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'Detective Pikachu' Writers On The Potential For A Pokemon Cinematic Universe
by Sebastian Peris on May 13, 2019
With nearly 25 years worth of stories to choose from various forms of media, most fans might not have picked or expected Detective Pikachu to be the subject of the first live-action Pokemon film. Nonetheless, excitement for Detective Pikachu was palpable immediately after the release of the first official trailer. However, even in narrowing the list of Pokemon stories to adapt down to Detective Pikachu, the creative team behind the film was still left with an expansive range of themes to explore, characters to include, and, of course, a total of 809 pocket monsters to choose from to be featured in the movie.
For Detective Pikachu, Legendary Pictures assembled a team of writers that included Dan Hernandez and Benji Samit, the screenwriting duo whose previous credits include Amazon's The Tick and Netflix's One Day at a Time. Together with director Rob Letterman, Dan Hernandez and Benji Samit helped craft the story of Detective Pikachu and bring the imaginative world of Pokemon to life in a live-action feature film for the first time. In a conversation with Heroic Hollywood, Detective Pikachu co-writers Dan Hernandez and Benji Samit discussed how they helped develop the story for the film, what source material they looked to for inspiration, and how the world of Pokemon is rich with material for potential future films.
Also read: 'Pokemon: Detective Pikachu' Catches $5.7 Million In Thursday Previews
Where was the story for Detective Pikachu at the time you guys jumped in and where did you guys take it from there?
Benji: We came in very close to the beginning of the process when they were still trying to figure out how to adapt that video game into a big movie and so we came in at a very foundational stage of, you know… from choosing which Pokemon to even be in this world, to fleshing out the characters, coming up with the set pieces, the theme. So, all of that groundwork stuff, we came in at that stage.
So, you guys were on board before it had even been settled as a Detective Pikachu movie, specifically?
Benji: They knew they were gonna do Detective Pikachu and they were figuring out how to crack the story, and they decided to… 'who are the biggest nerd writers that we know?'
Dan: They knew that we had a familiarity with Pokemon, with genre stuff in general. And so they brought us in and we had opinions about how to tell story, and which Pokemon we wanted to use, and I think that was very appreciated because it allowed us to begin to craft this story together, with Rob Letterman, the director, and Legendary, the company, in a way that we all felt really comfortable with but also seemed true to the spirit of Pokemon.
I suppose there are a lot of ways you could go with Pikachu, in terms of his personality. How did you guys settle upon from what I can tell is a comedic take on the character and did you guys have Ryan Reynolds in mind when you were writing him or were you going completely fresh with your take on the character?
Ben: When we were writing it there were no actors attached. There was no… we had our own mental short dream list of who it could be and Ryan was on that list, but we really couldn't count on any one actor being the star of the movie. So, we really wanted to just create a voice and character that could stand on its own. And I think our biggest inspiration in coming up with that voice for Detective Pikachu was, similarly to the inspiration for a lot of the movie, is classic noir stories and classic noir detectives.
Dan: But the second that you have that noir voice coming out of this little Pikachu, there is something inherently funny about that, and comedic, and unexpected. And then adding on top of that the fact that only Tim, the main character, can hear him. That's another escalator of this comedic tension. That's how we sort of settled on, we're gonna make him funny, but when he gets serious he's very serious. And that's a testament to Ryan as an actor because he's obviously so funny, and so witty, and he brought so much of his own stuff to the character. But in those more emotional moments, I think he's just as good, and just as compelling, and authentic.
You mentioned that you looked at noir stories before, do you have specific examples?
Dan: If you've read the screenplay there's a reference to a movie called The Third Man, with Orson Welles from 1939. That's my favorite movie and it's like a masterpiece of noir. It's not exactly a detective story, but it's very noir. And even down to the way that Detective Pikachu is first revealed from the shadows into the light. It's very much a direct homage to that movie. We also thought about things like Blade Runner, which is a sort of neo-noir movie. We thought about things like Who Framed Roger Rabbit, which, even though it's very bright in a lot of ways, it is still a noir story. It's very much a detective story. I even listened to some old-time Philip Marlowe radio shows from 1949 and 1950, which are about as noir as it gets. So, we really did a deep dive on that style of writing so that we could kind of capture a tone and a vibe for the movie.
When you were writing Detective Pikachu, did you look to any of the shows, video games, or other movies? Even just to throw in little nods to the larger Pokemon world?
Benji: Yeah, there are definitely, you know, sprinkles, references throughout for the fans. We wanted to make sure that it was clear that Ryme City, the location of this movie, is not some alternate Pokemon universe, but it is a part of the universe of all the other Pokemon media that have come before it. It's all connected in a big universe. You know what was interesting as we started to break the story for this movie is what we couldn't do is we couldn't rely on some of the old standby classics of Pokemon stories which is, you know, Pokeballs, and trainers, and battles. The foundation of what people are used to in Pokemon stories… in Ryme City, none of that exists. And so, we couldn't draw on a lot of the iconic things that people know and love. And so, what we settled in on is we wanted to find something just to bring in from the other stuff. And what we focused in on was a core concept, a core idea in the Pokemon universe is the idea of evolution. The fact that these fantastical creatures can evolve into even more fantastical things or a seemingly useless, smaller creature can evolve into something majestic. This is an idea that we feel was very present in Ryme city and it's unique to the Pokemon universe. So, when we set out to do this, one of our earliest decisions was we wanted to make this a movie that in some ways is about evolution. Not just the literal Pokemon evolving, but the question of what does it mean to evolve? Can people evolve too? Can a father and son relationship evolve, both for the better and for the worse? Those sorts of ideas are what we really took from the other media, as well as stuff like… in the anime, it can get very emotional sometimes. There are very real, emotional scenes between trainers and their Pokemon and we really wanted to have some of that in this movie as well.
I know a lot of fans, including myself, were really excited to see what Mewtwo is going be like in the film. So, did you guys, in writing your take on the character, look at any of the previous versions seen in the animated movies or did you decide to take a completely fresh perspective with him?
Benji: I would say we definitely took into account all the Mewtwo media that have come before us, just because Mewtwo is such an iconic character and a such a special character that we wanted to be respectful of everything that came before us. Really, there's only one Mewtwo. It's not like Pikachu, where we can have this funny Pikachu doing one thing and it doesn't affect people's connection to a different Pikachu because there's lots of Pikachus. But, with this, there's only one Mewtwo and so Mewtwo has to feel consistent with all these Mewtwos that we've seen before.
There's been a bit of talk, at least online, about how this could all expand into a larger Pokemon Cinematic Universe and I was wondering if you guys have had any talks about coming back for another project and, either way, if there was any particular story, be it original or from the videos games or shows, that you'd love to tell in a future film?
Dan: You know, we haven't really talked about it because we've been so focused on this one. And really, even during the process of writing, we were like, in success do we hope that they will make more? Absolutely. But let's tell the most complete version of this story that we can. Let's make it a complete thought. And hopefully people love it, and a lot of people see, and they want to do more, and then we'll figure out, ok, where do we take it from here or what are some other stories in this world that can be told. Because I think that's what's so beautiful about bringing Ryme City into the greater world of Pokemon is, like, what's going on in Kanto? What's going on in these other regions? Who's doing what? And I think that those are all really fertile grounds for potential future movies.
What would you consider to be the biggest challenge in writing Detective Pikachu?:
Dan: I think the biggest challenge was balancing the expectations for what a Pokemon movie could be and what the story we were trying to tell was, emotionally. I think a lot of people had a very specific idea of, well, a Pokemon movie is gonna be Ash Ketchum battling and there's gonna be this Pokemon, and this Pokemon, and this Pokemon. And since we knew we were never gonna do that it was, 'Ok, how can well tell the absolute best version of our story?' Incorporating all of those great details but not make people feel like, 'after all these years, this is the story that you told? Not some other story or some other expectations that I had?' But instead have people going, 'Wow! I didn't know this the story that I wanted told, but I feel great that they told it.'
You guys mentioned earlier that you had conversations about which Pokemon to include and I was wondering if there were any particular Pokemon that you had to cut, and were disappointed to see go, and which ones were you excited to bring onto the screen?
Benji: There were a lot that obviously had to get cut along the way. Not because we didn't like the Pokemon, or it didn't work, or anything like that. It was, you know, as you make edits for pacing and things like that, certain sequences fall out. Like, we had a great sequence that we loved with a Golbat that was really fun. We wanted to texture the city with… we had a fun idea of Garbodor. We were just thinking of urban Pokemon. You know, Garbodor is this pile of trash that we wanted to see in an alleyway. So, there were so many fun things that had to get cut out, but we're happy with the ones that are still in there.
Dan: I would just add to that, the thing that we're the proudest of as far as integrating Pokemon is bringing Psyduck into the movie. That was something that we really felt passionately about on day one. We had felt like he was the funniest and he had the potential to be this breakout comedic character and we really, really just championed Psyduck.
Benji: Yeah, he's a character that… that particular Psyduck doesn't exist in the game that it's based off of and, as Dan said, when we came in, on day one we were like, 'the number two Pokemon in this movie needs to be Psyduck. He's our favorite. He's so funny.' And we're happy that all of that stayed from day one of us working on this all the way through the end.
Also read: 'Pokemon: Detective Pikachu' Sequel Reportedly In The Works
Now that Detective Pikachu has finally being released in theaters across the world, generations of fans can see see many of their favorite Pokemon in a live-action film for the very first time and so far, the response from audiences has resulted in Detective Pikachu becoming one of the most well-received adaptations of a video game to date. As for what Dan Hernandez and Benji Samit make of the anticipation for the film? "We just are so excited with the response so far," they told us towards the end of our conversation. "We hope that people love it and they feel like the wait was worth it."
Pokemon: Detective Pikachu is now playing in theaters!
Top Actors To Replace Ben Affleck In Matt Reeves' 'The Batman'
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Ben Affleck is officially out as Batman and it's a pretty sad day.
Words cannot describe how sad I am to see Ben Affleck announce that he's no longer Batman. His Batman is why I do what I do. In Batman v Superman: Dawn of Justice, I fell in love with his comic book-accurate interpretation of the Caped Crusader. It was a breath of fresh air and it felt like we finally had the one true Batman.
Three years have quickly sped by and we're officially going to receive a new Batman for his next movie. Last night, Ben Affleck announced that he will not return as the Dark Knight in Matt Reeves' The Batman and now everyone's attention has moved towards wanting to know who the next Bruce Wayne will be. Matt Reeves is said to want an actor that's around 20 years younger than Affleck while Warner Bros. wants someone older. My guess is that Reeves wants a fresh start while the studio wants an older actor for crossover potential.
In this list, I will discuss the actors I think can replace Ben Affleck as Batman using the parameters that Matt Reeves and Warner Bros. want. Hit Next to see our picks to play the Batman.
Michael Fassbender is an X-Men alum and no stranger to comic book franchises. The actor has shown multiple levels of range and could definitely handle the Batman/Bruce Wayne personality. If they go with the older range for the next Dark Knight, then Fassbender is probably one of the best choices to take over the role.
Ben Barnes is out of a job after The Punisher season 2 and he's one of the best actors in that series. The second season tied up Barnes' arc on The Punisher and the actor has already told us that that he'd love to play the Caped Crusader. Barnes definitely has the pretty boy look going on for him and I wonder what his take on Bruce Wayne could be.
I've said this before and I'll say it again: Ryan Gosling needs to star in a superhero movie. I've always thought Gosling would make a great Batman. Every role that he's done has shown us his capability and he could crush it as Bruce Wayne.
Jon Hamm is my top choice for an older Batman. If Warner Bros. wants to cast an older actor for crossover potential, Jon Hamm is the studio's best bet. He has a similar look to Ben Affleck, and c'mon, the guy's look just screams Bruce Wayne.
Armie Hammer is 32 years old and was cast as the Caped Crusader in George Miller's Justice League: Mortal. That film will never see the light of day, but that doesn't mean that Hammer doesn't deserve a second shot at being the Batman. He's charming, broody and will probably give his all for this role. Armie Hammer is a great option because he's young enough for Matt Reeves and Warner Bros. could work in a way for him to crossover with the rest of the DC Extended Universe.
Game of Thrones alum Richard Madden is my top choice to replace Ben Affleck as Batman. The actor is young, has the look and definitely has the acting chops to play the duality of Batman and Bruce Wayne. Madden just won the Golden Globe for Best Actor in a Television series for the BBC drama Bodyguard, so Warner Bros. may want to quickly snatch him up.


