text:
The Ballarat Regional Soccer Facility, also referred to by its location as Morshead Park Stadium, is an association football-specific stadium in Redan, a suburb immediately to the south of central Ballarat, Victoria, Australia. It is the home of the Ballarat City FC, who play in the National Premier Leagues Victoria, the second tier of Australian football, after the A-League.

Construction
During 2013, the City of Ballarat Council matched a Federal Government investment of $2.675 million announced by then Prime Minister of Australia Julia Gillard in June of that year in a major upgrade of Morshead Park with a view to host training for National Teams in the 2015 Asian Cup, including new grandstands, lights and returfing the field to form the Ballarat Regional Soccer Facility.

The main grandstand seats 500, with an additional standing capacity for a further 8000 on viewing embankments. There is space for temporary stands to be erected across from the main grandstand to bring the total capacity up to 12,000.

Aside from the main pitch, there are two further fully lit football fields adjacent. In total, the facility adds 3,000 pitch hours of availability annually to local clubs.

Tenants
The Ballarat Red Devils played their first game in the stadium on 3 May 2014, losing 1-2 to South Melbourne FC in the NPLV, although the main grandstand was not yet fully complete. South Melbourne player Milos Lujic scored the inaugural goal in the facility.

On 9 May 2014, Premier of Victoria Denis Napthine announced that the facility would be hosting the Bahrain national football team for a sixteen-day training camp prior to the Asian Cup.

Western United will play an A-League Men match against Wellington Phoenix at Morsehead Park on 9 April 2022.

References

External links

Soccer venues in Melbourne
Sports venues in Melbourne


This is a dojo [school] for the study of the traditional self defense martial art of aikido.
Dave Dewberry began this class in 2002. Fighting traffic to Multnomah Aikikai in Portland for classes every week became unreasonable.
We are not an mma training gym but we would love to have you come by to see if our training should be part of your mix.
Forest Grove students are associate members of the dojo and are encouraged to attend classes there as often as possible.


