fluorescent micelle that can address these shortcomings. A simple, yet versatile, profluorescent micellar system, built from amphiphilic poly(p-phenylenevinylene) (PPV) block copolymers, for use in drug delivery applications is introduced. Polymer micelles made from PPV show excellent stability for up to 1 year and are successfully loaded with anticancer drugs (curcumin or doxorubicin) without requiring introduction of physical or chemical cross-links. The micelles are taken up efficiently by the cells, which triggers disassembly, releasing the encapsulated material. Disassembly of the micelles and drug release is conveniently monitored as fluorescence of the single polymer chains appear, which enables not only to monitor the release of the payload, but in principle also the fate of the polymer over longer periods of time.


Louie Anderson and Martha Kelly, stars of FX Network's hit series Baskets, hosted a live viewing party of the show's season finale for fans who attended Anderson's stand-up show at the club.
Anderson's headlining gig, which include shows from March 24 – 26, marked 30 years to the month since he made his heading debut at Carolines which, at the time, was located in Manhattan's Chelsea neighborhood.
Baskets was co-created and is executive produced by Louis C.K., Zach Galifianakis and Jonathan Krisel. Executive producers also include M. Blair Breard, Dave Becky, Marc Gurvitz and Andrea Pett-Joseph. Baskets airs Thursdays at 10:00 PM on FX, and has been picked up for a second season.
"Chip Baskets" (Zach Galifianakis) wants to follow his dream of being a French clown—however, reality keeps interfering. Saddled with financial difficulties and facing an impenetrable language barrier, he moves back home to Bakersfield with high hopes. There, he is forced to confront his past while working as a rodeo clown and competing with his siblings for his mother's approval and affection.
The matriarch of the Baskets clan, "Christine Baskets" (Anderson), cares deeply about appearances and finds herself constantly embarrassed by Chip and his brother. She's so embarrassed in fact, that she adopted a younger, better set of twins so she'd have something good in her life to brag about. Martha Kelly plays "Martha," Chip's insurance claims adjustor/assistant. She'd also say that she's Chip's friend. He would not.


For questions and comments about the NYUC website, contact Mitch Butler here or Mitch Butler here.
We have arrived at the ninth consecutive year of the New York Unicycle Festival (Unifest). A few hundred unicyclist are expected to participate in this four day unicycle event.The 2018 New York City Unicycle Festival. This event produced annually by the Bindlestiff Family Circus. It continues to be as popular as the eight previous years. It will be held from Thursday, August 30th – Sunday, September 2nd. Though the venue and activities have remained the same, it seems that each year the festival provide a truly unique experience for all who participate. So grab a friend, a neighbor or anyone else that expresses an interest in unicycling and come on out to at least for one or more of the four days of unicycle activities. Day One: Round trip ride Battery Park to Central Park. This year will be the third annual Thursday big wheel ride for day one. At 10:00 am participating unicyclist will bring their unicycle having 26″ or larger wheel to Battery Park. From Battery Park we will ride up the west side bike path and over to and around Central Park. We will travel down to the south west end of the park at Columbus Circle for a lunch break. But, the ride will not necessarily end there. Part two of the ride will return back down the bike path to Battery park. The round trip total is about 16.5 miles. Day Two: Brooklyn Bridge and Coney Island ride. The annual celebration of Brooklyn Unicycle Day occurs on Friday. The celebration will commence with a 3:00 pm unicycle ride across the Brooklyn Bridge. Many of the unicyclist will continue riding on a 13+ mile tour through Brooklyn organized annually by the Unicycle Bridge Tour group. The tour will make rest stop visits to Grand Army Plaza and Prospect Park South and along Ocean Parkway. then onto to our final destination of Coney Island via the Ocean Parkway bike path with one last rest stop at around Avenue N. Activities at Coney Island will be announced soon. All are welcome to join us at Coney Island no unicycle is required. So, if you like to participate at Coney Island amusement park activities just meet us at Nathans Famous at around 5:45 pm. Altogether there will be at minimum of about 13 miles of unicycle fun. All wheel sizes are welcome to participate in the ride across the bridge. However, a 24 inch or larger wheel is highly recommended for the ride onto Coney Island. Quite a few unicyclists have completed the ride on a 20 inch sized wheel. One rider has even completed the ride on a 20 inch