text:
Greeks Protest Against Austerity as Leaders Try to Negotiate With Creditors in Brussels
While a Eurogroup meeting in Brussels broke down without an agreement, people gathered peacefully in Athens to support their government's anti-austerity plan.
by Nikolia Apostolou
Photo by Virginia Mayo/AP
More than four years after the violent protests sparked by the Greek government's agreement to impose austerity measures in exchange for a multi-billion dollar debt bailout package, demonstrators returned to the streets of Athens on Wednesday carrying banners that read "Stop Austerity," "Support Greece," and "Change Europe."
This time, however, there were no Molotov cocktails, no damaged ATMs, and no conflicts with the police. The mood in Greece has changed completely since new Prime Minister Alexis Tsipras and his anti-austerity Syriza party triumphed in the country's elections last month. The new government has vowed to let people protest freely.
With an emergency Eurogroup meeting underway in Brussels to discuss how to handle Tsipras's pledge to end the austerity measures that have plagued the Greek middle and lower classes, people gathered peacefully to show their support for the Greek government, braving snow in Athens and other central cities.
"We're here to tell the EU leaders that we can't accept any more austerity," said Leda Stavraki, a 25-year-old unemployed math professor. "We're barely surviving."
How Greece could change the future of Europe. Read more here.
On Wednesday, Greek Finance Minister Yanis Varoufakis presented a counter-proposal to the austerity measures and asked his Eurozone counterparts to give the Greek government until summer to prepare and design a new program. In the meantime, the Greeks are also asking creditors to lower the primary surplus target from 3 percent of GDP to 1.5 percent, and to approve a debt swap plan.
But Europe doesn't seem open to relenting. Most finance ministers entering the meeting told the media they expect Greece to stick to its plan, and warned that it might be long time until a deal is reached.
"I don't expect any results today," said German Finance Minister Wolfgang Shauble, speaking for one of Greece's most influential lenders. "But it's up to Yanis Varoufakis. Every country is free to do what it desires and I'd be interested to hear what he plans to do outside the [current] program."
The talks broke down without an agreement or even a plan of action, the Associated Press reported.
Varoufakis has vowed to continue negotiating until a new deal is reached.
"The pyramidal austerity is over," Varoufakis said Tuesday in the Greek Parliament. "The agreement with our partners is not over. [But] in order for it not to be toxic [for Greece], a new agreement is required and we were elected in order to negotiate a new agreement."
The man in the hot seat: Greece's new finance minister Yanis Varoufakis has creditors rattled. Read more here.
Greece's partners, though, are pressuring the government to accept an extension of the current austerity program. Tsipras has ruled that out, saying he won elections on a mandate to stop austerity. A summit Thursday in Brussels will be Tsipras's first meeting with his EU counterparts. Everyone is waiting to see what card he has up his sleeve and whether he will overplay his hand.
The current bailout program ends this month, and Greece might run out of money without a new one. If that happens, it could undermine confidence in the euro and cause headaches from Madrid to Berlin.
With no agreement reached Wednesday, the finance ministers are scheduled to meet again Monday. "Some progress has been made, but we have not made enough progress to reach a joint conclusion," Dutch Finance Minister Jeroen Dijsselbloem said after the meeting.
Varoufakis told Greek journalists after the talks broke down that the conference Wednesday "was never meant to settle any issues."
"I was invited to speak because I am the new kid in the block," he said.
[Greece's new government vows to end raids against immigrants. Read more here. ](http://Greece's new government vows to end raids against immigrants. https://news.vice.com/article/new-greek-government-vows-to-end-raids-against-immigrants)
Tagged:PoliticsVICE NewsAUSTERITYGreeceEurogroupΣΥΡΙΖΑEurozoneAlexis TsiprasYanis Varoufakis
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The pressure of high impact lives defined by constantly multi-screening is taking its toll. Enduring a daily diet of information overload and experiencing unrelenting negativity in the press has left consumers taut.
Slow design was a prominent theme at Maison & Objet this September. Brands explored opportunities to create spaces for employees to breathe and find moments of relaxation amongst the noise. The trade show's wider theme explored Comfort Zones. This begs the question as to how design can be used to create a breathing space for people to find an antidote to mental and emotional depletion.
As consequence, this intellectual concept is filtering into brand concepts and retail spaces.
Illustrating this wider trend, Hassell and Arup created a Breathing Space at London Design Week. The space was a sanctuary for cyclists and walkers to understand the ill effects of pollution in the city. The installation was designed to be interactive and offer a moment of fresh air to anyone who walks through the space.
Earlier this year, SO-IL and Mini Living collaborated to create a concept called Breathe. Breathe was a prototype prefab house that explored how architecture can improve the environment and adapt to modern city life and increasing urbanisation. Taking up just 50 square metres of space, the house can fit into small gaps between buildings, and is easily dismantled and transported to new places.
Breathe is described by its creators as an active ecosystem: its light-permeable skin filters and neutralises the air, and a rooftop garden has plants that further improve air quality, and features a rainwater collection system, for the kitchen and bathroom. Through the natural access to clean air, light and water, and lacking privacy (from the semi-transparent skin), the house design aims to encourage conscious consumption of resources. The house was displayed in Milan in April, for Milan Design Week 2017, but – due to its changeable skin – can be adapted to suit other environments.
Earlier this year, the department store's flagship on Fifth Avenue was renovated. Tapping into the consumer appetite for wellness driven spaces, Saks has an entire section dedicated to exercise classes, active wear and mental rest. These include salt therapy rooms, meditation booths and golf simulators.
At the start of summer, the Canadian activewear brand launched a mindfulosophy space on Fifth Avenue. The aim was to enable customers to experience yoga through a meditative space off the mat. Across the pond in London, the brand collaborated with BreatheSync for a meditation bus in Regent St. The concepts enable visitors to take a moment, pause and gain mental rest.
Interior-design firm ICRAVE have worked to create relaxing spaces in typically stressful environments, like hospitals and airports. In stressful situations, people can become anxious, which ICRAVE aims to soothe with homely design, greenery and calming lighting. The space use technology to allow customers more time to relax, with ICRAVE's airport restaurants using iPads on which guests order meals, and receive real-time notifications about their flights.
Right now, 54% of the world's population live in cities, but by 2050, that's expected to rise to 70%. The global population is set to reach 9.7 billion in 2050 and 11.2 billion in 2100.
As the word becomes increasingly more urban, it is essential for brands and retailers to consider how their spaces can be a breathing space for a society that is over stimulated.


