text:
The Recorder Online News
Home Latest News Countries Nigerians Can Visit Without Visa
Countries Nigerians Can Visit Without Visa
Travelling for Nigerians increasingly requires adequate planning. With Nigerian passport ranking 83rd in freedom to travel across the world, acquiring a visa is always difficult and strenuous.
However, there are visa-free countries accessible to all Nigerian passport holders. With just a valid passport, you can gain entry into these African countries without having to stress yourself over a visa. Some may, however, be required to apply for a visa at their point of entry.
Easily the neatest African country, Rwanda has become a destination choice for investors and tourists. After the 1994 genocide war, the East African nation is wearing a new look. It is also a secured nation with less than five percent national crime rate.
Visa is obtained at the entry point with just $100 for Nigerian passport holders.
In East Africa, one of the best places to visit from Nigeria is Djibouti. You may require a visa on arrival at an affordable rate, but the country still has beautiful places to visit such as the Lake Assal, which is the lowest point on land in Africa. In the world, it is only the third after the Sea of Galilee and the Dead Sea.
The culture, weather and exotic offering of Morocco make the country a great destination for honeymooners. There are super-amazing sites, shops, restaurants, cafes and more around the streets of Morocco which could definitely tempt you to turn your honeymoon into a typical excursion you will not regret.
This is an island country that is found on the West African coast. It is one of the most welcoming tourist destinations on the continent as it has great weather and beautiful spots that you could have a splendid vacation.
This beautiful tourist destination has a lot of wildlife, safari and historical places on offer. Cities to explore include Nairobi and Mombassa with the hosts generally welcoming and helpful. Visa is also at the point of entry.
This East African nation with rich historical cuisine and sites such as the Lake Victoria and others allow Nigerians to travel to obtain visa at the point of entry.
Nigerians can get visas at the entry point to visit the massive deserts and wildlife conservations in this hugely vast country.
Other visa free countries Nigerian passport holders can visit include
Located in the western area of the North Atlantic and about 100 kilometres east of the Caribbean Sea and the Windward Island. A visit to Barbados by Nigerians allows you a stay for six months without a visa. Barbados is rich in history and has some of the best beaches and sea foods.
You will only be required to provide a E-passport, return ticket and proof of sufficient funds to gain entry into the country. The visa free stay is only valid for a period of 6 months.
Location – Asia
(Visa on arrival, 30 days permit)
Renowned as one of the world's most populated country, Bangladesh offers a 30 days permit for Nigerians to stay in the country. You will be required to provide $500 worth proof of funds and return ticket. Enjoy the best Bangladesh's cuisine and visit the port city of Chittagong for an amazing experience.
Location – West Africa
(Visa free)
The country also plays host to International Arts and Crafts Fair, Ouagadougou which is regarded as one of the most important African handicraft fair.
Burkina Faso is visa For Nigerian who would love to stay as long as they like. The Country is boasts of a gold reserves and is rich in music and art like the drumming culture.
BENIN REPUBLIC
(Visa free for 3 months)
As a Nigerian passport holder, you can visit Benin Republic and stay for 3 months without a visa. A country located close to Nigeria, there are a number of tourist attractions in the country that may interest you like the nominated UNESCO World Heritage site named Pendjari National Park.
Location – East Africa
(Visa free for 30 days)
Nigerians are allowed a visit to Burundi for 30 days without a visa requirement. The country is known for its craft works that serve as a great gift option for tourists. From shields, baskets and masks to statues and pottery. An important part of the culture in Burundi is drumming, the Royal Drummers of Burundi have been performing for 40 years. The oral tradition of the country through poetry, storytelling and songs is also something worth enjoying.
Location – Central Africa
Chad offers a 3-month visa-free stay for Nigerians. All you need to do is provide a return ticket that shows you do not plan to stay in the country permanently. You can visit the Chad National Museum,
Chad Cultural Centre to get a feel of the rich cultural heritage of the Chadian people.
Enjoy a great time in Cameroon as entry is visa free for Nigerians. Check out the National Museum & Mvog-Betsi Zoo in Yaounde or the La Pagode Maritime Museum in Douala. There are a number of wildlife species ranging from lions and antelopes to snakes and birds, you will find at any of the parks.
A visa free stay in Cote d'ivoire formerly known as Ivory Coast is worth it as there several points of interests and tourist attractions you can visit during your stay. The beach resorts of Assinie, the Parc National de Tai, valleys of Man and the artsy Grand Bassam are some of the breathtaking tourist attractions you can see in Cote d'ivoire. You may also enjoy the lagoon boat tour or visit the open markets in Treichville or Cocody.
(Visa on arrival)
You can travel to Comoros without a visa but you can get the visa on arrival for $50. Comoros Island is made up of four developed islands with white sandy beaches, giant fruit bats, volcanoes, and rainforests. Enjoy one of the best adventures on Comoros Island and make memories of a lifetime.
A visa will not be required by Nigerian citizen upon entry to Cape Verde, provided you can prove to the immigration officials you do not plan to stay permanently in the country. You will be required to provide a return ticket, as well as proof of funds.
Location – Southeast Asia
(Visa on arrival for a period of 30 days)
This country allows Nigerians entry with a 30-day visa on arrival at the port of entry. The country is well known for its beautiful beaches and ancient temple cities. You may visit during the annual Water Festival in November.
Location – Caribbean Region
Location – South Pacific Ocean
Location – Caribbean
Location – Middle East
You can also visit these countries without a visa.
Samoa (Visa on arrival for 60 days )
SENEGAL ( Visa free )
SEYCHELLES (Visa on arrival for 30 days)
SIERRA LEONE (Visa free)
SOMALIA (Visa on arrival)
SRI LANKA (Electronic travel authorisation)
TANZANIA (Visa on arrival)
Timor-Leste (Visa on arrival for 30 days)
TOGO (Visa free)
TUVALU (Visa on arrival for 30 days)
UGANDA (Visa on arrival)
VANUATU (Visa free for 30 days)
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text: Sample project for the class - a JavaFX calculator.

redpajama_set_name: RedPajamaGithub


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text:
Q: Error using mat-icon of angular material with Angular 10 I have a MaterialModule
import { NgModule } from '@angular/core';
import {MatButtonModule} from '@angular/material/button';
import {MatIconModule} from '@angular/material/icon';

@NgModule({
 declarations: [],
 imports: [
  MatButtonModule,
  MatIconModule
 ]
})
export class MaterialModule { }

And I import this module in my App Module

Then in app.component.html I try to use the mat-icon component
<button mat-button>
<mat-icon>face</mat-icon>
Click me!
</button>

but always get this error

Any idea please?
Thanks

A: You have to export both MatButtonModule and MatIconModule in your MaterialModule
import { NgModule } from '@angular/core';
import {MatButtonModule} from '@angular/material/button';
import {MatIconModule} from '@angular/material/icon';

@NgModule({
 declarations: [],
 imports: [
   MatButtonModule,
   MatIconModule
 ],
 exports: [
   MatButtonModule,
   MatIconModule
 ]
 })
 export class MaterialModule { }