PACT is a movement disguised as a clothing company. They are obsessed with a big idea: change-making clothes that make the world a better place. Concept, art direction and production of mini-campaign based on a roadtrip across America. It was conceived as a booklet and served as the kickoff and inspiration for a brand new travel section in The Good Times, a newspaper published by PACT and distributed at retailers like Whole Foods. What better way to help spur a movement than to show people what a beautiful place our country really is? And, you know, everything is just more fun when you're not wearing pants.


The course 'Introduction to a PhD in Communication Science' is a workshop for first year PhD Students. The course dates are every year in Spring.
The PhD introduction course aims to build discipline awareness, to address PhD-specific issues involving integrity, project management, and paper submission, and to stimulate discussion about academic careers and societal impact.
First year NeSCoR PhD's are invited after consulting the NeSCoR Management.


Officially licensed by NCAA, the Alabama Crimson Tide Logo String Pack is ideal for light loads and game gear. It features drawstring shoulder straps, mesh backing and a zipper pocket on the front. The string pack is made of heavy-duty nylon with PVC lining and a reinforced bottom. Sport Alabama colors with a bright screen-printed Crimson Tide logo and show your school spirit at tailgating parties! 19.5 X 14".


Online casinos offer many keno games to play online. Some of the Keno games are classic keno board games and many keno come in the form of pokies games. These games are powered by top notch gaming software companies like Microgaming, NetEnt, Betsoft, Real Time Gaming and more. Here are the 14 most popular keno games that punters love to play online. Remember that these games are available at many Aussie friendly casinos and can be played with mobile or PC with a good WIFI connection. It is your choice to play these games for free without any real money deposit or play with real cash in your own currency that is AUD or Bitcoins.
Cleopatra Keno is an exciting and most popular video keno game with a free play bonus if the last number drawn hits a marked spot in a winning game. The bonus is 12 free plays where any wins are multiplied by two. You can get this app for free even at app stores to download on your mobile and play for free.
4 card Cleopatra Keno is same as Cleopatra Keno only that it is now available with four card play! The game has the same odds and payouts as in the casino with multi denomination machines. You choose from 1 cent up to 1 dollar per credit with a max bet of 10 per keno card.
This is the variation of Caveman Keno Game with four card to play. 4 card Caveman Keno features unlimited play! This game is also available at app stores as an app for mobile to play for free.
It plays like regular keno, except it adds the possibility of multipliers and extra balls. Of course, the cost for that is a lower base pay table. The player makes a bet and chooses 2 to 10 numbers from 1 to 80. When the player is done, the game randomly picks three of the unpicked numbers and marks them with eggs. The game will then randomly pick 20 numbers from 1 to 80.
The player's base prize will pay according to how many of the balls drawn by the game match those chosen by the player.
If the game chooses a number with an egg, then that egg will hatch. If exactly two eggs hatch, then any win will be multiplied by 4. If all three eggs hatch, then any win will be multiplied by 8.
Caveman Keno is an extremely fun game that casino lovers enjoy as it's a cool variation over standard keno with robust graphics and pleasurable ancient sounds. The game chooses three numbers before the draw and if at least two of them match the 20 numbers drawn then the player will win a multiplier.
The player chooses from two to ten numbers, ranging from 1 to 80, as in regular keno. The computer will draw three three numbers at random among the numbers the player did not pick. These three numbers will be marked with dinosaur eggs. The computer will then draw 20 numbers, ranging from 1 to 80, as in regular keno.
The player will win depending in part on the number of the player's picks that match the 20 numbers chosen by the RNG. The player will get a multiplier according to the number of eggs that match the 20-ball draw. The usual multipliers are 1x for 0 or 1 match, 4x for two matches, and either 8x or 10x for three matches. Usually 8x. The player's win will be the product of the win according to the pay table and the multiplier.
Triple Power Keno is a keno variation on a multi-game machine. It plays like conventional keno, except if the last ball is one of the player's picks, then the player gets three extra balls and any win is tripled.
In this game when the last ball drawn hits a marked spot, earn a Power Win worth 4X. The player chooses 2 to 10 numbers from 1 to 80. The game will randomly choose 20 numbers from the same range of 1 to 80. The player is paid to number of his picks that match the numbers drawn by the game. If the first number drawn is a match then any win will be quadrupled.
This is a classic Keno with a great Bonus feature. After rounds with a certain number of matching numbers, you have the option to make an additional 4 credit bet and draw 3 more numbers to increase your winnings!
246 Way Keno is a keno variation with unique win combinations matching spots that correspond to lettered number selections. This is a simple game to play, as it works like a lottery; place a bet and mark 6 numbers. Your picks are automatically converted into 7-way tickets that allow you to win with several different combinations. Press Start and 20 numbers are randomly selected out of 80. If you hit enough numbers you win, and for ultimate jackpots you have multiple ways to win at once.
369 Way Keno is a keno variation with unique win combinations matching spots that correspond to lettered number selections. 3-6-9 Keno lets you play 7 different ways on one keno ticket. Pick 9 numbers and the possibilities of receiving paybacks are increased over the standard video keno.
4 Card Keno is a classic casino game that is fun and easy to learn. Players select a bet amount and choose between 2 and 10 numbers on their Keno card. Numbers are then randomly drawn and appear on the keno card as they are drawn. The more numbers you pick correctly, the more you win! Just like classic keno, only you can play on four cards at the same time.
Super Way Keno is a keno variation with unique win combinations matching spots that correspond to lettered number selections.
Multi-Card Keno gives the ability of playing up to 20 cards at once for the ultimate jackpot payouts. Multi Card Keno is a simple game to understand, as it works like a lottery; pick a card, place a bet and mark 2-10 numbers. Choose another card and pick more numbers or alternatively play a single card all the way up to 20 cards at once. Press Start and 20 numbers are randomly selected out of 80. If you hit enough numbers you win, and if the draw pays on multiple cards you have supreme paybacks.
Classic keno is casino game that is fun and easy to learn. Players select a bet amount and choose between 2 and 10 numbers on their Keno card. Numbers are then randomly drawn and appear on the keno card as they are drawn. The more numbers you pick correctly, the more you win.
Now enjoy all these popular keno games at online casinos. Also these games are available in the form of apps at app stores for iOS phones and at Google Play for Android phones to play for free.


All Filorga's aesthetic expertise in a correcting eye cream to reduce the appearance of wrinkles and reveal younger and wider looking eyes.
Time-Filler Eyes : Apply a small amount of the cream every morning and/or evening. Dot gently around the corners of your eyes, taking care not to forget the upper eyelids and roots of the lashes.


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Q: Storyboard layout not correct on iPad 2 I am trying to lay out objects on a Storyboard using the interface builder yet when I run the app on an iPad2, the layout is being messed up and objects are not appearing where they should. All the objects are there but they are being moved horizontally and not the same number of pixels! For instance, I have two ImageViews overlayed on one another (one is 100x100 and one is 75x75 centred within) but when the app is run on the iPad, they are both being moved horizontally across the screen by different distances!
I'd like to add screenshots but unfortunately I can't for privacy reasons.
I know it's vague but does anyone have any ideas on where to start looking to fix this?
Thanks.

A: I had this problem too when I was first making an iPad app.
Try fiddling with some of the 'struts & springs' of the interface elements in the storyboard. To do this, select some of the interface elements, then on the right panel go to the size inspector and try some things with the 'Autosizing' rectangle.