text:
How Global Brands Compete
When a brand is marketed around the world, that fact alone gives it an aura of excellence—and a set of obligations. To maximize the value of global reach, companies must manage both.
Douglas Holt,
John Quelch,
Earl L. Taylor
From the Magazine (September 2004)
Reprint: R0409D
It's time to rethink global branding. More than two decades ago, Harvard Business School professor Theodore Levitt argued that corporations should grow by selling standardized products all over the world. But consumers in most countries had trouble relating to generic products, so executives instead strove for global scale on backstage activities such as production while customizing product features and selling techniques to local tastes. Such "glocal" strategies now rule marketing.
Global branding has lost more luster recently because transnational companies have been under siege, with brands like Coca-Cola and Nike becoming lightning rods for antiglobalization protests. The instinctive reaction of most transnational companies has been to try to fly below the radar.
But global brands can't escape notice. In fact, most transnational corporations don't realize that because of their power and pervasiveness, people view them differently than they do other firms. In a research project involving 3,300 consumers in 41 countries, the authors found that most people choose one global brand over another because of differences in the brands' global qualities. Rather than ignore the global characteristics of their brands, firms must learn to manage those characteristics. That's critical, because future growth for most companies will likely come from foreign markets.
Consumers base preferences on three dimensions of global brands—quality (signaled by a company's global stature); the cultural myths that brands author; and firms' efforts to address social problems. The authors also found that it didn't matter to consumers whether the brands they bought were American—a remarkable finding considering that the study was conducted when anti-American sentiment in many nations was on the rise.
It's time to rethink global branding. More than two decades ago, Harvard Business School professor Theodore Levitt provocatively declared in a 1983 HBR article, "The Globalization of Markets," that a global market for uniform products and services had emerged. He argued that corporations should exploit the "economics of simplicity" and grow by selling standardized products all over the world. Although Levitt did not explicitly discuss branding, managers interpreted his ideas to mean that transnational companies should standardize products, packaging, and communication to achieve a least-common-denominator positioning that would be effective across cultures. From that commonsense standpoint, global branding was only about saving costs and ensuring consistent customer communication. The idea proved popular in the 1980s, when several countries opened up to foreign competition and American and Japanese corporations tried to penetrate those markets with global brands and marketing programs.
While the world economy continued to integrate, experiments with global branding soon slowed. Consumers in most countries had trouble relating to the generic products and communications that resulted from companies' least-common-denominator thinking. Executives therefore rushed to fashion hybrid strategies. They strove for global scale on backstage activities such as technology, production, and organization but made sure product features, communications, distribution, and selling techniques were customized to local consumer tastes. Such "glocal" strategies have ruled marketing ever since.
Global branding has lost more luster recently because transnational companies have been under virtual siege. The evidence is on the streets and in stores all around us. Brands like Coca-Cola, McDonald's, and Nike have become lightning rods for antiglobalization protests. Who can forget the images of angry demonstrators smashing the windows of a McDonald's outlet in Davos, Switzerland, or stomping Coke cans in Seattle? Political parties and nongovernmental organizations (NGOs) have drawn bull's-eyes on transnational companies because they're the most visible and vulnerable symbols of globalization's side effects, such as exploitative wages, pollution, and cultural imperialism. The opposition to U.S. foreign policy that arose after the superpower went to war in Afghanistan and Iraq has further shaken companies, because in 2002, according to global brand consultancy Interbrand, 62 of the world's 100 most valuable global brands were American. Naturally, the instinctive reaction of most transnational companies has been to try to fly below the radar.
But global brands can't escape notice—they've never been more salient in the minds of consumers. In fact, most transnational corporations don't realize that people view them differently than they do other firms. Because of their pervasiveness, global brands are seen as powerful institutions—capable of doing great good and causing considerable harm. When we conducted a research project involving 3,300 consumers in 41 countries, we found that most people choose one global brand over another because of differences in the brands' global qualities. Rather than ignore the global characteristics of their brands, firms must learn to manage those characteristics. That's critical, because future growth for most companies will likely come from foreign markets. In 2002, developed countries in North America, Europe, and East Asia accounted for 15% of the world's population of 6.3 billion. By 2030, according to the World Bank, the planet's population will rise to 9 billion, with 90% of people living in developing countries.
Symbols in the Global Culture
To grasp how consumers perceive global brands, companies should think about the issue in cultural terms. The forces that Levitt described didn't produce a homogeneous world market; they produced a global culture. Culture is created and preserved mainly by communication. In modern societies, communication takes many forms: newspaper and magazine articles, television and radio broadcasts, Internet content, books, films, music, art, and, of course, advertising and marketing communications. For decades, communication had circulated mostly within the borders of countries, helping to build strong national cultures. Toward the end of the twentieth century, much of popular culture became global. As nations integrated into the world economy, cross-border tourism and labor mobility rose; TV channels, movies, and music became universally available to consumers; and, more recently, Internet growth has exploded. Those factors force people to see themselves in relation to other cultures as well as their own. For instance, consumers everywhere have to make sense of the world vis-à-vis Hollywood and Bollywood films, CNN and al-Jazeera news reports, hip-hop and Sufi music.
The rise of a global culture doesn't mean that consumers share the same tastes or values. Rather, people in different nations, often with conflicting viewpoints, participate in a shared conversation, drawing upon shared symbols. One of the key symbols in that conversation is the global brand. Like entertainment stars, sports celebrities, and politicians, global brands have become a lingua franca for consumers all over the world. People may love or hate transnational companies, but they can't ignore them. Many consumers are awed by the political power of companies that have sales greater than the GDPs of small nations and that have a powerful impact on people's lives as well as the welfare of communities, nations, and the planet itself. Not surprisingly, consumers ascribe certain characteristics to global brands and use those attributes as criteria while making purchase decisions.
Dimensions of Global Brands
In 2002, we carried out a two-stage research project in partnership with the market research company Research International/USA to find out how consumers in different countries value global brands. First, we conducted a qualitative study in 41 countries to identify the key characteristics that people associate with global brands. Then we surveyed 1,800 people in 12 nations to measure the relative importance of those dimensions when consumers buy products. A detailed analysis (see the sidebar "The Global Brands Study") revealed that consumers all over the world associate global brands with three characteristics and evaluate them on those dimensions while making purchase decisions. We found that one factor—American values—didn't matter much to consumers, although many companies have assumed it is critical.
The Global Brands Study
To understand how consumers perceive global brands, we first drew on qualitative research that Research International/USA conducted two years ago. RI held focus-group sessions with 1,500 urban consumers between 20 and 35 years old in 41 countries, and in some countries, the firm conducted sessions with social activists. The research helped us identify four dimensions that consumers may associate with global brands, namely quality signal, global myth, social responsibility, and American values.
In February and March 2003, we conducted a quantitative survey to calculate the extent to which the four dimensions influence consumers' purchase preferences. We developed multiple measures for each of the dimensions and pretested them in the United States and the UK. RI administered the survey in those countries and ten others (Brazil, China, Egypt, France, India, Indonesia, Japan, Poland, South Africa, and Turkey). We selected those 12 countries because they varied in terms of economic development, region, religious heritage, and political history. In each country, the participants were consumers between 18 and 75 years old, chosen at random.
To test the influence of the global dimensions on purchase behavior, we asked the respondents to choose among three competing global brands in six product categories. We chose 16 from the top 100 brands (97 were corporate brands) in the 2002 Interbrand Global Brand Scorecard. We made two exceptions. First, in the case of athletic wear, we chose Reebok, which is the third-largest brand in most apparel markets even though it is not among the top 100 brands. Second, in soft drinks, we found that the most powerful third brand after Coke and Pepsi was typically a local brand, so we included the most powerful local brand in each country survey. We ended up with Nokia, Motorola, and Samsung in cell phones; Mercedes-Benz, Ford, and Toyota in automobiles; BP, Shell, and Exxon Mobil in gasoline; Dannon, Nestlé, and Kraft in the packaged goods category; and Nike, Reebok, and Adidas in athletic wear.
We asked respondents to reveal brand preferences by asking them to divide 11 points among the three brands in each category. We then derived weights for each of the global dimensions by modeling the extent to which each factor explained brand preferences. We also examined how those importance weights varied by country, category, and segment. We found that quality signal, global myth, and social responsibility are highly significant, while American values is not. The three significant dimensions explained more than 60% of the variance in brand preferences. We can therefore say conclusively that a brand's global dimensions have a significant impact on its value in the consumer's eyes.
Quality Signal.
Consumers watch the fierce battles that transnational companies wage over quality and are impressed by the victors. A focus-group participant in Russia told us: "The more people who buy [a] brand…the better quality it is." A Spanish consumer agreed: "I like [global] brands because they usually offer more quality and better guarantees than other products." That perception often serves as a rationale for global brands to charge premiums. Global brands "are expensive, but the price is reasonable when you think of the quality," pointed out a Thai participant. Consumers also believe that transnational companies compete by trying to develop new products and breakthrough technologies faster than rivals. Global brands "are very dynamic, always upgrading themselves," said an Indian. An Australian added that global brands "are more exciting because they come up with new products all the time, whereas you know what you'll get with local ones."
That's a significant shift. Until recently, people's perceptions about quality for value and technological prowess were tied to the nations from which products originated. "Made in the USA" was once important; so were Japanese quality and Italian design in some industries. Increasingly, however, a company's global stature indicates whether it excels on quality. We included measures for country-of-origin associations in our study as a basis for comparison and found that, while they are still important, they are only one-third as strong as the perceptions driven by a brand's "globalness."
Global Myth.
Consumers look to global brands as symbols of cultural ideals. They use brands to create an imagined global identity that they share with like-minded people. Transnational companies therefore compete not only to offer the highest value products but also to deliver cultural myths with global appeal.
"Global brands make us feel like citizens of the world, and…they somehow give us an identity," an Argentinean consumer observed. A New Zealander echoed: "Global brands make you feel part of something bigger and give you a sense of belonging." A Costa Rican best expressed the aspirations that consumers associate with global brands: "Local brands show what we are; global brands show what we want to be." That isn't exactly new. In the post–World War II era, companies like Disney, McDonald's, Levi Strauss, and Jack Daniel's spun American myths for the rest of the world. But today's global myths have less to do with the American way of life. Further, no longer are myths created only by lifestyle and luxury brands; myths are now spun by virtually all global brands, in industries as diverse as information technology and oil.
Social Responsibility.
People recognize that global companies wield extraordinary influence, both positive and negative, on society's well-being. They expect firms to address social problems linked to what they sell and how they conduct business. In fact, consumers vote with their checkbooks if they feel that transnational companies aren't acting as stewards of public health, worker rights, and the environment. As infamous cases have filled the airwaves—Nestlé's infant-formula sales in Africa since the 1980s, Union Carbide's Bhopal gas tragedy in 1984, the Exxon Valdez spill in 1989, the outcry over Shell's plan to sink its Brent Spar oil rig and the protests at its Nigerian facilities in 1995—people have become convinced that global brands have a special duty to tackle social issues. A German told us: "I still haven't forgiven Shell for what they [did] with that oil rig." An Australian argued: "McDonald's pays back locally, but it is their duty. They are making so much money, they should be giving back."
The playing field isn't level; consumers don't demand that local companies tackle global warming, but they expect multinational giants like BP and Shell to do so. Similarly, people may turn a blind eye when local companies take advantage of employees, but they won't stand for transnational players like Nike and Polo adopting similar practices. Such expectations are as pronounced in developing countries like China and India as they are in developed countries in Europe.
What we didn't find was anti-American sentiment that colored judgments about U.S.-based global brands. Since American companies dominate the international market, critics have charged that they run roughshod over indigenous cultures in other countries. Champions of free trade have countered that people in other nations want to partake of the great American dream, and global brands like Coke, McDonald's, and Nike provide access to it. That debate has cast a long shadow over American firms, and they have become rather circumspect about revealing their origins, culture, and values while doing business overseas. Many have tried to position themselves as more global than (ugly) American.
However, we found that it simply didn't matter to consumers whether the global brands they bought were American. To be sure, many people said they cared. A French panelist called American brands "imperialistic threats that undermine French culture." A German told us that Americans "want to impose their way on everybody." But the rhetoric belied the reality. When we measured the extent to which consumers' purchase decisions were influenced by products' American roots, we discovered that the impact was negligible.
That finding is all the more remarkable considering that when we conducted our survey, anti-American sentiment in many nations was rising because of the Iraq war. Most of the consumers were like the South African who candidly said, "I hate the country, but I love their products." A Filipino confessed: "I used to go on anti-American rallies when I was a student, but I never thought about the [American] brand of clothes or shoes I wore!" "We aren't concerned with how America governs itself," an Indian said. "What we look for is quality in their products." Since people's concerns with U.S. foreign policy have little impact on brand preferences, American companies should manage brands just as rivals from other countries do.
The relative importance of the three dimensions was consistent across the 12 countries we studied, indicating that the calculus used by consumers to evaluate global brands varies little worldwide. Taken collectively, though, the global dimensions were more powerful in some countries than in others (see the exhibit "Why Consumers Pick Global Brands"). They have the smallest impact on U.S. consumers, for example. Because of the dominance of American brands in foreign markets, a competitive national market, and a certain ethnocentrism, Americans are relatively uninterested in brands' global presence. The drivers also have less impact on consumers in Brazil and India. That may be because of vestiges of anticolonial cultures, the strength of local manufacturers, and growing nationalism in those countries. At the spectrum's other end, the dimensions influence consumers in Indonesia, Turkey, and Egypt the most. In those predominantly Muslim nations, we could survey only people who worked in the organized economy and belonged to the top 50% of the population in socioeconomic terms. Such people may value global brands particularly highly because they represent a way of life that they cherish—a way of life that may be under threat from religious fundamentalism.
Why Consumers Pick Global Brands
The three dimensions of global brands—quality signal, global myth, and social responsibility—together explain roughly 64% of the variation in brand preferences worldwide. The percentages shown in the chart are the averages of survey responses from 12 countries.
Global Consumer Segments
Although we didn't find much variation across countries, when we looked for differences within them, we found that in each country, consumers held a variety of views about global brands. When we grouped together consumers who evaluate global brands in the same way, regardless of home country, we found four major segments. (See the exhibit "Dreamers, Doubters, and Other Global Consumers.")
Dreamers, Doubters, and Other Global Consumers
Most consumers worldwide fall into one of four segments in terms of how they relate to global brands. Global citizens care about firms' behavior on the environment and other issues; global dreamers readily accept brands' myths; antiglobals try to avoid buying transnationals' products; and global agnostics don't regard brands' global nature as meriting special consideration. The relative sizes of the segments are quite consistent worldwide.
Global Citizens.
Fifty-five percent of respondents, on average, rely on the global success of a company as a signal of quality and innovation. At the same time, they are concerned whether companies behave responsibly on issues like consumer health, the environment, and worker rights. According to our study, the United States and the UK have relatively few global citizens, and Brazil, China, and Indonesia have relatively high numbers of them.
Global Dreamers.
The second-largest segment, at 23%, consisted of consumers who are less discerning about, but more ardent in their admiration of, transnational companies. They see global brands as quality products and readily buy into the myths they author. They aren't nearly as concerned with those companies' social responsibilities as are the global citizens.
Antiglobals.
Thirteen percent of consumers are skeptical that transnational companies deliver higher quality goods. They dislike brands that preach American values and don't trust global companies to behave responsibly. Their brand preferences indicate that they try to avoid doing business with transnational firms. The antiglobals' numbers are relatively high in the UK and China and relatively low in Egypt and South Africa.
Global Agnostics.
Such consumers don't base purchase decisions on a brand's global attributes. Instead, they evaluate a global product by the same criteria they use to judge local brands and don't regard its global nature as meriting special consideration. While global agnostics typically number around 8% of the population, there's a higher percentage of them in the United States and South Africa and a relatively low percentage in Japan, Indonesia, China, and Turkey.
New Opportunities, New Responsibilities
Global brands usually compete with other global brands. In most countries, Toyota battles Ford and Volkswagen. Nokia faces off against Motorola and Samsung. Sony takes on Nintendo and Microsoft. To succeed, transnational companies must manage brands with both hands. They must strive for superiority on basics like the brand's price, performance, features, and imagery; at the same time, they must learn to manage brands' global characteristics, which often separate winners from losers.
Think globalness.
Smart companies manage their brands as global symbols because that's what consumers perceive them to be. However, people all over the world are either astonished or disturbed by giant transnational corporations. Firms must learn to participate in that polarized conversation about global brands and influence it. A major obstacle is the instability of global culture. Consumer understandings of global brands are framed by the mass media and the rhizome-like discussions that spread over the Internet. Companies must monitor those perceptions constantly.
It's important for executives to break their habit of thinking about global branding in least-common-denominator or glocal terms because that ignores the transnational company's most distinctive characteristic: its status as a global symbol. Branding must cater to people's perceptions of transnationals as behemoths with extraordinary capacities and power.
For example, in the late 1990s, Samsung launched a global advertising campaign that showed the South Korean giant routinely pulling off great feats of engineering, design, and aesthetics. Samsung convinced consumers that it competed mano a mano with technology leaders like Nokia and Sony across the world. As a result, Samsung was able to change the perception that it was a down-market brand, and it became known as a global provider of leading-edge technologies.
Manage the dark side.
Just because companies are globally successful doesn't mean that consumers have only positive perceptions about them. Transnational companies often have a "dark side" that they must manage. In the early 1990s, IBM discovered that while consumers believed the company was quality focused, they also thought it was arrogant and bureaucratic. The firm addressed the problem with its "Solutions for a Small Planet" advertising campaign. The ads showed nonbusinesspeople in nonbusiness settings: Frenchmen strolling along the Seine, Italian nuns gossiping on their way out of church. All were gushing about IBM's new technologies, as if those products were fixtures in their lives. The scenes were jarring (what's IBM doing there?) and evocative. The campaign smoothed over the feeling that IBM was arrogant and bureaucratic even as it asserted the company's ability to deliver customer-driven solutions the world over. By the late 1990s, it had helped shape the perception that IBM is kinder and gentler, although still a very Big Blue.
Build credible myths.
Global success often allows companies to deliver value to consumers by authoring identity-affirming myths. Firms must create appropriate myths, though. For instance, the idea of a technological utopia in which personal empowerment would reign supreme took hold in the late 1990s. Major technology firms competed fiercely to own that ideal and become the company that people would join with to feel empowered. Microsoft was particularly effective with an advertising campaign built around the tagline "Where do you want to go today?" The American version unfolded stories about common people, such as a sushi restaurant owner and a rancher, using technology to unleash personal passions. The dialogue was philosophical, not technological: "Anybody who says that one person can't make a difference is wrong. Try to push, don't give up, don't give up, don't give up. Where do you want to go today?" Microsoft wasn't selling just technology; it was selling the dream of personal empowerment. The campaign worked because the world's dominant software company had earned the credibility to author such a dream.
When companies author less-than-credible myths, it can hurt brands. For instance, when concerns about global warming surged in the 1990s, consumers worried about whether they'd be able to continue with their oil-fueled lifestyles. The dream of a sustainable world where fuels wouldn't pollute became particularly attractive. BP tried to tap into this dream. In the company's "Beyond Petroleum" campaign, evocative stories and images invited consumers to share in an imagined have-your-cake-and-eat-it-too future of clean fuel. The idea was appealing, but BP, as a major petroleum producer but minor alternative-energy player, was not a credible author. The media and activists roundly ridiculed the company for greenwashing itself. Eventually, BP had to rethink the campaign.
Treat antiglobals as customers.
Most transnational companies are unsure how to treat the people who dislike them. As NGOs have become adept at staging media-friendly protests, corporations have been working hard to get off the activists' hit lists. They assign the problem to government- or community-relations directors, who court the favor of NGOs in backroom dialogues. However, these "civil society" organizations are only the tip of the iceberg. Naomi Klein's No Logo has been translated into 29 languages. Adbusters magazine sells at Whole Foods Market's checkout counters. Eric Schlosser's Fast Food Nation, which put many multinational fast-food brands on trial, sat atop best-seller lists for many months.
Our study showed that one person in ten worldwide wouldn't buy global brands if given a choice. That's an extraordinary number. The antiglobals represent more potential sales than do markets the size of Germany or the United Kingdom, according to our calculations. Few businesses are in a position to ignore such a large group of potential consumers. Companies must earn the trust of that segment by focusing on them as disgruntled consumers. Of course, that is unlikely to happen until firms are willing to make investments in the kinds of social activities that will convince even the skeptics.
One person in ten wouldn't buy global brands if given a choice. That's an extraordinary number. Companies must earn the trust of that segment.
Turn social responsibility into entrepreneurship.
While most companies have launched corporate social responsibility initiatives, the impact of such activities is questionable. Most efforts appear to be a new form of public relations. Even when companies are proactive, initiatives are often limited to those that are "sustainable"—a euphemism used to describe moneymaking activities that happen to benefit society. For instance, a company scouting for supply chain efficiencies may reduce its need for packaging materials, helping both the environment and the company's bottom line. Another common approach is to repackage philanthropic efforts using the new language of social responsibility to target socially responsible investors. The problem is that consumers, already skeptical of transnationals' motives, regard those approaches as opportunistic. The litmus test for social responsibility initiatives is simple: Will consumers perceive the actions to be motivated primarily by self-interest—or by an interest in the welfare of people and the planet?
Consider an initiative that Procter & Gamble recently tested in Latin America's poorest communities. Over a billion people in the world use unsafe water every day, leading to more than 2 million deaths a year from diarrhea. P&G identified safe drinking water as a critical social problem that fell within its scope of expertise. It leveraged its knowledge of household sanitation to develop a water purification system that would be effective in poor countries. P&G found that people would buy the product if it was easy to use and inexpensive and if they could see that the purified water was clean. Scaling down a technology used in water purification facilities, the company's engineers developed a satchel of particulate matter that consumers could stir into buckets. The particles would attract contaminants and dirt, and people could filter out the pollutants with a cloth. P&G's tests in Guatemala have demonstrated that the system can reduce the frequency of diarrhea episodes by around 25%. If the company markets the product globally, the social impact could be extraordinary.
What's impressive is that P&G deployed its vast technological capabilities to tackle a problem that governments and NGOs have struggled with for decades. To be credible, global companies' social responsibility efforts must demonstrate that the firms have harnessed their ample resources to benefit society. Studies show that people trust powerful individuals who are seen to have sacrificed their interests for the good of the whole. The same logic applies to global companies. Some may argue that corporations have no business expending resources on activities that lack a profit motive because a firm's only priority is to deliver returns to shareholders. That's shortsighted; if consumers believe that global companies must shoulder greater social responsibility, executives really don't have much of a choice, do they?• • •
A word of caution may be in order. Our view of global branding should not be interpreted as a call to rid transnational brands of their national heritage, for two reasons. First, while globalness has become a stronger quality signal than nation of origin, consumers still prefer brands that hail from countries that are considered to have particular expertise: Switzerland in chocolates, Italy in clothing, France in cosmetics, Germany in cars, Japan in electronics, for example. More important, consumers expect global brands to tell their myths from the particular places that are associated with the brand. For Nestlé to spin a credible myth about food, the myth must be set in the Swiss mountains, because that is where people imagine the brand hails from. Likewise, if L'Oréal is to author a myth about beauty, it must do so from a particularly French viewpoint. Transnational companies would therefore do well to manage their national identities as well as their globalness.
Read more on Globalization or related topics Marketing, Branding and Competition
Douglas Holt is the founder and president of the Cultural Strategy Group and was formerly a professor at Harvard Business School and the University of Oxford. He is the author of How Brands Become Icons: The Principles of Cultural Branding (Harvard Business School Press, 2004).
John Quelch is the Charles Edward Wilson Professor of Business Administration at Harvard Business School and holds a joint appointment at Harvard School of Public Health as a professor in health policy and management.
Earl L. Taylor (etaylor@msi.org) is the chief marketing officer of the Marketing Science Institute in Cambridge, Massachusetts, and was until recently a senior vice president of Cambridge-based Research International/USA.