giraffe unicycle. For those that do not want to ride unicycle all the way to Coney Island, You are welcome to take the subway and meet us there and cheer on the arrival of the participants. Several NYC transit trains terminate at the Stillwell Avenue, Coney Island stop. Days Three and Four: Governors Island. Moving forward to main festivities on Saturday and Sunday. You need only to hop on the $1 ferry over to Governors Island from either the Brooklyn or Manhattan ferry terminals to arrive between 11:00 am to 5 pm. Two consecutive afternoons of unicycle activities including races, unicycle sport competitions in basketball and hockey, unicycling and juggling shows and Beginner and advance skills unicycling learning workshops. There will be raffles on both days with all sort of unicycling based prizes. If you plan on coming for both days, hold onto to your ferry ticket for the second day's journey. Though you can bring your own food, there are variety of food trucks and food vendors available on the island. The lines at the many food trucks can be quite long particularly for the ones that are popular. Govenors Island is a destination to enjoy in its own right. Each year additional parts of the island are developed. So, you may want to come early and give your self time to explore what the island has to offer. For all of you New York Unicycle Club members, please remember that the First Sunday meeting of September will take place at the festival. Come on out and join in on the fun.
As it is quite expensive to present these free activities I encourage every one to help support with a donation of whatever financial support you can afford. While purchasing Tee shirts and raffle tickets is helpful a direct tax deductible donation to the cause goes a whole lot further. Potential sponsors are invited to visit the event website sponsor page for information on how to become an event sponsor. The activities schedule with few exceptions will mirror previous years festival so I will refer you to the event's website for further details To reach Governor Island there are ferries leaving from Brooklyn and lower Manhattan check out the ferry schedules and plan accordingly. Helpful event links: Each year Ken Springle records lots of photographs from each year's events and files them among the many albums on the NYUC Flickr site. Additional detailed unifest information can be found at the following websites. NYC 2018 Unicycle Festival website for event details and Coney Island ride route map. You can follow some of the latest event developments on the Festival's Facebook page. You are encouraged to invite your facebook friends via the Brooklyn Unicycle Day Facebook event page. The Trust for Governors Island website for island information including ferry service schedules from Manhattan and Brooklyn. National Park Service Governors Island web page for additional information about island events and directions. Governors Island Map.
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Reading the Middle East
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Saudi writer Omaima Al-Khamis awarded the 2018 Naguib Mahfouz Medal for Literature
The AUC Press announced today the award of the 2018 Naguib Mahfouz Medal for Literature to the Saudi Arabian writer Omaima Al-Khamis for her novel Masra al-Gharaniq fi Mudun al-'Aqiq (Voyage of the Cranes in the Cities of Agate).
Presented by Ehab Abdel Rahman, Provost of the American University in Cairo, the award was decided by the members of the Award Committee: Dr. Tahia Abdel Nasser, Dr. Shereen Abouelnaga, Dr. Mona Tolba, Dr. Humphrey Davies, and Dr. Rasheed El-Enany. The award ceremony at AUC's Oriental Hall on the Tahrir Square Campus was attended by many writers and other distinguished personalities of Egyptian cultural life.
In their citation for the award, the judges described Masra al-Gharaniq fi Mudun al-Aqiq as "a serious novel that speaks to our time through history. . . . It takes the form of a journey from Arabia northwards and westwards to Andalusia, through the great cities of the Arab world in the eleventh century during the titular rule of the weakened Abbasids in Baghdad, the Fatimids in Cairo, and the warring factions of Islamic rule in Spain."
They went on to say, "Al-Khamis's language exquisitely traces a route through beleaguered cities in a novel that speaks to the importance of culture, imbuing them instead with rare and precious knowledge. . . . Omaima Al-Khamis has succeeded in capturing the essence of cultural and religious diversity in the Arab world between 402 and 405 Hijri."
Omaima Al-Khamis receiving the 2018 Naguib Mahfouz Medal for Literature from AUC Provost Ehab Abdel Rahman, during the ceremony in Oriental Hall, AUC Tahrir
In an emotional acceptance address, Omaima Al-Khamis began by paying tribute to Naguib Mahfouz, "Our great writer who taught us the magic and craft of the story."
