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Q: Read many videos and convert them into images I have been able to get a program that can read a single video and convert it into images. However, actually, I am having many videos and I would like to write a function that can read the videos one by one and convert them into  images. I aim to convert the videos into images so as to facilitate the processing. The code for converting a single video is as follows.
import sys
import argparse

import cv2

vidcap = cv2.VideoCapture('E:/DATA/1/12.mp4')
path_out = "E:/DATA_Synth/12"

success,image = vidcap.read()
#image=cv2.resize(image, (640, 480))
count = 0
while success:
  cv2.imwrite(path_out + "/frame%03d.jpg" % count, image)
  #cv2.imwrite(path_out + "/frame%d.jpg" % count, image)
  success,image = vidcap.read()
  #image = cv2.resize(image, (640, 480))
  print ('Read a new frame: ', success)
  count += 1

Any suggestions and comments would be highly appreciated

A: You should create a loop to iterate through your folder which contains all your videos and pick each video and run your above code.
import os
import sys
import argparse
import cv2
directory="enter your folder directory for video"
for vidfile in os.listdir(directory):
    if vidfile.endswith('.mp4'):
        vidcap=cv2.VideoCapture(os.path.join(directory, vidfile))
        ## write your code here for converting the video to individual frames
    else:
        continue

A: I have updated the codes as follows.
import os
import sys
import argparse
import cv2
directory="E:/Training/video"
path_out = "E:/DATA_Synth/12"
for vidfile in os.listdir(directory):
    if vidfile.endswith('.avi'):
        vidcap=cv2.VideoCapture(os.path.join(directory, vidfile))
        ## write your code here for converting the video to individual frames

        success,image = vidcap.read()
        #image=cv2.resize(image, (640, 480))
        count = 0
        while success:
            #vidcap.set(cv2.CAP_PROP_POS_MSEC,(count*1000))
            cv2.imwrite(path_out + "/frame%03d.jpg" % count, image)     # save frame as JPEG file
            #cv2.imwrite(path_out + "/frame%d.jpg" % count, image)
            success,image = vidcap.read()
            #image = cv2.resize(image, (640, 480))
            #print ('Read a new frame: ', success)
            count += 1
    else:
        continue

However, only the frames from the last video in my directory are saved. Please, how can I modify the codes in such a way that the name of frame as written here
cv2.imwrite(path_out + "/frame%d.jpg" % count, image)
may also contain the name of the corresponding video.


Holiday season 2019 was hectic! Back to back charters with turn-arounds of less than 24 hours. Three-week long charters involving a series of daysails. Last-minute bookings. Fashion model shoots. Kitesurfing addicts. Onboard accommodations for service pets. Special requests: fresh-cut pine trees, gift-wrapping stations, a couple's massage at a landside resort. Activities to keep seniors and non-swimmers entertained afloat. Birthday cakes.
On and on it went. At every turn, the Nicholson fleet of yachts rose to the occasion to make your charter the best vacation ever.
Now it's February 2019. Isn't it time you got away from the snow?