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Marcel Odenbach is a German artist, best known for his work with video. However, his current exhibition at the Kunstmuseum, Bonn (in its last few days) to celebrate his 60th birthday, focuses on work on paper. I was not familiar with his work and so visited in the spirit of exploration. Since the mid-80s, Odenbach has produced a series of large mixed media and collage works. Initially, these were a combination of graphite drawing and collage, but most recent works in the current exhibition are primarily collages. I did not take photographs and can only find a few of the works on the internet. This brief review relies on the notes that I made during the exhibition yesterday. I have included some basic illustrations taken from these notes and there are several links to images of Odenbach's work.
My main focus was his technique: I was interested in how he had constructed his collages, which are massive, intricate pieces of work. A lot of Odenbach's earlier work, in particular, uses book pages as a ground. Pasted onto large sheets of paper, they serve to provide visual interest while strengthening the support. Books used for this purpose that I could identify include the Communist Manifesto, pages from the Bible and some unidentified text relating to the national socialists activities against the Jews in the 1930s. Later work uses text in a different way: repeated text and images have been dyed with ink and used as collage elements. Some work uses both of these together. Most recent collages are like vast paper jigsaws produced from these tinted illustrated papers. They remind me of newspapers, and some of the images must have originally come from the media, but there are also historical images. Moving chronologically through the exhibition it was possible to see the development of technique from pure drawing to drawing and collage incorporating some collaged images, to creating papers with images and text which were then used as material for entire collages. In these most recent pieces, drawing must have been used in the planning stages but is not evident in the final piece (although pencil is often cited as one of the media used but I couldn't find it!): the lines created between the edges of collage pieces become the drawing.
There is a strong cultural / social / political bias to a lot of Odenbach's work, including a strong African component, strong enough to make me question his ethnic background, knowing nothing about him beforehand. Much work clearly reflects that the artist grew up in post-war Germany and addresses the issues that faced this country during those years.
An early drawing with collage elements is "Der Not macht erfinderisch" (1984) which I translate as "emergency makes (us) resourceful". This work consists of two large vertical (portrait) panels, side by side, each depicting the half-opened shutters of a window. The shutters are drawn in graphite but the shadows on the shutters have been created using a combination of rough pencil shading and collaged images and text. The effect is convincing when viewed from a distance and intriguing close up. I have not attempted to interpret this image and am taking it at face value. The technique interested me more than any message that might be there.
A drawing / collage work that interested me for the way in which collage was used to evoke texture was "Der Lack ist ab" (1990), which could be translated as "the paint is coming off". The subject is a close-up of an industrial tower, perhaps a gasworks. The sort of structure that sometimes remains in Germany, particularly in the Ruhr region, under Denkmalschutz (protected status to preserve it as a structure of cultural, architectural or historical relevance). However, this particularly structure is clearly not valued sufficiently and looks as if might decay sufficiently through neglect to be pulled down. Left and right of the work in two narrow vertical panels are the words: "Die letzten Denkmäler sind noch nicht befallen / aber jeder Schlag könnte der richtige sein", which I translate as "the last memorials have not yet fallen but any blow could be the one to do it". This work was produced in 1990, a few months after the fall of the East-West divide in Germany and I presume is a reference to that.
The main structure was drawn in pencil and the surface was depicted using pencil and collage. Odenbach's collage pieces have rounded, flowing edges and when sparingly applied to the surface in different colours, or different tones of the same colour, realistically evoke the physical appearance of peeling paint through subtle tonal contrasts. The paper he used carried text and images (he seems never to use plain paper) and was pre-dyed with emulsion paint.
Die Weckschnapp (1997) is the name of a tower in Cologne apparently used as a prison during the Middle Ages for a particularly gruesome form of execution, although it is unclear whether this really happened or is a myth – I prefer to think it was the latter. I have translated the following from Wikipedia so cannot vouch for its reliability (Wikipedia's or my translation): from the ceiling of the prison, the guard hung a piece of bread. The prisoners were deprived of food so they would try to run up stairs to catch the bread, fall through a self-opening trapdoor and fall through a knife-lined shaft into the Rhine. Only a prisoner who was particularly thin succeeded in reaching the river alive.
Odenbach's work by this name is a form of triptych. Right and left of the central panel are panels which are reminiscent of army camouflage. I didn't know about the purpose of a Weckschnapp when I saw the work yesterday so my notes on the work are purely descriptive. The central panel depicts the inside of a modern concrete tower, looking up towards the roof, which appears to be a modern day response to Michelangelo's ceiling of the Sistine chapel, even though the effect is more implied than explicit. The contradiction of the visible bare concrete tower and the recollection of Michelangelo's ceiling is uncomfortable but also interesting. Knowing now the purpose of a mediaeval Weckschnapp, Odenbach's Weckschnapp seems to be analogous, a tower of aesthetic deprivation but, extending the analogy, I wondered what the punishment could be, assuming there was a way up?
Whereas in earlier work, collage is a technique which Odenbach combines with drawing, in his most recent work, collage is the medium and I gather that these connect in some way with his video pieces. He has created large-scale works including portraits and interiors, as well as others that defy easy categorisation. Where he has depicted wood or cement surfaces, he appears to have incorporated elements of frottage. His primary material appears to be large sheets of pre-printed and dyed paper which he cuts into elaborate "paper jigsaws" which require the viewer to admire them for the overall composition but then to come in close and marvel at the painstaking complexity of his technique.
You can't see the forest for the trees in the MOMA collection. Odenbach talks about this work and how he created this collage in this audio link. Close-up detail from this work can also be seen here – it gives a good idea of how he assembles his collages and how he uses text and images to achieve tonal contrast and depth in his images.
Ein Tag am Meer (A day by the sea) – click on the small image for more detail.
More information about Odenbach's video work, including excerpts with explanatory contexts and rental / screening options, can be found on the LIMA website.


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Why we need backcountry permits and permit lotteries
Visitor management systems keep prized areas 'scenic and wild'
December 9, 2022 at 5:05 a.m.
Prusik Peak, Boxtop and the High Priest are on the Enchantment Loop near Leavenworth. The Enchantment Loop is on a permit lottery system for overnight camping. (Photo by Jason D. Martin)
By JASON D. MARTIN
CDN Contributor
I really hope I'm selected for a Grand Canyon backpacking trip in April. I just sent my itinerary to the National Park Service for a spring trip.
This, of course, is an extremely popular time to visit. And that's why they have a lottery to manage the backcountry permits.
It's frustrating. This is my fourth time trying to get a permit. But, while frustrating, the system is necessary.
Backcountry permits and lottery systems are widely used to manage the number of visitors to delicate areas within the national parks, the national forests and even on some lands managed by the Bureau of Land Management (BLM).
In the national parks, backcountry permits are required for all overnight trips. But for the forests, they are only required in pristine areas that have seen high levels of impact — like in the Enchantments near Leavenworth or on Mount Whitney in California. The BLM oversees permits for a handful of national monuments and conservation areas like Cedar Mesa and Bears Ears in Utah.
People often ask why these permits are required.
Land managers battle two opposing needs: managing the public's desire to visit an area, and managing the human impacts. When there is more demand for an area than it can sustain, a permit system is often implemented. And when permit demands become unsustainable, they implement a lottery system.
Mount Whitney, located in California, is the tallest mountain in the Lower 48. Visitors who wish to summit require either an overnight backpacking permit or a permit for a day trip. (Photo by Jason D. Martin)
There are a number of places that require backcountry permits that don't have lotteries. They are generally on a reservation or a first-come, first-served system. Sometimes, these are combined and a small number of permits are held back for those who didn't plan ahead.
The use of permits and lottery systems has another effect on public lands. They tend to spread people out more so no individual area gets too much traffic. This is a natural side-effect of permit limitation. A backcountry user arrives without a permit, so a ranger helps them find something suitable nearby where there's still permitted space.
In the world of backcountry permits, there are two hotly contested issues that are being bandied about. The first is the limitation of day-use permits for highly impacted areas, and the second is a controversial proposal in Yosemite to permit multi-day climbs on the big walls that surround the valley.
Historically, public land managers saw longer, popular trails to be exclusively for multi-day excursions. In an effort to manage both new campsite construction and human waste, backcountry permits were instituted. But things have been changing.
Fit, lightweight day hikers and trail runners have become much more commonplace. Trails that range anywhere from 15 to 30 miles are seeing a significant increase in these user groups.
The Mount Whitney Trail in California is a 22-mile round-trip to the summit of the tallest mountain in the Lower 48. Inyo National Forest has long required reservations and backcountry permits for those who wish to hike to the summit, but about a decade ago, it instituted a day-trip quota.
As such, hikers and trail runners who wish to complete the route in a single day are held to the same standard as backcountry campers.
The question of whether a similar quota system should exist for day-trippers has arisen for both the 21-mile Enchantment Loop near Leavenworth, as well as the 18-mile High Divide Loop in Olympic National Park.
With nearly 3,000 feet of technical climbing, El Capitan in Yosemite will require climbers to obtain a permit. (Photo courtesy of Krista Eytchison)
At this point, there are no public plans in place to manage day trips in these areas, but it wouldn't be surprising if a quota system came into play at some point in the future. Land managers are certainly keeping an eye on the numbers and their impacts.
In Yosemite, a permit system for big wall climbers — a rock climber that spends one or more nights on a wall due to its sheer size — will be implemented next month. In other words, the permit is similar to other backcountry permits implemented in national parks.
However, at this time, though there are no quotas, it's clear permits will provide the park with much better data on the numbers and impacts of users.
Climbers have pushed back hard against the permit system in Yosemite. They see it as a slippery slope toward a much more robust system that limits the number of overnight climbers and will ultimately result in a permit lottery.
I really want to go backpacking in Grand Canyon National Park, and it will be frustrating if we get skunked again. But, I'm also willing to keep trying. I honestly believe permit and lottery systems help keep areas like this scenic and wild.
In any case, I have a backup plan. There are a lot of beautiful places out there, many of which are still wild enough that they don't need additional management.
Jason Martin's outdoors column appears monthly. Email: jason@alpineinstitute.com. Twitter: @OutdoorPolitics.