Hope it helps!

redpajama_set_name: RedPajamaStackExchange


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Lillard has 25, Blazers beat short-handed Lakers 105-90
PORTLAND, Ore. (AP) Damian Lillard scored 25 points before sitting out the fourth quarter and the Portland Trail Blazers took advantage of the short-handed Los Angeles Lakers for a 105-90 victory on Saturday night.
Jusuf Nurkic added 15 points and 17 rebounds for the Blazers, who led by as many as 34 points despite playing the second of a back-to-back.
Former Blazer Carmelo Anthony had 12 points off the bench for the Lakers, who were without LeBron James because of an abdominal strain.
Leading scorer Anthony Davis was questionable for the Lakers going into the game with a thumb strain. He started but played just seven minutes before leaving with a stomach illness.
Russell Westbrook, who was averaging 20.2 points, 8.4 rebounds and 8.1 assists, shot 1 for 13 and finished with eight points and seven rebounds.
The Blazers were coming off a 110-106 victory over the Indiana Pacers the night before that snapped a three-game losing streak.
Lillard had been in a slump with 17.8 points per game to open the season, well off his average from last season. He had been shooting just 21.7% from 3-point range.
But Lillard hit a 3-pointer to open the game and he made two of his first three attempts. He also hit a 3-pointer for Portland's first points in the second half, and finished with six 3s on 14 attempts.
Anfernee Simons' follow shot capped a 13-0 run that put Portland up 25-10 early and the rout was on. The Blazers outscored Los Angeles 36-14 in the first quarter.
Although their offense cooled off a bit in the second quarter, the Blazers still had a 51-36 lead at halftime.
Norman Powell's basket put the Blazers up 69-44 in the third quarter. The Lakers pulled their starters before the final period and fans headed for the doors early.
Lillard reached 17,000 points.
Lakers: Anthony shared a warm embrace with former teammate CJ McCollum in warmups before the game. … The 14 first-quarter points were a season low for the Lakers this season. … No Lakers were in double figures in the first half. … The 34-point deficit was the largest for the Lakers this season.
Trail Blazers: The Blazers confirmed Saturday that the team has retained an outside firm to investigate »concerns» about the workplace environment involving non-player staff. Both The Athletic and Yahoo Sports reported Friday night that the probe is in response to allegations over workplace misconduct against Neil Olshey, the team's president of basketball operations.
Lakers: Host Charlotte on Monday night.
Trail Blazers: Open a four-game road trip on Tuesday against the Clippers.

redpajama_set_name: RedPajamaCommonCrawl


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Awkward Black Girl Moves to Pharrell's 'i am Other' YouTube Channel
by Contributors
Issa Rae's popular webseries, The Misadventures of Awkward Black Girl is now part of hip hop producer/entrepreneur Pharrell Williams' new YouTube channel:
"i am OTHER" YouTube channel, [is] an eclectic assortment of programming that includes the web series Awkward Black Girl, a show featuring bizarro interviewer Nardwuar, a man-on-the-street format that "tests assumptions about musical tastes based on physical appearance," and also State Of The Union, "an intimate weekly report" wherein Williams talks about whatever is on his mind—"everything from his favorite snacks to fashion must-haves," which will help you be an individual, just like him.
The 2nd season of ABG will premiere on i am Other in June.
What do you think about ABG linking up with this latest Pharrell movement?
Will this bring greater success for Issa Rae?
black women, Media, Television
The Black Youth Project is a platform that highlights the voices and ideas of Black millennials. Through knowledge, voice, and action, we work to empower and uplift the lived experiences of young Black Americans today.


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Q: Nginx and uWSGI (13: Permission denied) while connecting to upstream I'm trying to deploy my Flask app with Nginx and uWSGI.
This is the conf:
server {
     listen 6543;

     location / {
              include uwsgi_params;
              uwsgi_pass unix:/home/developer/spir-back-end/spir-back-end.sock
     }
}

This is the spir-back-end.ini file inside the project:
[uwsgi]
module = wsgi:app

master = true
processes = 4

chmod-socket = 660
vaccum = true

die-on-term = true

This is spir-back-end.service:
[Unit]
Description=uWSGI instance to serve spir-back-end
After=network.target

[Service]
WorkingDirectory=/home/developer/spir-back-end
Environment="PATH=/home/developer/spir-back-end/backendvenv/bin"
ExecStart=/home/developer/spir-back-end/backendvenv/bin/uwsgi --ini spir-back-end.ini

[Install]
WantedBy=multi.user.target

When I try to reach the page, I get 502 Bad Gateway.
I looked into error.log file and I saw that the error is:
*16 connect() to unix:/home/developer/spir-back-end/spir-back-end.sock failed (13 Permission denied) while connecting to upstream

I specify I did not create a .socket file to insert into spir-back-end.ini file.


George is one of our personal lines account managers he comes to LNIA with several years of experience. He is a great addition to our team he brings lots of enthusiasm and is a joy to work with. He is a team player and loves the comradery of the office.
On the weekend George loves spending time with his lovely wife and family. He cheers for the Cowboys and likes to take in a round a golf when possible. One of his favorite verses is, I can do all things in Christ who strengthens me. Phil 4:13. If he could offer any advice to our clients it would be, educate yourself to understand how insurance is here to protect you and your family. He is more that eager to help you do just that.


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Wild Orchid Slot Machine
Wild Orchid Slot Machine – This product appears to be SOLD OUT at the moment. However, other similar products may be available. Feel free to check out similar products from this brand or call 786-510-4176. We will be happy to provide product recommendations.
Playing the slot machine can be forty lines, placing each of them from one to five coins. As a video slot, White Orchid has free spins, special characters and other options. Risky double game in the White Orchid no. The machine may vary in cabinet size and color. However, we will send you a video of your machine before shipping.
The White Orchid slot machine shows a guy, a girl, a jaguar, a butterfly, a frog and card denominations from Jack to Ace. The machine also has a special Wild character and the Free Spins Bonus. The free spins bonus just lands on the middle reel strips and goes. When this drum has two, three or four of these signals, starting ten, fifteen or twenty free runs at the current pace. In this round, new characters appear with the image of tropical animals, which form a combination of favorable factors. Free spins can be extended (by the same rules); however, they cannot exceed one hundred and thirty consecutively.
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The famous "IGame Plus" IGT series slot machines are a wonderful way to fill your slot machine floor without breaking the bank. This line combines popular game themes with a recognizable cabinet to be an attractive draw for players in your casino hall. IGT IGame Plus are simple multi-line video games that appeal to gamers of all ages, in particular fans of classic IGT themes. There are orchid parks in many countries. The most popular are located in the Hawaiian Islands, Singapore, Bali, Costa Rica. Any of these countries always causes dreams of relaxation and vivid impressions. The sound of the sea, white sand, a variety of unusual plants and animals – this is what we imagine when we admire orchids. It is especially interesting to see these unusual flowers in the natural environment, because most orchid varieties grow on tree trunks. Many tourists prefer Costa Rica for this trip. We go there too in this slot. Why Costa Rica? In addition to its shores being bathed by two oceans, the Pacific and the Atlantic, this is a true wildlife spot. Let players immerse themselves in the relaxing atmosphere of Costa Rica's ocean coast as they play. The "White Orchid" slot will perfectly handle this task. If you are interested in our new product, you can buy it in our store – https:///product/white-orchid/:
See also Buffalo Link Slot Machine
The game's reel design is associated with the tropics. The background imitates tree trunks. A warm brown tone looks very cozy. In contrast to it, juicy greens and delicate shades of flowers around the edges attract attention. In the frame around the spools, the stems of orchids and vines intertwined. Here orchids of different colors are collected – from white to bright red. The Rotate button is decorated like a large yellow orchid flower. Every touch on it excites and stirs the imagination.
In the night version of the game reels, not only does the background behind the reels change, but also the design of the reels themselves. The vegetation of palm branches and vines turns dark green. It is not saturated as in daytime design. The orchid flowers in the frame are the same pastel shade of blue. This is what how many colors look like at dusk when you don't see the details.
A daytime version of the game setting embodies dreams of a perfect, secluded vacation. The screen offers views of crystal clear water in a peaceful lagoon. A wooden boat took the guests to the beach. Nothing will disturb the rest here. Palm trees generously give shade, flowering water lilies create a romantic atmosphere. The transparent water plays in many shades: from emerald to blue. It feels like you can hear the splash of light waves and feel the coolness, just reach out and touch the water. From this point it overlooks the neighboring green coast and majestic mountains.
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Bonus symbol – a large flower of a white orchid. It has already bloomed, the petals are open and the cream-colored middle beckons to touch and feel an unusual tenderness. Scatter and Wild Symbols – variants of the sunset on the ocean coast. From the sun, the water and the sky turn pink. The line between them is blurred and it seems that it is unclear whether the sun sets in the water or dissolves in the clouds.
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Ioane Vito Hall in Newtown resounded with the voices of 180 Samoan leaders singing joyfully as they welcomed Archbishop John Dew to their gathering last month. The occasion gave Archbishop John, Frs Maleko and Mauola, Sr Pesio Iosefo, and Lorraine McArthur, the opportunity to explain the journey to Pentecost Synod 2006 and to invite their full participation in the process.
It was a wonderful morning, the hall abuzz with conversation as people in the various groups told their stories, some in Samoan, some in English, all of them rich in experience and meaning.
At the end of the morning, during the closing liturgy, Archbishop John, visibly moved by their support of him, and their commitment to the synod process, invited all to take the light they had been given, out into their communities, to be a 'freeing, healing presence' in the world.


text:
Q: QuickBlox Chat - Are messages stored? I have a doubt about QuickBlox.
I want to use the chat functionality but I need to know if the messages exchanged between users are stored in database. because I need to retrieve them to show a list of the users I've talked to and the last message, such as facebook app in iOS and Android.
Thanks!