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Ajax Call for load more button in Rails I want to do load data with load more button. I have implemented like this in posts/index.html.erb:

Posts

    <%= render @posts %>

   <%= link_to "Load More", posts_index_path, class: "load-more" %>

Then _post.html.erb:

<%= post.title %>

<%= post.body %>

Then index.js.erb:
  $('#posts').append('<%= escape_javascript render(@posts) %>');

In posts_controller I wrote like this:
@@count=2
def index
  if params[:id]
    @posts = Post.where('id < ?', params[:id])
  else
    @posts = Post.limit(@@count)
  end
  @@count+=2
  respond_to do |format|
   format.html
   format.js
  end
end

Then in application.js:
$(document).ready(function () {
  $('a.load-more').click(function (e) {
    e.preventDefault();
    $.ajax({
        type: "GET",
        url: $(this).attr('href'),
        dataType: "script",
        success: function () {
            $('.load-more').show();
        }
    });
  });
});

I am getting first 2 data:
Post1
Post2
load more

when clicking on load more I am getting like this:
Post1
Post2
Post1
Post2
Post3
Post4

but I want only:
Post1
Post2
Post3
Post4

Could anyone please help me. Thanks in advance.

A: Since you are fetching all records everytime click on loadmore button, Dont append result and overwrite with html

$('#posts').html('<%= escape_javascript render(@posts) %>');

A: In your controller, you replace
@posts = Post.limit(@@count) => @posts = Post.limit(2).offset(@@count - 2)
 if you want load more 2 artices.

redpajama_set_name: RedPajamaStackExchange


This cool app that lets you access all your important documents, photos and music from your Dropbox account while on the move, is bringing the cloud to your iPhone. Spot something cool while on vacation? Take a video and upload it so that you can watch it later at home, on the device of your choosing. Other useful features include the ability to save email attachments straight to your account and mark items as "Favorites" so that you can get in some offline viewing.
Anyone who uses Gmals's great archiving, labeling, priority inbox and spam report features simply has to download the Gmail app on the iPhone. The ability to search your entire Gmail account for older messages is a great feature to have in the bag as well. The most recent version improved nested labels, offers custom sound notifications for Gmail messages and lets you designate a mobile Gmail signature.
IntoNow uses your phone's microphone to identify whatever TV show you're watching in real time based on the show's audio track. Once it has identified the show, you can use IntoNow to find out which of your friends have already seen the episode you're watching or which ones happen to be watching the same show at the same time, great for a topic of conversation or an ice-breaker you can use with a coworker. You'll even be able to access live scores if you're watching a sporting event, tweets from actors involved in a particular show and quick links to related Netflix content and episodes available via iTunes.
This quirky little app from YoYo Games takes the simple 2D side-scroller and turns it on its head—quite literally. The upsy-downsy gravity lets you jump from platform to platform without fear of falling down, which sounds easy until you spot the spikes and constantly shifting surfaces that make getting through the game's 80 levels a real challenge. It's cute and the simple animations make reaching your goal—feeding yourself to hungry, blob-like monsters—even more enjoyable.


text:
Q: Using a class decorator, how to override a method without redefining the class? For unit tests (using the unittest module) that use the App Engine testbed, I need setUp and tearDown methods to activate and deactivate the testbed, respectively (slightly simplified):
class SomeTest(unittest.TestCase):

  def setUp(self):
    self.testbed = testbed.Testbed()
    self.testbed.activate()

  def tearDown(self):
    self.testbed.deactivate()

  def testSomething(self):
    ...