Most of us developed an interest in the Luftwaffe, its aircraft, its history and its personalities either through aircraft modelling or books. As a librarything.com member I thought it would be a good idea to look at some of the landmark books in our field and meet the authors. Bear in mind, when reading what follows, that it is very very hard to write a book. Writers and researchers producing Luftwaffe books are usually embarking on a very expensive 'labour of love' that brings little reward and which in some instances can completely take over their lives. As such they deserve great respect and our support in all their ventures.
John Vasco probably needs little introduction to Luftwaffe enthusiasts. His history of Erprobungsgruppe 210 entitled 'Bombsights over England' broke new ground for Battle of Britain research when it first appeared as a slim 104-page self-published book in 1990. A further work on Bf 110 units in 1940 with Peter Cornwell via John's own JAC Publications and a second updated and enlarged edition of the original 'Bombsights over England' published by Schiffer in 2002 cemented John's reputation as the leading authority on the Messerschmitt Bf 110. Further works on the type have followed through Schiffer and Classic Publications and most Luftwaffe enthusiasts will have some or all of these titles on their shelves! I was fortunate enough to meet John a few years ago at one of his Erprobungsgruppe lectures delivered at the Battle of Britain museum in Hawkinge, Kent and recently managed to persuade him to talk about his work and interest in the Bf 110 and specifically 'Bombsights over England' for readers of this blog. An all-round top man and excellent interviewee for what is hopefully the first in a new series on this blog as I look at the stories behind 'classic' Luftwaffe books and their authors.
" ..John, could you please tell us a little about yourself as a person, writer and historian ? "
I'm 62, married with two grown-up children and two grandchildren. I was a Civil Servant for over 30 years before taking early retirement in 2001. I enjoy playing the guitar. I started gigging in Liverpool in 1969 when I was still at school. I'm still gigging now. I've also written several books on the Messerschmitt 110. I started that research in 1980 and through the years I 've been to Germany on many occasions to do research, meet the veterans who flew the Messerschmitt 110 and set down their tales, copy their photos, etc.. I've been fortunate that I've got things into print, for example the two softback books in the 'Classic Colours' series - 96 pages each, 200 photos, covering the Bf 110 throughout its existence with the main emphasis being on the different theatres of war (ie Polish campaign, Western campaign, Battle of Britain, Russian campaign, Mediterranean campaign and Defence of the Reich) and the units which flew the type in those campaigns.
I don't take myself too seriously and take each day as it comes following a heart attack in August 2001 and a triple bypass in 2002. That kind of thing makes you re-focus yourself on what are the important things in life (like family) and what are not (doing gardening etc).
I suppose my writing goes back to the days when I worked in a Social Security office. For about 4-5 years I worked on the legal side of things, dealing directly with Acts of Parliament and their wording, and attending Tribunals representing the Department. That work certainly helped in developing a logical approach to everything, and also to setting things down correctly in writing. In hindsight, that was an excellent schooling for what was to come with my research.
"..What prompted you to launch JAC Publications ?.."
Quite simply, my Erprobungsgruppe 210 research being rejected by a couple of publishers. I knew it was worthy of publication, and so I set about making arrangements with my bank to set up JAC Publications and publish 'Bombsights Over England'. A couple of things as an aside: First of all, I wanted the the title originally to be 'Target England' but there was already a book out with that title; and secondly, 'JAC' comes from the initials of my wife Anne, and my children James and Claire. JAC !
" ..How did your interest in the Erprobungsgruppe develop ? What was your aim in writing the history of this unit ? "
I've been asked this many times, not least by a few German veterans! So here goes. It starts, as I'm sure so many other researchers did, with plastic model aircraft. When my son was about 2 years old, I started making model aircraft (again) to hang from his bedroom ceiling. This would be late-'79/early '80. I was interested in the Battle of Britain period, and so Spitfires and Hurricanes, and 109s and 110s were soon flying in his room! At the same time I got books from the library and read up a lot more on the Battle of Britain. This one particular unit kept cropping up in the books: Erprobungsgruppe 210. They used the Messerschmit 109 and 110 fighters as fighter-bombers to go in low to attack targets, first of all shipping around the south-eastern coast of England, and later land targets. So I then set about starting research into them (that was 1980) and ten years later I published my history of that unit. That's how it all started. What struck me was that two or more books would cover the same event and yet have completely different factual conclusions about the event. Now this is where my arrogance came into play. I thought 'I can do better than that!', very arrogantly. When casting around for a subject, I was intrigued by this unit that flew fighters as bombers during the Battle. I thought that given their specialist nature, someone must have covered their activities and produced a book, but after checking around for some time, it became clear that that was not the case. So I set about trying to find out more about Erprobungsgruppe 210. The first person I contacted was Ken Merrick, who was absolutely superb in his response to me, and has been so over many years. The breakthrough came with two other people: Peter Cornwell and Karl-Fritz Schröder. When I contacted Peter he was very supportive and gave all the assistance he could, and provided pointers and further contacts also. As for Karl, he was the only person to reply when I had a letter of request printed in 'Jägerblatt' in 1983. He advised me of the 'Wespentreffen', which included former members of Erprobungsgruppe 210, and invited me to the 1984 meeting. I attended, met some former members, received a lot more information and further contacts, and things developed from there.
As for the aim in writing the history of the unit, what gradually dawned on me were two things: firstly, there was quite a bit in print about the unit which was simply wrong; and secondly there was quite a bit about the unit which was not known, and which I had uncovered.It developed to the point where I believed I could write a book about all that I had gathered.
"..How much time was devoted to the research and writing of this particular book ? And your other books ? How was/is the work-load shared with co-authors and/or associate researchers..? "
I was working a full 5 day week, so throughout the 1980s all the research was done in the evenings when the two children had gone to bed, and at weekends. It took up a LOT of time in the pre-internet days! I mentioned earlier that I had made contact with Peter Cornwell. During a visit to his house, I mentioned that I was thinking of doing all the 110 units in 1940 after the Erprobungsgruppe 210 work was finished. He suggested that we do the 110 work together, and so that alliance was formed. It was to result in several journeys to Germany for a week at a time, some of the incidents of which are now the stuff of legend between myself and Peter! 'Stück Puck' indeed! (Zerstörer, page 252).