A: Here is info about chat history
http://quickblox.com/developers/SimpleSample-chat_users-ios#Manage_Chat_History


text:
<?php

declare(strict_types=1);

namespace Phoenix\Database\Adapter\Behavior;

use Phoenix\Database\Element\IndexColumn;
use Phoenix\Database\Element\MigrationTable;
use Phoenix\Database\Element\Structure;
use Phoenix\Exception\InvalidArgumentValueException;

trait StructureBehavior
{
    public function getStructure(): Structure
    {
        $database = $this->loadDatabase();
        $structure = new Structure();
        $tables = $this->loadTables($database);
        $columns = $this->loadColumns($database);
        $indexes = $this->loadIndexes($database);
        $foreignKeys = $this->loadForeignKeys($database);
        foreach ($tables as $table) {
            $tableName = $table['table_name'];
            $migrationTable = $this->createMigrationTable($table);
            $this->addColumns($migrationTable, $columns[$tableName] ?? []);
            $this->addIndexes($migrationTable, $indexes[$tableName] ?? []);
            $this->addForeignKeys($migrationTable, $foreignKeys[$tableName] ?? []);
            $migrationTable->create();
            $structure->update($migrationTable);
        }
        return $structure;
    }

    /**
     * @param array<string, string> $table
     */
    protected function createMigrationTable(array $table): MigrationTable
    {
        return new MigrationTable($table['table_name'], false);
    }

    /**
     * @param array<array<string, mixed>> $columns
     */
    protected function addColumns(MigrationTable $migrationTable, array $columns): void
    {
        foreach ($columns as $column) {
            $this->addColumn($migrationTable, $column);
        }
    }

    abstract protected function loadDatabase(): string;

    /**
     * @return array<string[]>
     */
    abstract protected function loadTables(string $database): array;

    /**
     * @return array<string, array<int, mixed>>
     */
    abstract protected function loadColumns(string $database): array;

    /**
     * @return array<string, array<string, array<string, mixed>>>
     */
    abstract protected function loadIndexes(string $database): array;

    /**
     * @return array<string, array<string, array<string, mixed>>>
     */
    abstract protected function loadForeignKeys(string $database): array;

    /**
     * @param array<string, mixed> $column
     */
    abstract protected function addColumn(MigrationTable $migrationTable, array $column): void;

    /**
     * @param array<string, array<string, mixed>> $indexes
     * @throws InvalidArgumentValueException
     */
    private function addIndexes(MigrationTable $migrationTable, array $indexes): void
    {
        foreach ($indexes as $name => $index) {
            $columns = $index['columns'];
            ksort($columns);
            if ($name === 'PRIMARY') {
                $columns = array_map(function (IndexColumn $column) {
                    return $column->getName();
                }, $columns);
                $migrationTable->addPrimary($columns);
                continue;
            }
            $migrationTable->addIndex(array_values($columns), $index['type'], $index['method'], $name);
        }
    }

    /**
     * @param array<string, array<string, mixed>> $foreignKeys
     */
    private function addForeignKeys(MigrationTable $migrationTable, array $foreignKeys): void
    {
        foreach ($foreignKeys as $foreignKey) {
            $columns = $foreignKey['columns'];
            ksort($columns);
            $referencedColumns = $foreignKey['referenced_columns'];
            ksort($referencedColumns);
            $migrationTable->addForeignKey(
                array_values($columns),
                $foreignKey['referenced_table'],
                array_values($referencedColumns),
                $foreignKey['on_delete'],
                $foreignKey['on_update']
            );
        }
    }
}

redpajama_set_name: RedPajamaGithub


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Gayle lives in Wonthaggi, is passionate about writing and keen to showcase Aussie culture to a global audience. Gayle has stories in anthologies, including 'Mosaic', 'The Umbrella's Shade' and 'Between Heaven and Hell'. She works as an accountant, loves her family, dogs, sunsets and chocolate.


Ahead of the release of Zoya Akhtar's underground music film Gully Boy, lead actors Ranveer Singh and Alia Bhatt visited the sets of The Kapil Sharma Show to promote their highly anticipated gully rap film.
A short video clip from the yet-to-be aired episode has emerged online, which shows Kapil Sharma introducing his guests Alia and Ranveer, but Ranveer is seen engrossed in a conversation with on his phone, sending air-kisses to the caller. Later, Kapil reveals that the recipient of the call is their 'bhabi' (sister-in-law), referring to Deepika Padukone.
Deepika and Ranveer also attended Kapil's wedding reception in Mumbai, and their dance videos from the event had gone viral.
Meanwhile, Kapil's wife Ginni Chatrath also appeared on The Kapil Sharma Show during Shakti Mohan, Neeti Mohan and Mukti Mohan's episode. Chatrath even posed for a picture with Neeti, Shakti and Mukti after the episode.
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text:
package swarm

import (
	"encoding/json"
	"fmt"
	"net/http"
	"strconv"

	"github.com/Sirupsen/logrus"
	"github.com/docker/docker/api/errors"
	"github.com/docker/docker/api/server/httputils"
	basictypes "github.com/docker/docker/api/types"
	"github.com/docker/docker/api/types/backend"
	"github.com/docker/docker/api/types/filters"
	types "github.com/docker/docker/api/types/swarm"
	"golang.org/x/net/context"
)

func (sr *swarmRouter) initCluster(ctx context.Context, w http.ResponseWriter, r *http.Request, vars map[string]string) error {
	var req types.InitRequest
	if err := json.NewDecoder(r.Body).Decode(&req); err != nil {
		return err
	}
	nodeID, err := sr.backend.Init(req)
	if err != nil {
		logrus.Errorf("Error initializing swarm: %v", err)
		return err
	}
	return httputils.WriteJSON(w, http.StatusOK, nodeID)
}

func (sr *swarmRouter) joinCluster(ctx context.Context, w http.ResponseWriter, r *http.Request, vars map[string]string) error {
	var req types.JoinRequest
	if err := json.NewDecoder(r.Body).Decode(&req); err != nil {
		return err
	}
	return sr.backend.Join(req)
}

func (sr *swarmRouter) leaveCluster(ctx context.Context, w http.ResponseWriter, r *http.Request, vars map[string]string) error {
	if err := httputils.ParseForm(r); err != nil {
		return err
	}

	force := httputils.BoolValue(r, "force")
	return sr.backend.Leave(force)
}

func (sr *swarmRouter) inspectCluster(ctx context.Context, w http.ResponseWriter, r *http.Request, vars map[string]string) error {
	swarm, err := sr.backend.Inspect()
	if err != nil {
		logrus.Errorf("Error getting swarm: %v", err)
		return err
	}

	return httputils.WriteJSON(w, http.StatusOK, swarm)
}

func (sr *swarmRouter) updateCluster(ctx context.Context, w http.ResponseWriter, r *http.Request, vars map[string]string) error {
	var swarm types.Spec
	if err := json.NewDecoder(r.Body).Decode(&swarm); err != nil {
		return err
	}

	rawVersion := r.URL.Query().Get("version")
	version, err := strconv.ParseUint(rawVersion, 10, 64)
	if err != nil {
		return fmt.Errorf("Invalid swarm version '%s': %s", rawVersion, err.Error())
	}

	var flags types.UpdateFlags

	if value := r.URL.Query().Get("rotateWorkerToken"); value != "" {
		rot, err := strconv.ParseBool(value)
		if err != nil {
			return fmt.Errorf("invalid value for rotateWorkerToken: %s", value)
		}

		flags.RotateWorkerToken = rot
	}

	if value := r.URL.Query().Get("rotateManagerToken"); value != "" {
		rot, err := strconv.ParseBool(value)
		if err != nil {
			return fmt.Errorf("invalid value for rotateManagerToken: %s", value)
		}

		flags.RotateManagerToken = rot
	}

	if value := r.URL.Query().Get("rotateManagerUnlockKey"); value != "" {
		rot, err := strconv.ParseBool(value)
		if err != nil {
			return fmt.Errorf("invalid value for rotateManagerUnlockKey: %s", value)
		}

		flags.RotateManagerUnlockKey = rot
	}

	if err := sr.backend.Update(version, swarm, flags); err != nil {
		logrus.Errorf("Error configuring swarm: %v", err)
		return err
	}
	return nil
}

func (sr *swarmRouter) unlockCluster(ctx context.Context, w http.ResponseWriter, r *http.Request, vars map[string]string) error {
	var req types.UnlockRequest
	if err := json.NewDecoder(r.Body).Decode(&req); err != nil {
		return err
	}

	if err := sr.backend.UnlockSwarm(req); err != nil {
		logrus.Errorf("Error unlocking swarm: %v", err)
		return err
	}
	return nil
}

func (sr *swarmRouter) getUnlockKey(ctx context.Context, w http.ResponseWriter, r *http.Request, vars map[string]string) error {
	unlockKey, err := sr.backend.GetUnlockKey()
	if err != nil {
		logrus.WithError(err).Errorf("Error retrieving swarm unlock key")
		return err
	}

	return httputils.WriteJSON(w, http.StatusOK, &basictypes.SwarmUnlockKeyResponse{
		UnlockKey: unlockKey,
	})
}

func (sr *swarmRouter) getServices(ctx context.Context, w http.ResponseWriter, r *http.Request, vars map[string]string) error {
	if err := httputils.ParseForm(r); err != nil {
		return err
	}
	filter, err := filters.FromParam(r.Form.Get("filters"))
	if err != nil {
		return err
	}

	services, err := sr.backend.GetServices(basictypes.ServiceListOptions{Filters: filter})
	if err != nil {
		logrus.Errorf("Error getting services: %v", err)
		return err
	}

	return httputils.WriteJSON(w, http.StatusOK, services)
}

func (sr *swarmRouter) getService(ctx context.Context, w http.ResponseWriter, r *http.Request, vars map[string]string) error {
	service, err := sr.backend.GetService(vars["id"])
	if err != nil {
		logrus.Errorf("Error getting service %s: %v", vars["id"], err)
		return err
	}

	return httputils.WriteJSON(w, http.StatusOK, service)
}

func (sr *swarmRouter) createService(ctx context.Context, w http.ResponseWriter, r *http.Request, vars map[string]string) error {
	var service types.ServiceSpec
	if err := json.NewDecoder(r.Body).Decode(&service); err != nil {
		return err
	}

	// Get returns "" if the header does not exist
	encodedAuth := r.Header.Get("X-Registry-Auth")

	id, err := sr.backend.CreateService(service, encodedAuth)
	if err != nil {
		logrus.Errorf("Error creating service %s: %v", service.Name, err)
		return err
	}

	return httputils.WriteJSON(w, http.StatusCreated, &basictypes.ServiceCreateResponse{
		ID: id,
	})
}

func (sr *swarmRouter) updateService(ctx context.Context, w http.ResponseWriter, r *http.Request, vars map[string]string) error {
	var service types.ServiceSpec
	if err := json.NewDecoder(r.Body).Decode(&service); err != nil {
		return err
	}

	rawVersion := r.URL.Query().Get("version")
	version, err := strconv.ParseUint(rawVersion, 10, 64)
	if err != nil {
		return fmt.Errorf("Invalid service version '%s': %s", rawVersion, err.Error())
	}