This quickly becomes a burden to write. I could write a base class TestCaseWithTestbed, but then I'd have to remember to call the superclass method each time I need a custom setUp in one of the test cases.
I thought it would be more elegant to solve this with a class decorator instead. So I'd like to write:
@WithTestbed
class SomeTest(unittest.TestCase):

  def testSomething(self):
    ...

With this decorator applied, the testbed should just be activated magically. So... how to implement the WithTestbed decorator? I currently have the following:
def WithTestbed(cls):
  class ClsWithTestbed(cls):

    def setUp(self):
      self.testbed = testbed.Testbed()
      self.testbed.activate()
      cls.setUp(self)

    def tearDown(self):
      cls.tearDown(self)
      self.testbed.deactivate()

  return ClsWithTestbed

This works for simple cases, but has some serious problems:

*

*The name of the test class becomes ClsWithTestbed and this shows up in the test output.

*Concrete test classes calling super(SomeTestClass, self).setUp() end up in an infinite recursion, because SomeTestClass is now equal to WithTestbed.

I'm a bit hazy on Python's runtime type manipulation. So, how to do this the Right Way?

A: This appears to work and solve the problems:
def WithTestbed(cls):
  def DoNothing(self):
    pass

  orig_setUp = getattr(cls, 'setUp', DoNothing)
  orig_tearDown = getattr(cls, 'tearDown', DoNothing)

  def setUp(self):
    self.testbed = testbed.Testbed()
    self.testbed.activate()
    orig_setUp(self)
  def tearDown(self):
    orig_tearDown(self)
    self.testbed.deactivate()

  cls.setUp = setUp
  cls.tearDown = tearDown
  return cls

Does anyone see any problems with this approach?

A: Here's a simple way to do what you're asking with subclassing instead of a decorator:
class TestCaseWithTestBed(unittest.TestCase):

  def setUp(self):
    self.testbed = testbed.Testbed()
    self.testbed.activate()
    self.mySetUp()

  def tearDown(self):
    self.myTearDown()
    self.testbed.deactivate()

  def mySetUp(self): pass
  def myTearDown(self): pass

class SomeTest(TestCaseWithTestBed):
  def mySetUp(self):
    "Insert custom setup here"

All you have to do is define mySetUp and myTearDown in your test cases instead of setUp and tearDown.

A: Something like this would work:
def WithTestbed(cls):
    cls._post_testbed_setUp = getattr(cls, 'setUp', lambda self : None)
    cls._post_testbed_tearDown = getattr(cls, 'tearDown', lambda self : None)

    def setUp(self):
        self.testbed = testbed.Testbed()
        self.testbed.activate()
        self._post_testbed_setUp()

    def tearDown(self):
        self.testbed.deactivate()
        self._post_testbed_tearDown()

    cls.setUp = setUp
    cls.tearDown = tearDown
    return cls

@WithTestbed
class SomeTest(object):
    ...


text:
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2018 Archives - Mendocino Film Festival
Diversity in Film: Claudia Puig's Passion
By Kristin Suratt on Wednesday, May 30th, 2018 in 2018, Coast Cinemas, Crown Hall, Documentary, Festival Tent, Fort Bragg, Matheson PAC, Mendocino Village, Narrative, News.
Diversity in film is something Mendocino Film Festival Program Director Claudia Puig is passionate about. A native Spanish speaker, Claudia studied at both Cambridge University and Universidad Ibero –Americana in Mexico City. She has served as a speechwriter and diversity consultant for the Academy of Motion Picture Arts and Sciences, and teaches a college course, Read the full article…
Dark Money: Kimberly Reed Interview
By Kristin Suratt on Friday, May 25th, 2018 in 2018, Crown Hall, Documentary, Mendocino Village, News.
Dark Money, an Official Selection at Sundance Film Festival 2018, is a political thriller that examines the effects of hidden corporate money on U.S. elections and elected officials. Filmmaker Kimberly Reed was born in Helena, Montana and her interest in the topic of dark money began when she was following Montana's ban on corporate spending Read the full article…
Young Scientists: Inventing Tomorrow Interview
By Kristin Suratt on Thursday, May 24th, 2018 in 2018, Crown Hall, Documentary, Mendocino Village, News.
The six young scientists profiled in Inventing Tomorrow come from Indonesia, Hawaii, India, and Mexico. In their own communities, they take on some of the most complex environmental issues facing the world today. In the film, we watch them prepare scientific research for the Intel International Science and Engineering Fair. (ISEF). At the fair, they Read the full article…
Mi Familia Will Screen: Q&A After Film
By Kristin Suratt on Thursday, May 17th, 2018 in 2018, Crown Hall, Mendocino Village, Narrative, News.
The sweeping saga Mi Familia (My Family), a 1995 independent American drama directed and co-written by Oscar-nominated director Gregory Nava (El Norte) has just been added to the roster of 55 films shown at this year's festival. The screening will be on Friday, June 1 at 11:00 a.m. at Crown Hall in Mendocino. Director Gregory Nava Read the full article…
Art Collective: Meow Wolf Radio Interview
By Kristin Suratt on Wednesday, May 16th, 2018 in 2018, Festival Tent, Films on the Arts, Matheson PAC, Mendocino Village, News.
How does an art collective, "a scrappy, anarchist-bent, psychedelic art collective" that started with a group of kids in a Santa Fe basement, become a multi-million dollar business employing more than 150 artists? Morgan Capps and Jilann Spitzmiller created the film Meow Wolf: Origin Story to show us how it all began, and they will Read the full article…
Greenwashing: Biomass vs. Forests Interview
By Kristin Suratt on Tuesday, May 15th, 2018 in 2018, Documentary, Matheson PAC, Mendocino Village, News, Short Film.
Greenwashing is a term that describes a company or organization that spends more time and money claiming to be "green" through advertising and marketing than actually working to minimize environmental impact. Burned: Are Trees the New Coal? is a short documentary film by Alan Dater and Lisa Merton, and part of the Weed, Water, and Read the full article…
Rodents of Unusual Size: Radio Interview
By Kristin Suratt on Tuesday, May 8th, 2018 in 2018, Matheson PAC, Mendocino Village, News.
Rodents of Unusual Size refers to nutria, a giant rodent indigenous to South America. The unusual title of the film, inspired by the movie Princess Bride, can put people off. Yet the history of these feisty mammals and the determined people who hunt them is a fascinating account of a culture that is sadly disappearing Read the full article…
At-Risk Youth: Quest Interview Forthright Radio
By Kristin Suratt on Monday, May 7th, 2018 in 2018, Coast Cinemas, Crown Hall, Narrative, News.
At-risk youth and graffiti artist Mills wants to avoid his abusive stepfather, so he stays out all night tagging. He's on a downward spiral that leads to bad grades, outbursts in school, and juvenile detention on an assault charge. Filmmaker Santiago Rizzo's childhood in Berkeley is portrayed in Quest, his remarkably honest autobiographical film. Listen Read the full article…
Sneak Peek of Three Films
By Shan on Friday, March 30th, 2018 in 2018, News.
Don't miss your opportunity to be the first to hear all about the films we have chosen for this year's Mendocino Film Festival June 1-3. Join or renew as a festival member and be at the head of the line for ticket purchases for all of the great films on this year's schedule. The full Read the full article…
Earth Day Festival – Noyo Food Forest
Don't miss this Earth Day Festival at this April 21, 2018, and be sure to check out the silent auction where you can win one of our VIP Packages for Mendocino Film Festival! Earth Day Festival
Film Festivals in the Age of Streaming
Young Frankenstein: Why You Need to See This Comedy Classic (Again)
Cinema in the Redwoods
A Tuba to Cuba: Directors Interview
Satan and Adam: KZYX Interview
Mendocino Film Festival © 2022


It is more important than ever to become an activist on behalf of our oceans. We are mere generations away from losing the environment we love, but by making a couple of simple changes everyday, you can be an activist without marching, chaining yourself to railings or burning items of underwear.
Where does your power for change lie? We all have a power point, a sphere of influence, big or small and we can make a change right now.
If you own a business, look at how you can remove some plastic from it, and how you operate to reduce it.
If you work for a large company, look at ways in which you can affect change from within, even if it's getting them to ditch single use cups at the water cooler.
Got a huge social media following? Or you're a journalist? Use that power.
Just like the rest of us and are just surviving to get to your next surf? Then it's simple, cut out single use plastic, recycle, do a 2 Minute Beach Clean when you surf, and help educate as many people as possible, we all live in a bit of a bubble and the reality is most people don't know the scale of the issue, or that they can help.
Get political, it's way easier than you think. Every time you go to the beach and make a statement by doing your 2 minute beachclean, throw it up on social media and tag your local MP, they are all on there, and your local authority, and every company you've picked something up from.
If you want to take it further, write to your local MP, they are there to serve, and the more of us who contact our local representative, the more they have to start doing something about it.
Finally back Surfers Against Sewage, they are the longest standing pressure group in the UK when it comes to surfing and the marine environment and are regularly lobbying for change, so back them.