redpajama_set_name: RedPajamaStackExchange


text:
« The Fate of Washu | Main | IN THE TOWERS OF NO SHADOW »
A LEVER TO MOVE THE MIND
On the Southern coast of Sedig, a medical doctor recreates the nightmarish experience of schizophrenia...
The fear of wrong things begins as a spidery prickle on the back of your neck. You feel a sweet chill, as it begins to skitter up your skull, then becomes a soft, sickly expanding pressure in your chest. This isn't the kind of fear you feel from most computer games; it's not like the jack-in-the-box shock you get, for example, when an animated ghoul pops its head out from behind a dark corner. This is a cloying, helpless, desperate panic, and it's no fun at all.
The Virtual Hallucinations building arrived on Sedig's southern shoreline a few days ago (coordinates: 45, 25), but I had a chance to visit the place in August, when the building resided on a private island owned by the medical research arm of a California university. The brainchild of Nash Baldwin—"Nash", named after John Nash of A Beautiful Mind, for reasons that'll soon become obvious—the building contains a closely researched recreation of visual and aural hallucinations, based on interviews of real schizophrenics. Baldwin transplanted the simulation to Second Life's public continent, to give residents a chance to try it out, and to collect their feedback afterward (there's a survey-taking device at the end of the tour), and as I first watched residents enter the doors, yesterday, I wondered if they'd feel the same kind of terror I did, last month.
Fred Extraordinaire, a tall goth with red hair, re-emerges from the building, and pronounces himself "sickened."
He pauses, as if to collect his thoughts. "I don't like the feel of asylums."
But the sickness doesn't come from the realism of the graphics, which are, as Baldwin would be the first to admit, rudimentary. The interior of the building is a recreation of a real hospital ward—for that is typically where schizophrenics will be, when their worst episodes hit—but unfortunately for Baldwin, few Second Life architects spend much time working on anything that would be useful for making a mundane hospital floor. (He scrounged through twelve different in-world marketplaces, but nothing doing.)
"Everyone has all these glamorous textures," Baldwin grouses, "but you can't find office ceiling tile textures! It's all cool looking fancy stuff!" (And here's another reason for taking the demonstration public: He's hoping that some resident artists who live near Sacramento contact him with offers to build "boring stuff, like office furniture, hospital outfits. I'd kill for a great doctor avatar.") So Baldwin, who has a Masters degree in Computer Sciences and a medical degree, but not much in the way of 3D rendering skills, ended up building the place himself.
Not that this matters so much, when it comes to the actual experience. At the entrance, a note cautions, "If you have a history of mental illness, particularly a psychotic disorder, you may not want to tour this facility," and it's not an idle warning. As non-descript and rough hewn as it is, something about the hospital changes, when you enter. And as it happens, so do you. (And residents who plan on visiting the Sedig facility may not want to read beyond this point, until they have.)
Kill yourself!
Do it! Do it now!
Dead! Dead!
You're nothing-- you don't even exist.
It's the voices in your head that devastate you. Baldwin has built an audio attachment, so you hear these several voices in stereo, as if they're speaking directly into your ears. And again, these aren't the voices you'd hear in a horror movie— no gravel-throated demonic roars. They're conversational, almost cheerful, and they never let up.
You're not sick.
You are contaminating my society.
The concept of creating a visual recreation of a purely internal experience originated with Baldwin's colleague Dr. Peter Yellowlees, an Australian psychiatrist who often treated his patients in the Outback remotely, via video conferencing. This inspired his idea to visualize the hallucinations associated with schizophrenia, a mental illness that afflicts some one percent of the population (mostly people in their teens and 20's). To determine what they hallucinated, Yellowlees compiled interviews with his patients, to draw out specifics. What kind of voices? How many voices? Like a police sketch artist of the mind, an artist drew out the visual descriptions, and Dr. Yellowlees integrated the results into a computer mockup. The first attempt was produced on a Silicon Graphics machine, and took nine months to build from scratch. ("Which doesn't look anything as good," Nash promises me, as we begin the tour, "as what you're about to see.") By contrast, Baldwin put his Second Life version together in some three weeks.
Join us in the world of the dead.
Things change, as you approach them, but the shift is subtle. A poster suddenly shifts to contain obscenities; a single word in a newspaper headline suddenly becomes the only word you see. A bookshelf seems to contain nothing but volumes about fascism. And most disturbing to me, a bathroom mirror which contains your reflection becomes, when you come closer, a bloody death mask. The man in the mirror is actually a model, but the hallucination is based on the testimony of a schizophrenic who stopped shaving, because when he looked in the mirror, he'd see his corpse staring back at him. (And when you get close enough to the sink, you hear the strains of bagpipes— because this is the music the man heard too, when he glimpsed his own death.)
"You may notice," Baldwin observes with typical understatement, "it's difficult to concentrate in this environment. Imagine if you had schizophrenia. I can't actually work in this environment; it's so annoying and intrusive, I can't get anything done."
You're not sick, you're not really unwell.
You know this is not the real world-- you're dead.
Other shifts are less subtle. The floor falls away into sky, when you start to walk on it. A gun suddenly appears on a table, and a spotlight is cast on it, while a voice keeps commanding you to pick it up, and kill yourself. (This is based on the testimony of a schizophrenic who was arrested after he tried to snatch the pistol from a police officer's holster.) A stereo broadcasts a radio news program-- which, if you listen to it for more than a few seconds, begins speaking to you.
Short term, Baldwin's goal is to build up a library of hallucinations, so that the experience of individual patients can be recreated with fairly accurate specificity. The practical applications, however, are still somewhat inchoate. "Is there any therapeutic use for this?" Baldwin asks rhetorically. "We have no idea, it hasn't been tried.... it's worth a shot." He's also pondering the idea of putting non-schizophrenics through the experience, while they're hooked up to an MRI imaging system, to see if hallucinations affect the same areas of the brain as a schizophrenic, during an episode.
One application he forsees is more immediate, hands-on, and empathic.
"When someone in your family is diagnosed with schizophrenia," Nash tells me, "you try to find out what it's like." And now, "we can pretty quickly mock it up and we can put the patient's family [through] it."
Some Second Life residents who've taken the tour had similar insights. "It had a personal side for me," Ginger Murdoch tells me by e-mail, "as my first husband was schizophrenic, and it allowed me a glimpse into his world... it was freaky!"
Another resident happens to be a graduate student training to be a therapist. "I have seen patients start yelling in the middle of a group session," Helga Kerensky tells me, "and I would be clueless as to what set the person off. You know when this happens, that it is most likely a hallucination--but you expect that they are seeing something very threatening, the type of things seen in slasher movies. These hallucinations," referring to those contained in Baldwin's simulation, "are terrifying in a more Hitchcock sort of way." Conveying their subtle horror is important, she says, because a schizophrenic "may not gain much sympathy and understanding for saying 'The paper said I am dead', as they would if they said 'A man was coming at me with a knife.'" Now it's possible to see how wracking a newspaper headline can actually be. So, she says, "I believe this virtual lab will help families and medical professionals to develop a better sense of how debilitating this condition is."
"Let me first say that the idea of psychiatry in virtual reality is kinda weird," Snowcrash Martov tells me, after taking the tour himself. "This whole world is like an LSD-trip. So your senses are distorted as it is." Still, he says, "To try and picture yourself as a mentally ill person in the real world while adjusting to an 'insane' world warps the brain more. So yeah... it was disturbing."
Outside the hospital, Luminia Olsen tells me about her own experience. (Her avatar is a tiny vampire with a black pacifier permanently planted in her mouth, which makes the topic of virtual hallucinations seem even stranger, coming from her.) "[W]hen I came to this place," Luminia tells me, "I knew nothing about this illness. But once I had a look around, I understand what it's about."
As can I, on perhaps a more fundamental level. I can honestly say I've never made fun of the mentally ill; I haven't always been above laughing at a joke made at their expense, either. ("Roses are red/violets are blue/I'm a schizophrenic/and so am I".) After Baldwin's demonstration, however—which I got while sitting in the middle of Linden Lab's busy office, in broad daylight, while people chattered around me, and even then, it was unnerving— you know there's nothing about schizophrenia to laugh about. Nothing at all.
"It genuinely kept me up at night like two days afterward," I tell Nash later, "I'm not lying."
"Well," Baldwin replies, grinning, "you're one of those artistic types. Not such a strong grasp on reality anyhow."
This project is something of a summation of Nash Baldwin's two careers, first as a medical doctor, and then as a computer programmer. I originally knew Nash as a developer on the Second Life team itself, when he was known to residents as James Linden. (And I didn't know he was also a practicing doctor, until shortly before he announced he'd be leaving the company to develop the schizophrenia project with a university.)
"[I] did my residency in internal medicine," Baldwin says, "[and] did some clinical practice." Cory Linden had a mutual friend in the game business, however, "and one day Cory called me and asked, "Wanna build 'Snow Crash'? The rest is history." But he never even gave up medicine entirely, even when he was a salaried programmer with Linden Lab.
"I did part-time clinical practice about once a month," Nash says. "Medicine is a tough job, but a wonderful hobby." Now, he says, "I'm hoping to blend my computer and medical skills-- try to make the world a little better through research projects. Kinda like a lever… clinical practice is a big difference for a small number of people."
A project like this, Nash Baldwin tells me, is a "lever to multiply a small effect to many people."
Posted on Thursday, September 09, 2004 at 06:35 PM in Best of NWN 2004, Real world in SL, Research and academia | Permalink
I think it's good for people to get a better understanding of the illness.
Posted by: Glaunel | Sunday, October 25, 2009 at 10:22 AM

redpajama_set_name: RedPajamaCommonCrawl


text:
PROPERTY: BUILDERS ALREADY BUSY IN THE NEIGHBORHOOD
Boosters Ready to Put Columbia on the Map
By Ray Huard
The Santa Fe train depot is a key element of the Columbia District. "We want each neighborhood to be vibrant, but in its own way," said Betsy Brennan, Downtown San Diego Partnership CEO. Photo by Scott Murphy
San Diego — Ask someone where San Diego's Gaslamp Quarter is and what's in it, they'll likely know.
So too for Little Italy, and to a lesser extent, East Village.
The Columbia District? Not so much.
"I don't think it has an identity," said Christine Takara, director of marketing and customer experience for Emmes Group of Cos.. "People don't necessarily know what it's called. There isn't significant branding. People just go to work and live here."
Emmes, which owns five buildings downtown including 1 Columbia Place at 401 East A St., and 2 Columbia Place at 1230 Columbia St., has joined with other neighborhood property owners, retailers and residents to form the Columbia District Foundation with a goal of energizing the neighborhood and making it a place that stands out.
Columbia is the downtown San Diego neighborhood south of Little Italy, bounded roughly by Pacific Highway to the west, Ash Street to the north, E Street to the south and Union Street to the east.
Lacked Character
For many years, Columbia was mostly a collection of vacant spaces, often used as street-level parking lots – a place that people walked through but really didn't think about.
"The neighborhood just didn't seem to have a lot of character," said Eric Jones, foundation president and president of Urban Real Estate Services.
It's most distinguished feature was the Santa Fe Depot at 1050 Kettner Blvd.
That's changing, with construction of such projects as Bosa Development's Pacific Gate and Savina luxury condominium towers, the Carte and Intercontinental hotels, and the $1.5 billion Manchester Pacific Gateway along the waterfront.
According to the U.S. Census Bureau, 1,674 people live in the Columbia District with a median age of just under 50, compared with a countywide average of about 44.
Good Examples of Change
In forming the Columbia District Foundation, Takara said Emmes and others looked for their inspiration to the north at what's been happening in Little Italy, where the neighborhood is booming with an active nightlife, a plethora of retail shops and restaurants, and a reputation as the new hot spot in downtown San Diego, rivaling and the Gaslamp Quarter.
Once San Diego's red light district known as the Stingaree, the Gaslamp Quarter shed its less savory reputation in the 1980s and 1990s as property was redeveloped, buildings renovated and trendy up-scale restaurants, nightclubs and hotels moved in.
Little Italy underwent a similar transformation that started in the 1990s following the decline of the West Coast tuna industry and continues with construction of new residential and office projects and an ever-growing dining and retail scene.
Downtown's Little Italy Strives for La Dolce Vita
Little Italy Continues To Craft Its Image
Centre City Downtown becomes a prominent residential community
Gaslamp Seeking To Restore Luster
Metro Parking Crunch Predictable With Time, Day and Place
It Takes an East Village, a Little Italy, a Gaslamp...
Factors That Formed Little Italy Hard To Duplicate
After Millennials Move Into Downtown, Companies Follow