	// Get returns "" if the header does not exist
	encodedAuth := r.Header.Get("X-Registry-Auth")

	registryAuthFrom := r.URL.Query().Get("registryAuthFrom")

	if err := sr.backend.UpdateService(vars["id"], version, service, encodedAuth, registryAuthFrom); err != nil {
		logrus.Errorf("Error updating service %s: %v", vars["id"], err)
		return err
	}
	return nil
}

func (sr *swarmRouter) removeService(ctx context.Context, w http.ResponseWriter, r *http.Request, vars map[string]string) error {
	if err := sr.backend.RemoveService(vars["id"]); err != nil {
		logrus.Errorf("Error removing service %s: %v", vars["id"], err)
		return err
	}
	return nil
}

func (sr *swarmRouter) getServiceLogs(ctx context.Context, w http.ResponseWriter, r *http.Request, vars map[string]string) error {
	if err := httputils.ParseForm(r); err != nil {
		return err
	}

	// Args are validated before the stream starts because when it starts we're
	// sending HTTP 200 by writing an empty chunk of data to tell the client that
	// daemon is going to stream. By sending this initial HTTP 200 we can't report
	// any error after the stream starts (i.e. container not found, wrong parameters)
	// with the appropriate status code.
	stdout, stderr := httputils.BoolValue(r, "stdout"), httputils.BoolValue(r, "stderr")
	if !(stdout || stderr) {
		return fmt.Errorf("Bad parameters: you must choose at least one stream")
	}

	serviceName := vars["id"]
	logsConfig := &backend.ContainerLogsConfig{
		ContainerLogsOptions: basictypes.ContainerLogsOptions{
			Follow:     httputils.BoolValue(r, "follow"),
			Timestamps: httputils.BoolValue(r, "timestamps"),
			Since:      r.Form.Get("since"),
			Tail:       r.Form.Get("tail"),
			ShowStdout: stdout,
			ShowStderr: stderr,
			Details:    httputils.BoolValue(r, "details"),
		},
		OutStream: w,
	}

	if !logsConfig.Follow {
		return fmt.Errorf("Bad parameters: Only follow mode is currently supported")
	}

	if logsConfig.Details {
		return fmt.Errorf("Bad parameters: details is not currently supported")
	}

	chStarted := make(chan struct{})
	if err := sr.backend.ServiceLogs(ctx, serviceName, logsConfig, chStarted); err != nil {
		select {
		case <-chStarted:
			// The client may be expecting all of the data we're sending to
			// be multiplexed, so send it through OutStream, which will
			// have been set up to handle that if needed.
			fmt.Fprintf(logsConfig.OutStream, "Error grabbing service logs: %v\n", err)
		default:
			return err
		}
	}

	return nil
}

func (sr *swarmRouter) getNodes(ctx context.Context, w http.ResponseWriter, r *http.Request, vars map[string]string) error {
	if err := httputils.ParseForm(r); err != nil {
		return err
	}
	filter, err := filters.FromParam(r.Form.Get("filters"))
	if err != nil {
		return err
	}

	nodes, err := sr.backend.GetNodes(basictypes.NodeListOptions{Filters: filter})
	if err != nil {
		logrus.Errorf("Error getting nodes: %v", err)
		return err
	}

	return httputils.WriteJSON(w, http.StatusOK, nodes)
}

func (sr *swarmRouter) getNode(ctx context.Context, w http.ResponseWriter, r *http.Request, vars map[string]string) error {
	node, err := sr.backend.GetNode(vars["id"])
	if err != nil {
		logrus.Errorf("Error getting node %s: %v", vars["id"], err)
		return err
	}

	return httputils.WriteJSON(w, http.StatusOK, node)
}

func (sr *swarmRouter) updateNode(ctx context.Context, w http.ResponseWriter, r *http.Request, vars map[string]string) error {
	var node types.NodeSpec
	if err := json.NewDecoder(r.Body).Decode(&node); err != nil {
		return err
	}

	rawVersion := r.URL.Query().Get("version")
	version, err := strconv.ParseUint(rawVersion, 10, 64)
	if err != nil {
		return fmt.Errorf("Invalid node version '%s': %s", rawVersion, err.Error())
	}

	if err := sr.backend.UpdateNode(vars["id"], version, node); err != nil {
		logrus.Errorf("Error updating node %s: %v", vars["id"], err)
		return err
	}
	return nil
}

func (sr *swarmRouter) removeNode(ctx context.Context, w http.ResponseWriter, r *http.Request, vars map[string]string) error {
	if err := httputils.ParseForm(r); err != nil {
		return err
	}

	force := httputils.BoolValue(r, "force")

	if err := sr.backend.RemoveNode(vars["id"], force); err != nil {
		logrus.Errorf("Error removing node %s: %v", vars["id"], err)
		return err
	}
	return nil
}

func (sr *swarmRouter) getTasks(ctx context.Context, w http.ResponseWriter, r *http.Request, vars map[string]string) error {
	if err := httputils.ParseForm(r); err != nil {
		return err
	}
	filter, err := filters.FromParam(r.Form.Get("filters"))
	if err != nil {
		return err
	}

	tasks, err := sr.backend.GetTasks(basictypes.TaskListOptions{Filters: filter})
	if err != nil {
		logrus.Errorf("Error getting tasks: %v", err)
		return err
	}

	return httputils.WriteJSON(w, http.StatusOK, tasks)
}

func (sr *swarmRouter) getTask(ctx context.Context, w http.ResponseWriter, r *http.Request, vars map[string]string) error {
	task, err := sr.backend.GetTask(vars["id"])
	if err != nil {
		logrus.Errorf("Error getting task %s: %v", vars["id"], err)
		return err
	}

	return httputils.WriteJSON(w, http.StatusOK, task)
}

func (sr *swarmRouter) getSecrets(ctx context.Context, w http.ResponseWriter, r *http.Request, vars map[string]string) error {
	if err := httputils.ParseForm(r); err != nil {
		return err
	}
	filters, err := filters.FromParam(r.Form.Get("filters"))
	if err != nil {
		return err
	}

	secrets, err := sr.backend.GetSecrets(basictypes.SecretListOptions{Filters: filters})
	if err != nil {
		return err
	}

	return httputils.WriteJSON(w, http.StatusOK, secrets)
}

func (sr *swarmRouter) createSecret(ctx context.Context, w http.ResponseWriter, r *http.Request, vars map[string]string) error {
	var secret types.SecretSpec
	if err := json.NewDecoder(r.Body).Decode(&secret); err != nil {
		return err
	}

	id, err := sr.backend.CreateSecret(secret)
	if err != nil {
		return err
	}

	return httputils.WriteJSON(w, http.StatusCreated, &basictypes.SecretCreateResponse{
		ID: id,
	})
}

func (sr *swarmRouter) removeSecret(ctx context.Context, w http.ResponseWriter, r *http.Request, vars map[string]string) error {
	if err := sr.backend.RemoveSecret(vars["id"]); err != nil {
		return err
	}

	return nil
}

func (sr *swarmRouter) getSecret(ctx context.Context, w http.ResponseWriter, r *http.Request, vars map[string]string) error {
	secret, err := sr.backend.GetSecret(vars["id"])
	if err != nil {
		return err
	}

	return httputils.WriteJSON(w, http.StatusOK, secret)
}

func (sr *swarmRouter) updateSecret(ctx context.Context, w http.ResponseWriter, r *http.Request, vars map[string]string) error {
	var secret types.SecretSpec
	if err := json.NewDecoder(r.Body).Decode(&secret); err != nil {
		return errors.NewBadRequestError(err)
	}

	rawVersion := r.URL.Query().Get("version")
	version, err := strconv.ParseUint(rawVersion, 10, 64)
	if err != nil {
		return errors.NewBadRequestError(fmt.Errorf("invalid secret version"))
	}

	id := vars["id"]
	if err := sr.backend.UpdateSecret(id, version, secret); err != nil {
		return err
	}