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The Alex is "hugely important" Chancellor says on visit to Redditch
"We'll keep fighting for whatever we need to do to make sure we have the best healthcare" – Chancellor of the Exchequer, Sajid Javid, said as he joined Rachel on the campaign trail in Redditch on Monday (December 2nd).
The Chancellor joined the Conservative Parliamentary Candidate and Party members in Callow Hill to speak to residents on the doorstep.
Rachel said: "The Chancellor knows how passionate I am about the Alex and restoring services which is why I'm grateful he joined the team and I here in Redditch to speak to residents about our hospital and other issues they're concerned about.
"The Alex has been and always will be my top priority. If I'm given the great honour of being re-elected on December 12th I will continue to fight to get a maternity and children's service back at the Alex where they belong."
The Chancellor of the Exchequer, Sajid Javid, said: "The Alex is such a hugely important hospital for our constituents and we'll keep fighting for whatever we need to do to make sure we have the best healthcare in the area.
"We're seeing record investment into the NHS – a total of £33 billion extra a year which is going to be fantastic.
"But to do that, to invest in the NHS, to invest in more police, to invest in more schools, we've got to keep the economy strong and we've got to end the uncertainty over Brexit. We've got to get Brexit done so we can focus on the people's priorities. To do that please vote for Rachel in Redditch."
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text:
Bending perception
By THE CORNUCOPIA BLOG | October 27, 2014
This week we are in Nişantaşı – the commercial centre of the city and one of the first contemporary art hubs – for an interesting walk featuring mostly solo shows of Turkish artists. Many of the works seen on this walk are concerned with bending perception, whether in pop art, op art, abstract art or photography.
Serpil Aslan
SERPIL ASLAN'S AMYGDALA
Start on Mim Kemal Öke Caddesi. Opposite Maçka Park and near the Istanbul Technical University, the veteran Maçka Sanat, founded in 1976, is hosting an exhibition of the latest sculptures from the young artist Serpil Aslan. Borrowing its title from the almond-shaped part of the brain that regulates the processing of memory, decision-making and emotional reactions, Amygdala investigates childhood trauma and anxiety. Please enquire directly with the gallery for prices.
Hasan Pehlevan, 'LWL 5', 2014, mixed media on canvas, 150 x 150 cm
HASAN PEHLEVAN'S HOME
Further up, at Mim Kemal Öke Caddesi No 12, Merkur Gallery is hosting the latest works of the multi-media artist, Hasan Pehlevan. In Home, the artist presents dizzying, colourful compositions inspired by everyday objects: a carpet motif, the light reflected by a street lamp, a pattern on a dress.
Hasan Pehlevan, 'Implicit', 2014, mixed media on canvas, 120 x 120 cm
Pehlevan is interested in op art – a style that makes use of optical illusions – and this series is no different. The linear expression seen in his first solo show has now evolved into more colourful and dynamic compositions. The techniques of zooming and cutting-out also appear in these works. Prices range from TL7,000 to TL12,000.
EKREM YALÇINDAĞ'S VICHY PAINTINGS
Parallel, on Abdi Ipekçi Caddesi, Dirimart is presenting the latest works of the painter Ekrem Yalçındağ, who also aims to challenge and transform perception. All completed this year, the series Vichy Paintings references pop art and 1960s minimalism. The walls resemble a patchwork quilt, with Yalçındağ's geometric paintings in different colours hanging side by side, making the space feel smaller, cosier, homelier. Prices range from €13,500 to €28,500.
FATMA TÜLIN'S CHIARA
Further down at No 22, Kare Gallery is hosting an exhibition of the veteran painter Fatma Tülin. In her 34th exhibition, entitled Chiara, Tülin uses oil brush strokes on canvases produced digitally from photographs. Expect bright colours and abstract compositions, each one unique. Please enquire directly with the gallery for prices.
Ryan Schude, 'Toaster', 2010, photography, 120 x 120 cm, 3 ed. + 1AP – 90 x 90 cm, 3 ed. + 1AP
RYAN SCHUDE'S TABLEAUX VIVANTS
Further up at No 42, x-ist for the first time hosts a solo show by an international photographer. In the Los Angeles-based artist Ryan Schude's series of ten photographic tableaux vivants, taken over the past six years, each image articulates multiple narratives, as the viewer is asked to decode a variety of potentially ambiguous situations. All are created with Schude's signature attention to detail: from location, set design, props and costumes to lighting and acting. Some, like the one above, were inspired by literature and cinema.
Ryan Schude, 'Treehouse', 2014, photography, 100 x 150 cm, ed. 3 +1 AP | 80 x 120 cm, ed. 3 + 1 AP
Others (above) were inspired by Schude's family experiences. These photographs, taken over five days, were inspired by his sister's divorce and focus on the difficulties single mothers face in raising children. Prices range from €2,250 to €4,250.
Coming up is a solo exhibition of the renowned painter Ali Elmacı, entitled Kill Him, Make Me Laugh. The gallery will also have two booths at the upcoming Contemporary Istanbul fair: the painter Ekin Saclıoğlu will have her own booth devoted to a solo project, while the latest works of x-ist's artists will be displayed at the second booth.
Wojtek Wieteska, 1996
Make your way to the parallel Teşvikiye Caddesi through the narrow Atiye Sokak, filled to the brim with appetising cafés and chic bars. Down Maçka Caddesi and slightly to the right, the not-for-profit art space Milli Reasürans Gallery is hosting an exhibition to mark the 600th anniversary of diplomatic relations between Turkey and Poland. Shock Therapy collates photographs taken in the aftermath of Poland's transformation following the fall of Communism in 1989 and the dawn of a new era of 'democracy' (capitalism). Scenes of marches and grim Soviet architecture are juxtaposed with desolate landscapes and the faces of Poland. These works are not for sale.
Witold Krassowski
Coming up is an exhibition telling the story of the Ece Ajandası, one of the oldest diary companies in Europe (December). Next February there will be a show of new paintings by Mustafa Pancar, followed by the photography of Murat Germen (March) and recent paintings by İsmet Değirmenci (April).
Ali Şentürk
ALI SENTURK'S DON'T TELL ANYONE ABOUT ME
Backtrack to Teşvikiye Caddesi and make your way down the perpendicular Osman F Seden Sokak. Turn left down the second street you come across, Şakayık Sokak, where at No 37 the contemporary art and design space SODA is in its last days of showcasing the Turkish artist Ali Şentürk. The name of the show – Don't Tell Anyone About Me – was the title of Şentürk's blogs in which he shared photographs of his relationships over a five-year period. The show collates six works (permanent marker on canvas) copied from those photographs. The artist starts with a simple continuous line and completes the piece with wire – an abstract representation of his feelings in the moment depicted. Prices range from €2,000 to €4,500.
Coming up is an exhibition of the Korean sculptor Seo Young Deok, followed by the French photographer Alain Darre.
H. Avni Öztopçu
H. AVNI ÖZTOPÇU'S SHELTERS AND INDIVIDUALS
Further afield, another veteran gallery, Mine Art Gallery, hidden in an apartment building on Prof Dr Müfide Küley Sokak, is displaying the Turkish artist H Avni Öztopçu's oil on canvas and acrylic works in Shelters and Individuals. Prices range from TL4,500 to TL28,000.
Coming up is an exhibition to celebrate the gallery's 30th birthday.
Key: Blue – Maçka Sanat, Red – Merkur Gallery, Green – Dirimart, Yellow – Kare, Purple – x-ist, Light blue – Millî Reasürans Art Gallery, Magenta – Soda, Blue with dot – Mine Sanat
Click here for the interactive map.
Posted in Contemporary Art, Exhibitions
Vichy Paintings
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wildlife commonly seen during a cruise to the frozen continent.
Explore virgin Chilean Patagonia through three dimensions: air, land and water.
Elite skiers now have the unique opportunity to enjoy a new adventure: Patagonia Heliskiing. Our guests can live the one of a kind experience of being lifted off in a Bell 407 helicopter from aboard the Atmosphere and flown to exclusive locations in the Andes and Coastal Mountain Ranges of the Patagonia. The helicopter will transport the adventurers to peaks that have been previously explored by Nomads´ specialists, proving their accessibility, level of difficulty and quality of descent. The virgin snow allows expert skiers to slide down at great speed on slopes overlooking the sea and with panoramic views of glaciers and fjords. Few places in the world offer such a spectacular combination of perfect snow, adrenaline packed adventure and breathtaking landscapes.
Skiers can also experience wide array of other activities such as trekking, kayaking, rafting hidrospeed and jetboating in unexplored surroundings of incredible beauty, in the southernmost corner of the world.


text:
Researchers Discover Solution to Lithium-ion Batteries' Decay Issues
Zayan Guedim Oct 29, 2018 at 5:15 am GMT
Zayan Guedim
Oct 29, 2018 at 5:15 am GMT
Lithium-ion batteries may have their problems, but new research may find solutions to these issues. | Image By Parilov | Shutterstock
Researchers have put their fingers on the causes that lead to lithium-ion batteries decaying and losing efficiency.
In the context of Industry 4.0, mobile devices like smartphones and wearables are now the total norm of society. Every adult in the developed world owns one of these devices — they are integral to our participation in society. Every year brings new advances in accessibility, performance, and design at an ever-increasing pace.
However, these devices rely on lithium-ion batteries. With the increasing demands of our devices, these batteries are struggling to keep up the pace.
Several new battery technologies, such as graphene-based batteries and saltwater batteries, promise a revolution in battery technology which could see new power storage devices that last weeks and fully recharge in seconds.
Other technologies like AORFBs, or Aqueous Organic Redox Flow Batteries, can also overcome limitations regarding energy density and safety.
For the time being, we have to make do with lithium-ion batteries that are relatively big and need recharging on a daily basis.
But it seems that lithium-ion technology may not be doomed after all. A new study may have just found the cause behind the biggest problems of Li-ion batteries.
Lithium-ion Batteries: Three Types of Dendrites, Three Problems
Lithium-ion batteries have some major drawbacks.
In addition to the increasingly scarce deposits of lithium in the world, lithium batteries incorporate other toxic and expensive materials which all weigh down production costs.
Besides cost efficiency, storage capacity, and performance, safety is another problematic area for lithium-ion batteries.
Another main component in lithium-ion batteries is liquid electrolyte that carries the electrical charges between the anode and the cathode.
Electrolyte is a dangerous substance because it can catch fire.
Another issue is irregular lithium formations called dendrites. These grow inside the battery during charging and slowly destroy it.
Dendrite formations can short-circuit the battery and result in fires or even explosions. The most notorious of these issues came with Samsung's Galaxy Note 7 batteries.
Now, as it turns out, dendrites aren't all the same.
Can't see the Forest for the Trees
Researchers from Washington University in St. Louis (WUSTL) say that dendrites come in three different shapes that need to addressing separately.
"If you call them all dendrites, you're looking for one solution to solve actually three problems, which is impossible," Peng Bai, who led the research, said. "That's why after so many years this problem has never been solved."
Bai's team looked at where and when dendrites form and identified three distinct types of "fingers, or growth modes, in these lithium metal anodes. They also outline at which current each growth mode appears."
At a very high current, dendrites grow at the tip into "treelike structures". Bai's team calls these "true dendrites".
Then, below the current's lower limit "whiskers" grow from the root.
Between the upper and lower limits, "there exists the dynamic transition from whiskers to dendrites" or what Bai calls "surface growth".
"In order to build a safe, efficient, reliable battery with a lithium metal anode, the three growth modes need to be controlled by three different methods," said researchers.
The study, published in in the journal Joule, "presents the accurate understanding of each growth mode, which is critical for controlling the hazardous instabilities across the entire range of working conditions."
Still, the research doesn't provide clear solutions to address each type of growth formation, but it identifies the root of the Li-ion batteries problem — a major step toward solving them.
Can lithium-ion technology overcome all its shortcomings to rival other, cleaner, battery technologies?
Let Zayan Guedim know how much you appreciate this article by clicking the heart icon and by sharing this article on social media.
Trilingual poet, investigative journalist, and novelist. Zed loves tackling the big existential questions and all-things quantum.
Science 2 min read
Japanese Engineers Develop Self-Repairing Batteries
Graphene Batteries: The Future of Energy Storage
NASA Powers up its Ingenuity Mars Helicopter in Space
New Cathode Coating can Make Lithium-ion Batteries Last Longer
New Memory Cells Could Improve the Performance of DRAM
Researchers Pave Way to Creating Lithium-Oxygen Battery
Researchers use MOFs as Water Purifier to Improve Water Desalinat...
Quantacell: Why Quantum Effects Mean Batteries Charge Faster
Prominent Publisher Writes Book Using Machine Learning
New Hybrid Aqueous Battery Charges up in Less Than 30 Seconds
Energy Breakthrough: Researchers Develop Lithium Sulphur Batterie...
11 Batteries that Charge Faster for Longer
Culture 3 min read
British Company Offers new Energy Storage Technology to Vermont
Using Machine Learning to Improve the Performance of Fuel Cells
Why Rechargeable Zinc-Air Batteries Could Become the Norm
Why Solid Lithium Batteries are More Efficient