redpajama_set_name: RedPajamaCommonCrawl


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My competition entry
MYouthreporter
History in the closet
In Modellierton e.V. took place the play "History in the closet"!The main role was played by the master of puppet science - Nastya Buteneva.
Nastya is an actress of the Puppet Theater "Fairy Tales at the Moscow Gates" and the author of the theater "On NiTochKaH", whose performances regularly appear in the repertoire of the Moscow theater "House of Fanny Bell" and on the theater grounds of St. Petersburg.
The first theatrical dolls
The history of the puppet theater leads us into the distant past, in the times of primitive man, when people on Earth lived in small tribes and lived in caves. Virtually every tribe had its own totem, that is, a sacred animal, which was revered as a deity endowed with unprecedented power. It was believed that the spirit of this animal protects the whole tribe from evil forces, helps him survive. In return, all members of the community were to treat the totem animal with special respect, respect it, pray to it, and even make sacrifices. In many tribes it was the custom to make a symbolic image of a totem and conduct rituals with it. For example, if the men of the tribe were going to hunt, they would make the effigy of their sacred animal, perform a magical rite with dances, prayers, pierce the effigy with spears. They believed that the spirit that protects the tribe will see this ritual spectacle and send them good luck on the hunt. In Russia, dolls protected children from evil, evil eye and spoilage, and during rituals and holidays they played the role of a deity. Sacred people who believed in gods could not allow themselves or anyone else from mortals to "reward" themselves as god. Gradually, these dolls became toys for children. With their help, depicted scenes from everyday life and invented funny situations.
http://www.letopis.info/themes/theatre/iz_istorii_kukolnogo_teatra.html
In times of ancient Greece were popular
home performances in which family members themselves made decorations, sewed dolls and costumes for them, and then made performances. The rich could afford to make dolls of gold and silver. At the same time, the first dolls appeared, moving with the help of steam and driving belts. They could themselves raise a handle or a leg, which certainly astonished the public. A little later, the dolls were placed in a simple box with small holes at the bottom or top, from which they looked out during the presentation. With such a box, the puppeteers walked around the cities and showed performances.
http://journal-shkolniku.ru/is-istorii-kukolnogo-teatra.html
Theater of the Middle Ages
In the Middle Ages, puppet shows were often performed directly in squares and fairs. And there were both puppets – actors, and artists – puppeteers. They wandered from city to city, stretched between the pillars of a piece of cloth, because of which they showed stories of good and evil, love and hate. And only in the 19th century, special rooms began to be allotted for showing the performances. Dolls knew how to joke and often cried, ridiculed the human shortcomings and praised the good. There were many of them and they were all different - small, no more than 9 cm high and, on the contrary, very large, twice as tall as a man. They were different in their design - dolls-gloves, finger puppets, dolls-plates and dolls-spoons, puppets, walking stick dolls, mechanical, shadow, and even human dolls.
New dolls in new time
New dolls appear today. Mitten dolls, paper cone dolls for the table theater, funny socks dolls. There are a lot of dolls created, and they are all different - three-dimensional, flat and semi-voluminous, with moving parts and magnets. They sew dolls from fabric and weave from straw; they are made of paper and cardboard, leather and dermatin, foam rubber, plywood, foam plastic. Now during the performance next to your favorite dolls you can see real actors. They easily share the stage, and from this the performance often wins. There are dolls that puppeteers raise above themselves. They are not fully visible, the lower part is almost always covered with a screen. They are called riding. One of the clearest examples of riding dolls are glove dolls. In contrast, the puppets are controlled not from below, but from above.
http://biofile.ru/his/12939.html
In addition to the play, Nastya gave a very unusual master class. The guys from the theater studio created, worked, played, contrived, had fun and at the same time learned a lot. I managed to attend a master class and make a video.
https://www.facebook.com/modellierton/videos/371829200087869/
If we talk about trends in the puppet theater, now there are 2 trends: one-man shows and simplicity of expression. Most of the children's performances are now being staged and played by one actor. Previously, the actors of puppet theaters in the Soviet school usually hid behind screens and were not visible, now, the actors of the new school and St. Petersburg go out to the audience themselves and not be afraid to show their faces. Interact with the viewer with various forms of interaktivov, especially it works well with children. And if before everyone was trying to make a volumetric doll and props, it was decorated for a long time, the artists drew unique sketches and then they made dolls. Now, the simpler, clearer and more original the doll, the better the viewer perceives it. In some theaters, these may be objects at all: an eraser, a package, a drinking tube, a ball, a sponge and others. I can add human features or characters to objects, and it does not go away even 5 minutes as the subject comes to life. And now this is not just a dental counter, but the queen of the realm of soap bubbles.
Young people choose puppet tetars and they are interesting to them because they project their behaviors that they cannot show on society. For example, a modest guy, can not be a magnificent Spanish singer in his group of the university, but only he comes to his small theater and bam! He already sings and fascinates plush matadors who kill cotton bulls on the carida. This is a kind of reflection and emotional relief. Plus, many people train their voice very much, because as a rule, artists work without microphones, and then with a beautiful voice left go to work on the radio presenter.
Age does matter, but as for me only for the viewer. After all, children are much more interesting to look at dolls than adults. When you grow up you become bored and squeezed. And children do not have it all, and it is easier for them. And the child is difficult to deceive, if he laughs funny, and if he cries sadly. If after watching your performance, all the children were left davolny, then you did everything right!
It is very interesting when the guys from Russia pass on their theatrical experience to the young guys from Germany.
rudneva
Home country Russia
currently in Germany
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Tag: LGBTQ
A Piece Of Television History 'Friends' Fans Can Now Own
Post author By Mendel Gordon
No Comments on A Piece Of Television History 'Friends' Fans Can Now Own
To praise the 25th commemoration of Friends, Warner Bros. TV and Prop Store are uniting for a Giving Tuesday sale to profit The Trevor Project, the world's biggest suicide avoidance and emergency mediation association for LGBTQ youngsters.
Enthusiasts of the show will have the option to offer on in excess of 100 parcels from the 10-season arrangement with offering beginning Tuesday, December 3 through Tuesday the seventeenth. This will be the first occasion when that fans and gatherers get the opportunity to offer on props, outfits, studio-version approved propagations, set enrichments and creation material from each period of the dearest arrangement.
Since its 1994 presentation, Friends stays one of the most well known comedies on the planet. As per Parrot Analytics, the arrangement that pursued the lives and adores of an affectionate gathering of companions living in New York City, was one of the most noteworthy appraised appears on TV in its unique system run. It stays a lasting go-to and raving success worldwide in syndication and on spilling administrations.
It's right now spilling on Netflix until its January 2020 move to WarnerMedia's new gushing assistance HBO Max. It has been accounted for that Netflix paid Warners somewhere in the range of $80 and $100 million to keep the previous NBC hit for all of 2019.
Starting at 2018, it was the second most prominent parody on the planet, pulling 69.5% of the worldwide interest of the top worldwide satire The Big Bang Theory, which was all the while airing new scenes a year ago. As of this current year, Friends is a finalist for Most In-Demand Comedy at Parrot's Global TV Demand Awards in January.
The notable show not just won the Emmy for Outstanding Comedy arrangement, yet in addition collected Emmy Awards for arrangement stars Jennifer Aniston (Rachel Green) and Lisa Kudrow (Phoebe Buffay). Obviously, people love David Schwimmer (Ross Geller), Courteney Cox (Monica Geller), Matthew Perry (Chandler Bing) and Matt LeBlanc (Joey Tribbiani) similarly and if life was reasonable, all would've brought home Emmys.
"The series gave us so many laughs during its original run and continues to entertain and inspire fans around the world," says Brandon Alinger, COO of Prop Store. "It's an honor to be able to bring some amazing original pieces to the fans, such as Joey's original Hugsy doll. We're also happy to offer detailed studio-edition reproductions, including the Holiday Armadillo costume, Central Perk couch and ten copies of Monica's peephole door frame, straight from the Warner Bros. Props department."
Some featured things with assessed costs incorporate a studio-release approved generation of Ross' Holiday Armadillo outfit ($10,000-15,000); a studio-version approved proliferation of the Central Perk orange lounge chair ($6,000-8,000); Joey and Chandler's wood kayak and two paddles ($4,000-6,000); Rachel's Hawaiian print dress ($3,000-5,000); a studio-version approved propagation of the entryway picture outline ($2,000-3,000); a studio-version approved multiplication of the turkey with shades, fez and stand ($2,000-3,000); Ursula's Buffay The Vampire Layer VHS ($1,500-2,500); Joey's sleep time penguin buddy Hugsy ($1,000-1,500) and Monica and Chandler's wedding greeting set ($1,000-1,500).
A determination of sale things will be accessible to see in the Friends Boston Pop-Up beginning November 21 and a sale review is currently accessible where bidders can likewise enlist. What's more, fans that sign up are qualified to win a generation content from Friends and every thing accompanies a Warner Bros. Endorsement of Authenticity.
Companions was made by David Crane and Marta Kauffman, who official delivered the arrangement with Kevin Bright through Bright/Kauffman/Crane Productions in relationship with Warner Bros. TV.
Tags Demand Comedy, Fans, Friends, HBO Max, LGBTQ, Parrot Global TV Demand Awards, Piece Of Television History