	return nil
}


Cass Mortimer Eipper trained at The Australian Ballet School and has performed with West Australian Ballet, Sydney Dance Company, and was co-director of the Australian dance/media company, Ludwig.
In 2015, he won the prestigious Helpmann Award for Best Male Dancer in William Forsythe's Quintett. His other awards include 'Most Outstanding Performance' at the Rome International Choreography Competition for Solo 1.5, which was also presented at the renowned ImPulsTanz Festival, Vienna. He also won the prize for Most Outstanding Choreography at the West Australian Dance Awards for Fleck & Flecker.
As a dancer, he won 3rd prize at the Stuttgart International Dance Festival, where he performed Emma Sandall's Body Song.
Eipper has created work for Sydney Dance Company, Milwaukee Ballet, West Australian Ballet, Queensland Ballet, Link Dance Company, Sydney Symphony Orchestra, Ludwig and "So You Think You Can Dance Australia", and has collaborated on music clips with Katie Noonan, Ben Folds and James Michael Thompson.
Eipper's films have been presented internationally, including his dance film, "Brute," which will be presented at the TLC Chinese Theatre in Hollywood in March 2019.
Martin Chaix was born in Albi (France), where he began his classical ballet training in 1986.
In 1993, he was accepted at the École de Danse de l'Opéra National de Paris where he studied until 1999 and directly joined the Paris Opera Ballet (dir. Brigitte Lefèvre). In 2006, he was offered a soloist position at the Leipzig Ballet (dir. Paul Chalmer) experiencing a whole new repertoire and taking part in new creations.
Finally, in 2009 he became a member ofthe Ballett am Rhein Düsseldorf Duisburg (dir. Martin Schläpfer) where he danced as a soloist until 2015.
As a dancer, he worked with various choreographers and on many productions of different dance styles, in particular ballets from Roland Petit, Carolyn Carlson, Rudolf Noureev, John Neumeier, George Balanchine, Pina Bausch, Edouard Lock, Uwe Scholz, John Cranko, Marco Goecke, Mats Ek, Jiří Kylián, Hans van Manenand Martin Schläpfer among others.
Since 2015, he has been working as a freelance choreographer.
Martin Chaix made his choreographic debut in 2006 at the Paris Opera Ballet and later with the ballet companies he was working for in "Young Choreographers" evenings, notably the renowned "Noverre Young Choreographers Evening", organised by the Stuttgart based Noverre Society, and independent projects, such as Eine Winterreise for the Brotfabrik Bühne in Bonn.
As a choreographer he received commissions from companies such as the Leipzig Ballet (2007 and 2015), the Ballett am RheinDüsseldorf Duisburg (2013 - 2019), the Saarland National Theater Ballet in Saarbrücken (2015), the Mecklenburg National Theater Ballet (2016), the Croatian National Ballet in Split (2017) and the Ballet du Rhin (2018) among others.
Along with his different choreographic projects Martin Chaix is also doing some short films and photographies. One of his work has been selected for the One Minute Film Festival in Amsterdam in 2013.
Ashley started dance classes at age 4 at Wendy Gibbs School of Ballet in Sydney. She began a professional career in 2006, joining Royal Ballet of Flanders at the age of 18 following graduation from the Australian Ballet School. In 2010 Ashley was promoted to demi-soloist with the company. She has danced works by choreographers such as William Forsythe, Jiri Kylian, Trisha Brown and Mats Ek and has been involved in numerous creations by choreographers including David Dawson, Jacopo Godaniand Lucy Guerin.
In 2009 she created her first piece Better Left Unsaid for the choreographic workshop of the Royal Ballet of Flanders. The piece won 2nd prize and the Audience Choice Award at the Copenhagen International Choreographic Competition later that year.
Ashley's second work Ominous Parallels (2010) featured in the Lebbeke International Dance Festival, Belgium. In 2011 she collaborated with freelance dancer Jim de Block to create Knee Deep Sleep, which was reworked in 2012 to become a finalist at the International Choreographic Competition in Hannover.
Iratxe began her training in 1988 at the Conservatorio Superior de Musica de San Sebastian. In 1991 she joined Stuttgart Ballet under John Cranko Schule. Throughout her career Iratxe has worked with Basel Ballet, Jiri Kylian, Nacho Duato, the Compania Nacional de Danza, Lyon Opera Ballet, Wayne McGregor and Netherlands Dance Theatre.
Maurice Causey is an American born European based artist. He began studying Ballet at the age of 15 in his hometown of Florence, Alabama. His training includes School of American Ballet, the American Ballet Theatre School, and the Joffrey Ballet in New York City.
Maurice was eight years a Principal Dancer with William Forsythe's Frankfurt Ballet. He also danced with the Cleveland Ballet, Pennsylvania Ballet, The National Ballet of Canada, and as Principal Dancer with the Gottenburg Ballet in Sweden.
Maurice has also been Ballet Master for both the Royal Sweden Ballet (2002-2003) and The Netherlands Dance Theatre I (2004-2010). He has choreographed original works for Major Companies such as; Netherlands Dance Theatre I, Northwestern Professional Dance Proect, Hubbard Street 2, Milwaukee Ballet, Company C, Stockholm 59 North, Augsburg Ballet, O Dance and Dance Company iMEE. Maurice has been a guest teacher for companies such as Cullberg Ballet, NDT I & II, Royal Swedish Ballet, Norweigan Institute of the Arts, HJS in Amsterdam and Wayne McGregors Random Dance-London.
As a choreographer Sagi Gross received a large international exposure and his choreographies have been presented in South Korea, USA, Australia, England, Belgium, The Netherlands, Switzerland, Germany, France, Austria and Israel. In 2015 - 2016 Gross's DanceFilm 'Silent Force' was presented at the prestigious Louvre Museum in Paris in combination with a live performance, and during Cinedans Festival in EYE Film institute in Amsterdam. The creation Blind Sight which he created together with director Jeroen Fransen, was supported by The Dutch National Ballet. As well, Patricia Barker, artistic director of Grand Rapids Ballet in Michigan commissioned and presented two of his creations. In 2014, his piece 'One Charming Night' was commissioned with great success by Pori Dance Company in Finland.
In 2012, he has been selected to choreograph for English National Ballet dancers at the 'LAB' project in collaboration with DanceEast Jerwood in The UK. At the same year GrossDanceCompany was co-produced by Carolyn Carlson CCN Roubaix France. In 2008 Gross was chosen to take part in 'Siwic project' in Dance House Zurich. He participated in The Hannover International Choreography Competition and at The British Sadler's Wells theater's international competition 2010.
Gross collaborated with international companies and academies (to name a few): Sydney Dance Company-PPY, Staatstheater Wiesbaden, Oldenburgisches Staatstheater, Staatstheater Braunschweig, Grand Rapids Ballet Michigan, Architanz in Tokyo, Royal Ballet School of Antwerpen, The National Conservatory of Lisbon Portugal, Dansateliers in Rotterdam, The Royal Ballet Conservatory in The Hague, Marameo-Tanzprobebühne in Berlin, Harmonic studio in Paris, Rietveld Art Academy in Amsterdam, Danza - L'AED in Livorno Italy, Busan Dance Academy in South Korea, Hochschule für Musik und darstellende Kunst in Frankfurt, Korzo Theater, Arte&Balleto Italy and many others.
Spencer Gavin Hering born in Munich, Germany, is the son of two professional ballet dancers. With a life immersed in the arts, Spencer eventually, at the age of 16, began training with his mother Cecilia Hering in Redlands, California. After two years at Pacific Northwest Ballet School, he joined Ballet Pacifica in Irvine, California and has since danced as a principal artist with Maximum Dance Company/Ballet Gamonet, Dominic Walsh Dance Theater, Miami Contemporary Dance Company, State Street Ballet as a Principal, Hope Stone Dance Company as a company member and Island Moving Co. as a principal artist.
Mr. Hering currently dances as an principal artist and is a Co-Founding Director of iMEE Dance Company. His repertory includes principal roles by acclaimed choreographers that are both current and iconic: David Allan, George Balanchine, Maurice Causey, Anne Marie DeAngelo, Jimmy Gamonet, Choo-San Goh, Paola Georgudis, Jamie Hampton, Emily Johnson, Molly Lynch, Stephanie Martinez, Rick McCullough, Lindsey McGill, Michele Merola, Stephen Mills, Miki Ohlsen, Jerry Opdenaker, David Palmer, Yanis Pikieris, Peter Pucci, Andrea Dawn Shelley, William Soleau, Ray Sullivan, Robert Sund, Paul Vasterling, Raymond Van Mason, Dominic Walsh and Jane Weiner.
As a choreographer Mr. Hering has created original works for professional dance companies and festivals such as: State Street Ballet, E.magine Dance Ensemble, O Dance, Houston Met Dance, FestOval of Dance, Triple Focus, palcoscenico danza, Island Moving Co., the black box INTERNATIONAL FESTIVAL THEATRE & DANCE, Festival Ballet Providence and iMEE in Santa Barbara, CA, Irvine, CA, Houston, TX, New York, NY, Newport, RI, Turin, Italy and Plovdiv, Bulgaria. He has participated in Residencies and created original works for the dance programs at Sam Houston State University and Salve Regina University (SRU.) His work Schone was presented by SRU at the American College Dance Association in Providence, RI and received much praise from a distinguished panel of adjudicators.
Mr. Hering has received many accolades for his dancing and choreography; including winning the "Outstanding Choreographer Award" for his work, Dichotomy at the Youth America Grand Prix Ballet Competition in Los Angeles, CA, awarded as a "Finalist" in the 17th Annual Choreography Festival in Palm Desert, CA for his works Elliptical Capture & Fibonacci and winning "Second Place"in the 17th Annual Choreography Festival for his work, Fibonacci. Mr. Hering was a Co-Founding member of the five week, summer dance festival, the Houston Dance Festival: HERE & NOW alongside iMEE Co-Director, Andrea Dawn Shelley, Light Designer, Jeremy Choate, Hope Stone Dance and NobleMotion Dance companies.
Mr. Hering's most recent honor came in the form of his appointment to serve as Island Moving Company's (IMC) Associate Artistic Director, Resident Choreographer and Ballet Master for their 2013-2014, 2014-2015 seasons in Newport, Rhode Island. During his time with IMC, Hering created eight original works including Brom Bones a evening length, site specific work based on Washington Irving's classic tale "The legend of a sleepy Hollow" featuring an original score created in collaboration with Lewis Patzner & Sascha Jacobsen.
Spencer draws inspiration from limitless possibilities, as well as, boundaries. To bring curiosity, to cause wonderment and to provoke different thought – is his arts' purpose. To share his love, his voice and his interpretation of the world, is ultimately what he wishes to reveal. Through his life experiences as a dancer, Spencer has found infinite inspiration from time shared with other dancers, choreographers and directors.
Thomas originally comes from Cootamundra, where he received his early dance training in Jazz and Ballet. In 2008 Thomas moved to Melbourne to study at the VCA Secondary School. During this time he performed in CATS with Altona City Theatre and Project Four with Melbourne Ballet Company.
From 2009-2011 Thomas attended the New Zealand School of Dance attaining a Diploma of Dance Performance. In 2010 Thomas took his solo Manipulated Living to Tempo, New Zealand Festival of Dance where he was nominated for 'Best Choreography by an Emerging Artist', 'Most Inspiring Performance' and won 'Best Performance by an Emerging Male Artist'. Thomas also featured as a soloist in the 2010 NZSD Graduation Season performing an excerpt of Michael Parmenter's Rhapsody solo. Thomas returned to Tempo in 2011 with a new solo Seam, and an excerpt of his piece Shepherd, from the NZSD Choreographic Season.
In his final year at the NZSD, Thomas spent a short period with Australian Dance Theatre performing excerpts of Be Your Self.
Thomas joined Sydney Dance Company in 2012 as the recipient of the Sydney Dance Company Foxtel Scholarship. During his time with SDC, Thomas performed in Rafael Bonachela's 2 One Another (2012-2014), The Land of Yes and the Land of No (2012), Project Rameau (2012), Emergence (2013), Les Illuminations (2013), 2 in D minor (2014) and Scattered Rhymes (2014).
Thomas was also a part of the collaboration with Kaldor Public Art Projects for the contemporary art exhibition 13 Rooms where Sydney Dance Company featured in Allora and Calzadilla's Revolving Door (2013).
He has also performed in Larissa McGowan's Fanatic (2012-2013) and Lisa Wilson's Desire (2012) as part of Contemporary Women in the Spring Dance Festival 2012; Alexander Ekman's Cacti (2013); Gabrielle Nankivell's Wildebeest (2014) and Cass Mortimer Eipper's Dogs and Baristas (2014) as part of SDC's New Breed (2014); Jacopo Godani's Raw Models (2014) and Adonis Foniadakis's Parenthesis (2014).
Thomas is an independent performer and choreographer currently based in Sydney.
Timothy Farrar began his choreographic career by creating a short film , Ballet Boys,with dancers from the Queensland Ballet in 2000.While performing with The Australian Ballet from 2001 he initiated choreographic workshops which helped launch the company's choreographic season BODYTORQUE with his work Quick/Time/Trick.
This work was further developed with Singapore Dance Theatre through the Ballet Under The Stars initiative. Then also performed again by the Australian Ballet at Telstra Ballet in the Park, Brisbane Riverstage, in 2004.
Timothy's works A Little Disconnect, Resolution and This Tense were all performed by The Australian Ballet as part of the Body Torque seasons held at The Sydney Theatre from 2005 to 2007.Two of these works included new commissioned scores by composer Cyrus Meurant ,performed live by classical ensembles.
In 2010 Timothy was awarded Best New Choreography at the Short and Sweet dance Festival in Sydney for his duet Few Things Of The Same Kind . In April 2011 he created No Place Nowhere for Expressions Dance Company Launch Pad season, Brisbane.
At the same time his work Pint Size premiered for the 3rd year BFA ( Dance Performance ) students at QUT , Brisbane.
In 2012 he completed a Graduate Certificate in Screen Culture at AFTRS Sydney culminating in the creation of his dance documentary The House Project.
From 2015-2016 he created two new works: A Fine Line and REgenerate for ACPE Dance Company , Sydney.
In October 2016 he was invited back to restage his work Pint Size for the 2nd year BFA ( Dance Performance ) students, end of year season.
Claire has danced for the last 30years and began her training in the Illawarra. Upon completion of year 12 at Mcdonald college, under the tutelage of Josephine Jason, Alan Cross and Maxine Kohler she was accepted into second year and went on to graduate with Honours from The Australian Ballet school's associated Diploma course. During her time at the school Claire performed Odette in Swan Lake Act Two, the title role in Ray Powells One in Five, Gerda in Petal Miller Ashmole's Snow Queen and had the role of Victoria Paige co-created for her in the Red Shoes.
Claire then joined The Australian Ballet and danced many corps and soloist roles. Moving north she became a Soloist with The Queensland Ballet and later the Ballet Mistress.Favourite roles include White and black Swan in Swan Lake, Michaela in Carmen , Lilac Fairy in Sleeping Beauty, Eurycides in Orpheus, Don Quixote , Flower Festival and Le Corsaire Grand Pas De Deux and Principal/soloist roles in classical and contemporary ballets performed nationally and internationally. Having had the honour of working with such names as Natalia Makarova, David Mcallister, Li Cunxin, Ross Stretton, Francois Klaus, Graeme Murphy, Paul Boyd, Stephen Paige,Natalie Weir, Stanton Welch, Stephen Baynes, Noah Gelber, ( for William Forsythe), Mario Schroeder, Nils Christie, Young Soon-Hue, Davida Bombana, Tim Harbour, Rosetta Cook, Adrian Burnett, Tim Brown and The Australian Opera Company.
During her professional dancing career with the Australian Ballet , Claire taught for the company's education program under director Colin Peasley and as Soloist and Ballet Mistress of Queensland Ballet Company, held a position on the artistic and teaching panel for all company education and student training programs. Job responsibilities included teaching and judging auditions, teaching all levels of training programs, Artistic director of Education Queensland regional tour, and supplementing students as required into company productions. Claire was also responsible for staging and rehearsing a wide variety of repertoire from numerous classical and contemporary choreographers.
Claire's 21 year career has involved teaching for professional companies, institutions, schools and adjudicating/examining students of all ages and various standards. Claire has also taught for Bangarra Dance Theatre, Expressions Dance Company, Mcdonald College, Australian Ballet Education program, Tanya Pearson classical coaching academy, Sydney Ballet school, The Dance Spot, Joanne Grace School of Dance, Royal Academy of Dancing, ATOD and Cecchetti Bursaries and scholarship classes, plus various ballet summer schools and master classes/ workshops.
Claire has adjudicated for the Queensland Ballet, the R.A.D, Cecchetti society , Sydney Eisteddfod, ATOD, , Professional year and Junior extension programs, Queensland Dance school of excellence, Sayers Ballet, Royal Academy of Dancing as well as teaching Ballet and Pilates for over 18 years from all ages to professionals.
Claire received Honors in the Advanced Dilpoma Australian Ballet School, High Distinction in the RAD Diploma of Dance teaching studies, and holds Pilates training certificates from Stott Pilates and Allegro Pilates. Claire is currently a freelance ballet teacher/adjudicator.
Lisa Maris McDonell is a dance Artist with a multi faceted practice which includes performance, choreography, dance education and dance therapy. Since graduating from the West Australian Academy of Performing Arts (WAAPA) in 1996 Lisa has worked consistently as an independent dancer and choreographer, working with many of Australia's leading Contemporary Dance Artists.
As a Choreographer, Lisa, has created numerous dance works for small groups as commissions and independent projects. She has also created a number of solo works for herself and other dancers, performed in theatres and festivals throughout Australia as well as in Europe and Asia.
As a Dance Educator Lisa has worked for the West Australian Academy of Performing Arts in the Dance and Musical Theatre Departments, Bangarra Dance Theatre, Sydney Dance Company Public Classes, NAISDA Dance College (Course Coordinator), Accessible Arts, Australian College of Physical Education and the full time dance course housed at Ireland's Firkin Crane Choreographic Centre.
This year, Lisa completed both Responsive and Research Room residency through Sydney's Critical Path. She was a recipient of a New Work Residency through Annandale Creative Arts Centre where she created the work Absolute Vertigo for four dancers. Also during 2014 Lisa's work Five Kinds of Paradise was a NSW runner up in the Australian Institute of Classical Dance's, Dance Creation competition. She is also currently developing a new work funded by Merrigong Theatre which consists of four solos for established artists, Ana Otero, Chylie Cooper, Vicki Van Hout and Robina Beard.