'Sting of the Luftwaffe' came about through my attendance at the Wespentreffen several times, and the gathering of many photos of that unit. Also through contact with former members and relatives of those who had been killed in action who were able to provide information and photographs. I offered it to Schiffer and they accepted. The books I did with Fernando Estanislau were interesting. Schiffer approached me, having published a 2nd edition of 'Bombsights' and also 'Sting of the Luftwaffe', and asked me to do a work on profiles on the Messerschmitt 110, similar to the single-engined books that they had done. I agreed to do so, but only with an artist who could do justice to the subject, and with whom I was happy. Fortunately, enter Sergio Luis dos Santos from Brazil, who had contacted me a few times regarding Bf 110s. He e-mailed me this particular time and asked me to check over a line drawing a friend of his had done. It was of a ZG 1 'Wespe' Bf 110. I opened the attachment and immediately said to myself: 'This is the artist I've been waiting for!'. So I made contact with Fernando, explained the project, and he was happy to do it as a joint venture. So for about the next 3 years we spent hundreds of hours at our computers, talking via e-mail and 'Messenger', thrashing out the content of the work that would become the 'Profiles' book for Schiffer. Because of the time difference between the UK and Brazil, I was up until 2:30 in the morning discussing things with Fernando. Fortunately by this time I had taken early retirement from work, so it didn't affect me much! We sought to cover everything from the 'B' to the 'G-4', and also set ourselves the strict guideline that if a side-on view was not available, no profile would be done. Chevron approached me to do a two-volume series for them, so I agreed so long as Fernando did the line drawings. So the two volume softback work came out, but came in for some criticism because the title was misleading. They called it 'Zerstörer volume 1 & 2'. I told them to call it 'Messerschmitt 110' but my view was ignored. Then they got a heap of criticism (as I did) because the title was misleading, as it did not include the Me 210 & 410, nor the Ju 88. Valid enough, but the Publisher did not take on board my point. Chevron then came back and asked for an in-depth book on the 110, as they had begun to develop that theme with other Luftwaffe types. I agreed on the basis that it would be a joint work by myself and Fernando, and it would only cover the Bf 110 C, D & E. So we moved forward on that and eventually that came to fruition. I have to say that Fernando's approach to the research and the work was first class.
On the whole, very well. Karl Schröder once told me that one of the Wespen veterans (a former ground mechanic) questioned what I was doing at their reunion, in the company of others, and they all immediately rounded on him. This was after I had published 'Bombsights', and the book was known by all at the Wespentreffen, so by then I was accepted by them. I made contact with one former member of Erprobungsgruppe 210, who I knew would have good information to give to me, but all I received was a nice reply, rounded off with 'Was war ist gewesen' - What's gone is gone. When I met a member of his Staffel some time later, I asked him why I would receive such a reply. He told me that when the new Staffelkapitän of 2./210 arrived at the end of June 1940, he made this pilot's life hell. So that period in his life, the exact period I was interested in, was something he was not prepared to revisit. When that happens, you have to respect their wishes.But I must restate that I was made most welcome by those I came into contact with. One pilot of 210 was very reserved until Karl Schröder spoke to him. In the end, when passing out complimentary copies of 'Bombsights' in 1990, he invited me to his house to stay overnight, which I accepted. His wife provided me with a superb meal, and Helmut Ortner and I then watched one of the World Cup games in his front room. Excellent hosts, and a top man! When 'Bombsights' came out, and I had copies with me at the Wespentreffen in 1990, there was a great interest from most who were there. I took as many as I could in my large suitcase, and sent another ten on to Karl Schröder in advance by air mail for him to bring to the reunion with him on my behalf. After giving out the complementary copies to those who had assisted with the work, the others were snapped up immediately, and still more paid me for a copy to be sent on to them. The feeling that I got was that they felt that their small story was being told for the first time. I think a quote from the Preface of 'Sting of the Luftwaffe' sums up things best of all: As young men they flew and fought because of the call to arms of their native country. In the post-war years it is hard to understand the perceived guilt carried by some of them once the full horrors of the Third Reich regime for which they fought were laid bare before them. This was brought home to me in a totally unexpected way on the last morning of one of the Wespentreffen which I attended. From amid the hubbub of 'Wespen' guests departing from the reception area of the Hotel Selau in Neunkirchen-am-Brand one member approached me. I had not met him before, and we had not had occasion to talk during the Treffen, but he had obviously found out who I was, and why I was there. He offered me his hand, and in faltering English said 'Mr. Vasco, perhaps now I know we are friends again'. He then took his leave of me, picked up his luggage and headed into the car park. For one man, my attendance may have changed, to some small degree, the perceptions which he must have carried for many years, of how people of other nations, and different generations, saw him and his generation.." It was one of the very rare occasions in my life when I was totally speechless! When 'Zerstörer' came out in 1995, Peter Cornwell and myself received many kind letters from former 110 crews thanking us for telling their story. Also, for many of them, they found out for the first time what had happened to others in Bf 110 units that they had known. All in all, the responses from former members was a somewhat humbling experience.
Is there any one piece of information or fact that you uncovered that you are especially proud of..? Can you tell us about your proudest and most frustrating moment as a writer..
1. Seeing a proper photo of the 30 mm cannon for the first time in the album of ground mechanic Willi Falkenroth; 2. Identifying the correct unit (Erprobungsgruppe 210, not Ju88s) that raided Biggin Hill on 30th August '40.
3. Correcting the incorrect information about who was Staka of 3./210. Previous publications had said it was Hptm Valesi, whereas it was Oblt. Hintze. I was able to establish that Valesi was on secondment to the unit because of his knowledge of using a fighter as a fighter-bomber, no doubt gained from Rechlin.
">Most frustrating moment: this is ongoing - not yet finding a single confirmed photo of Rubensdörffer's S9+AB!!!
"And what do you say to people like me who ask you or have asked you to comment on the various colours used on wartime Luftwaffe aircraft, including Rubensdörffer's S9+AB .."
What we know is generally based on information from a variety of sources. That would include German documentation that survived the war, RAF AI(1)G intelligence reports on crashed aircraft, and AI(1)K intelligence reports on interrogation of prisoners. So, going on to specifics, the use of the colour blue for the third character of the fuselage code on Bf 110s of 1./Erpr. Gr. 210 came from AI(1)G reports and discussions/interviews with personnel of 1. Staffel, viz, Wolfgang Schenck (pilot); Werner Neumann (pilot); Karl Stoff (Bordfunker); Edmund Ernst (Bordfunker); Otto von Steinhart (pilot) and ground mechanics Willi Falkenroth and Werner Wulf. Pitfalls? I should point out though that the groundcrew I interviewed freely admitted that when they had to paint aircraft and get them combat ready, if insufficient stocks of a particular camo colour were not available, they would mix in the nearest colour to get the job done. So while we wring our hands over such-and-such a colour on a WW2 Luftwaffe combat aircraft, those guys way back then didn't give a toss as to being 100% correct, only in getting the work done in whatever way possible, as quickly as possible, to satisfy their senior officer.
" ..What was the GdJ Treffen in Berlin like in 1991..? "That was the first Treffen to be held in Berlin. There was a very moving ceremony at the grave of Werner Mölders and it was incredible to see the awe in which the attendees held Adolf Galland. Hearing the assembly at the Treffen do the 'Hussassa' chant was memorable..
2. Get to know your market, in other words, explore all the outlets that could possibly take your book.
4. Be realistic in your pricing, and be flexible to a great extent in the terms you offer the outlets. Too stringent terms, and you will not move your stock.
5. Don't underestimate the costs in stationary and publicity, and also the cost of mailing books out to suppliers.
6. Be prepared to take some non-payers through the small claims court to get your money.
The only project I am working on now is the 'Eagles Over Europe' project headed by Larry Hickey. Not surprisingly, my remit is the Bf 110. When it finally reaches completion it will be the most comprehensive in-depth study of the first 15 months of the air war in Europe from September '39 to December '40..
"...John, thank you for answering my questions, thank you for your superb books and good luck with EoE!.."
Below; group photo of Erprobungsgruppe 210 former members and author John Vasco at Neunkirchen-am-Brand. From left: Karl-Fritz Schröder (3. Staffel); Karl Stoff (1. Staffel) (Pow 17/11/40); Wolfgang Schenck; author John Vasco; Balthasar Aretz (2. Staffel); Gerhard Schlee (2. Staffel); and Edmund Ernst (1. Staffel) (PoW 6/9/40).Third from left Wolfgang Schenck finished the war with the Luftwaffe equivalent rank of Colonel and was the last Luftwaffe 'Inspector of Jet Fighters' in WW II.