A seasoned cast comes to this weekend's production of "Rigoletto," and the singers will approach the opera with the eyes of an ingenue.
In this "Rigoletto," the first full-length staged production from the Sacramento Opera this season, the direction and some of the major roles are being shaped by talent that has never before done the opera.
Small is a well-known entity here, having sung the role of Scarpia in "Tosca" and Belcore in "Elixir of Love" in recent Sacramento Opera productions. Thurman last sang with the company as Adina in "Elixir" in 2009.
With this "Rigoletto," the company hopes to sate the desire for full-length opera among faithful patrons. It has been more than a year since the company produced a full-length work, after canceling the remainder of its 2010-11 season.
The production, which will be performed Friday and Sunday at Sacramento's Community Center Theater, will see familiar faces returning to the company – including former longtime artistic director Timm Rolek, who will be at the podium for the first time since the company went dark last year.
Also returning is Chuck Hudson, who has directed some of the company's recent productions. This will be his first full-blown take on "Rigoletto." He likes the opera's lurid nature and some of its Shakespearean qualities.
"This opera has a lot to do with men in power and their abuse of women," Hudson said.
He finds the Rigoletto character – who must shamefully satisfy the powers that be while protecting his daughter from them – similar to another famous character with a physical deformity: Richard III.
"That exteriorization of inner evil? That's very interesting," Hudson said.
It tells the tale of Rigoletto, a hunchback court jester who toils in the debauched court of the Duke of Mantua – a prodigious womanizer.
The dramatic tension rises when the Duke seduces and captivates the innocent young Gilda.
Hugo's deeply controversial play was a scathing critique of France's ruling class in the early 19th century. Verdi's work also created a dust-up with censors, forcing changes in the work.
Revisiting her life as a teen has been fruitful ground for Thurman in prepping the Gilda character.
"All of us have been young once and had that first love, and know that feeling of being hooked on someone," she said.
In the opera, Gilda is smitten with the Duke, and her actions are those of a character lost in an emotional sea. When she finds out that her father has hatched a plot to assassinate the Duke, she seeks to stop it.
On the other end of the purity scale is the Rigoletto character.
"For Rigoletto, it's an emotional struggle between the black-and-whiteness of right and wrong," Small said.
He finds it challenging to connect with how Rigoletto can reconcile his primal fatherly instincts and a venal, Machiavellian nature.
"He has to balance the two, and figure out if the two things match – which they don't," Small said.
The soft-spoken Small said his portal into the humanity of Rigoletto's tortured soul comes from parenting. Like Rigoletto, Small is the father of a single child.
In rehearsal, Small and director Hudson have been making sure to tap into that attachment.
"In rehearsal, I've heard David say, 'I cannot imagine any of this happening to my daughter,' " Hudson said.


text:
package avrohugger
package test
package specific

import avrohugger.Generator
import avrohugger.format.SpecificRecord
import org.specs2._

class SpecificStringToStringsSpec extends Specification {

  def is = s2"""
    SpecificRecord Generator stringToStrings method should
      correctly generate from a protocol with messages $e1
      correctly generate a simple case class definition in a package $e2
      correctly generate a simple case class definition in the default package $e3
      correctly generate a nested case class definition from a schema $e4
      correctly generate a nested case class from IDL $e5
      correctly generate a recursive case class from IDL" $e6
      correctly generate enums from schema $e7
      correctly generate enums from protocol $e8
      correctly generate enums from IDL $e9
      correctly generate nested enums $e10
      correctly generate bytes from schema $e11
      correctly generate bytes from protocol $e12
      correctly generate bytes from IDL $e13
      correctly generate records depending on others defined in a different- and same-namespaced AVDL and AVSC $e14
      correctly generate an empty case class definition $e15
      correctly generate default values $e16

      correctly generate a protocol with no ADT when asked $e21
  """

  // tests common to fileToX and stringToX
  def e1 = {
    val inputString = util.Util.readFile("avrohugger-core/src/test/avro/mail.avpr")
    val gen = new Generator(SpecificRecord)
    val List(sourceTrait, sourceRecord) = gen.stringToStrings(inputString)

    val expectedTrait = util.Util.readFile("avrohugger-core/src/test/expected/specific/example/proto/Mail.scala")
    val expectedRecord = util.Util.readFile("avrohugger-core/src/test/expected/specific/example/proto/Message.scala")

    sourceTrait === expectedTrait
    sourceRecord === expectedRecord
  }

  def e2 = {
    val inputString = util.Util.readFile("avrohugger-core/src/test/avro/user.avsc")
    val gen = new Generator(SpecificRecord)
    val List(source) = gen.stringToStrings(inputString)
    val expected = util.Util.readFile("avrohugger-core/src/test/expected/specific/example/User.scala")
    source === expected
  }

  def e3 = {
    val inputString = util.Util.readFile("avrohugger-core/src/test/avro/AvroTypeProviderTestNoNamespace.avsc")
    val gen = new Generator(SpecificRecord)
    val List(source) = gen.stringToStrings(inputString)
    val expected = util.Util.readFile("avrohugger-core/src/test/expected/specific/AvroTypeProviderTestNoNamespace.scala")
    source === expected
  }

  def e4 = {
    val inputString = util.Util.readFile("avrohugger-core/src/test/avro/nested.avsc")
    val gen = new Generator(SpecificRecord)
    val List(source2, source1, source0) = gen.stringToStrings(inputString)

    val expected0 = util.Util.readFile("avrohugger-core/src/test/expected/specific/example/Level0.scala")
    val expected1 = util.Util.readFile("avrohugger-core/src/test/expected/specific/example/Level1.scala")
    val expected2 = util.Util.readFile("avrohugger-core/src/test/expected/specific/example/Level2.scala")

    source0 === expected0
    source1 === expected1
    source2 === expected2
  }

  def e5 = {
    val inputString = util.Util.readFile("avrohugger-core/src/test/avro/nested.avdl")
    val myAvroScalaCustomTypes = SpecificRecord.defaultTypes.copy(protocol = types.ScalaADT)
    val gen = new Generator(format = SpecificRecord, avroScalaCustomTypes = Some(myAvroScalaCustomTypes))
    val List(source) = gen.stringToStrings(inputString)
    val expected = util.Util.readFile("avrohugger-core/src/test/expected/specific/example/idl/NestedProtocol.scala")
    source === expected
  }

  def e6 = {
    val inputString = util.Util.readFile("avrohugger-core/src/test/avro/recursive.avdl")
    val gen = new Generator(SpecificRecord)
    val List(source) = gen.stringToStrings(inputString)
    val expected = util.Util.readFile("avrohugger-core/src/test/expected/specific/example/idl/Recursive.scala")
    source === expected
  }

  def e7 = {
    val inputString = util.Util.readFile("avrohugger-core/src/test/avro/enums.avsc")
    val gen = new Generator(SpecificRecord)
    val List(source) = gen.stringToStrings(inputString)
    val expected = util.Util.readFile("avrohugger-core/src/test/expected/specific/example/Suit.java")
    source === expected
  }

  def e8 = {
    val inputString = util.Util.readFile("avrohugger-core/src/test/avro/enums.avpr")
    val gen = new Generator(SpecificRecord)
    val List(sourceRecord, sourceEnum) = gen.stringToStrings(inputString)

    val expectedEnum = util.Util.readFile("avrohugger-core/src/test/expected/specific/example/proto/Suit.java")
    val expectedRecord = util.Util.readFile("avrohugger-core/src/test/expected/specific/example/proto/Card.scala")

    sourceEnum === expectedEnum
    sourceRecord === expectedRecord
  }

  def e9 = {
    val inputString = util.Util.readFile("avrohugger-core/src/test/avro/enums.avdl")
    val gen = new Generator(SpecificRecord)
    val List(sourceRecord, sourceEnum) = gen.stringToStrings(inputString)

    val expectedEnum = util.Util.readFile("avrohugger-core/src/test/expected/specific/example/idl/Suit.java")
    val expectedRecord = util.Util.readFile("avrohugger-core/src/test/expected/specific/example/idl/Card.scala")

    sourceEnum === expectedEnum
    sourceRecord === expectedRecord
  }

  def e10 = {
    val inputString = util.Util.readFile("avrohugger-core/src/test/avro/enums_nested.avsc")
    val gen = new Generator(SpecificRecord)
    val List(sourceEnum, sourceRecord) = gen.stringToStrings(inputString)

    val expectedEnum = util.Util.readFile("avrohugger-core/src/test/expected/specific/example/Direction.java")
    val expectedRecord = util.Util.readFile("avrohugger-core/src/test/expected/specific/example/Compass.scala")

    sourceEnum === expectedEnum
    sourceRecord === expectedRecord
  }

  def e11 = {
    val inputString = util.Util.readFile("avrohugger-core/src/test/avro/bytes.avsc")
    val gen = new Generator(SpecificRecord)
    val List(source) = gen.stringToStrings(inputString)
    val expected = util.Util.readFile("avrohugger-core/src/test/expected/specific/example/BinarySc.scala")
    source === expected
  }

  def e12 = {
    val inputString = util.Util.readFile("avrohugger-core/src/test/avro/bytes.avpr")
    val gen = new Generator(SpecificRecord)
    val List(source) = gen.stringToStrings(inputString)
    val expected = util.Util.readFile("avrohugger-core/src/test/expected/specific/example/proto/BinaryPr.scala")
    source === expected
  }

  def e13 = {
    val inputString = util.Util.readFile("avrohugger-core/src/test/avro/bytes.avdl")
    val gen = new Generator(SpecificRecord)
    val List(source) = gen.stringToStrings(inputString)
    val expected = util.Util.readFile("avrohugger-core/src/test/expected/specific/example/idl/BinaryIdl.scala")
    source === expected
  }

  def e14 = {
    val inputString = util.Util.readFile("avrohugger-core/src/test/avro/import.avdl")
    val gen = new Generator(SpecificRecord)
    gen.stringToStrings(inputString) must throwA(new java.lang.RuntimeException("Imports not supported in String IDLs, only avdl files."))
  }