She thanked her parents for shaping her consciousness. "The book was . . . a staple of our home," said Al-Khamis, reminiscing about the piles of books that surrounded her when she was growing up. "At the beginning I was enamored with language, and perhaps it was my luck to be born with letters and words around me." She recalled "the flavor of evenings that my father and mother used to spend under the jasmine tree in our house's garden, absorbed in reviewing a book, my father reading and my mother writing, or my father writing and my mother reviewing."
"The novel is the more mature form in the journey of human creativity and the most complex and intricate of all artistic forms," said Al-Khamis. "[It is] an attempt to recover the original material of the world, to break it down into its smaller parts," she added.
Like every year, the award is presented on December 11, coinciding with the birthday of Egyptian Nobel laureate Naguib Mahfouz in 1911.
The AUC Press established the Naguib Mahfouz Medal for Literature in 1996, a major award in support of contemporary Arabic literature in translation. It is awarded for the best contemporary novel published in Arabic (but not yet in English) in the last two years and is selected every fall by the Mahfouz Award Committee. The winner receives a silver medal and a cash prize, and the award-winning book is subsequently translated and published in an English-language edition by the AUC Press in Cairo.
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All other use of content and materials on this web site—including, but not limited to, reproduction for purposes other than those noted above, modification, distribution, or republication of content—without the prior written permission of The American University in Cairo Press is strictly prohibited.
Copyright © 2023 AUC Press, All Rights Reserved.


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How the luxury fitness bubble burst as the pandemic dragged on
Gym rats beware: The luxury fitness boom could very well be cooling off as high-end exercise brands like Peloton and SoulCycle struggle to make gains at this stage of the pandemic.
Peloton – the company behind a range of forward-thinking stationary bikes that saw strong growth at the start of the lockdown period – announced layoffs, studio closures and price hikes on its product flagship in Canada and the United States this monthfollowing a sharp drop in sales.
Another high-end fitness brand is struggling outside the home: SoulCycle, the group cycling studio chain launched in 2006, closed 25% of its locations earlier this week.
This includes a full exit from the Canadian market with the closure of its sole Toronto studio, the company confirmed to CBC News.
"I think that explains the kind of popularity at the lower end of the mainstream fitness market in brick-and-mortar terms," said Natalia Petrzela, associate professor at The New School of New York and author of Fit Nation: The Gains and Pains of America's Exercise Obsession.
"More people are returning to the gym in person, but it's the lower-end businesses that are thriving."
The fitness industry is between a rock and a hard place, with two previously reliable business models floundering at this stage of the pandemic. While in-person studios are still recovering from government shutdowns, home fitness brands are losing customer base as people prefer affordable gyms and fitness centers.
A woman walks past a SoulCycle fitness studio in Lower Manhattan in New York City. The group cycling studio chain which launched in 2006 closed 25% of its locations earlier this week. (Drew Angerer/Getty Images)
Owners of small gyms are always getting back on their feet
As pandemic-related measures ease, people are "reassessing their relationship to what they spend on exercise and why they want to train," Petrzela said.
"What Peloton is going through is a kind of correction – not even a failure – but a correction for this over-the-top enthusiasm and excitement for home fitness at a time when so many people had no other options," said she declared.
The company announced in May that its third-quarter revenue fell short of expectations, taking in $964.3 million, down from the $1.26 billion it raked in a year earlier. Its market value plummeted by $46 million as demand for home fitness due to the pandemic dried up.
"But at the same time people are not going back to training in the same way as before," Petrzela said. "So something like SoulCycle, which was the darling of the boutique fitness industry, has to adapt as well."
Sergio Pedemonte, CEO of personal training company Your House Fitness, said he was still struggling to find trainers after a mass exodus from the industry in 2020. (Submitted by Sergio Pedemonte)
Even as affordable gym chains thrive, small business owners are picking up the pieces two years later. One of the ongoing challenges is the shortage of qualified personal trainers, according to a Toronto-based business owner.