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When Lance Wallnau Thought He Missed God's Voice About Trump
⇑ back to "Elections"
11:00AM EDT 3/21/2017	 CBN News
Lance Wallnau (CBN)
Dr. Lance Wallnau is an internationally recognized speaker, business and political strategist. USA Today reports that he is one of only three evangelical leaders to have accurately predicted Donald Trump's Presidency.
Wallnau's best-selling book, God's Chaos Candidate: Donald J. Trump and the American Unraveling, is credited as being the catalyst that mobilized thousands of Christians to vote for Donald Trump and contributed to Trump's unprecedented election victory.
Well before the election, Wallnau says God spoke to him. "I heard the Lord say Isaiah 45 would be the 45th president," Wallnau said on The 700 Club.
That's when he read about King Cyrus in the book of Isaiah. The prophet wrote, "Though you have not known me, I have anointed you for Israel's sake."
Wallnau believed God wasn't just talking about King Cyrus, but also about Donald Trump, so he wrote his book predicting Trump's victory.
That book was published the same week Access Hollywood aired a video showing Trump making a lewd comment about women. Wallnau thought he had missed God's voice, that Trump was finished.
But he told CBN he then realized God was using that as a humbling moment for Trump, because he was about to be entrusted with the huge responsibility of leading America.
Wallnau is a premiere speaker on the subject of cultural transformation and the seven mountains. He delivers his message of transformation with relevance, wit and intensity.
Wallnau has shared platforms with best-selling authors Ken Blanchard and John Maxwell and lectured at universities from Harvard and M.I.T. to the London School of Theology. Merging a 30-year background consulting in business and the non-profit sector, Wallnau's intuition inspires visions of tomorrow with the clarity of today—connecting ideas to action.
His students represent a tapestry spanning nations and spheres: from CEO's and HBO comedians, to professors and pastors, to one of Donald Trump's winners of The Apprentice. Lance Wallnau is dedicated to the task of meeting with principal leaders in key sectors to bring transformation to nations.
He currently directs the Lance Learning Group, a strategic teaching and consulting company based in Dallas, Texas, with affiliate offices opening in Europe and the Philippines.
Lance sees patterns in the chaos and brings strategic focus for maximized outcomes. He believes that unprecedented economic, political and social shaking will create extraordinary opportunities for leaders willing to climb to the top of their mountain, leverage the platform God has given them and advance kingdom interests.
Copyright The Christian Broadcasting Network, Inc., All rights reserved.
Related topics: Donald Trump | Trump Administration | Video