  def e15 = {
    val inputString = util.Util.readFile("avrohugger-core/src/test/avro/AvroTypeProviderTestEmptyRecord.avdl")
    val myAvroScalaCustomTypes = SpecificRecord.defaultTypes.copy(protocol = types.ScalaADT)
    val gen = new Generator(format = SpecificRecord, avroScalaCustomTypes = Some(myAvroScalaCustomTypes))
    val List(source) = gen.stringToStrings(inputString)
    val expected = util.Util.readFile("avrohugger-core/src/test/expected/specific/test/Calculator.scala")
    source === expected
  }

  def e16 = {
    val inputString = util.Util.readFile("avrohugger-core/src/test/avro/defaults.avdl")
    val gen = new Generator(SpecificRecord)
    val List(sourceRecord, sourceEnum) = gen.stringToStrings(inputString)

    val expectedRecord = util.Util.readFile("avrohugger-core/src/test/expected/specific/example/idl/Defaults.scala")
    val expectedEnum = util.Util.readFile("avrohugger-core/src/test/expected/specific/example/idl/DefaultEnum.java")

    sourceRecord === expectedRecord
    sourceEnum === expectedEnum
  }

  def e21 = {
    val inputString = util.Util.readFile("avrohugger-core/src/test/avro/AvroTypeProviderTestProtocol.avdl")
    val gen = new Generator(format = SpecificRecord)

    val List(source) = gen.stringToStrings(inputString)

    source === util.Util.readFile("avrohugger-core/src/test/expected/specific/test/Joystick.scala")
  }

}

redpajama_set_name: RedPajamaGithub


John Frieda® stands for 30 years of expertise in tailor-made hair care for demanding hair. Especially blondes need products that transform their hair into the best possible blonde. The Blonde Secret campaign focuses on three special hair care product collections for blonde hair. We discover the secrets of the blonde women who have found their perfect product match John Frieda®.
The challenge was to create an appealing and recognizable 360° ATL campaign with a strong and unique digital activation. The campaign was set to activate the biggest online sampling ever done by the brand, including 25.000 sample packs which should be distributed not only to blonde women, but to those with specific needs for their blonde hair.
Blondes are always trying to perfect their hair as much as John Frieda® does with its blonde specific products. We know, blonde is more than a color. It is an identity. Having the perfect blonde hair is a secret. We used that insight for our campaign. Blonde Secret revealed the blonde women´s secrets and let users take part in the "blonde circle of trust" – haircare, beauty, fashion & lifestyle secrets were revealed over a campaign period of 6 weeks.
Influencer as the key visuals faces and the protagonists of the Blonde Secret campaign films.
Three blonde ambassadors are the inspiring faces of the Blonde Secret campaign. Each of them stands for one of the three John Frieda® blonde product collections.We created awareness and appeal through their social channels and connected their beautiful hair to John Frieda®. We established John Frieda® as THE brand for demanding blonde hair. While the influencers revealed secret after secret to the audience together with John Frieda®, users were able to get closer and closer to their own perfect blonde by signing up to receive blonde sample packs for their specific needs.
Through the blonde product advisor, which was especially designed for the campaign, the users got exactly the products their blonde needed. Brilliant Shine for blonde hair which needs shine and volume, Perfekte Reparatur for stressed and damaged blonde and Go Blonder for a sunkissed blonde look.
We filled an inspiring secret wall on the blondesecret.de website with secrets from our ambassadors, from supporting influencers and from participating users, as well as blonde related inspiring articles and secret tips.
For the second part of the campaign we went on a secret trip with our ambassadors during which more secrets were revealed and more challenges were accepted. The roll out of the trip was featured exclusively in the form of Instagram Stories on the three ambassadors' Instagram channels @oljaryz, @alessa_w and @charliemeetz and on @johnfriedaDE.
While the users where watching the secret stories, we invited them to upload an image, telling us their blonde secret and featuring it with #blondesecret. By doing so, they had the opportunity to win a trip to our secret location and walk in the steps of our blonde ambassadors.
The secret location was revealed exclusively on the @johnfriedaDE Instagram Story channel at the end of the trip.
The Blonde Secret campaign was also featured at the point of sale: In order to bring the campaign´s insight and idea to life we designed secret packagings for the products, as well as emotional Blonde Secrets postcards featuring our ambassadors and secret tips.
Online shopping is an essential tool for every brand to sell their products. That´s why we also designed and created premium Blonde Secret Ambassador Boxes, which were on sale at Amazon.com.
With this holistic campaign roll out we established that John Frieda® is the expert for demanding blonde hair.
The following channels have been activated: Print, POS, Online Media, Display Banner, YouTube, Facebook, Instagram, Website, Newsletter. The print campaign was the best performingJohn Frieda® campaign ever in the DACH market. 25.000 users got their perfect matching sample pack for their blonde specific needs. All thanks to the blonde product advisor.