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Episode 1 - The project
— By Aurélien Poidevin
To mark the 30th anniversary of the Opéra Bastille, Aurélien Poidevin looks back at an historical project that would profoundly alter the morphology of the national and international musical landscape: what were the guiding principles which led to the development of the proposal for a people's opera? How did so gigantic a construction project unfold?
In May 1981, at the beginning of his first term, French President François Mitterrand approached Jack Lang:
You feel as I do. On the one hand, we must create centres of art and focal points of community life all over France. On the other, I would like to see a series of outstanding monuments and institutions built in Paris that can shape both the history of the capital and the country. Reflect on this and provide me with a list1.
The Minister of Culture suggested several initiatives which included some new ideas (the transformation of the Louvre Museum) and the continuation of older projects (the development of La Défense, the Musée d'Orsay and the Cité des Sciences et de l'industrie, etc.). The issue of major public works projects was still not on the agenda when François Mitterrand announced to the journalists assembled at the Élysée press briefing on September 24, 1981 that "we will build an International Centre for Music"2. Nor was the idea for a new opera house at Bastille…
Nevertheless, that very notion had already been evoked a half-century earlier when Jean Vilar delivered the conclusions of his report "A reform for the Opera". Anxious to increase audiences and revenues at the capital's two main opera houses (the Palais Garnier and the Salle Favart), it suggested the creation of "a modern, high-capacity theatre with seats of roughly equal quality3". This proposal met the requirements set by Jean Vilar, Maurice Béjart and Pierre Boulez when the government proposed that they manage the merger of the national opera houses into a single entity. Indeed, the three men had combined their efforts to reform the opera with a view to democratising access to culture. Back then, no one spoke of a "people's opera", but there was agreement already on the necessity to modernise the Palais Garnier's stage equipment and the need to offer access to productions to as many people as possible.
The Liebermann era (1973-1980) would soon prove to be a new paradigm in the management of the Opera5. On his arrival from Hamburg, the "pope of contemporary opera" programmed what effectively was a permanent festival during which the international stars of opera paraded through the capital to such a degree that it soon became impossible to find a seat at the Palais Garnier! In January 1977, agents of the General Inspectorate of Finance appointed by the then Prime Minister Jacques Chirac, submitted an "Investigative Report on the Paris Opera" the conclusions of which once again included a section devoted to the problems of the buildings. Among the questions posed by François Bloch-Lainé the Chief Rapporteur was "will Mr. Liebermann's successor work at the Palais Garnier? Is the future of opera and the choreographic arts in Paris at the Palais Garnier6 ?" In a twist of irony, it would be François Bloch-Lainé who would preside over the Opéra Bastille Commission, created by François Mitterrand in the spring of 1982…
Extraits de presse (Le Monde, Le Parisien, Le Quotidien de Paris), novembre 1983
In the years following Rolf Liebermann's departure, specifically, when François Mitterrand came to power, the Paris Opera was in a state of ongoing crisis. The governing authorities had to resolve an equation which included artistic variables (restoring the vibrancy of a permanent festival), material variables (solving the problem of the Palais Garnier's restricted-view seats) and economic variables (reducing expenses by increasing capacity). And among the enlightened observers from the world of art who followed the brainstorming on the future of the opera attentively, Dominique Jameux saw in it the genesis of the "Bastille Utopia"6.
In June 1981, everyone was still very much in the dark as to what form the future "International Centre for Music" toted a few months earlier by François Mitterrand would actually take. For a time, there were ruminations about a sort of "Pompidou Centre for music:" a vast urban complex that would include a new opera house, a new conservatoire, a concert hall, a museum of music and an experimental space devoted to electroacoustic music. To fine-tune the outline of such a project, the writer Jean-Pierre Angremy spent the summer defining the objectives of each of the aforementioned facilities. That November, he delivered his verdict in the form of a 20-page report, more familiarly known in the corridors of the Ministry of Culture as "the Little Red Book". For the first time, the concept of a people's opera was advanced and nine development alternatives were proposed around three core options:
- All the musical facilities would be grouped together at a single site;
- The Opera would be built in the Place de la Bastille and the other facilities would be split between La Défense and La Villette;
- All the facilities would be split between La Défense and La Villette and the vacant land at Bastille would be left free for other projects.
Maurice Fleuret, the director of Music and Dance at the Ministry of Culture rejected the idea of locating the new opera at La Villette. The architect and scenographer Christian Dupavillon who at that point was an advisor to Jack Lang, proposed that the Opera be built at Bastille. The idea appealed to the Minister: "[…] I find it exciting because of the explosive parallel between an Opera, reputed to be a bourgeois theatre, and a place of revolutionary history7."
According to the urbanist Gérard Charlet, it seems that the project leaders were genuinely "spellbound" by the association of the words Opera and Bastille8. However, there were other explanations for this choice. Since 1969, the neighbourhood around Bastille had been blighted by the presence of an abandoned station which had shut out this key location from the process of urban redevelopment and renewal in the eastern part of the capital. Once again finding itself in the spotlight on the evening of May10, 1981 when the people of Paris gathered to celebrate the election of François Mitterrand, the Place de la Bastille had several clear advantages: it represented a historic site in the collective memory, it was vacant land and it occupied a place in the heart of Paris! It would mean that the new opera house would be located between La Défense and the Place de la Nation, at the confluence of the River Seine and the Canal Saint-Martin. Well served by public transport, its construction would also allow for the rehabilitation of a disaffected area of eastern Paris. It was enough to convince the decision-makers that this was indeed the place to create the future of the lyric arts and provide the answers to the questions that for more than a decade had dogged the public authorities over the future of the Opera.
Affiche de protestation des habitants du quartier qui s'élèvent contre la construction de l'Opéra Bastille, 1984 © Hubert Verneret / OnP
Thanks to APUR, the Paris Urbanism Agency which played the role of arbitrator between the State and the City of Paris (Jacques Chirac became Mayor in March 1977, a few weeks after the publication of the Bloch-Lainé Report) the principal city officials finally agreed to the construction of the new Opera at Bastille and to build the remaining musical facilities at La Villette. As a result, on March 8, 1982, the Élysée issued a press release:
An Opera will be built in the Place de la Bastille.
This new modern, people's Opera will double the current number of performances while significantly reducing administrative costs. It will restore the international role that Paris deserves in this domain and will also produce over 100 performances a year for the regional Operas. This project will be an opportunity to realise a feat of urban planning in consultation with the City of Paris that will particularly enhance and upgrade the Place de la Bastille, a symbolic point of assembly.
For the first time, the construction of a modern, people's Opera was assured. It coincided with the advent of an "urban civilisation" in which architects, town planners and public decision-makers consciously aimed to reconcile culture and the city. And the public authorities posed the question at the same time as they proffered the answer: what cultural, social and political heritage should the new Opera be founded upon? Included in a large-scale urban rehabilitation programme, the project for the new Bastille Opera naturally fell within the realms of the major works commissioned by President Mitterrand in which remembrance, citizenship and culture combined harmoniously.
Four key figures were appointed by the President of the Republic himself to ensure the smooth-running of the project: The Minister of Culture, Jack Lang, the Minister for Housing and Urban Affairs, Roger Quilliot, Presidential advisor Paul Guimard and the Director of the Office of the Prime Minister Robert Lion. It was their responsibility to accomplish the mission that had been entrusted to them, namely, to build an Opera that was both modern and popular. It would be modern because the new Opera would bring together all the components of the performing arts in a single, unified location—the set-building workshops, the theatre itself, the administrative services and the rehearsal studios. It would be a people's Opera due to the limited number and high quality of its seats (a maximum of 3,000), as well as through the increased number of performances which would also reflect a more diverse repertoire (some twenty different works per year) and finally, thanks to a reduction in ticket prices proportional to the increase in capacity.
La gare de la Bastille en cours de démolition © Hubert Verneret / OnP
In November 1982, François Mitterrand has chosen four trusted figures to oversee all the major building projects on his behalf9–effectively side-lining both the Prime Minister and the Finance Minister. However, two years later, the Opéra Bastille project had become unpopular and was called into question. An advisor to Prime Minister Pierre Mauroy called for the entire enterprise to be cancelled. Even Laurent Fabius, when he replaced Mauroy at Matignon, did not exclude such a possibility. With the backing of a number of influential figures from the world of music (among them, Pierre Boulez), Jack Lang wrote to President Mitterrand:
I urge you: remain the President who was the first who sought to give life to the dream conceived by Vilar and Béjart thirty years ago. Do not break the momentum, merely slow the pace if the country's finances require it10.
As a compromise, François Mitterrand decided to push back the construction schedule. The project to build a modern, people's Opera as imagined by Jean Vilar, Pierre Boulez and Maurice Béjart a half century earlier was saved. It would come to partial fruition on July 13, 1989—the day the Opéra Bastille was inaugurated.
1. J. Lang, Demain comme hier; conversations with Jean-Michel Helvig, Paris, Fayard, coll. "Témoignages pour l'histoire", 2009, p. 168.
2. To view an excerpt from the press briefing: https://fresques.ina.fr/mitterrand/fiche-media/Mitter00164/premiere-conference-de-presse-politique-culturelle-et-grands-travaux.html
3. J. Vilar, "A Reform for the Opera", Paris, June 30, 1968, Archives Nationales, 19910242/11.
4. R. Liebermann, En passant par Paris, Opéras, Paris, Gallimard, 1980
5. "Investigative Report on the Paris Opera" by F. Bloch-Lainé, General Inspectorate of Finance, D. Bouton, Inspector of Finances and F. Froment-Meurice, auditor at the Council of State, January 1977.
6. D. Jameux, "Opéra-Bastille. The End of the Prologue", Études, Vol. 371, N° 4, p. 345-346.
7. J. Lang, Demain comme hier…, op. cit., P. 172.
8. G. Charlet, L'Opéra de la Bastille. Genèse et réalisation, Milan/Paris, Electa Moniteur, 1989.
9. Minutes from the meeting of November 2, 1982 with the President of the Republic taken by Yves Dauge (AN, v. 19870301, art. 3).
10. Note from Jack Lang to François Mitterrand, June 18, 1984 (Archives of Jack Lang, IMEC).
Discover the exhibition "Birth of an Opera"
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redpajama_set_name: RedPajamaCommonCrawl