text:
Shirley Lions Awards
Three community-minded students at The Sixth Form College, Solihull have received awards from Shirley Lions for their voluntary work.
Fareed Mohammed, Lauren Hodges-Edwards and Mohsin Shabir each got Gold Awards for completing 100 hours of community service. Fareed volunteered as a cricket coach to get his award, while Lauren worked in a charity shop and went on a volunteering trip to The Gambia with the College. Meanwhile, Mohsin volunteered at his local mosque. All three students contributed to their local communities in a very positive way.
Jaap De Jonge, President of Shirley Lions, came into College with colleagues Jacqueline Culliford and Karen Barker from the Youth Committee, to present the awards to the students. Shirley Lions Club, which formed in 1977, is part of Lions Club International, which is the largest service club organisation in the world, with 1.3 million members in 208 countries. Members volunteer their time for humanitarian and community causes.
The College encourages students to complete voluntary work to boost their applications or employment and university and to develop important skills that will aid them in later life. One way is by joining the College's Team Gambia project, which sees students raising money for an impoverished school in The Gambia and then volunteering in the school for a week. Other ventures include The Big Sleep Out which involves students sleeping outside on campus under cardboard and plastic sheeting to raise money for St Basil's homeless charity.
The College also rewards students for volunteering and work experience with something called the Career Passport. This scheme encourages students to develop the skills that employers and looking for by way of work experience, internships and voluntary work, which the scheme classifies as Professional Development Activities. 35 hours of Professional Development Activities gets students a Bronze Career Passport, 70 hours will lead to a Silver Career Passport and 100 hours equates to a Gold Career Passport.
Assistant Principal Mike Padbury commented:
"Well done to Fareed, Lauren and Mohsin on their achievement of completing 100 hours of volunteer work. We thank Shirley Lions for recognising the students' achievements as they have done and hope this will encourage more students to participate in the future."


von Weitershausen, Inez (2015) Book review: the hungry mind: the origins of curiosity in childhood. LSE Review of Books (01 May 2015). Blog Entry.
Curiosity is vital, but it remains a surprisingly understudied characteristic. The Hungry Mind explores what curiosity is, how it can be measured, how it develops in childhood, and how it can be fostered in school. Inez von Weitershausen finds that although the reader might have come across some of the insights in this book elsewhere, the author does a brilliant job connecting a wide range of essential 20th century research on the development of children.


What began in 1964 with a vision – eyewear as an accessory – has today become the world´s leading brand in lightweight quality eyewear: Silhouette. The world´s lightest eyewear is produced in Austria with great love of detail, mostly hand crafted, in individualized designs using only the best materials and state-of-the-art technologies and is exported to 100 countries around the globe. In 1999, Silhouette revolutionized the world of eyewear with Titan Minimal Art weighing just 1.8 grams, with no rims, screws or hinges, a model that has even accompanied astronauts into outer space. But Silhouette glasses are worn all over the earth too – by the way, also available with sun-clips!
We carry the models TMA, Pulse, Icon, Signia, Contour and Fusion as well as Minimal Art in gold-plated finish. Due to our comprehensive range of shapes, we are able to create a sample of your ideal new glasses in a matter of minutes.
With the new thin-rimmed collection, Silhouette has extended their range and, at the same time, remained true to their tradition of lightness, comfort and stability – which can naturally be seen in our shop!


text:
Chars is een gemeente in Frankrijk. Het ligt in het parc naturel régional du Vexin français.

Er ligt station Chars.

Kaart

Demografie
Onderstaande figuur toont het verloop van het inwonertal, bron: INSEE-tellingen.

Websites

redpajama_set_name: RedPajamaWikipedia


text:
Carriera
Vinse per due volte la Coppa dei Campioni con il Real Madrid (1967, 1968).

Note

Collegamenti esterni


Following cinema release EMO THE MUSICAL will then be made available around the world including local broadcasters and VOD platforms such as iTunes and Google Play and subscription services, around September 2017.
Emo Ethan has just been expelled from private-school after attempting suicide in the courtyard.
On his first day at his new school – the dilapidated Seymour High – he meets Trinity, a totally naive but cute Christian girl who is desperate to convert him to Jesus.
But joining the Christian evangelists is the last thing on Ethan's mind. What he really wants is to join the school alternative rock band 'Worst Day Ever' and to be part of the Emo clique, led by the enigmatic and dangerous Bradley.
After a successful audition Ethan is welcomed into the Emo world and embraces his image – complete with black eye-liner and coupled up with a violently possessive girlfriend, Roz.
But Ethan can't stop thinking about Trinity, who is herself stuck in a restrictive world of dogma and denial, and they secretly fall in love.
With the looming annual State School Rock Competition bringing tensions in the school to an all time high, and with the burgeoning turf war between the Christians and the Emos set to explode at any moment, Ethan is forced to confront the harebrained actions of his friends and question who he has become.
Basically the modern day goths.
EMO THE MUSICAL is surprisingly bloody awesome. I never expected much from it and came out incredibly happy and satisfied having laughed my heart out. It is a cleverly written story that takes the piss out of emos and also their churchy counterparts. It's the light versus dark but neither is holier than the other. It is teens who have selected a path, a niche, and they are worlds apart but pretty much the same. Ethan and Trinity are the Romeo and Juliet (without the truly emo death) of the warring sides.
It's great timing for its release with 13 REASONS WHY and it's look at suicide being controversial and taking the world by storm. I hope EMO THE MUSICAL takes the world by storm but it is a lot more tongue in cheek.
While the movie starts out very black and white with opposing sides in the end it is about them seeing past their differences and doing what is right. It is light and it is fun and I enjoyed it but I would have loved to have seen more of the jokes, more of the emo thought process going all the way to the end. Towards the end it seemed to fit the stereotypical comedy format. Really really funny at the beginning and then peter out during progression.
Huge applause to writer and director Neil Triffett. Incredibly talented with his writing and his direction. He has made a great debut and I hope it takes off for him. The potential for his writing is huge, the humor is darker than Bradley's eye shadow, but holds limited offense (well for me anyway). That's a winning combination. I also think he should stick with this movie and develop it as a stage production – it would be marvelous and up their with BOOK OF MORMAN. The songs are already perfected, and the screenplay wouldn't be too hard to adapt for the stage.
Two final technical items that need applause – firstly the music in EMO THE MUSICAL is just marvelous. I am pretty certain we are to thank Charlotte Nicdao and Craig Pilkington for the music with, I am certain, some lyrics from Triffett. And lastly whoever did the marketing for this movie needs a pay rise. The website HERE and all the marketing material, posters, online and film imagery is top notch and not something I would expect from a smaller art-house movie.
The cast impressed and never annoyed. I knew two people in the movie. Rahart Adams as Bradley (2nd from left below) and Bridie Carter as Mrs Doyle. I loved Rahart in THE NOWHERE BOYS (ABC Guilty pleasure viewing for me) and Bridie is from McLeaod's Daughters, Home and Away and has been around for quite a while. Rahart looks so bloody good as an Emo – he was gorgeous, I think I had some emo crushing reminding me of the goth I dated growing up who wanted to worship Robert Smith from The Cure until the end of time. They explained to me back then that an emo either died by thirty or became a normal human after that haha. Oh the memories. It was disappointing Rahart wasn't at the premiere, would have loved to have met him.
Bridie Carter stole a lot of the scenes she was in. A manic depressed teacher who handed out serotonin boosters to the students like they were candy. She had some hilarious scenes.
Benson Jack Anthony nailed the role of Ethan. His roles in 800 WORDS and CLEVERMAN I am yet to see but I liked what I saw. Jordan Hare was as good as his love interest and the churchy innocent, Trinity. They made a great couple in the movie. Finally special mention to Jon Prasida as Isaac, the immoral confused leader of the church band. The holier-than-thou Christian hiding the pregnancy of his Sri Lankan girlfriend who he truly believes the church saved from the slums of India. Loved his performance.
I highly recommend this little surprise movie. EMO THE MUSICAL is clever and it made me cry with laughter. If you are highly religious you will find this offensive and if a serious dark emo necromancer wanna-be you may actually laugh, ruining everything. See it for the songs and the humor and for it's light-hearted nature. I would go as far as saying good for the whole family. Best of luck to cast and crew with the release.