text:
Q: adding functionality to nested components O.K. Here's the situation...
I have a custom mxml component that contains a couple of images and 4 buttons.  The component file already contains a clickHandler for each of the buttons.  I need to be able to either access the clickHandler or create another function and attach it to those buttons from within my Main.mxml file.  Should I add to the original clickHandlers? if so, how do I apply the method to my Main.mxml file?
FYI: The component has 5 states and each clickHandler triggers transitions between the states.
Here are the two clickHandlers from the component file:
protected function submit_clickHandler():void
        {
            const state:String = currentState;
            if ( state == 'state1' ) {
                currentState='state2';
            }
            if ( state == 'state3' ) {
                currentState='state4';
                addElement(images[i]);     //The methods I want to run from
                getStudentAnswer();        //within the Main.mxml.
                submit();                  //If I add them here, I get an
                newQuestion();             //undefined method error.
            }
            if ( state == 'state4' ) {
                currentState='state4';
            }
            if ( state == 'state5' ) {
                currentState='state4';
            }
            if ( state == 'state3' ) {
                Sequence1.play();
            }
        }

        protected function checkAnswer_clickHandler():void
        {
            const state:String = currentState;
            if ( state == 'state2' ) {
                currentState='state1';
            }
            if ( state == 'state4' ) {
                currentState='state5';
            }
        }

Thanks,
JM

A: If you have access to the dispatch event for the buttons, just set "bubbles" to "true" and listen for the event in Main.mxml. If you think of the display list as a hierarchal tree with branches, an event that bubbles will travel up the branch until it reaches the first DisplayObject. Along the way, it checks each DisplayObject to find if it is waiting to capture the event.
Here is a basic illustration where Main is listening for a click event and has a child MovieClip instance with a child Sprite instance. The Sprite instance has a child Button instance that is dispatching a click event.
[object Main] (listening for MouseEvent.CLICK)
      |
      |__[object MovieClip]
                |
                |___[object Sprite]
                          |
                          |____[object Button] (dispatching MouseEvent.CLICK)
The dispatched click event in Button would be:
dispatchEvent(new MouseEvent(MouseEvent.CLICK, true));
In Main, you would just listend for the event:
addEventListener(MouseEvent.CLICK, clickHandler);
Because MouseEvent.CLICK is such a common event, I would suggest creating a custom event (or at least a unique event name) in this type of scenario to avoid the possibility of DisplayObject's capturing incorrect events. But, hopefully this gives a better idea of how to handle bubbling.
-
Without bubbling, the only other way to capture the event would be to use dot syntax. I don't recommend this method because it could get messy, but this helps to illustrate the concept of bubbling (assuming each child DisplayObject is public):
In Main: (again, not recommended)
movieClip.sprite.button.addEventListener(MouseEvent.CLICK, clickHandler);
Hope that helps!
[EDIT - Added custom Event]
Here is what a custom Event class would look like:
package com.example.events
{
    import flash.events.Event;

    public class CustomEvent extends Event {

        public static const WITH_DATA:String = "withData";

        public var data:Object;

        public function NavEvent(type:String, data:Object=null, bubbles:Boolean=false, cancelable:Boolean=false) {
            super(type, bubbles, cancelable);
            this.data = data;
        }
    }
}

You would then dispatch an event like:
var myString:String = "buttonState";
dispatchEvent(new CustomEvent(CustomEvent.WITH_DATA, myString, true));

And listen for the event like:
addEventListener(CustomEvent.WITH_DATA, customEventHandler);

private function customEventHandler(e:CustomEvent):void {
    trace(e.data);
}


A Hi-End sound system to have a balanced sound, and silver speaker wire can have a balanced sound is even more commendable, from Germany YARBO AB-80SP silver speaker line balance of sound is too much Secondary ear test, with a reasonable selection of materials, ingenious structure coupled with sophisticated processing technology.
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Arthur Conley was a soul singer from Atlanta who managed to put a few records in the pop top forty in the late 60's.
Arthur Lee Conley was born in McIntosh County, Georgia in 1946 and raised in Atlanta. As a teenager he was a struggling soul singer around the Atlanta area. He first recorded with his group Arthur & The Corvets for the National Recording Company label. Conley made a demo recording of I'm A Lonely Stranger which was picked up by Otis Redding in 1965, who was just coming into his own as an established recording artist with Stax/Volt, and a re-recording of the song by Conley was released on Otis' fledgling Jotis label. Redding had been doing some recording work in Muscle Shoals, Alabama and in 1967 took Conley there with him.
Sam Cooke had written a song he called Yeah Man. Conley and Redding re-wrote the song, updating it to mention the names of a number of prominent soul singers who had been or were currently prominent, and re-titled it Sweet Soul Music. Among those mentioned in the lyrics are Lou Rawls, Sam and Dave, Wilson Pickett, Otis Redding and James Brown. Conley's vocals on the record were reminiscent of Cooke, and the background brass gave it the feel of a Stax/Volt hit. Sweet Soul Music by Arthur Conley was released on the Atco label early in 1967 and went to #2 on the pop music chart. It was well-suited to the times, and established his name in Europe where it was a huge hit as well.
From 1967 to 1970 Conley put seven entries in the top 100 on the R&B chart and two more records in the top forty pop chart -- a remake of Big Joe Turner's Shake, Rattle & Roll, and Funky Street. Conley also recorded an interesting soul version of the Beatles' Ob-La-Di, Ob-La-Da. He performed briefly with Solomon Burke, Don Covay, Wilson Pickett, Ben E. King, and Joe Tex in a group known as the Soul Clan.
In late 1967 Otis Redding lost his life in an airplane crash in Madison, Wisconsin; Redding had provided Conley with invaluable artistic advice as well as his business acumen in the recording industry. Conley continued recording but suffered without his mentor. By 1971 the hits stopped coming. Conley switched to the Capricorn label but it didn't help much. He moved to Europe, living in England, Belgium and the Netherlands in the 1970's, finally settling in Ruurlo, the Netherlands, where taking his mother's maiden name, he changed his name legally to Lee Roberts. He was active as a music producer/promoter and as a designer of furniture. In the 1980's he put a band together and performed as Lee Roberts & the Sweaters. He suffered from intestinal cancer and died in Ruurlo in 2003.
Sweet Soul Music remains as one of the great dance records of the 60's and it is for this record more than anything else that Arthur Conley is remembered by fans of 60's pop music.