Occupiers use bicycles to generate electricity for the camp in Zuccotti park.
This article first appeared on Tomdispatch.org.
We get more victories than anyone imagines, but they are usually indirect, incomplete, slow to arrive—and yet each of them is worth counting.
Occupy was first of all a great meeting ground. People who live too much in the virtual world with its talent for segregation and isolation suddenly met each other face-to-face in public space.
Bonds were formed across the usual divides of age and race and class, between the housed and the homeless as well as the employed and jobless, and some of those bonds still exist. There was tremendous emotion around it -- the joy of finding you were not alone, the shame that was shed as the prisoners of debt stepped out of the shadows, the ferocity of solidarity when so many of us were attacked by the police, the dizzying hope that everything could be different, and the exhilaration in those moments when it already was.
A 10-year plan would function like a map: we could see where we had been, where we are, and where we want to go. In San Francisco, participants in the one-year anniversary events will burn student loan and mortgage contracts to symbolically free the prisoners of debt. In New York, Occupy Wall Street itself is focusing on debt strikes for the one-year anniversary. This September 17, practical goals will be announced, a Debt Resistors' Operation Manual will debut—and who knows, in 10 years' time some of those goals could even be fully realized.
Victories may not look like their templates, but you should celebrate them, however imperfect they may be.
Go out into the streets and celebrate the one-year anniversary and start dreaming and planning for 2021, when we could be celebrating something much bigger.
One of the first groups in the round of antinuclear activism that began in the 1970s was the Clamshell Alliance, created in 1976 to oppose New Hampshire's proposed Seabrook Nuclear Power Plant. One reactor was built and is still operating at Seabrook; one was cancelled due to opposition. Building the first reactor cost five times the initial estimate and led its owner, Public Service of New Hampshire, to what was then the fourth largest bankruptcy in U.S. history when it was unable to make ratepayers pick up the bill. You can read that as a partial victory, but Clamshell did so much more.
That Friday night, I expected to meet a spirited, upbeat group that was proud of its accomplishments. I was shocked when the Clamshell activists arrived with heads bowed, dispirited, and depressed, saying their efforts had been in vain. The Clamshell experience of discouragement and collapse is far from unusual. Within a few years after achieving the goals of "take-off," every major social movement of the past 20 years has undergone a significant collapse, in which activists believed that their movements had failed, the powerful institutions were too powerful, and their own efforts were futile. This has happened even when movements were actually progressing reasonably well along the normal path taken by past successful movements!
During election season, all eyes turn to politics. How do we ensure that the interests of the 99 percent are represented in the halls of power?