text:
Colm and Donna Feore
Ann Baggley
To the 115 Canadian and American professional theatre artists whom I've profiled over the last six months: thank you so much for sharing your stories and your thoughts with all of us. On a personal note, it is the arts to which I have turned during these sometimes very trying six months of the pandemic to keep me focused and going in knowing the end will be in sight.
I passionately believe with all my heart and being the end of this pandemic is in sight. When is anyone's guess?
Live theatre will be back, and it will be a pleasure to return and watch all professional artists grace the stage again with those roles, those 'dream' roles, you so very much want to play. Who knows what format theatre will take as we slowly emerge from all this? But that is the exciting part in anticipation of wondering how the theatres will tackle this new challenge.
When the decision was made in October to conclude the 'Moving Forward' series November 30, I struggled trying to decide who to ask as there were so many other artists out there with whom I so very much wanted to contact but time restraints didn't allow me – at least for now.
But who?
I came upon a trailer of 'Bon Cop, Bad Cop' a few weeks ago online, and I just knew right then that I wanted to ask Donna and Colm Feore for an interview. I just sensed they as well were the right choice to conclude this series.
And so, I contacted the Stratford Festival to ask for a contact to get in touch with the Feores. And I was equally humbled and elated when Donna got in touch with me to say she and Colm would be delighted to participate and to conclude the series. Donna is an extraordinary director and choreographer of many shows at the Festival. I've seen Colm in many wonderful productions at the Festival as well along with many television and film roles.
Thank you/Merci, Donna and Colm for the interview via email. Until we all see each other again:
It has been an exceptionally long eight months since the pandemic began, and now the numbers are edging upward again. How are you feeling about this? Will we ever emerge to some new way of living in your opinion?
DONNA: It is very troubling to see the numbers climb so high again in November. It is a stark wake up call that Covid has gone nowhere and we are completely dependant on behaviours of our society to keep everyone safe. Hand washing, distancing and mask wearing continue to be the smartest action we can do at the moment. I am optimistic we will come out the other side of this pandemic. The recent news of vaccines is very encouraging!
COLM: I am feeling optimistic and defeated by turns. On the one hand, I believe we will be back when circumstances allow and that we can stay ready for that moment; on the other, the sum of what we've lost is huge and I am trying to reconcile that loss with the need to keep moving forward. When we emerge from this pandemic period I think we will keep what we have learned about best practices and have a new, and I hope, appreciation of the value of what we do, both our audiences and ourselves.
How have you been faring? How has your immediate family been doing during these last eight months?
DONNA: I think there are good days and there are fewer good days for me. I miss the social and physical contact with people. I have however been given a huge gift of time to see friends that I have lost contact with over these last years with busy schedules.
My immediate family is doing well. We had our daughter home for almost 6 months as she is a professional volleyball player, and her sport was shut down. Our son just graduated law school, so he was home for an extended period of time before he started articling. Our oldest son and his wife work form home in TO but we found we had more time with them. I believe we would have never had this time with our adult children without this pandemic and I will be profoundly grateful for it forever.
COLM: I began the shutdown committed to keep working on what I was doing when we stopped. When it became clear we were not coming back, I grieved for the work done but began to think about the new perspective the shutdown offered. Our business is precarious. If you are lucky enough to do it and keep doing it, you keep going, almost afraid to stop. When you are forced to stop you start to reflect. We had some of our family with us to share our time and even though it was weird we cherished it. These moments showed us what is really important.
As an artist within the performing arts community, what has been the most difficult and challenging for you professionally and personally?
COLM: Well, professionally this has been catastrophic. And, like my wife and I, many of our colleagues and friend are two artists households. The threat is existential. We've relied on each other to reach out and encourage, philosophize, laugh and cry about the situation. And it helps. I've got a lot of balanced advice from other artists about how to cope with the stresses of these days. Some offer wisdom, some books, some recipes, some exercise ideas. All useful, all welcome.
DONNA: I miss my creative teams most of all. I realize now that it has been taken away, just how much I love and cherish our time together. The laughter, the brilliant ideas, the collaboration.
It is a loss both professionally and personally because we are a close group and have worked together for a long time. It just always was so great to be together. I miss them all so much. We have stayed in touch a fair amount these last months. It is an important bond that a pandemic can't destroy.
I worry for the artists, especially the artists that are alone. I feel terrible for the younger generation of artist that is just beginning, but I am especially sad for the actors and creative artists that are mid career and on the cusp of huge breakthroughs. It is painful to see them having to put everything on hold and rethink knowing how incredibly talented they all are.
Were you in preparation, rehearsals, or any planning stages of productions before everything was shut down? What has become of those projects? Will they see the light of day anytime soon?
DONNA: At the Stratford Festival I was directing and choreographing a version of "Chicago' that I had been given the permission to completely reimagine. There are 15 production numbers in the show, and we were one day away from the sitzprobe for 'Chicago'. The sitzprobe is the first time the company gets to hear our orchestra play the score, and the singers get to sing the songs with the orchestra. It is a magical day ALWAYS, no matter the show but this one felt incredibly special.
'Chicago' has a magnificent score and to hear our brilliant musicians play it was going to be off the charts! It was heartbreaking to have to stop dead and, when we went in to collect our belongings, the rehearsal room was set up for the sitzprobe. I will never forget that feeling of sadness when I walked in the room and saw that. I feel extremely optimistic that it will be produced in the future, so we just have to be patient.
I was also directing and choreographing a new musical of 'Here's What It Takes' written by Steven Page and Daniel MacIvor. We had been developing the show for over 2 years and we were in production on week 3 when we stopped. It was another blow to not see the show produced and it was going to be in the beautiful new Tom Patterson Theatre. I am very hopeful that it too will have a life in the future.
I also have two shows that are in pre-Broadway tryout phase. Both of those shows are new works, and both have dates set for fall of 2021 and early 2022.
COLM: I was rehearsing 'Richard III' which was scheduled to open the new Tom Patterson Theatre as an echo of the production with Alec Guinness which opened the festival in 1953. We were well on our way and I had been preparing for many months before we started so when we stopped and then realized we weren't coming back, it was a shock. I continue to work on the play, but I don't see us returning to it until at least 2022.
What have you been doing to keep yourself busy during this time?
DONNA: Lots of hiking!!
I am the creative producer on a new project for the National Arts Centre Orchestra. It is a 4-part television show that features some of our most gifted artists both in the worlds of music and the visual arts in Canada. I am excited and look forward to an announcement of the project in the very near future.
I have been working on both shows being produced in the USA with the writers throughout the pandemic. They are both brand new musicals, so we have taken this time to continue working on the score and the script. It has been wonderful to have the time in a more relaxed environment to really dig in.
I have cleaned out my house and continue to do so. I cannot believe how much stuff we have accumulated and kept over the years! It feels good to purge and do the stuff around the house that I have said I would do for the last 10 years!
I have connected with friends that I have not seen or talked to in far too long. That has been such a positive part of Covid for me. We have some close friends in Stratford that have been in our bubble this whole time, so we feel lucky here. We also are extremely fortunate to have an amazing family that we are so grateful for.
COLM: Well, once the biggest question of our day became "what's for dinner?", I knew I'd have a purpose. I love cooking and having time to try stuff out has been great. I've had a chance to read more and more widely. We've also begun to just start fixing things up around the house that our work allowed us to ignore for so long. And perhaps the best thing is that we had a couple of our adult children isolated with us while they studied for various things. It was a great pleasure getting to know them better.
Any words of wisdom or advice you might /could give to fellow performers and colleagues? What message would you deliver to recent theatre school graduates who have now been set free into this unknown and uncertainty?
DONNA: To be honest, everyday is a new day of discovery of what interests me and how I enjoy spending my time. Live theatre will be back. It will be different, but it will be back. I guess I would say to keep trying to work on your skills. Keep exploring new skills and get curious about other things. These are opportunities that you might otherwise not have had without this enforced pause in our industry.
Colm has always been interested in so many other things other than acting and I admire his ability to allow curiosity to take him down some really exciting paths. I am trying to do that more and I highly recommend that a young actor and creative artist coming out of theatre school allow that curiosity into their being.
It is a scary time for so many artists. Our industry was uncertain enough financially, so this added stress is a lot for many to bear. I hope and wish that people are finding a way through it.
COLM: I am certain that public performance will return and that the lessons of the pandemic will change how it works. I think that the best way to ride out this crisis is to continue working on your craft. It's about staying ready and being flexible. And no matter what you are doing to make a living, never stop the imaginative work of the actor.
I was taught that every class was an acting class, that there was always something to be learned from living. Nothing is wasted. That said, I know that for the perennially unemployed this has gone from a dry spell to a desert, but we must trust that what we offer the world is desperately needed and, as soon as we possibly can, we'll be back.
Do you see anything positive stemming from Covid 19?
DONNA: That's hard because there has been so much suffering and continues to be for so many. I do however feel that Covid has given time for all us to reflect on our choices, our actions, and our evaluation of the future.
I have talked a lot about family and friend time which has been such a positive. I have also seen so many artists create a new path for themselves that is so impressive! It is amazing to see the talent that has come out of these artists.
Our community in Stratford has been hit hard both in the theatre, the retail, restaurant and hospitality industry. I have watched a community get behind each other and support each other so much. People who are hard hit themselves reaching out and helping others. It has made me love this city of Stratford even more.
COLM: In the face of such global suffering I find it hard to see much positive though perhaps, the time for isolated reflection has been of use. We've had time to question our choices, and I know that moving forward our choices will reflect the experience of Covid.
Do you think Covid 19 will have some lasting impact on the Toronto/Canadian/North American performing arts scene?
COLM: No question that Covid will transform the performing arts locally, nationally, and globally. We are going to have to learn to live with it, or something like it, forever. The lessons of science will allow us to come back together, but I think it will take some time to figure out how. The one ray of hope I have is a fundamental belief in the deep desire humans have for community. We need to share our stories, our songs, ourselves, it's part of what makes us human.
DONNA: Yes, it will. There is a hard reality for all the performing arts in North America. It will be a long climb for the arts to get back to a healthy financial position again.
I do think we have all taken for granted that we will always be able to do what we love in our industry. Our worries were our next jobs. When the anchor was thrown overboard in our speedboat, and our industry literally stopped around the entire world, it proved that it can all be taken away instantly. I know I will never take it for granted ever again.
Some artists have turned to You Tube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown?
DONNA: I think it has been particularly good for some artists to be able to continue showcasing their work and teaching on You Tube and other platforms. I am interested in content that is developed strictly for a digital platform. I think it is something that can live alongside the live event in the future. We live in a huge country geographically and being able to digitally reach communities that do not have the means to come to a live event whether it be theatre, dance, opera or symphony is crucial to the future of the arts and their relevance.
COLM: I'm happy to see artists taking advantage of whatever medium is available to get their work out there. In a few short years there have been profound changes in how people get their entertainment. If an artist can connect with their audience via You Tube etc then why not? I will always love the live experience with both players and audience in the same space and if that space must be virtual, bring it on.
Despite all this fraught tension and confusion, what is it about performing that Covid will never destroy for you?
DONNA: Our creativity remains in us all. That won't go anywhere. It is where it needs to be right now, whatever that looks like.
COLM: I have been incredibly lucky to have worked on a few projects while under Covid protocols and restrictions, and what it couldn't kill was my gratitude for, and delight in, the work. Acting is a crazy business at the best of times but working under these peculiar conditions made me appreciate how much I enjoy it.
Not retiring just yet!! (Editor's Note: and I'm pleased you're not just yet)


text:
namespace MatrixExer
{
    using System;
    using System.Collections.Generic;
    using System.Linq;

    public class MatrixEx
    {
        public static void Main()
        {
            int[] input = Console.ReadLine().Split(new[] { ' ', '\t' }, StringSplitOptions.RemoveEmptyEntries)
                .Select(int.Parse).ToArray();
            int dimensionOne = input[0];
            int dimensionTwo = input[1];

            string targetString = Console.ReadLine();
            input = Console.ReadLine().Split(new[] { ' ', '\t' }, StringSplitOptions.RemoveEmptyEntries)
                .Select(int.Parse).ToArray();