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Captivation: Want Nothing But You, Chapter 151: What's The Rush
Chapter 151 What's The Rush
After coming out of their private room, Rachel went straight to the elevator. She always had a bad feeling about the place. She wanted to get away as soon as possible because her subconscious was telling her something bad might happen if she stayed for long. As she looked at the numbers going down on the elevator screen, she suddenly shivered. Perhaps she had drank too much water and needed to use the ladies' room. Looking up at the signboards, she thought it would be fine to head for the washroom first. But as soon as she took a step towards the bathroom, the elevator door opened with a ding. Inside, Carson leaned against the wall lazily. He fiddled with his phone in one hand, the other, in his pocket. He blinked, seeing the trace of a familiar woman. Before the elevator door could close, he pressed a button and poked his head out. He gazed at Rachel's back and grinned. "What a coincidence." His phone rang at the same time. Looking at the caller ID, a smile appeared on Carson's face. As soon as he picked up the phone, he heard Victor's cold voice on the other line. "Where are you?" "The third floor. I'll be there soon," Carson replied, watching Rachel's figure disappear at the washroom corner. As soon as he got the answer, Victor hung up without saying a word. Looking at the phone screen, Carson clicked his tongue. He wasn't done talking! After a while, his eyes lit up mischievously and waved at a waiter not far away. A few moments later. Rachel dried her hands with paper towels before leaving the toilet. When she opened the door, she almost bumped into a waitress carrying a plate. "I'm sorry! I'm sorry! I didn't mean to!" Pale-faced, the waitress apologized. "It's okay. No one got hurt." Rachel smiled. After Rachel fixed herself and walked a few steps away from the waitress, the girl suddenly grabbed her by the wrist. "What's wrong?" Rachel stared down on her arm, and then panned her gaze to the young woman's face.
She didn't realize it at first, but the waitress' face was morbidly pale. "Miss, could you… Could you do me a favor?" She slowly let go of Rachel's hand and look at her timidly. "Could you please deliver the food for me?" Rachel looked back at her, mouth agape. She wanted to refuse. The Crown Club was owned by Victor, after all. Although it was not a difficult task, she didn't want to get herself in trouble.
"Please…" Sensing her hesitation, the waitress begged once more, the desperation clear in her voice. The waitress looked like she would pass out anytime. Her frailty reminded Rachel of Abby and she sighed with pity. "Where should I take this?". "In room 7056." Rachel found herself at the door of room 7056. Steadying the food in her hand, she rang the bell.
At this moment, the room was full of noise, with deafening music and loud laughter. On the curved sofa, young men and women from the upper class of Apliaria sat together. Carson had been sitting at the bar counter since he came back with the gift. When he heard the doorbell, he drank up the rest of his wine, got off the high chair, and walked towards the door.
Rachel had been waiting outside. When she was about to ring the bell again, the door opened from the inside.
A tall man with a familiar face came into view.
Rachel's heart jolted. Her first instinct was to run away, but the man grabbed her arm as soon as she stepped back. All at once, the man easily pulled her inside the room. In an instant, she was transported into a different world, the music assaulting her eardrums. The party was in full swing and no one seemed to notice her presence. Carson's broad back also shielded her from their eyes. "Miss Bennet, why were you in a rush to leave? Since you're here, how about we have some fun?" Carson grinned playfully. He wasn't surprised to see her at all. Anger welled up in Rachel's eyes, realizing what happened. "Carson, you paid that waitress to lead me here, didn't you?!" "You really are sharp." Carson chuckled. Rachel gritted her teeth. "Let me go!" It was a struggle to get her arm out of his grip. "Sorry, but I can't. I wanted you here for a reason." All of a sudden, Carson pulled Rachel into his arms. Ignoring her resistance, he grabbed her shoulder, turned around, and said loudly, "Everyone! Look who's here!" Hearing the announcement, the party–goers caught the spotlight roaming around. They all looked around in suspense until the rotating colorful light above fell on the woman by the entrance. "Rachel? What…" Alicia bolted out of her seat with a frown. "What are you doing here?". Rachel Bennet? The people couldn't believe what they were seeing. When did Rachel become so attractive? Carson dragged her to the front. "It was such a coincidence meeting her here, so I thought I'd invite her to Miss Schultz's birthday. The more, the merrier, right? Miss Schultz, 1 hope it's okay for you." Alicia let out a tiny gasp and clenched her fists. Since it was Carson's request, she tried to suppress her anger. "Of course. It's not a big deal." She glared at Rachel for a moment then turned to look at the bar counter Still, Rachel could feel a pair of cold eyes staring at her. It sent chills down her spine. At the bar counter, there was a languid figure resting on the high chair. He had one foot on the floor, the other on the footrest, the shadow outlining his taut body. The man's sullenly cold expression was out of place in such a vibrant party. And that man was staring at Rachel. Rachel felt a punch in her gut. Carson being there meant another thing, something she desperately wanted to avoid. Running into Victor was the last thing she wanted. But lo and behold… Alicia noticed that Victor was staring at the unexpected visitor. She was reminded of what happened in the Sue Garden a few days ago. She barely contained her feelings, wanting to scream at Rachel and drag her out. Alicia's roommate saw the flash of anger and jealousy in her eyes. Without a second thought, she poured a glass of wine and walked towards Rachel. "Happy Birthday, indeed right? We were about to toast to Alicia's name, Miss Bennet. So, how about you do the honors?" Then, she handed Rachel the glass of red wine, smiling maliciously.
Captivation: Want Nothing But You, Chapter 151 What's The Rush


At the beginning of this year, William McRaven, a retired admiral in the U.S. Navy, became the next chancellor of the University of Texas system. He succeeded Francisco Cigarroa, a longtime surgeon who had served in the position for five years. Already, McRaven has taken steps to positively distinguish himself from his predecessor. Namely, his few weeks in office have already been filled with confrontations against state government officials, namely in an attempt to allow the system campuses — especially this one — to retain autonomy against an overbearing and micromanaging legislature.
First, in the wake of news that the Texas Senate had all-but-assured passage of the so-called "Campus Carry" bill, which would allow for concealed handgun license holders to bring their guns to college, McRaven was firm in his opposition to the asinine proposal. No sane person could allege that McRaven, a career military officer who led the famous operation to kill Osama bin Laden, is anti-gun; he's just pro-common sense.
"There is great concern that the presence of handguns, even if limited to licensed individuals 21 or older, will lead to an increase in both accidental shootings and self-inflicted wounds," McRaven wrote in a letter sent to Governor Greg Abbott and others. "I feel that the presence of concealed weapons will make a campus a less-safe environment."
But it's not just issues of public safety. On Thursday, the Texas Tribune reported that McRaven, in an interview with Tribune CEO Evan Smith, iterated his steadfast support for the Texas Dream act, which allows for undocumented students to pay in-state tuition to public universities. The law, which was passed nearly unanimously by the legislature and signed by then-Governor Rick Perry in 2001, is in jeopardy after both Abbott and Lieutenant Governor Dan Patrick have set their sights on it.
"My job is to help educate the young men and women of Texas," McRaven told Smith during the interview. "If we have been doing that for these undocumented students for, at a minimum, the past three years as they've made it through high school, and in many cases since they were in elementary school, I think it's appropriate to continue to educate them."
The current leadership in Texas, specifically Abbott and Patrick, are confessed enemies of local control, be it in municipal regulations or how a university runs things on campus. Thankfully, in McRaven, this university has a chancellor willing to stand up to the madness.


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Ryan at Reading Pride
Reading Pride 2021
On Saturday 4th September, I had the pleasure of attending Reading Pride and supporting the presence of a Labour Party stall at the event. After Pride events across the UK were cancelled in 2020 in the wake of the coronavirus pandemic, it was heartening to see that the hard work and dedication of organisers and volunteers ensured that the 17th Reading Pride was able to go ahead with a theme of 'Love Unites'.
I was just one of around 10,000 people to descend on King's Meadow for an afternoon of live music, food, and entertainment. It was great to see so many different local organisations and businesses represented, supporting the LGBT+ community. It would seem that Pride events are second only to university Freshers' Fairs when it comes to picking up stickers, badges, flags, and lots of other free goodies!
The Labour Party stall was ably organised and set up by the Reading and District Labour Party and it was a wonderful experience to be able to engage with members of the general public and the LGBT+ community again, in a safe environment, after so many months of isolation and distance.
Many attendees shared their concerns over delays to government plans to ban the abhorrent practice of conversion therapy, despite an LGBT Action Plan being launched in 2018. These fears have been compounded by the government disbanding its LGBT Advisory Panel, following a series of resignations in protest over delays to legislation. This has contributed to a growing sense that the government is 'dragging its feet' and failing to act promptly to protect vulnerable people at risk of harm.
Nevertheless, Reading Pride was very enjoyable, and it was a wonderful opportunity to share Labour's values on fighting for equal rights. I am looking forward to taking part in Pride events in 2022, as well as sharing relevant news and campaigns throughout the year.
Ryan Frost
LGBT+ Officer


In 2013, Yegnanesh Aschale, who lives in northwestern Ethiopia, bought 10 chickens to feed herself and her family. As the chickens produced more eggs than expected, Yegnanesh quickly found herself with much more than she needed. She began selling to her neighbors and made a good profit. Recognizing a financial opportunity, she realized that she needed to scale up operations to keep up with demand.
To support the future growth of livestock and poultry entrepreneurs like Yegnanesh, the USDA-funded Feed Enhancement for Ethiopian Development (FEED) II project organized a competitive selection process to award grants to entrepreneurs. FEED II received 80 applications and chose 18 individuals, including Yegnanesh, to receive the grant. Using these funds and leveraging some of her own money, she built two structures, complete with feeding and water facilities, to house up to 6,000 young hens. Between 2015 and 2016, Yegnanesh sold 7,200 hens to local poultry farmers and earned nearly $6,000 in profit. Currently, she is managing 2,000 chicks, which will be ready for sale soon.
Yegnanesh's husband, Adugna, works full time at their farm alongside five other employees. As she works to increase her business's production capacity, Yegnanesh continues to think big: she is interested in working for an animal feed-manufacturing union, selling chickens and feed to customers as a package deal. In the long term, she dreams of owning her own feed mill and further expanding her successful poultry business.
Through financial assistance, technical support, and training, FEED II has supported the establishment and development of seven poultry and poultry-related enterprises. Together, these enterprises have sold 38,500 hens, earning more than $68,000 in profits. Since 2013, the USDA-funded FEED II project has worked to increase the incomes of Ethiopian smallholder livestock and poultry producers by improving access to and use of affordable, high-quality feed to support greater livestock productivity and efficiency.
More about our Feed Enhancement for Ethiopian Development (FEED) II project.


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Medicaid enrollment tops 10 million
More than 10.1 million people have enrolled in Medicaid and the Childrens Health Insurance Program as of November, government officials said Monday.
By Kathryn Mayer | February 02, 2015 at 08:55 AM
(AP Photo/Julie Jacobson)
More than 10.1 million people have enrolled in Medicaid and the Children's Health Insurance Program under the Patient Protection and Affordable Care Act as of November, government officials said Monday.


Aosasa	a	A grayish or yellowish white.	a muddytrack through the forest	a titan of American industry.	a strike of indefinite duration	a polynomial in one variable.	A droopy coat is undesirable.	A foreigner visitor to China.	a rather larger terminal raceme	A Psychological Study of Wisdom	A Moslem religious mendicant.