text:
https://www.thetelegraph.com/insider/article/Godfrey-resident-readies-for-100th-birthday-15754414.php
Godfrey resident readies for 100th birthday
Dylan Suttles, dylan.suttles@thetelegraph.com
Published 2:35 pm CST, Wednesday, November 25, 2020
GODFREY — Despite the pandemic, the family of Opal Simpson is seeking to make her 100th birthday a memorable one.
Simpson was the firstborn of four children to Elmer and Pattie Huntas (Malone) McPherson born Dec. 19, 1920, in Blytheville, Arkansas. On Oct. 10, 1940 she married James Simpson in Springfield, Missouri. They were blessed with 67 years of marriage and two daughters.
James Simpson passed away in June 2007. Their firstborn, Kathie (Stephen) Taylor, passed away in October 2010. Her remaining daughter, Karen (Roger) Pace, resides in Brighton.
"The pandemic has been hard on her," Karen Pace said. "She misses being able to go to church the most."
Opal Simpson is a charter member of Heartland Baptist Church in Alton and she hopes to return to services after the pandemic is over.
She spent several years employed in retail at Eastgate Plaza at Carousel Children's Shop, eventually becoming manager. She also worked at Nathan Marcus ladies apparel in the 1960s and 70s where she made many friends.
She currently lives in an apartment in Asbury Village in Godfrey and, according to Pace, is very independent.
"The apartments do have a cleaning staff," Pace said. "But she will always get up and clean the floors herself."
Due to the current COVID-19 conditions, a traditional celebration is not possible. So friends and family are invited to reach out to her with a card or note.
"She would love to hear from you and would have been very excited to have been able to greet each one in person," Pace said
Also marking her special day will be three granddaughters, one grandson, five great-grandsons, one great-granddaughter and her brothers, John McPherson, 96, and George (Doris) McPherson, 91. Her sister, Ann Frazier, passed away in February this year at 98.
Messages can be mailed to her at 4600 McKendree Drive, Apt. 316, Godfrey, IL., 62035.