            //parameters (impact row, impact column and radius
            int impactRow = input[0];
            int impactColumn = input[1];
            int radius = input[2];

            for (int rowIndex = dimensionOne - 1; rowIndex > 0; rowIndex--)
            {
                if (rowIndex
                for (int colIndex = 0; colIndex < dimensionTwo; colIndex++)
                    {
                    }
            }
        }

        public static void TargetPractise()
        {
        }

        public static void MaxSumSquare()
        {
            int[] matrixInfo = Console.ReadLine().Split(new[] { ' ', '\t' }, StringSplitOptions.RemoveEmptyEntries)
                .Select(int.Parse).ToArray();
            int row = matrixInfo[0];
            int col = matrixInfo[1];
            int maxSumSquare = int.MinValue;
            var indexCells = new List<int>();
            //read the matrix
            int[,] myMatrix = new int[row, col];
            for (int rowIndex = 0; rowIndex < row; rowIndex++)
            {
                int[] rowInfo = Console.ReadLine().Split(new[] { ' ', ',' }, StringSplitOptions.RemoveEmptyEntries)
                    .Select(int.Parse).ToArray();
                for (int colIndex = 0; colIndex < col; colIndex++)
                {
                    myMatrix[rowIndex, colIndex] = rowInfo[colIndex];
                }
            }
            var firstCell = 0;
            var secondCell = 0;
            var thirdCell = 0;
            var fourthCell = 0;
            var fifthCell = 0;
            var sixCell = 0;
            var sevenCell = 0;
            var eightCell = 0;
            var nineCell = 0;

            //find the maxSum

            for (int rowIndex = 0; rowIndex < myMatrix.GetLength(0) - 2; rowIndex++)
            {
                for (int colIndex = 0; colIndex < myMatrix.GetLength(1) - 2; colIndex++)
                {
                    firstCell = myMatrix[rowIndex, colIndex];
                    secondCell = myMatrix[rowIndex, colIndex + 1];
                    thirdCell = myMatrix[rowIndex, colIndex + 2];
                    fourthCell = myMatrix[rowIndex + 1, colIndex];
                    fifthCell = myMatrix[rowIndex + 1, colIndex + 1];
                    sixCell = myMatrix[rowIndex + 1, colIndex + 2];
                    sevenCell = myMatrix[rowIndex + 2, colIndex];
                    eightCell = myMatrix[rowIndex + 2, colIndex + 1];
                    nineCell = myMatrix[rowIndex + 2, colIndex + 2];

                    var currentSum = firstCell + secondCell + thirdCell + fourthCell + fifthCell + sixCell + sevenCell + eightCell + nineCell;

                    if (currentSum > maxSumSquare)
                    {
                        maxSumSquare = currentSum;
                        indexCells = new List<int>();
                        indexCells.Add(firstCell);
                        indexCells.Add(secondCell);
                        indexCells.Add(thirdCell);
                        indexCells.Add(fourthCell);
                        indexCells.Add(fifthCell);
                        indexCells.Add(sixCell);
                        indexCells.Add(sevenCell);
                        indexCells.Add(eightCell);
                        indexCells.Add(nineCell);
                    }
                }
            }

            //print result
            Console.WriteLine($"Sum = {maxSumSquare}");
            Console.WriteLine($"{indexCells[0]} {indexCells[1]} {indexCells[2]}");
            Console.WriteLine($"{indexCells[3]} {indexCells[4]} {indexCells[5]}");
            Console.WriteLine($"{indexCells[6]} {indexCells[7]} {indexCells[8]}");
        }

        public static void EqualCharsSquares()
        {
            int[] input = Console.ReadLine().Split().Select(int.Parse).ToArray();
            var charMatrix = new String[input[0]][];
            var currentRow = new String[input[1]];
            for (int rowIndex = 0; rowIndex < input[0]; rowIndex++)
            {
                currentRow = Console.ReadLine().Split(new[] { ' ', '\t' }, StringSplitOptions.RemoveEmptyEntries);
                charMatrix[rowIndex] = currentRow;
            }

            var firstCell = string.Empty;
            var secondCell = string.Empty;
            var thirdCell = string.Empty;
            var fourthCell = string.Empty;
            int squareMatrixofEqualEl = 0;

            for (int startRowIndexIndex = 0; startRowIndexIndex < input[0] - 1; startRowIndexIndex++)
            {
                for (int startColIndex = 0; startColIndex < input[1] - 1; startColIndex++)
                {
                    firstCell = charMatrix[startRowIndexIndex][startColIndex];
                    secondCell = charMatrix[startRowIndexIndex][startColIndex + 1];
                    thirdCell = charMatrix[startRowIndexIndex + 1][startColIndex];
                    fourthCell = charMatrix[startRowIndexIndex + 1][startColIndex + 1];

                    if (firstCell.Equals(secondCell) && secondCell.Equals(thirdCell) && thirdCell.Equals(fourthCell))
                    {
                        squareMatrixofEqualEl++;
                    }
                }
            }

            Console.WriteLine(squareMatrixofEqualEl);
        }

        public static void DiagonalDifference()
        {
            int matrixParameter = int.Parse(Console.ReadLine());
            var numberMatrix = new Double[matrixParameter][];
            var currentRow = new Double[matrixParameter];
            for (int rowIndex = 0; rowIndex < matrixParameter; rowIndex++)
            {
                currentRow = Console.ReadLine().Split(new[] { ' ', '\t' }, StringSplitOptions.RemoveEmptyEntries).Select(double.Parse).ToArray();
                numberMatrix[rowIndex] = currentRow;
            }

            double primaryDiagonalSum = 0;
            double secondaryDiagonalSum = 0;
            int count = 0;
            foreach (var row in numberMatrix)
            {
                primaryDiagonalSum += row[count];
                secondaryDiagonalSum += row[matrixParameter - 1 - count];
                count++;
            }
            Console.WriteLine(Math.Abs(primaryDiagonalSum - secondaryDiagonalSum));
        }

        public static void PalimdromesMatrixWithOrWithoutStrBuil()
        {
            char[] alphabet = "abcdefghijklmnopqrstuvwxyz".ToCharArray();
            int[] input = Console.ReadLine().Split().Select(int.Parse).ToArray();
            int rowsNumber = input[0];
            int colsNumber = input[1];
            var alphabetMatrix = new String[rowsNumber, colsNumber];

            for (int rowIndex = 0; rowIndex < rowsNumber; rowIndex++)
            {
                for (int colIndex = 0; colIndex < colsNumber; colIndex++)
                {
                    // var alphaPalindrome = new StringBuilder();
                    var curentstring = new char[3];
                    curentstring[0] = alphabet[rowIndex];
                    curentstring[1] = alphabet[colIndex + rowIndex];
                    curentstring[2] = alphabet[rowIndex];
                    string currentString = new string(curentstring);

                    //alphaPalindrome.Append(alphabet[rowIndex]);
                    //alphaPalindrome.Append(alphabet[colIndex+rowIndex]);
                    //alphaPalindrome.Append(alphabet[rowIndex]);
                    //currentString = alphaPalindrome.ToString();
                    alphabetMatrix[rowIndex, colIndex] = currentString;
                }
            }
            for (int rowIndex = 0; rowIndex < rowsNumber; rowIndex++)
            {
                for (int colIndex = 0; colIndex < colsNumber; colIndex++)
                {
                    Console.Write($"{alphabetMatrix[rowIndex, colIndex]} ");
                }
                Console.WriteLine();
            }
        }
    }
}