These are general FAQs about Perfectraffic.com and it's services ; additional FAQs may be listed directly on the web page detailing the exact service.
If you have any questions about this FAQ, our services or a general question please contact us.
Perfect Traffic, one of the leading traffic wholesalers, get traffic from expired domains, direct sources, pay per click, impressions, publisher's websites and partners with the largest networks online to ensure you get real visitors at the best prices possible.
We partner with over 50,000 publisher websites and over 50 major traffic providers and networks and we test our partner's traffic continuously too for both verification and so we can setup up your traffic campaign to work with each traffic source(s) (fine-tuned per source) to ensure maximum results every time.
All Perfectraffic traffic is "trackable" in all analytics / "visitor tracking" platforms and services.
AND we tell you how to fix what is wrong / not working 100% too – free… for one simple reason – the better the results you get the better it is for everyone when you buy traffic from us.
See our blog on "tracking your visitors" for more information on how to check traffic, visitors, what they are doing and how you can increase your conversions by tracking your visitors properly.
We have TWO 5 part series on this subject that covers all the basics (and tracking services and platforms) plus advanced testing and tracking too and detecting "real visitors" from "fake visitors" when you buy traffic.
But … and this is a BIG "but"….
Read our series on "tracking your visitors" because it is mission critical to your success and results regardless of how much or how little or where you buy traffic period.
If you are not tracking your traffic / visitors properly and constantly you could miss critical issues on your website affecting conversions or even worse stop buying traffic THAT IS CONVERTING!!
Please check our series on "tracking your visitors" first… before you buy traffic from us or any other provider.
Why do you provide bonus(s) with all orders?
We provide a bonus(s) with every order because we have found over the years all the issues that affect our clients when it comes to getting the best results possible from their campaigns with us and internet marketing in general.
The bonus(s) included with each campaign (which vary from service to service) reflect that feedback – in other words, we provide the answers to clients they need to maximize results from our campaigns every time.
And if you are not getting maximum results – the detailed, how to information they can apply immediately to increase those results at no additional cost to you.
Each bonus report/pdf/how to manual has been carefully handpicked, reviewed, and in many cases updated with mission-critical data and know how based on many years in internet marketing and our client feedback.
Bottom line: We include these bonuses because the better your results; the better our results.
These bonuses are exclusive to Perfectraffic.com and not available elsewhere.
Our traffic comes from a large network of specialized websites, each with its own narrow market, we have come across during our experience in the online marketing industry.
Because we've been in the business so long, we know where to find the hard-to-get traffic. We buy in bulk from our specialty traffic providers and then we provide you with an incredibly simple, easy-to-use interface.
This network of specialized websites receives thousands of visitors every day; we collect this traffic and, using a proprietary algorithm, deliver it to our customers' websites.
Basically, all we do is redirect the traffic coming from this network/partnership to your website.
-> This is traffic from expired domains (usually found via a search engine or "organic traffic") and then when a match to your category[s] is found this visitor will be redirect to your website. This happens in under 1 second.
-> This is traffic re-directed after some action[s] at a website. This is commonly called "exit traffic". Unlike a pop up or pop under this visitor is sent directly to your website in real time.
-> This traffic is from a pop up window when a visitor visits a website in your same "category[s]" / matching your category[s] – your site will then open in a new window.
-> This traffic is from a pop under window when a visitor visits a website in your same "category[s]" / matching your category[s] – your site will then open in a new window.
-> in this case your website is shown during a visit to a website DURING the visitor's visit usually as an interm ad , floating window or other such ad. This puts your website DIRECTLY in the visitors view and the visitor must click on a "next" button or go to your website.
-> In this case a visitor must view your TEXT AD before they click on a link to visit your website ; this ad is shown based on various settings like "category" and "Geo location" and you ONLY pay for clicks not "impressions" of your ad[s]. In this case you want your ad[s] to DIS-encourage as many clicks as possible so you only pay for good leads / visitors.
-> In this case a visitor must view your TEXT AD/BANNER AD before they click on a link to visit your website ; this ad is shown based on various settings like "category" and "Geo location" and you for "impressions" of your ad[s] – usually per 1000. In this case you want your ad[s] to encourage as many clicks as possible.
When you make a purchase, one of our marketing specialists will visit your website, send you a detailed message with his professional feedback on your site and set up your campaign.
Depending on the service order your campaign may consist of one type, two types or more types of traffic and one or more category[s] as each campaign and client requirement is different.
In addition to this, we can block or white list publishers, networks and types of traffic too in several ways – including by device, operating system, bidding, as well as several security checks/systems and unique filters.
It is in our best interest to do so if you generate sales or contacts chances are you'll be back for another purchase.
Thanks to this manual review process, our online advertising technology will maximize your internet advertising dollar by redirecting massive amounts of traffic to your website.
By connecting your site to our content-rich affiliate sites and search engines, we can deliver targeted visitors that go well beyond any traditional online promotion method.
Yes, we employ a powerful algorithm to ensure the correct geo-target for each visitor we deliver. As soon as you place your order with us, a marketing specialist will evaluate your website to see what targeting will work best.
Or, you can choose where you want your traffic to come from.
Our geo-targeting system will not send a visitor to your campaign unless there is a reason to believe that the visitor is located in a country appropriate for your campaign.
While our geo-targeting system is proprietary, our results can generally be confirmed using 3rd party databases and third-party tracking.
In order to help our IT specialists review your website the best way possible, we publish a list of 160+ categories with a detailed description of each one.
Although our network is composed of websites in each different category, we don't apply specific category, keyword or business area categorization to our campaigns.
Therefore, the selection of one category in the order form doesn't imply that the traffic delivered to your campaign will be redirected exclusively from sites in that category or business area.
We are very strict about geographical targeting, and we want to make this very clear to our clients – we know that a happy customer is a repeat customer.
Where does your traffic come from? Tell me more about your sources.
We are very proud of the traffic we offer.
We do not have "secret sources" or "secret methods" for generating traffic. Our traffic is derived from hard work. Period.
You deserve to know the source of the traffic so that you can make an informed business decision when purchasing it.
Our traffic comes from a large network of specialized websites, each with its own narrow market, we have come across during our long experience in the online marketing industry.
Because we've been in the business so long, we know where to find the hard-to-get traffic.
We buy in bulk from our specialty traffic providers and then we provide you with an incredibly simple, easy-to-use interface.
Our network of websites receives thousands of visitors every day; we collect this traffic and, using a proprietary algorithm, deliver it to our customers' websites.
When you make a purchase, one of our marketing specialists will visit your website and, whether you specified a target or not, set up your campaign right away. It is in our best interest to do so if you generate sales or contacts chances are you'll be back for another purchase.
Thanks to this manual review process, our online advertising technology will maximize your internet advertising dollar by redirecting a massive amount of traffic to your website.
By connecting your website to our content-rich affiliate sites and search engines, we can deliver targeted visitors that go well beyond any traditional online promotion method.
Why are your prices MUCH LESS than most other traffic brokers?
Volume! We deal with so much traffic, we are able to keep our prices very low and save you money. We receive many customer inquiries before purchases are made voicing their concern as to why our prices are so low!
There are many other resellers out there with prices sometimes 10X our amount and guess what, the resellers buy from us! That is how low our prices are. We dare anyone to test our service, price, and traffic!
Yes! – all campaigns come with FREE LIVE STATS so you can keep track of our progress during your campaign! Before your campaign starts, you will receive an email with a username to login.
Please save this email for reference and future use oar print it out.
If you order 10,000 visitors make sure it is set that way.
This figure shows how many visitors we have sent you.
This figure shows how many visitors sent today.
Your campaign went live on this date.
The geotarget for your campaign. If you selected USA make sure it is set to that.
We guarantee that we will deliver ALL the visitors you purchased within the time period set [if available for your order] OR the time noted per campaign.
In some cases, we could take a bit more to complete the campaign. Many traffic companies can simply add popups or use other tricks (such as loading several sites on one page) to increase supply. Thus, those companies are rarely faced with supply shortages.
Indeed, one should be circumspect when a company never seems to have supply problems. We do not have that option because our supply is limited by the number of visitors we are able to locate.
Do you guarantee that I will generate more sales? What kind of conversions can I expect from a campaign?
No. We do not guarantee anyone that they will generate more sales.
However, we do guarantee delivery of the full amount of web traffic that you have purchased or we will refund you prorated.
In such rare case that we cannot complete the full delivery of service within the specified timeframe, we can either issue a prorated refund for the remaining visitors or continue your service delivery until the web traffic service is complete.
You have the choice to make that decision.
Please note that sales on a website will depend on many factors including the website product, content, load time, layout, product pricing, presentation, service, and more factors.
We will provide the service of sending visitors to your website, your job is to generate these visitors into customers and we'll do our best to achieve that. Remember, web traffic does mirror a 'billboard' ad.
We recommend that (if possible) you generate a special ad page for your traffic campaign (instead of sending them to your websites main page) that may include a special, an outstanding product, weekly special or one time offer. Consider a web traffic campaign like a newspaper or billboard ad when you drive by on the highway; many people will pass them and, in some cases, someone will slow down and write down the phone number.
That's why it is so important to catch their eye to get them interested to stay and make that decision within seconds!
Do you use programs to generate "fake" traffic to my site?
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How to Move Photos from Google Drive to Picasa?
Picasa Web s used to backup photos and videos, also organize and share them with family and friends via email. It provides you the link to share your photos and videos with others. You can share that link via email. It allows you to create a slideshow of all the photos in an album. To create a slideshow, click 'Link to this Album'. When you click on this link, you will get a an option to format your slideshow. You can choose the size of the slideshow i.e. 'Large' or 'Medium'. You can also choose to show the photo captions. Once you have selected these options, you will get a code. Copy and paste the code in the yellow box to your website.
This is how you can move photos from Google Drive to Picasa.