text:
ACLU: Sheriffs infringing on rights of sex offenders by putting up yard signs
Updated: 11:13 PM CDT Oct 30, 2014
Casey Ferrand
Local law enforcement agencies are taking steps to make Halloween a safe experience for everyone by posting signs in the yards of sex offenders to keep youngsters away.However, the American Civil Liberties Union said it is violating the First Amendment rights of sex offenders. The organization wrote an open letter to the state's sheriffs about Halloween restrictions.Watch the storySince 2006 the Plaquemines Parish Sheriff's Office has posted signs in the yards of sex offenders to keep trick-or-treaters away. The signs say "No trick, no treat, no candy. Be safe," and include the phone number for the sheriff's department. They do not specifically say that a sex offender lives at the home.The ACLU said the signs violate a sex offender's right to free speech by in essence forcing them to speak. The union also said it is violating privacy rights of family members who may also live at the homes and have committed no crimes"It would be very easy for law enforcement to simply drive past those houses and ake sure that those people don't have Halloween decorations, that their porch lights are out. Those things are easy enough to enforce without this big sign that not only violates people's free speech rights but casts a stigma on other people who may live in their homes."Cmdr. Eric Becnel, with the Plaquemines Parish Sheriff Department, said they are simply trying to protect the public and the registered sex offenders."We believe that by posting the signs in the yards of known registered sex offenders, which are public records, this is a matter of public safety. It's also public safety for the sex offender themselves because we don't want anyone making false accusations against them," Becnel explained.One woman spoke to WDSU anonymously, and said she lived with a convicted sex offender for five years and did not know it."Married to him, we have a child together."She said it was not until he allegedly sexually assaulted her child's friend that she found out about his past, which is why she thinks people should know where the sex offenders in their community live.""I think that me as a mother of a small child and as the public, I have a right to know whose house I'm going to. Then it's my choice to knock on their door or not," she said.The ACLU also has a problem with parishes that designate specific hours for trick-or-treating. The argument is that a government body can not prohibit anyone from ringing someone's doorbell at any time for any purpose, nor can they prohibit anyone from giving treats to visitors at any time. Simply put, residents have the right to ring doorbells on any date and time they choose.
BELLE CHASSE, La. —
Local law enforcement agencies are taking steps to make Halloween a safe experience for everyone by posting signs in the yards of sex offenders to keep youngsters away.
However, the American Civil Liberties Union said it is violating the First Amendment rights of sex offenders. The organization wrote an open letter to the state's sheriffs about Halloween restrictions.
Watch the story
Since 2006 the Plaquemines Parish Sheriff's Office has posted signs in the yards of sex offenders to keep trick-or-treaters away. The signs say "No trick, no treat, no candy. Be safe," and include the phone number for the sheriff's department. They do not specifically say that a sex offender lives at the home.
The ACLU said the signs violate a sex offender's right to free speech by in essence forcing them to speak. The union also said it is violating privacy rights of family members who may also live at the homes and have committed no crimes
"It would be very easy for law enforcement to simply drive past those houses and ake sure that those people don't have Halloween decorations, that their porch lights are out. Those things are easy enough to enforce without this big sign that not only violates people's free speech rights but casts a stigma on other people who may live in their homes."
Cmdr. Eric Becnel, with the Plaquemines Parish Sheriff Department, said they are simply trying to protect the public and the registered sex offenders.
"We believe that by posting the signs in the yards of known registered sex offenders, which are public records, this is a matter of public safety. It's also public safety for the sex offender themselves because we don't want anyone making false accusations against them," Becnel explained.
One woman spoke to WDSU anonymously, and said she lived with a convicted sex offender for five years and did not know it.
"Married to him, we have a child together."
She said it was not until he allegedly sexually assaulted her child's friend that she found out about his past, which is why she thinks people should know where the sex offenders in their community live."
"I think that me as a mother of a small child and as the public, I have a right to know whose house I'm going to. Then it's my choice to knock on their door or not," she said.
The ACLU also has a problem with parishes that designate specific hours for trick-or-treating. The argument is that a government body can not prohibit anyone from ringing someone's doorbell at any time for any purpose, nor can they prohibit anyone from giving treats to visitors at any time. Simply put, residents have the right to ring doorbells on any date and time they choose.