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text:
Why Trade Policy Should Matter In The Election
Go back to Australian Outlook
By Dr Patricia Ranald
Trade policies are being ignored in the 2022 election debate. The pandemic has exposed the impact of trade policy on individual lives, and the differences between the parties' platforms deserve critical scrutiny.
The COVID-19 pandemic revealed flaws in the one-size-fits-all conventional trade policy. When the pandemic halted imports, Australia and other countries were unable to produce essential medical products because they had followed the mantra that each country should only specialise in its most cost-competitive exports, import everything else at the lowest possible prices, and have no active local industry or government procurement policies for local products.
Shortages of facemasks, ventilators, and vaccines forced the Liberal-National (LNP) Coalition government to assist firms to make them in Australia, and to discuss the need for "sovereign manufacturing capability." The Labor Party and the Greens have taken up calls by unions and environmentalists for more long-term local industry development and procurement policies both for essential medical and other products and for local renewable energy industries to address the climate crisis.
These policies are not the Donald Trump and Pauline Hansen simplistic yearnings for a return to high tariffs. Instead, they aim for more flexible trade policy, which helps, rather than hinders, local industry development. Such flexible policies can simultaneously decarbonise the economy and create local employment.
The pandemic also exposed World Trade Organization (WTO) rules which give 20-year monopolies on vaccines and treatments to pharmaceutical companies, ensuring that a handful of these companies control both quantities and price of vaccines and treatments during the pandemic. Most vaccines and treatments, developed with government funding, have been sold to high-income countries, where double vaccination rates are now 80-90 percent. Meanwhile single vaccination rates remain below 20 percent in low-income countries, and treatments are even less available. The move to third and fourth booster shots has compounded this inequity. Millions are dying while new variants spread and companies like Pfizer reap revenues of US $36 billion in one year.
Proposals in the WTO to waive these monopolies to enable expanded global production at affordable prices have been blocked by the UK, the EU, and Switzerland, lobbied by their powerful pharmaceutical industries. The LNP government has claimed to support the waiver, but refused to actively sponsor it. Labor and the Greens have called for active sponsorship of the waiver and criticised the government for its perceived inaction.
Trade agreements have also ignored the downward pressure of global competition on labour rights and the environmental standards, aided by a secretive trade negotiation process in which the agreements are not made public until after they are signed. In Australia, there is no independent evaluation of the costs and benefits of such agreements either. There is growing public demand for more transparency and accountability, as reflected in Labor and Greens recommendations in Senate and joint parliamentary inquiries. The EU now publishes negotiating texts, publishes the final text of agreements before they are signed, and conducts independent evaluations of the economic, social, and environmental costs and benefits of agreements.
In contrast, both the EU and the US have commitments in trade agreements to United Nations standards on labour rights and the environment, although these commitments are not yet as enforceable as other aspects of the agreements.
The LNP government has ignored these trends, rejecting the recommendations of the Joint Standing Committee on Treaties for the release of texts during negotiations and independent evaluation of trade deals.
Nor has the government supported commitments to labour rights and environmental standards in trade agreements. Instead, over the last three years, the government has negotiated as many trade agreements as possible, including agreements with Indonesia, Hong Kong, Peru, and the Regional Comprehensive Economic Partnership (RCEP) with 14 Asia-Pacific countries. There have been no independent evaluations of the economic or social costs and benefits, and no commitment to labour or environmental standards. All except the RCEP have included controversial special rights for foreign corporations to sue governments if they can argue that a change in law or policy would harm their investment. This inclusion is known as Investor-State dispute Settlement (ISDS), which was used by the Philip Morris tobacco company to try to sue Australia over its tobacco plain packaging laws. Labor and Greens both oppose ISDS.
Before the election, the LNP government rushed to sign agreements with the UK and India, and announced trade negotiations with the United Arab Emirates (UAE) and the Gulf Cooperation Council (GCC). The text of the former two agreements are now public, but they will not face any review or parliamentary scrutiny until after the election.
There are labour rights and environmental standards in the UK agreement, but not in the Indian agreement. The UAE and GCC are notorious because they have not signed international agreements on human rights or labour rights, operate the kafala system of bonded temporary migrant labour, and include Saudi Arabia, which recently conducted 81 mass public executions.
If there is no change of government, we can expect more of the same trade policies from the LNP. If there is a change of government, Labor and the Greens should implement policies that commit them to local industry development, and actively support a comprehensive waiver of WTO monopoly rules on COVID-19 vaccines and treatments. A new government must be held accountable for a greater level of transparency and independent assessments of trade deals, and for the inclusion of labour rights and environmental standards in such deals. This must include the critical scrutiny and amendment of the UK and India deals, and halting negotiations with the UAE and the GCC.
Dr Patricia Ranald is an honorary research associate at the University of Sydney and is the convener of the Australian Fair Trade and Investment Network.
This article is published under a Creative Commons Licence and may be republished with attribution.
RCEP Has Limited Trade Gains and Ignores Labour and Human Rights
Australia's recent signature of the Regional Comprehensive Economic Partnership has attracted world attention for its significance in consolidating Asia-Pacific geopolitical relations. But in celebrating this agreement, we seem to have forgotten its unfinished business regarding labour and human rights.
Tense and Tricky EU-UK Trade Negotiations Begin
By Colin Chapman FAIIA
It is unlikely that the Ides of March will worry Boris Johnson the way it haunted his hero Julius Caesar. The opening of tense and tricky free trade talks between Britain and the European Union on the third day of the month does have a ring of menace.
The Indonesia-Australia Closer Economic Partnership Agreement (IA-CEPA): A Game Changer?
By Professor Colin Brown
A decade has passed since the formation of the Indonesia-Australia Comprehensive Economic Partnership Agreement (IA-CEPA), which is finally on the cusp of its final stages of ratification. Will the IA-CEPA strengthen the bilateral economic relationship between Australia and Indonesia?


text:
Cecil Ray Smith
August 23, 1943 ~ June 22, 2019 (age 75)
Mr. Cecil Ray Smith age 75 of Mount Vernon passed away Saturday, June 22nd at Veterans Memorial Hospital in Lexington, Kentucky. Cecil Ray Smith was born August 23rd 1943 to James George and Ollie Frances Alcorn Smith. Cecil proudly served in the United States Air Force, earning several commendations during his two tours-of-duty in Vietnam. During this eight year period, Cecil was awarded the following commendations: Air Force Longevity Service Award, Vietnam Service Award, National Defense Service Medal, Air Force Good Conduct Medal, Republic of Vietnam Campaign Medal, Air Force Good Conduct Medal with 1 Bronze Oak Leaf Cluster (2nd), and the Air Force Commendation Medal.
As well as serving in the Air Force Cecil was a retired foreman in the shipping department for Trane Co. in Lexington, Kentucky. Cecil was united in marriage to his wife of 34 years Debbie Bunch Smith on June 22nd 1985. Mr. Smith is survived by: his wife: Debbie Bunch Smith of Mt. Vernon, Kentucky; a daughter Susan Rae Smith Coffey (Anthony) of Mt. Vernon, Kentucky. Four grandchildren Katherine Coffey, Cassie Smith, Kira Deatherage and Tyler Howard. One great grandchild Kady Coyle. Cecil was a member of the Wildie Christian Church. He also enjoyed spending time with family, watching UK basketball, sports, cooking, cars, and gardening .
Cecil is survived by three brothers Logan Smith of Ohio, Jr. Smith and (Bernice) of Mt. Vernon, Kentucky and Larry Smith and (Alice) of Mt. Vernon, Kentucky. Two sisters Leatha Dailey and Francis Lindsay both of Ohio. As well as a host of friends and neighbors.
Cecil was preceded in death by his parents James and Ollie Smith, a daughter Nicole Cotton, seven brothers and two sisters.
Casket bearers: Roger Dale Smith, Marvin Mink, Gary Prewitt, J.W. Bunch, Charles E. Bunch, and Ronnie Thompson. Honorary casket bearer; Owen Mink
Services for Mr. Cecil Ray Smith will be held Wednesday June 26 at the Marvin E. Owens Chapel visitation to start at 10 am with funeral to follow at 1pm with Brother Raymond Offutt and Anthony Coffey officiating. Burial will follow at Maretburg Cemetery with military honors. In lieu of flowers, contributions can be made to the VA Hospice Care.


text:
https://okcthunderwire.usatoday.com/2019/01/10/oklahoma-city-thunder-billy-donovan-flexibility-replace-nerlens-noel-concussion-protocol/
Billy Donovan says the Thunder have 'flexibility' to replace Nerlens
[jwplayer MLqTjYgE-ThvAeFxT]
January 10, 2019 1:52 pm CT
As the Thunder get set to face the San Antonio Spurs Thursday night on the road, they will do so without the services of Nerlens Noel after he was placed into the NBA's concussion protocol program.
Noel took a hard fall against the Minnesota Timberwolves Tuesday night after he received a blow to the head by the elbow of Andrew Wiggins while attempting to contest a dunk attempt. Noel hit the ground hard on his head but the team announced that he suffered only a concussion and avoided any major injury during the collision.
While Noel is playing just under 14 minutes per game this season, his impact on games has been huge off of the bench. He is averaging 13.3 points, 12 rebounds, 3.8 blocks and 2.6 steals per-36 minutes this season, which offers an idea on his impact on games if he were playing big minutes.
Thunder head coach Billy Donovan believes the team has the right combination of players, and the flexibility, needed to replace Noel while he remains out of the lineup.
"We have played Paul at the four spot, we have played Abdel Nader at the four spot so we feel like we've got the flexibility to move around some different people," Donovan said. "I think the harder part is our second unit has kind of gotten into a pretty decent rhythm and a pretty good comfort level playing with one another.
"I think if you look at the Laker game and you look at the Portland game, in both the end of the third, beginning of the fourth quarter, I think our bench had a huge impact in changing the direction of those games and I think Nerlens has been a big part of that. So, we're going to have to find a different combination of guys with him being out that we can go to that can be effective for us."
Billy Donovan on adjusting to center Nerlens Noel (concussion) being out: pic.twitter.com/3mfT86ITiF
— Maddie Lee (@maddie_m_lee) January 10, 2019
There is no predetermined timetable for when Noel will return but it is clear the Thunder will need someone else to step up until he can be cleared from his concussion.
The Thunder will be playing the Spurs on the second night of a back-to-back, an area in which San Antonio has struggled this season after posting just a 1-6 record in those games this season.
Oklahoma City is favored by 1.5 points Thursday night.
Here's why the Thunder could snap two-game skid Thursday vs. Spurs
Rudy Gay is expected to miss Thursday's game against the Thunder
Nerlens Noel has been placed into the NBA's concussion protocol