text:
Interview: Emerging Artist Betta Lemme Chats About Latest Single, 'Play'
Jodi May 20, 2019, 3:10 pm
Emerging artist, Betta Lemme, is currently enjoying the success of her latest single, 'Play'.
The upbeat and club-focused track follows her performance at 2019's Coachella, alongside musical duo, Sofi Tukker.
1st time at @coachella: Give me a second to process this. I'll post everything performance related later today/tomorrow. I need a minute. But look out for my next post literally rightttt after this because I've got some EXCITING NEWS FOR THIS WEEEEEEK. Ugh. So much to tell you. Grazie. Merci. Thank you. Xx, B. ???
A post shared by ?BETTA LEMME? (@bettawerk) on Apr 22, 2019 at 11:49am PDT
'Play' showcases Lemme's enthralling vocals and charismatic personality along with rapid electro-synths across an energetic beat.
The Canadian singer-songwriter and multi-instrumentalist, reveals her playful and quirky side, allowing us into her adventurous world.
Bette Lemme – who speaks fluent English, French and Italian – gained worldwide attention with her debut EP, 'Bambola', and official music video which collected over 60 million combined streams.
This led to her topping the Shazam charts and reaching #10 on Shazam Worldwide Dance.
The gifted artist made her debut performance on one of Italy's biggest TV shows, Che Tempo Che Fa, in front of six million people.
She has since performed at Wild Summer Festival, Batitti Live and Deejay Time.
We got the chance to chat to Betta Lemme about her latest single and why she calls Freddie Mercury her father, Lady Gaga her sister and Liberace her decorator!
Hey Betta Lemme. For those who don't know you yet, introduce yourself!
Hiiiiiiiiiii. My name is Betta Lemme and I make music and videos.
Growing up, was it always music or did you have other aspirations?
I wanted to be an Egyptologist and then a designer. Music was always a given, but I always felt the stage should only be for Freddie Mercury's, Streisands or Michael Jacksons. I thought maybe one day I'd write music for other people or manage a band and design their shows. I was also 8, LOL.
Tell us about your latest single, 'Play'.
PLAY! The title is a big giveaway. This song sounds like the naughty kid on the Vengabus who's taking the class on a field trip to Ibiza. It's probably my most playful single to date. A dance pop piece that's my ode to the late 90's, a time that has a special place in my heart!
You worked with duo, Sofi Tukker, on their 2016 smash hit, 'Awoo'. What was it like to perform with them at Coachella?
Writing Awoo together was fun. I can't believe how quickly time flies. Coachella was wild. I had the opportunity to play some massive audiences in Italy, but this was the first time ever playing such a big stage in North America. Their show is always joyous and a good time. Watching them grow over the years is a beautiful thing. It was so inspiring to see some of my favourite artists over one weekend.
What would you say is the best and worst part of writing your own tracks?
The best part about writing your own track is not having to deal with people who are trying to claim that they wrote half of your song when they contributed one word lol. The worst part is the obvious word block of being stuck and refusing to move forward unless it's perfect (to me).
You reached #10 on the Shazam Worldwide Dance charts. What was that like for you?
My reaction, quite frankly, was "WTFFFF". I was sitting with friends who had some very successful tracks out and they were on the top ten. When they scrolled down the list and we saw my name, we all kinda' had to do a double take. I was really touched, especially with not having that much music out.
Why do you call Freddie Mercury your father, Lady Gaga your sister and Liberace your decorator?
Freddie is my everything in terms of gusto, melody, cinematic sonic journeys and classical writing. Gaga is my hero in how she's attached to her piano, her tenacity and strong vision. Liberace… because I love glitter and ornate things with a little sprinkle of ostentatious in the mix, a pinch of panache. So, in my dream world, I surround myself with all these people in my head when making music and videos.
Who else do you go to for inspiration?
My grandmother. I like to go back to the root and point of why any of this matters: either making someone laugh with a video, cry with a song or close their eyes and sway to a cinematic beat.
What advice would you give somebody trying to make it?
When I make it, I'll let you know!
Can we expect any more gigs/performances this year?
Coachella was the first and only. I actually haven't played my own full show yet! I'm working on that for this year and hopefully that will answer the next question.
How do you see 2019 ending career wise?
I'd love for 2019 to end on an honest note, having released music that is my favourite and having it be available to the incredible listeners we've connected with this far around the world. Once it's released, having a show in the fall and getting ready to play and see the faces of those who come out and have been supporting thus far.
Check out Betta Lemme's hot new single now and tweet us @CelebMix to let us know what you think of the vibrant and energetic track!
Written by Jodi
Journalist. Radio presenter. Music enthusiast. When I'm not writing, you can find me reading, binge-watching series (in an impressive amount of time), or on a plane to anywhere other than England!
You can connect with me on...
Twitter: @jodemmc
Instagram: @jodimmc
Email: jodimmcgowan@outlook.com
Six Reasons We Can't Wait For Slam Dunk Festival 2019
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Hayley Williams releases debut solo single "Simmer" and announces album "Petals For Armor"
CelebMix's Top Success Stories Of 2019
CelebMix's Top Celebrity Moments Of 2019
CelebMix's Top Debut Artists Of 2019


One of the simplest ways to seal a door surface is to use a door threshold strip. These are solutions that effectively prevent the entry of air, dust or insects. They are adapted to each type of door, and with their self-assembly should handle every user. Models with brushes, aluminum and even self-adhesive are available. A wide range of sizes makes anyone interested in buying a customer a product that meets his individual requirements. We recommend!


text:
U-RAN CHOI
par Wave Wear 2 janvier 2023
Pohang Happy Together FS Fixo(FIXO)
153cm | 44 kg
Please introduce the "Happy Together" team!
Happy Together is an elected team and has been playing futsal every Wednesday matches with the men's teams.
All players have high personal skills and try to play creatively in a free atmosphere. Especially, there are many people who are old school mates, so we work well together.
I was introduced by a friend of the Happy Together team and played together as a guest. The atmosphere of the team was so good that I joined as a member.
I wonder about the difference between futsal and soccer. What's the charm of futsal?
I think the biggest difference is the number of people playing the game. Soccer has 11 players, but futsal has 5 players. Futsal can be changed from time to time. But there are many other differences such as game time, specifications, and number of people.
The size of the stadium is much smaller in a futsal field. When the ball is out of the touchline in soccer, starts playing with the draw-in hand, but futsal starts playing with the feet.
And compared to soccer, the game time is shorter. I think the biggest attraction of football is that players can touch the ball a lot.
Do you have your own know-how to prevent and recover from injury?
Futsal or soccer is an exercise that uses the whole body. In particular, there is a high risk of injury to the knees and ankles.
So I try to minimize injuries by giving the ball quickly and avoiding it before I take my foot out or risk hitting it when I feel like I'm going to get hurt.
Immediately after the injury, it calms down with an ice pack. If the pain persists, it is actively treated.
Please explain your position in the team.
I'm in charge of central defense. I play in front of the goalkeeper and is more focused on defense than offense.
You can think of it as the same position as the center defense in soccer. I have fun in the process of taking the ball away, such as blocking the opponent's striker's attack and intercepting it.
You participated in a lot of competitions. Any memorable episodes?
I once played as a goalkeeper because there was no goalkeeper in the Yanggu match.
Unexpectedly, he won by PK in the semifinals and reached the final, but unfortunately, I remember losing by PK and finishing second.
What are your strengths, and also how do you overcome weaknesses or jinxes?
I think my strength is my defense. On the contrary, if the game becomes excessive or intense due to insufficient offense, I think I lose my concentration because I get agitated.
I'm trying to increase my offense by dribbling more little by little during matches every week. When you plan a strategy with the players, you can cheer up and do it! That's how I control my thinking.
I don't have a jinx, but I don't like a bloated feeling, so I don't eat as much food if possible before the game.
How do you feel about wearing wavewear and what did you like?
In the case of the calf brace C2, it was good that the silicone band held up well. Due to the nature of football, the movement of the lower body is often intense, but it was comfortable because it didn't fall down every time I moved.
I was very satisfied with the feeling of tightening the calf muscles.
As of 2023, A member of Happy Together FS.
Joining Pohang Happy Together FS Team
Retour à Friends


GIBBSY was here today. She was too busy playing with a stick to play with me.
My Dad forgot his gloves for our trip to Prairie Wolf, but he had his hat, three coats and the camera. And I know what the Dog Park is…I didn't know how wonderful the Dog Park could be the first couple of time we were there…but I know now! And Gibbsy was at the Dog Park with her Mom! I said HI! to Gibbsy but she was carrying a big stick around and wasn't too interested in me. And then I met my play-fighting buddy for this visit – KIP. Kip and I are both one year old. Kip's Mom said he was half Border collie and half English Shepherd – like I cared. Kip sometimes got into tussles with other dogs, but he and I got along just fine, he was a very good play-fighter. Kip was picking on Gibbsy and Smoky had to come over and get between them. Smoky was very talkative, especially when My Dad scratched his back. Smoky's Mom said that he was half German Shepherd dog and half Golden Retriever – but he was all black, a very handsome guy.
Kip was picking on Gibbsy….until….
…the rather large (and vocal) Smoky stepped into the dust-up. Kip decided it was time to play with me.
Kip told me that he was adopted as a puppy. He used to live in Green Bay, WI. I told him I was found as a stray in Quincy, IL and how very good the garbage was there.
Hey, KIP! Look out behind you!
Moving into the correct positions before play-fighting is a very important part of the process!
Get that tongue back in your mouth!
This is Smoky…he was a big guy but sort of a baby…he was fun to play with, too!
This entry was tagged border collie, border collie rescue, border collies, dog, dog behavior, dog rescue, dogs and people, herding dogs, life with a dog, life with dogs, pet rescue. Bookmark the permalink.
Magic it looks like you found your match with Kip! It is hard to tell you apart in some of the pictures. And I think that Smokey is a very handsome dog…..oh! not as handsome as you of course….but still good looking!
Hey Magic, we sure had fun that day. I wish you were at the dog park every day that I'm there, we can hang out together and I won't be mean to other dogs that aren't as much fun as you are!
Love your story. My Lab / Border Collie mix (read: Border Collie brain and Lab body (with thankfully Lab short hair)) is just the best and he's really funny too. My pup's litter (he's 4 now!) was to be service dogs, but I think that Border Collie brain won out. I'm sure Hood would love snow, but we don't get much here.