text:
The start of the 117th season of Major League Baseball is just around the corner. While we wait for the ground crews to chalk the baselines and teams to finalize their opening day rosters, here's a look at some of Thornton Tomasetti's recent work around the league aimed at enhancing the game experience for team owners, players and of course, the fans.
The 1060 project, which started in 2014, will give Chicago's Wrigley Field a makeover that preserves the park's historic features while adding modern amenities. Ben Pavlich / Thornton Tomasetti.
One of the most iconic stadiums in baseball is Wrigley Field, home of the current World Series Champions, the Chicago Cubs. Thornton Tomasetti has been providing structural and construction engineering for the 1060 Project, the multi-phase restoration and expansion program designed to preserve the 103-year-old Illinois ballpark's historic charm while providing fans with more modern features. The project's first phase finished in 2015 and strengthened the left field grandstand foundations, rebuilt the ballpark's outfield bleacher seating sections and added 300 seats and 300 standing positions as well as two large video boards and new concessions under the bleachers.
New bleachers under construction in Spring 2015; the batter's eye and historic scoreboard were preserved.
The second phase, completed last year, included new amenities at the upper-level concourse and a 30,000-square-foot clubhouse connected by a new tunnel to the dugout. Strengthening the grandstand turned out to be the most challenging aspect of the phase, since the original 1914 stadium design did not meet current code wind loads. To provide for both modern code-prescribed gravity and wind loads, we recommended augmenting the grandstand's lateral system with the addition of new diaphragm reinforcing using carbon fiber reinforced polymers, and concrete encasement of the rakers. This alternative approach to replacing the precast and cast-in-place spalled areas resulted in a significant cost savings for the Cubs organization.
Newly completed bleachers with left and right field video boards that debuted in 2015.
The third phase of the five-year project took place this past offseason (2016/2017). It was a continuation of the strengthening and repair work of the prior phases primarily in right field. The main focus was on the reconstruction of the terrace level behind home plate, the mezzanine level, and ramps, along with extensive reinforcement of the main roof trusses to accommodate future party decks and suite expansions scheduled for upcoming phases.
PNC Park in Pittsburgh. Courtesy daveynin/Flickr.
Another ballpark undergoing a renovation program is PNC Park, home to the Pittsburgh Pirates in Pennsylvania. Thornton Tomasetti, which served as the engineer of record for the stadium's construction in 2001, has been assisting in these renovations. These include upgrades for the premium seating Lexus Club and retrofitting for new concrete treads and risers for the addition of new seats. There were also modifications to the left field lower bowl and the upper concourse bowl that included retrofitting some of the existing ADA seating areas. In addition, two television camera bay locations were modified with overbuild for added seating and the backstop netting was extended to the end of each dugout for additional protection from foul balls for fans in the lower bowl.
The new Craft Pier upper deck and Sun Diego Beach lower deck at Petco Park in San Diego.
There has also been a series of renovations at PETCO Park in San Diego, home of the San Diego Padres. We provided structural design for the creation of a double-tiered patio deck in right field from the existing seating area. The lower deck is slab-on-grade and the upper deck is framed with concrete over the steel deck supported on concrete bearing walls. The design included foundations, slabs, stairs, shear walls, guardrails and drink rails. The concrete decks were covered with pedestal mounted wood decking, and sawn timber beams and heavy timber "gun barrel" pier piling were introduced between levels to simulate a harbor pier. To help capture the local flavor of San Diego, the decor was completed with surf boards and coastal wall murals. Thornton Tomasetti was also the structural engineer of record for the stadium's construction in 2004, noteworthy at the time for being located within two miles of an active fault and designed to meet the UBC requirements of Seismic Zone Four.
Recent Diamond Club renovations at Kauffman Stadium in Kansas City.
Since completing a $250-million renovation and restoration effort in 2009, Thornton Tomasetti has been involved in numerous projects at Kauffman Stadium, home of the Kansas City Royals in Missouri. In this past offseason, we provided structural engineering for four additional stadium renovation programs. This work entailed floor strengthening for heavy distributed antenna system (DAS) equipment; improvements to the Diamond Club area including the addition and reconfiguration of seating, a mechanical equipment access catwalk and supports for three suspended folding glass walls; the addition of a Authentics memorabilia and collectibles store; and a new sponsor pavilion in the concourse behind right field.
Inspecting the Safeco Field roof in Seattle.
Major League Baseball's northernmost stadium is Safeco Field in Seattle, Washington's SoDo district where the Seattle Mariners play. Our Kinetics team, along with strategic partner Hardesty & Hanover, has been performing annual condition reviews of the stadium's retractable roof panels and the fixed structure supporting side panels since 2004. Safeco Field's retractable roof consists of three independent panels that span approximately 700 feet over the stadium and, when retracted, the two end panels nest under the center panel over the rail tracks to the east of the stadium. In addition to our roof review, we have been involved with the replacement of portions of the mechanization system that operates the roof.
Miller Park in Milwaukee.
Our Kinetics team and Hardesty & Hanover have also been hard at work at Miller Park in Milwaukee, Wisconsin, home of the Milwaukee Brewers. From 2002 and 2007, we were involved in the replacement of all the components of the mechanization system that operates the stadium's five retractable roof panels. The Southeast Wisconsin Professional Baseball Park District has continued our relationship, retaining our Kinetics group annually to help keep the roof in working order. We also provide guidance for future maintenance, develop repair details for a variety of conditions observed in the field and evaluate the overall performance of the roof structure.
The new Yankee Stadium patios were open for use and enjoyed by Senior Project Engineer Efe Karanci (left) as New York City Football Club took to the field on March 18.
Thornton Tomasetti provided structural and construction engineering services to Populous for the new Yankee Stadium that was unveiled during the 2009 season (The project was especially exciting for many of our native New Yorkers on staff, including project team members Chairman and CEO Tom Scarangello and Managing Principal Mike Squarzini). This past offseason, we were back in the Bronx working with HOK to provide the largest alteration to the stadium since it opened. The project included the removal of four bays of raked bleachers and replacing them with level patio areas to allow for a more free distribution of fans in the area. In left field, where the only truck access runs under the patios, we used long spanning plate girders to transfer columns and reinforced an existing 40-foot deep member. To avoid conflicts, Thornton Tomasetti's CORE studio was brought in to provide photogrammetry of the existing conditions, allowing us to design the plate girder within an inch of an existing gas main.
Now, let's get ready to kick back and enjoy some baseball. Batter up!
Interested in more of our sports work? Check out the range of services we provide for sports and public assembly structures or download our sports brochure.
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ETFE and Sports Can Be a Winning Combination
Sep 12, 2016 - Blog
Here are some reasons why ETFE can be a game-changer for sports venues.
Apr 3, 2016 - Blog
As we welcome another Major League Baseball opening day, we celebrate by taking a look at the various professional, collegiate and training baseball facilities we've worked on over the years.
The Big Payoff
Our Kansas City office celebrated the Royals' 2015 World Series win while New York Mets fans across the firm took their team's loss in stride.
Our Baseball Obsession
You might say Thornton Tomasetti has a thing for baseball.


text:
Q: json encoding issue in Python I am attempting a custom encode, but get an error. The following code sample generates an error:
#!/usr/bin/python3

import json

class Contact:
  def __init__(self, first, last):
    self.first = first
    self.last = last

  @property
  def full_name(self):
    return ("{} {}".format(self.first, self.last))

class ContactEncoder(json.JSONEncoder):
  def defualt(self, obj):
    if isinstance(obj, Contact):
      return  {"is_contact": 'T'
              ,"first": obj.first
              ,"last": obj.last
              ,"full_name": obj.full_name}
    return super().defualt(obj)

if __name__ == "__main__":
  c = Contact("Jay", "Loophole")
  print(json.dumps(c.__dict__))
  print(json.dumps(c, cls=ContactEncoder))

The error generated is:
{"first": "Jay", "last": "Loophole"}
Traceback (most recent call last):
  File "json_dump.py", line 26, in <module>
    print(json.dumps(c, cls=ContactEncoder))
  File "/usr/lib/python3.5/json/__init__.py", line 237, in dumps
    **kw).encode(obj)
  File "/usr/lib/python3.5/json/encoder.py", line 198, in encode
    chunks = self.iterencode(o, _one_shot=True)
  File "/usr/lib/python3.5/json/encoder.py", line 256, in iterencode
    return _iterencode(o, 0)
  File "/usr/lib/python3.5/json/encoder.py", line 179, in default
    raise TypeError(repr(o) + " is not JSON serializable")
TypeError: <__main__.Contact object at 0x7ffb3445a400> is not JSON serializable

The default dictionary is successfully displayed, but when a custom encode is passed as a cls parameter, an error occurs.
Any suggestions for the reason for the error?

A: Here is your updated code after the defUAlt --> defAUlt correction:
import json

class Contact:
  def __init__(self, first, last):
    self.first = first
    self.last = last

  @property
  def full_name(self):
    return ("{} {}".format(self.first, self.last))

class ContactEncoder(json.JSONEncoder):
  def default(self, obj):
    if isinstance(obj, Contact):
      return  {"is_contact": 'T'
              ,"first": obj.first
              ,"last": obj.last
              ,"full_name": obj.full_name}
    return super().default(obj)

if __name__ == "__main__":
  c = Contact("Jay", "Loophole")
  print(json.dumps(c.__dict__))
  print(json.dumps(c, cls=ContactEncoder))

You can check it out live on this page.

redpajama_set_name: RedPajamaStackExchange


text:
Q: Integral of $e^{-(Ax^2 + By^2)}$ around the unit sphere I'm trying to calculate $\mathcal{I} = \int_{S^2} e^{-(Ax^2 + By^2)} dS$ for real constants $A$ and $B$, where $S^2$ is the two-dimensional sphere..
I have external constraints on these constants which are $-\frac13 < A < \frac23$, $-\frac13 < B < \frac23$ and $-\frac13 < -(A + B) < \frac23$, though I don't believe that anything blows up with this particular function if those constraints are not met -- plotting the integral numerically for different values of $A$ and $B$ gives something that looks smooth.
So far I have attempted to put it in spherical coordinates, and done the common substitution $\mu = \cos\theta$ which yields the following (after using the Pythagorean identity):
$$
\mathcal{I} =
e^{-B}
\int_{-1}^1 d\mu \: e^{-B \mu^2}
\int_{0}^{2\pi} d\phi \: e^{-\alpha (1 - \mu^2) \sin^2\phi}
$$
with $\alpha = (A - B)$ just another real constant. One may compute either of the two integrals to get:
$$
\mathcal{I}
= 2\pi e^{-B} \int_{-1}^1 d\mu \: e^{-B \mu^2} I_0\left(\alpha(1 - \mu^2)\right)
$$
or
$$
\mathcal{I}
= \sqrt{\pi} e^{-B} \int_0^{2\pi} d\phi \:
\frac{e^{-\alpha \sin\phi} \text{erf}\left(\sqrt{B - \alpha \sin\phi}\right)}{\sqrt{B - \alpha \sin\phi}}
$$
where $\text{erf}$ is the error function, and $I_0$ is the zeroth modified Bessel function of the first kind.
At this point I am somewhat stuck.
Maybe complex integration could do something for the latter expression, but the square roots mean branch cuts which seem like bad news.
For context, I'm trying to write an efficient numerical solver that has to evaluate this function a lot, so any expression that increases the efficiency above numerical quadrature is helpful.