Does MetaTrader has market replay feature? like Ninja. If you need to replay market data, Yes they even have there own data feed for Forex afaik.
MarketReplay. NET provides traders with complete and valid market replay data from their cloudbased servers. Replay data for futures and forex.
FOREX replay data. Anyone have forex data for to now? Is there a collective file that contains all the ES market replay data that is available.
Video embeddedForex Tester 2 is the best Forex simulator software that will meet all of Working Modes; Data Center; Replay historical data like in real time with the.
Downloads Historical TickbyTick Data. TrueFX is the first service that brings you real, dealable prices from real market participants from all the major market. Jun 28, 2014free tool for replaying market data and practising your strategy. This is a discussion on free tool for replaying market data and practising your strategy. within the. NinjaTrader Market Replay. Trading is just like any other skill. If you want to be good at it, you have to practice. The Market Replay feature allows you to do just that. Apr 10, 2017market replay data Platform Technical Support Futures, foreign currency and options trading contains substantial risk and is not for every investor.
Ninjatrader Continuous Historical Data Market Replay Data Downloads of futures, stocks forexs for all trading platforms Playback supports running on Market Replay data or Historical data. Market Replay data is the most accurate and holds both level I and level II (market depth) data. Real time and historical market data for stocks, futures forex. NinjaTrader is the exclusive trading and charting software for Kinetick and can be used. Jun 16, 2012What platform has tick by tick (multiple chart filling) data replay? Platform Tech Forex Factory is a registered trademark. Connect. Facebook; Twitter; RSS; About. WHY CHOOSE eSIGNAL? Comprehensive historical data and bar replay functionality for back testing market strategies across all types of market Forex, futures or.
Open Your Brokerage Account. NinjaTrader partners with the following firms to deliver access to the futures and forex markets. May 29, 2007tick data for MT4 Platform Tech. Forex Just wanted to know how you are using Forex Tester and if you find the back The best part is that I can replay candles. Newest Reviews for Ninjatrader Market Replay Data Providers. Sterling reviewed MarketReplay. net. It keep telling me they have no forex, no this data and that.
Market Replay Award Winning Platform Low Cost Data As our recommended futures and forex broker, NinjaTrader provides traders with deep discount commissions. forex data replay Here's what we want to do now. forex data replay If a trading system is suitable for trading with only one specified currency pair and is not.
Watch how your strategies would have performed with FXCM's NinjaTrader Market Replay feature.
Downloads Historical TickbyTick Data. TrueFX is the first service that brings you real, dealable prices from real market participants from all the major market. Jun 28, 2014free tool for replaying market data and practising your strategy. This is a discussion on free tool for replaying market data and practising your strategy. within the.
NinjaTrader Market Replay. Trading is just like any other skill. If you want to be good at it, you have to practice. The Market Replay feature allows you to do just that. Apr 10, 2017market replay data Platform Technical Support Futures, foreign currency and options trading contains substantial risk and is not for every investor.
Open Your Brokerage Account. NinjaTrader partners with the following firms to deliver access to the futures and forex markets. Newest Reviews for Ninjatrader Market Replay Data Providers. Sterling reviewed MarketReplay. net. It keep telling me they have no forex, no this data and that.
Market Replay Award Winning Platform Low Cost Data As our recommended futures and forex broker, NinjaTrader provides traders with deep discount commissions.
Watch how your strategies would have performed with FXCM's NinjaTrader Market Replay feature. We provide complete and valid market replay data from our Cloud based servers to meet the demands of the serious active traders using NinjaTrader trading platform.


Historic records show that a mill was established on this site in 1204 by Geoffrey de Monte Marisco Fitzrobert, first Baron Fitzrobert. In 1782 the Mullins Family, who were descended from Hugenot stock, built the present mill, possibly incorporating fabric of the earlier mill. The flour mill is a four-bay three-storey building with several smaller projecting wings. It has a wooden stream wheel at the south which drives two pairs of stones. To the south of the main building is a two-bay two-storey building which was a flax mill. The corn mill was in use until 1948. It has now been restored and is in use as a heritage centre and mill museum. The stones are still in place and are capable of being worked. The flax mill was converted to residential use in the 1960s and is still sometimes used for that purpose today.


Wanted to play guitar on your Android device? and use it as guitar amplifier? yes! you can. By using an audio interface that designed and supported for android device of course. It's not a new thing that we can use Android or iOS device to run a guitar amp simulator and turn your phone as an amplifier.
And Guitar Amp simulator App by Deplike Audio.
There are two usb guitar link on the market I know. Which is Behringer UCG102 Guitar Link and the clone of Behringer UCG which is Guitar to USB Interface (more cheap). You can buy the clone for only $5.59 on Amazon.
So, to connect your guitar into your phone, the chain map should look like this: Guitar to > USB Guitar link interface > USB to OTG converter. And for the audio output, the signal chain should like this: From USB Guitar Link to > 1/4 to 1/2 audio converter to > Speaker monitor or Headphone. Below is the example illustration by Deplike Audio.
In order to make your Android phone as guitar amp you need to install Guitar Amp simulator App by Deplike audio. Once App installed, tap on the audio signal on right top of the amp simulator app interface for audio settings.
The app will ask you Which connection type do you prefer? Choose USB/Type C. One more time the app will ask you to select your device USB port type, Type C or OTG. See screenshot below.
And you are ready to jam on your Android device with those cheap gadget using Guitar Effects Pedals, Guitar Amp by Deplike audio. However it is better to use USB Guitar link by Behringer rather than the clone for better quality. As it also recommended by Deplike.
Next, the second way (premium way) on how to use your Android device as guitar Amp/effect.
Another way to play guitar through Android phone you can using an Audio Interface like iRig HD-A by IK Multimedia. That can turn any supported Android devices as guitar and bass amp simulator.
It is hard for me to say, but yeah! this device may more expensive in price but it may worth if you are looking for "premium" tone. Since iRig HD-A is the first and digital audio interface made to use for android device. As you may have know that IK Multimedia are the pioneers in mobile music making. So you'll definitely get the premium sound for sure.
With iRig HD-A you can play your guitar/bass directly into your Android phone or tablets. I Rig HD-A also can be use for jaming on PC too. This mean, you will get two advantages from it.
First, you can jam with this device anywhere you want.
Second, while you where home you can plug in to your PC and use it as Audio Interface to jam or record your guitar and bass track.
iRig HD-A compatible with any real processing apps that support USB/OTG audio input. This device allows you to plug-and-play and get the highest possible sound quality on your Android phone especially for Samsung device.
Still unsure? Below you you can watch a video review by IK Multimedia them self (For Samsung device).
I hope this post useful and can help you to found the right gear for your needs. I say "for your needs" not "what you want. Because sometimes we often regretting buying things that we "want" and not what we really need.


text:
Q: How can I set LIMIT in query in Realm? I have done R&D for limit in query with no success. There is one way with which to paginate data in Realm with sub list but no success with that. It shows duplicate value in it.
Here is what I attempted for pagination.
 RealmResults<Person> mPersonData=RealmUtils.getAllPersonWithTagsDescending();
    if (mPersonData != null) {
    int startPos=getAllPerson.size()-1;
    int endPos=mPersonData.size()-1;
    List<Person> newPersonData=mPersonData.subList(startPos,endPos);
    getAllPerson.addAll(newPersonData);
    mAdapter.notifyDataSetChanged();
}

What am I doing wrong?

A: As @EpicPandaForce said, you can use lessThan()and greaterThan() to set the limit, but realm have between() method, check: https://realm.io/docs/java/latest/#chaining-queries
Example :
Just get items with limit 50 :
static int LIMIT = 50;
final RealmResults<Item> resultsFilter = realm.where(Item.class)
                .between("id", 0, LIMIT)
                .findAllSorted("id", Sort.ASCENDING);

Or when I want to get last 10 items:
static int LIMIT = 10;
final RealmResults<Item> resultsAll = realm.where(Item.class).findAll();
final RealmResults<Item> resultsFilter = realm.where(Item.class)
                .between("id", resultsAll.size() - LIMIT, resultsAll.size())
                .findAllSorted("id", Sort.DESCENDING);

A: There is no reason to use pagination with Realm if you use RealmResults<T> directly, because the elements in RealmResults are lazy evaluated, and aren't in memory until you call .get(i).
Meaning, the query doesn't execute and evaluate an element until you directly index it. Which means, they aren't in memory. The RealmResults<T> list doesn't actually contain the elements, it just knows how to find them.
As such, there is no LIMIT in Realm.
Please note that if I remember correctly, reevaluating two RealmResults that are not returned by findAllSorted can have different ordering (if deletions occur). If the order must be the same no matter what, then consider a rank property, and order by findAllSorted("rank", Sort.ASCENDING).
If you really want pagination, you should have the rank parameters, and then you can create a query like
realm.where(SomeClass.class)
     .greaterThanOrEqualTo("rank", pageSize*pageIndex + 0)
     .lessThan(SomeClassFields.RANK, pageSize*pageIndex + pageSize)
     .findAllSorted(SomeClassFields.RANK, Sort.ASCENDING);

Also, you should consider using RealmRecyclerViewAdapter instead from here:
compile 'io.realm:android-adapters:1.3.0' // for Realm 0.89.0 to Realm 2.3.0

or
compile 'io.realm:android-adapters:2.1.0' // for Realm 3.0.0+

or
compile 'io.realm:android-adapters:3.0.0' // for Realm 5.0.0+

The RealmRecyclerViewAdapter handles "loading the new data" for you, you don't have to do anything to make it work beyond setting the initial RealmResults.