"There are too many personal training companies, too many gyms that need trainers, but there are no trainers," said Sergio Pedemonte, CEO of the training company. Your House Fitness staff. Pedemonte operates both an in-home service and a studio and gym.
He says he's still struggling to find trainers after a mass exodus in 2020, when many industry players left to pursue other projects while CERB payments provided a financial safety net.
"I think the biggest difficulty with all of these companies in mortar is that their [monthly] the buildup has gone down," he said, after provincial governments closed and restricted access to gyms. His business was generating about $100,000 in monthly subscription revenue when the pandemic hit — that figure then quickly dropped to zero.
Your House Fitness Toronto brick and mortar studio is pictured. (Your Home of Fitness)
Sara Hodson, president of the Fitness Industry Council of Canada, said business owners are still considering the challenges and changing consumer behavior in 2020.
"You're looking at an industry that's been shut down, lost all revenue, had to stay afloat, and at the same time had to reinvest in technology in order to do everything we can to keep Canadians active," he said. said Hodson. of Vancouver.
Future business models will focus on health of mind and body
The Canadian fitness industry's market size grew in 2022 and is now on par with pre-pandemic numbers after a two-year recession, according to market research firm IBISWorld. Petrzela said more consumers have been getting in shape during the pandemic.
"It's a result of the fact that the pandemic and its kind of enforced sedentary lifestyle has made a lot of people realize that exercise is really, really important, both for general well-being and – honestly – in terms of certain COVID comorbidities," she says.
"More people are returning to the gym in person, but it's the lower end businesses that are thriving," said Natalia Petrzela, author of Fit Nation: The Gains and Pains of America's Exercise Obsession. (Sylvie Rosokoff)
Because so many people have invested in high-end home fitness facilities (a basic Peloton setup is priced at around C$1800), most won't be willing to "shell out" on a high-end health club. upscale or a boutique experience," she said. Hence the abandonment of SoulCycles and Flywheels in favor of GoodLifes and Fitness Worlds.
In an industry that oscillates between trends, Hodson and Petrzela agree that the next phase of the fitness and lifestyle brand will remain a hybrid model of virtual and in-person connection.
"What we're really seeing in the industry and even when we look at global trends is this massive return to connecting in person," said Hodson, who is also the CEO of gym chain Live Well. Exercise Clinic.
Globally, the fitness industry is seeing a "massive return to in-person connection," said Sara Hodson, president of the Fitness Industry Council of Canada. (Submitted by Sara Hodson)
She said she's observed her older clientele being more open and able to engage in virtual classes in the wake of the pandemic, but are also returning to the company's physical facilities.
"I think the next popular business model will combine connected fitness, in-person experience and community," Petrzela said. "It will likely engage meditation, recovery, stretching, maybe even some form of therapy, quite honestly, that falls into that mind-body health category."
"But I think there's no doubt that connected fitness and home fitness are here to stay."


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Minnesota Vikings Stadium First in U.S. To Launch With LED
« News | February 11th, 2016
The Minnesota Vikings stadium stands to be the first stadium in the United States to illuminate its fields with LED installed during construction. With lower energy needs than traditional lighting and color-tuning technology, LED saves sports venues and other facilities significant amounts of money while providing more effective lighting.
The lighting has become a common feature of ice rinks in the American Hockey League, and tennis, basketball, and soccer facilities have long made use of it. But venues in the National Football League have been slow to embrace it. So far, two NFL stadiums have converted to LED — the University of Phoenix Stadium, home to the Arizona Cardinals, and the NRG Stadium, home to the Houston Texans. The Minnesota venue will be the first to incorporate LED from inception.
"There are many potential advantages to lighting a sports venue with LED," says Eric Willin, Chief Operating Officer, of EZFacility, a sports facility management software developer in Woodbury, New York. "On a basic level, spectators often can just see better what's happening on the field. In addition, LED lights have more functions than older lights—they can be programmed for specific effects throughout a game. But most of all, LED lighting consumes 75 to 90 percent less energy than traditional lighting systems. That's good for the environment and translates into enormous cost savings."
Viking officials have said that part of their goal during the $1.1 billion project has been making environmentally friendly choices. Currently in the planning phase, the stadium is slated for completion in July 2016.
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