text:
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text:
News, reviews, features and podcast on theatre across the UK
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Edinburgh Latitude MIF GM Fringe Buxton Fringe Vault 24:7
Dance Opera Musicals Panto Children/YPT Circus Touring Writing MT Awards
The People Are Friendly
Michael Wynne
The Royal Court Theatre Downstairs
The People are Friendly spends its first two hours or so in the guise of an outrageously funny comedy. Suddenly, things begin to get more serious as it turns into a social drama of life in a depressed town which has lost its dignity.
Michelle (Sally Rogers) escaped from Birkenhead to college and then to a successful career in London long ago. She and her partner Robert (Stephen Mangan), a posh Londoner, have decided, for reasons that are not immediately apparent, to make new lives in a five-bedroomed house overlooking the estate where she was brought up.
They invite her dysfunctional family around to show off their success and to let Michelle commune with her roots. It is a real toss-up as to which of the characters is funniest. Mum (Brookside's Sue Jenkins) sounds like Cilla Black and has difficulty in understanding the simplest ideas. Like dad, she is kept happy by pills. He is a former shipwright who has lost all sense of pride but dreams of the day when the new Cammell Laird will reopen.
Their other daughter, Donna, played by Michelle Butterly, is a grandmother at 32 and strives to feed her lazy lover, Brian, and three children: drug-dealing 16 year old slapper, Kirsty (Sheridan Smith), lugubrious, mute Eddie and her baby grandson. His appearance at the end is a surprise as it is almost unheard of to see a new-born babe on stage.
Michael Wynne has a great ear for dialogue and a real knack for coming up with funny lines and cruel images. If you see this play, you will never eat another stuffed vine leaf nor look at a dado rail without bursting into laughter. He is assisted by Dominic Cooke's sharp direction which ensures that a good pace is maintained through the comedy but that there is a real poignant contrast as home truths emerge and reality gets a grip.
The themes of the play are nothing new but Michael Wynne looks at them with fresh eyes. The sisters have led different lives and eventually have to come to terms with what they have gained or lost as a result. Coming together causes them to see what they have sacrificed. Almost all of the characters have secrets to hide and ambitions that can never be fulfilled. This leads to stress and unhappiness. The other major issue is life among the working classes in contemporary Britain.
While the playwright gets much of this right, the transition from comedy to serious drama is too fast. The audience doesn't know what has hit it. In addition, the characters, with the exception of Michelle and, to a lesser extent, Donna, are not well developed.
Overall, these criticisms do not matter. The acting is generally good with comic timing rarely missing. In particular, Sally Rogers gives a very strong performance both as farceur and semi-tragedian. Also a word for Jack Richards who (alternating with Joe Cooper) plays 7 year old satanic angel Eddie. He gives a hilarious mute performance that had even some hardened critics rolling around with laughter.
This may not be the perfect play but it is great fun. Buy your tickets soon as they should be selling fast.
The People Are Friendly runs until 6th July
This review originally appeared on Theatreworld in a slightly different version.
Reviewer: Philip Fisher
© 2020 British Theatre Guide


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text:
Here's all the songs performed at Ed Sheeran's Auckland shows
Ed Sheeran's finally in New Zealand and his first shows in Auckland were as incredible as expected.
He's performing six shows in total, with 3 in Dunedin over Easter weekend.
See all the photos from Ed Sheeran's first NZ shows
Ed Sheeran visits Jacinda Ardern for 'a cuppa and some scones'
Ed Sheeran declares love for NZ at Auckland show
Sheeran's full set-list from the March 24, 2018 concert was:
Don't / New Man
I'm a Mess
Tenerife Sea
Galway Girl
Feeling Good / I See Fire
Nancy Mulligan
You Need Me, I Don't Need You


text:
Q: Pandas Dataframe change value conditionally on arithmetic distance I have a pandas Dataframe with weighs in column 'a'. I want to change the weighs only if they change by more than let say 0.05 (in both directions)
and save the resulting the column 'a_1'. Is it possible to do this without using a loop?
date            a     a_1
2017-06-30     0.72   0.72
2017-07-01     0.74   0.72
2017-07-02     0.71   0.72
2017-07-03     0.70   0.72
2017-07-04     0.67   0.72
2017-07-05     0.66   0.66    --> difference is -0.06 < -0.05
2017-07-06     0.65   0.66
2017-07-07     0.76   0.76    --> difference is +0.10 > +0.05
2017-07-08     0.77   0.76
2017-07-09     0.78   0.76
2017-07-10     0.74   0.76
2017-07-11     0.69   0.70    --> difference is -0.07 < -0.05
2017-07-12     0.73   0.70
2017-07-13     0.73   0.70

A: You could use Pandas' apply method, is that preferable to a for loop for you?
Unfortunately, it would mean changing a global variable inside a function. If you can live with that, the following works:
number_to_compare = 0

def get_weight(row):
    global number_to_compare
    if abs(row.a - number_to_compare) > 0.05:
        number_to_compare = row.a
        return row.a
    return number_to_compare

df['a_1'] = df.apply(get_weight, axis=1)

Output:
               a    a_1
date
2017-06-30  0.72    0.72
2017-07-01  0.74    0.72
2017-07-02  0.71    0.72
2017-07-03  0.70    0.72
2017-07-04  0.67    0.72
2017-07-05  0.66    0.66
2017-07-06  0.65    0.66
2017-07-07  0.76    0.76
2017-07-08  0.77    0.76
2017-07-09  0.78    0.76
2017-07-10  0.74    0.76
2017-07-11  0.69    0.69
2017-07-12  0.73    0.69
2017-07-13  0.73    0.69


Energy in a Play: Key Stage 2 (7-11 years): This fun-packed drama day has been a big hit for the last few years. Pupils learn about energy saving in everyday life and then get into character to rehearse and perform a play and catchy song to show their new knowledge and skills off to the rest of the school.
Creative Conductors: Key Stage 2 and 3 (7-14 years): This exciting workshop covers energy conduction, circuits and the design process - with a creative twist. Students will use a Makey Makey - the kit that 'turns the world into a controller' - to combine their knowledge of energy concepts with artistic and design flair.
Micro Energy Mix: Key Stage 4 (14-16): Students take on the role of an energy expert by designing and building functioning micro-models of renewable energy technologies. Teams then really flex their STEM skills as they devise an energy mix to meet MicroGen City's energy needs within environmental, technological and budgetary constraints.
From September 2016 we'll be visiting schools to give workshops in East and West Midlands. Even though we'd love to, we can't visit every school in the UK. So, we've designed a range of free activities to explore core science concepts in the classroom and at home.
If you'd like further information about our workshops please take a look at our FAQs or get in touch.


text:
Roswell "Ronnie" Adolph Pogue
After a long journey, Roswell A. "Ronnie" Pogue left this earth peacefully, free of pain and with dignity, at age 90 due to complications from the COVID-19 virus. Born in New Orleans, he moved to Covington at age 3 and was a life-long resident. He was well-known for his quick wit and gregarious smile. An avid athlete, Ronnie played football and basketball at Covington High, earning All-State honors as a point guard in 1946. He worked as a soda jerk at the old pharmacy at the corner of Boston and New Hampshire streets and as a lifeguard at Bogue Falaya Park. As a teenager, he loved to play ping pong and has a few trophies to prove it. He could often be found shooting pool at Nathan's Bar and Grill as an under-age teen, reportedly hiding under the table when the constable occasionally walked by. He absolutely loved growing up in Covington with his good buddies Cypie Schoen, Tweedle Jackson, Hankus Ferrer and Ralph Menetre. Ronnie went on to study education at both LSU and Southeastern LA University. After graduating SLU, he was drafted and served a short enlistment in the post-war Army. He then met his future wife, Bettie Ramagos, at the Southeast Louisiana State Mental Hospital (he was physical education coordinator and she was a nurse!). They married in 1957 and raised four sons. A career educator, he served as a classroom teacher, girl's basketball coach, principal and School Board Supervisor. He served on the Covington City Council and made a run for Mayor. He was President of many civic organizations in Covington, including the Rotary Club, Playmakers Theater, the United Way, and Community Concerts. After retirement he went into business, first owning a Precision Tune and then three restaurants with his wife, Bettie. He loved amateur theater, performing in 50 plays throughout his life with Playmakers. His love of fishing led him to spend many a day in his boat on the Tchefuncte River or at his camp on Bayou Lacombe. A big LSU fan with season tickets for many years, he picnicked on a real tailgate at many home games before it became a fad. Ronnie was preceded in death by his father, Roswell, his mother, Catherine and his sister, Elva. He is survived by his wife of 63 years, Bettie; his four children, Les, Alan, David and Ros; daughters-in-laws Sarah and Terrie; and four grandchildren, Mary Catherine, Forrest, Shelby and Hanna; all whom he dearly loved. Due to the COVID pandemic, funeral arrangements will be an immediate-family-only graveside service and the family asks that personal visits be delayed until after the virus subsides. In lieu of flowers, they ask that donations be made in Ronnie's name to any Alzheimer's/Veteran's charities or Playmakers, Inc. The family would also like to thank the healthcare workers at both Beau Provence Memory Care and St. Tammany Parish Hospital ICU and Hospice Care
After a long journey, Roswell A. "Ronnie" Pogue left this earth peacefully, free of pain and with dignity, at age 90 due to complications from the COVID-19 virus. Born in New Orleans, he moved to Covington at age 3 and was a life-long... View Obituary & Service Information
The family of Roswell "Ronnie" Adolph Pogue created this Life Tributes page to make it easy to share your memories.
After a long journey, Roswell A. "Ronnie" Pogue left this earth...
Send flowers to the Pogue family.