I'll actually have to change this answer once there is proper integration with the Paging Architecture Component, who knew? I have an experiment up with it here and you can see if it works for you.

A: You can use limit from Realm 5.6.0+. It looks like this.
val myDataList = Realm.getDefaultInstance()
    .where(MyData::class.java)
    .limit(10)
    .findAll()

Look this document

A: Now limit is supporting
I did that using limit method, You should use latest version classpath "io.realm:realm-gradle-plugin:5.8.0"
RealmResults<YourPOJOClass> realmResults = mRealm.where(YourPOJOClass.class).sort("createdTime").limit(10).findAll();
//here this record will be sorted by ascending order using schema name "createdTime"
//this will return the 10 rows only.

`


When I sat down to watch Do the Right Thing last week with a friend, I was honestly unsure of what to expect. I realized as the movie was starting that I had only seen one other of Spike Lee's films previously (2006's Inside Man, a taut and capable heist movie) and snippets of a few others—hardly a sound foundation from which to pass judgment on a director's most well known and lauded film. I'm now so genuinely glad that I finally watched this movie—and that Netflix decided to make it available on Instant last month—because it absolutely holds up to all of the praise it garnered upon its release, as well as serving as a time capsule for late 80's/early 90's culture.
The story itself is simple, and the structure of the film is one that many other directors have attempted (to varying degrees of success) over the years: covering one sweltering day in Bedford-Stuyvesant, Brooklyn, the movie follows Mookie (Spike Lee), a pizza delivery man, from job to job, but often the action splits off from Mookie to explore the interactions between the other inhabitants of the neighborhood, including Italian-American pizzeria owner Sal (Danny Aiello) and his sons Pino (John Turturro) and Vito (Richard Edson), Mookie's sister Jade (Joie Lee) and his girlfriend Tina (Rosie Perez), and a local drunk called Da Mayor (Ossie Davis), among many others, including turns by Martin Lawrence, Ruby Dee, Samuel L. Jackson, and Frankie Faison. As the day progresses and the heat wave rises, tensions begin to mount between the various groups of people who inhabit the neighborhood, especially as racial differences are addressed. These encounters come to a head as Radio Raheem (Bill Nunn), Buggin' Out (Giancarlo Esposito) and Smiley (Roger Guenveur Smith) protest Sal's business practices, leading to a brawl and eventually police "intervention." There is a lot more to say here about the plot—it is intricately woven between the many different characters, and it explores a myriad of ideas, opinions, and worldviews without ever necessarily privileging one over the other, tackling a lot of things that many Americans would wish to avoid talking about—but to delve too much deeper into specifics would be to spoil what is, even now, almost 25 years later, an incredibly fresh and invigorating (not to mention provocative and complex) film-viewing experience.
The performances are incredible across the board, but what makes this movie's exploration of such complex themes so stimulating, and at times confrontational, is Lee's writing and direction choices. Camera angles go askew to unsettle the ways that the viewer is approaching different encounters; there are moments of direct address to the camera that are challenging and aggressive in beautifully complicated ways; moments of lightness and humor both soothe other points of disquiet and illuminate the tensions writhing just barely beneath the surface; and there is a brash and gorgeous mix of color and contrast in almost every scene.
There are two things that made this movie for me, though: the first is Lee's use of "real world" referents to draw attention to the fact that even though the events in this film are fictional, they are not without historical precedent—they are firmly entrenched in the very real experiences of very real people. The other is that Lee isn't at all interested in giving the viewer an easy way out, or a simple solution to the problems this film is bringing to light. Rather than take the Paul Haggis/Crash route and say "look, everyone's a little bit racist," Do the Right Thing gives even the least represented character some emotional depth and background to show the historical inequities that have led them to their beliefs about how they relate to the others around them. The film also does what many others tackling the issue of racism in America do not: it explores the structures of power that are keeping these inequities in place, and it doesn't dare tell us that there is one right way to fix the problem. It is, like the subject it is tackling, complex, and its refusal to simplify is what makes this film so incredibly important.
This is not to say the movie is without its problems—the representations of women, for instance, leave a few small things to be desired, and Smiley, who is mentally disabled, is portrayed in a roundly ham-fisted and insensitive way. As we were watching, my friend and I kept saying to each other, "I just don't know what to do with Smiley," and the best we could come up with was that frequently in the 80s and 90s (and arguably today as well) disabled characters served as a way to help explore the other characters (if you are nice to the disabled person, then you are a nice person, etc.) and so they become a trope of character development, rather than characters in their own right. In a way this is unfair to the film, because even though Smiley is this type of character in some regards, he also serves a much deeper role; I have to leave this one still bothered by his portrayal but cognizant that Smiley's beliefs and interest in exploring the contrasting teachings of Dr. Martin Luther King, Jr. and Malcolm X, and his inability to express what he finds in the intersection of the two, are what, in the end, this film is all about.
Apparently I will watch just anything with Adam Scott in it (see previous two "Avoid Instantly" installments), but I'm learning now that this isn't a very good approach to finding something actually worth two hours of my life (see previous two "Avoid Instantly" installments). In this absolutely tone-deaf exploration of what rich, beautiful, white people go through to "have it all," Jason (Scott) and Julie (Jennifer Westfeldt, who also wrote and directed this waste of time) decide to have kids together, despite the fact that they are (supposedly) not romantically interested in one another, in an attempt to avoid all of the complications that they see plaguing their settled married friends, Leslie and Alex (Maya Rudolph and Chris O'Dowd) and Missy and Ben (Kristen Wiig and Jon Hamm). It is pretty obvious that the plot is entirely predictable from the start, and while Westfeldt is lovely, she doesn't have the chops to hang with the ensemble she has built. But the most egregious offense is thinking that there is any way to like, or care about, the characters in this movie. They are cartoonish, and they barely like one another, so it seems a bit much to ask complete strangers to want to see how they end up (seriously, if I met these people in real life, I would stab myself immediately so that I could be rushed to the hospital, and far, far away from their toxicity). Love, Actually is streaming too—better re-watch that one again, and skip this grumpy atrocity.


text:
Q: how can i get distance and duration for all travel modes like driving,transit,cycling,walking in my page,and storing the same in db I only succeded in displaying and storing the data of a single travel mode but now i want to store the data like distance and duration from all travel modes,here is the code,what changes do i need to perform,thanks in advance
    mapper.html

    <title></title>

                Source:
                <input type="text" id="txtSource"  style="width: 200px" />
                  Destination:
                <input type="text" id="txtDestination" style="width: 200px" />
                  Travel Mode:
                <select id="modes">
                    <option value="driving" >Driving</option>
                    <option value="cycling">Cycling</option>
                    <option value="transit">Transit</option>
                    <option value="walking"selected>Walking</option>
                </select>

                <input type="button" value="Get Route" onclick="GetRoute()" />

 mapdb.php
<?php
if(isset($_POST['source'], $_POST['destination'], $_POST['sel'], $_POST['i']) && count($_POST['routes']))
{
    $routes_array = json_decode($_POST['routes'], true);

                                                    // Create connection
    $conn = new mysqli("localhost", "root", "", "testdb");
                                                    // Check connection
    if ($conn->connect_error)
{
         die("Connection failed: " . $conn->connect_error);
    }

$i = $_POST['i'];
$sel = $_POST['sel'];
    $source = $_POST['source'];
    $destination = $_POST['destination'];
    $query = "INSERT INTO trip(source, destination, mode, num_routes) VALUES('{$source}', '{$destination}', '{$sel}', '{$i}')";
    if($conn->query($query)){

        $trip_id = $conn->insert_id;
        foreach($routes_array as $route){
            $distance = $route[0];
            $duration = $route[1];
            $query = "INSERT INTO route(trip_id, distance, duration) VALUES({$trip_id}, '{$distance}', '{$duration}')";  //distance in km and durtion
            $conn->query($query);
        }
        echo "Sumeet!!!Success";
    }
else
{
        echo "Something went wrong!!! Record couldn't be inserted";
    }

    // Close connection
    $conn->close();
}

?>

A: Change the MODE to Walking , Transit, Bicycling in your request.First check the output using google directions APIs endpoint on your browser.
Walking and Bicycling results are not available for every pair of locations.
Appending the last part of your travelMode: google.maps.TravelMode."Change here".
enter link description here
If iteration(loop) is not possible repeat the code thrice.


text:
package com.blazeloader.event.mixin.common;

import org.spongepowered.asm.mixin.Mixin;
import org.spongepowered.asm.mixin.injection.At;
import org.spongepowered.asm.mixin.injection.Inject;
import org.spongepowered.asm.mixin.injection.callback.CallbackInfoReturnable;

import com.blazeloader.event.handlers.InternalEventHandler;

import net.minecraft.command.CommandHandler;
import net.minecraft.command.ICommandSender;

import net.minecraft.profiler.ISnooperInfo;
import net.minecraft.server.MinecraftServer;
import net.minecraft.util.IThreadListener;

@Mixin(MinecraftServer.class)
public abstract class MMinecraftServer implements ICommandSender, Runnable, IThreadListener, ISnooperInfo {
	@Inject(method = "createNewCommandManager()Lnet/minecraft/command/ServerCommandManager;", at = @At("RETURN"), cancellable = true)
	private void onCreateNewCommandManager(CallbackInfoReturnable<CommandHandler> info) {
		InternalEventHandler.eventCreateNewCommandManager((MinecraftServer)(Object)this, info);
	}

	@Inject(method = "getServerModName()Ljava/lang/String;", at = @At("RETURN"), cancellable = true)
	private void onGetServerModName(CallbackInfoReturnable<String> info) {
		InternalEventHandler.eventGetModName(info);
	}
}