text:
package org.openkilda.wfm.topology.network.service;

import org.openkilda.messaging.model.NoviBfdSession;
import org.openkilda.wfm.share.model.Endpoint;

public interface IBfdSessionCarrier {
    String addBfdSession(NoviBfdSession bfdSession);

    String deleteBfdSession(NoviBfdSession bfdSession);

    void sessionCompleteNotification(Endpoint physical);

    void bfdUpNotification(Endpoint physical);

    void bfdDownNotification(Endpoint physical);

    void bfdKillNotification(Endpoint physical);

    void bfdFailNotification(Endpoint physical);
}

redpajama_set_name: RedPajamaGithub


text:
Science communicators rise to climate challenge
By: Jia Hepeng
By Jia Hepeng
[COPENHAGEN AND MALMO] Science communicators from around the world have devised recommendations to put forward to the UN for better communicating climate change impacts and mitigation methods.
The recommendations arose from the Copenhagen Challenge project, which took place in Copenhagen last week (26 June) at the Public Communication of Science and Technology (PCST) conference, and will be submitted for consideration by the UN Framework Convention on Climate Change (UNFCCC).
While climate change is an established fact in the scientific community, it is still a challenge to persuade people to take action, said Mikkel Bohm, director of the non-profit organisation Danish Science Communication, at the conference.
He said the gathering of more than 500 science communicators at the PCST meeting offered a marvellous chance to "build bridges and dialogues in societies on the issues of climate change".
The Copenhagen Challenge consisted of 14 discussion topics, such as how to communicate climate change to communities without access to modern mass media, dealing with regional differences in climate change and communicating to make people change their behaviour.
The topics were distributed to all PCST delegates, who were organised into focus groups to offer up to three recommendations to tackle any of the challenges.
Recommendations included the use of natural meeting places such as schools, shops and hospitals for climate discussions, adopting folk arts, games, toys, and dances as communication tools, and focusing the design of climate strategies on identified local problems and needs. Another suggestion was to "localise both the impacts of climate change and the impacts of people's activity on the climate" to change people's behaviours.
"We have had an overweight of recommendations. All of them will eventually be chosen by people of relevance at UNFCCC or elsewhere," Bohn told SciDev.Net.
Manoj Patairiya, president of Indian Science Writers' Association, said the challenge offered a constructive, open platform to discuss the issues surrounding climate change communication.
But, Manoj told SciDev.Net, there should be more topics related to the communication situation in the developing countries, such as the contradictions between supporting development and mitigating climate change.
Link to recommendations from the Copenhagen Challenge
Copenhagen Challenge
Public Communication of Science and Technology conference
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There are a lot of reasons why people need a laptop. People use them for games, to use at school or work, and for a lot of other things as well. There are several things that you need to know concerning laptops. Keep reading to learn more.
Consider the type of daily work you are expecting to do with a laptop. This will help you determine how much you need to spend. If you just search online, you won't need a complex machine like a graphic designer will. When you consider everything you are going to do with your laptop, you can avoid paying for bells and whistles you're never going to use.
Before you buy a laptop, determine whether or not you will be able to upgrade the hard drive and RAM. Though you may not need it now, it is likely to come in handy very soon. At that time, upgrading will be less expensive than buying a new computer. Consider this before making your final decision about a purchase.
If you bring your laptop everywhere with you, then you should learn how to take care of it while you are toting it around. Buy a sturdy, tight-fitting bag that is easy for you to carry. Continued banging of the computer against your body can cause internal damage to the computer.
Laptop LCD displays can eat up quite a bit of battery time. Dimming the display brightness is the easiest way to conserve battery power. Alter your laptop's dimming display in order to give your battery more life than ever before.
Brand name should not be your first concerning when shopping for a laptop. Brand name products often come with a price tag to match. Learn about what actually goes into a great computer in order to determine if you can get the same quality from a less expensive maker. It is often possible to score great deals this way.
The average laptop user really has very modest needs in terms of sheer computing power. If you're not going to be playing video games, you do not need a lot of RAM or a zippy motherboard. The more power you add to a computer, the more expensive it will be. If you are shopping by price, stick to only the power you actually need.
A lot of the laptops coming out now aren't coming with drives for Blu-ray/DVD. The reason for this is that the content shifts toward Internet streaming media. If you like burning discs or watching DVDs on a laptop, make sure it has a Blu-ray/DVD drive.
Inspect the ports prior to making your purchase. You will have to have lots of USB plugs if you intend to attach extras such as a cell phone, iPod, wireless mouse, printer and so on. Determine which ports are essential, and make sure you have them.
As you can see, there are quite a few things to know what it comes laptops. Computers aren't all the same and you should be educated before making your next purchase. This information will help you get the most from your laptop purchase.
Previous articleNeed Some Advice About Desktops? Read On.