text:
Tag: action
Release year: 2016 Director: Alex Proyas Screenwriter: Matt Sazama, Burk Sharpless Starring: Brenton Thwaites, Nikolaj Coster-Waldau, Gerard Butler, Courtney Eaton, Elodie Young, Bryan Browne, Geoffrey Rush In an alternative universe, the ancient gods of Egypt exists on earth humans. When Set (Gerard Butler) defies his father (Bryan Brown) and steals the throne from his brother ..
Star Wars: Episode IX: The Rise of Skywalker
Release Year: 2019 Director: J.J. Abrams Writers: J.J. Abrams (story & screenplay), Chris Terrio (story & screenplay), Derek Connolly (story), Colin Trevorrow (story), George Lucas (characters) Starring: Daisy Ridley, Adam Driver, Oscar Isaac, John Boyega, Anthony Daniels, Domhnall Gleeson, Richard E. Grant, Naomi Ackie, Lupita Nyong'o, Keri Russell, Joonas Suotamo, Kelly Marie Tran, Ian McDiarmid, ..
Release year: 1976 Director: John Carpenter Screenwriter: John Carpenter Starring: Austin Stoker, Darwin Joston, Laurie Zimmer, Martin West, Tony Burton, Charles Cyphers, Nancy Kyes Sunday Classic #283, week 47 2019 A Highway Patrol Officer (Stoker) joins forces with two criminals and a station secretary as the defunct precinct they are all at is attacked viciously ..
Release year: 2018 Director: Jon Turtletaub Screenwriter: Dean Georgaris, Jon Hoeber, Eric Hoeber Starring: Jason Statham, Bingbing Li, Rainn Wilson, Cliff Curtis, Winston Chao, Shuya Sophia Cai, Ruby Rose, Page Kennedy A group of scientists suspects they have encountered the largest marine predator ever existed, the Megalodon, and contact expert sea diver Jonas Taylor (Statham), ..
Release year: 1995 Director: Kevin Reynolds Screenwriter: Peter Rader, David Twohy Starring: Kevin Costner, Jeanne Tripplehorn, Tina Majorino, Dennis Hopper, Michael Jeter, Gerard Murphy, R.D. Call Ratings: 1 Oscar nomination: Best Sound In a future where the polar ice has melted and left Earth almost entirely covered by water, the remains of human civilization love ..
Release Year: 2017 Director: Edgar Wright Writer: Edgar Wright Starring: Ansel Elgort, Lily James, Kevin Spacey, Jon Hamm, Eiza Gonzáles, C.J. Jones, Jon Bernthal Nominated for 3 Oscars: Best Editing, Best Sound Mixing, Best Sound Editing. Nominated for 1 Golden Globe: Best Actor in a Motion Picture – Musical or Comedy (Ansel Elgort). Nominated for ..
Moviegeek5: Jerry Bruckheimer
Jerry Bruckheimer is a name that has been associated with action for the past three decades and continues to guarantee good actionpacked entertainment. He began in the 1970s and early 1980s with films as diverse as the little seen western The Culpepper Cattle Co. (1972), the Raymond Chandler adaptation Farewell, My Lovely (1975), and ..
Release year: 2016 Director: Greg Mottola Screenwriter: Michael LeSieur Starring: Zach Galifianakis, Isla Fisher, John Hamm, Gal Gadot, Patton Oswalt, Ming Zhao, Matt Walsh, Kevin Dunn A new seemingly perfect couple moves in to the suburban neighbourhood of Karen (Fisher) and Jeff (Galifianakis). Karen quickly becomes suspicious of the perfect couple and spies on the ..
Release Year: 1996 Director: Michael Bay Writers: Mark Rosner (screenplay), David Weisberg (screenplay & story), Douglas S. Cook (screenplay & story) Starring: Sean Connery, Nicolas Cage, Ed Harris, John Spencer, David Morse, William Forsythe, Michael Biehn, Vanessa Marcil, John C. McGinley, Gregory Sporleder, Tony Todd, Bokeem Woodbine Rating: Nominated for 1 Oscar: Best Sound. Nominated ..


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text:
Q: Создание АТД "Стек" на основе массива - C++ "Реализуйте АТД "стек" на основе массива фиксированного размера для элементов, являющихся односвязными списками целых чисел (т.е., стек списков). При помещении списков в стек они должны корректно копироваться. При удалении списков из стека - корректно уничтожаться. Также, самостоятельно создайте тестовую программу, демонстрирующую возможности разработанного стека. "
Если я правильно понял, то стек будет представлять собой массив, а каждый элемент массива это односвязный список?
В моем распоряжении есть готовый блок, который мне нужно переделать под свои условия. Что именно нужно поменять?
Не могу понять как именно используется созданный массив.
#include "integer_stack.h"
#include "integer_list.h"
#include <cassert>

struct IntegerStack
{
    int * m_pData;
    int * m_pTop;
    int m_Size;
};

 IntegerStack * IntegerStackCreate(int _fixedSize)
{
     IntegerStack * pStack = new IntegerStack;

    pStack->m_pData = new int[_fixedSize];
    pStack->m_pTop = pStack->m_pData;
    pStack->m_Size = _fixedSize;

    return pStack;
}

void IntegerStackDestroy(IntegerStack * _pStack)
  {
    delete[] _pStack->m_pData;
    delete _pStack;
  }

void IntegerStackClear(IntegerStack & _stack)
  {
    _stack.m_pTop = _stack.m_pData;
}

 void IntegerStackPush(IntegerStack & _stack, int _value)
{
    assert(!IntegerStackIsFull(_stack));
    *_stack.m_pTop = _value;
    ++_stack.m_pTop;
}

void IntegerStackPop(IntegerStack & _stack)
{
   assert(!IntegerStackIsEmpty(_stack));
   --_stack.m_pTop;
 }

int IntegerStackTop(const IntegerStack & _stack)
{
   assert(!IntegerStackIsEmpty(_stack));
    return *(_stack.m_pTop - 1);
}

bool IntegerStackIsEmpty(const IntegerStack & _stack)
 {
   return _stack.m_pData == _stack.m_pTop;
}

   bool IntegerStackIsFull(const IntegerStack & _stack)
   {
     return (_stack.m_pTop - _stack.m_pData) == _stack.m_Size;
  }

A: Если уж вы работаете с C++, то делайте стек классом, как и список. Как я понимаю, до шаблонов вы еще не доучились, так что делайте что-то типа
class IntList
{
    struct Node
    {
        int value;
        Node * prev, * next;
    };
    ...

Затем реализуете этот класс, отрабатываете, обязательно не забудьте глубокое копирование и присваивание.
Потом создаете класс стека.
class IntStack
{
    ...
    size_t    size;
    IntList * data;
    ...
    IntStack(size_t size):size(size),data(new IntList[size]){}

Примерно так. Интерфейсы продумайте сами.


text:
Q: Font awesome icons not displayed with ie9 I have a web server running on linux Redhat with apache.
My server hosts the 'font awesome' fonts.
When requesting the web pages from another computer, if Chrome is used the icons are correctly displayed. If ie9 is used the icons are not displayed.
If the 'font awesome' page is opened with ie9 or chrome, the icons are correctly displayed.
I read other posts, I changed the @font_face, I still can not manage to display the icons of my pages with ie9?
Any ideas where to look?
Thank you
Ben

A: I found out what was the problem. It was a wrong declaration in the DOCTYPE tag, just put DOCType html and it worked out.
in case this problem occurs to you, use the 'font awesome' web page as a reference and compare with your page.
I copied the 'font awesome' page and modified to check against my page.

A:

ul {
  margin: 0;
  padding: 0;
  }
ul li {
  list-style: none;
  float: left;
  margin-left: 5px;
  }
ul li a {
  text-decoration: none;
  padding: 8px 12px;
  color: #FFF;
  background: #545454;
  font-size: 20px;
  border-radius: 50%;
  transition: color 0.3s ease-in-out;
  -webkit-transition: color 0.3s ease-in-out;
  }
ul li a:hover {
  color: #C86565;
  }
<!DOCTYPE html>

<meta charset="utf-8" />
<meta http-equiv="X-UA-Compatible" content="IE=edge" />
<title>Habitath</title>
<meta name="viewport" content="width=device-width, initial-scale=1, maximum-scale=1">
<meta name="description" content="Habitath a online coach hiring website" />
<meta name="keywords" content="habitath, ecosystem, online coach website" />

<link href="https://maxcdn.bootstrapcdn.com/bootstrap/3.3.7/css/bootstrap.min.css" rel="stylesheet" integrity="sha384-BVYiiSIFeK1dGmJRAkycuHAHRg32OmUcww7on3RYdg4Va+PmSTsz/K68vbdEjh4u" crossorigin="anonymous">
<link href="https://maxcdn.bootstrapcdn.com/font-awesome/4.6.3/css/font-awesome.min.css" rel="stylesheet" integrity="sha384-T8Gy5hrqNKT+hzMclPo118YTQO6cYprQmhrYwIiQ/3axmI1hQomh7Ud2hPOy8SP1" crossorigin="anonymous">
<link href="https://fonts.googleapis.com/css?family=Squada+One" rel="stylesheet">


text:
91 year-old former actor gets a blast from the past at the Belgrade Theatre
Ninety-one year old former actor, Hubert Warren got a blast from the past when he met the cast of psychological thriller, Night Must Fall during its run at the Belgrade Theatre last week.
Having played the role of 'Dan' in a touring production of this classic play 70 years ago, Mr Warren was keen to see the show at the Belgrade Theatre and to meet actor Will Featherstone, who is now following in his footsteps in this brand new UK tour.
Hubert Warren used to be a touring actor in a repertory company and learnt his craft during the war years with the RAF, under the leadership of Ralph Reader. In 1946, Hubert toured the Middle East for 18 months with Night Must Fall playing 'Dan', during which time he met the playwright, Emlyn Williams who came out to Port Said whilst the play was in Egypt.
Hubert was interested in the theatre from an early age and has in his possession a copy of the magazine, Theatre World from September 1935 which he brought along to show the cast. This particular issue reviewed the very first production of Night Must Fall at the Duchess Theatre and features photos of the cast which included Dame May Whitty in the role of Mrs Bransom.
Mr Warren said, "It was in the Middle East where I played the role of Dan and it was the best part of my theatrical life. I had directed it a few times in amateur companies and I still have the script now! The last time I saw Night Must Fall was in Cairo at the Garrison Theatre In 1946 and I thoroughly enjoyed it. I wanted to meet Will to share what we both think about the play, the script, our parts – he is the latest to join a very long line of film and theatre stars to play the role of Dan in Night Must Fall."
Night Must Fall continues at Malvern Theatre 4-8 October
Production Services contributes to increased turnover for the Belgrade Theatre


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