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Tag Archives: Pete's Dragon
Movie Review ~ Pete's Dragon (2016)
by Joe Movie Review	• Tags: Bryce Dallas Howard, David Lowery, Karl Urban, Oakes Fegley, Oona Laurence, Pete's Dragon, Robert Redford, Toby Halbrooks, Walt Disney Pictures, Wes Bentley
Synopsis: The adventures of an orphaned boy named Pete and his best friend Elliot, who just so happens to be a dragon.
Stars: Bryce Dallas Howard, Oakes Fegley, Wes Bentley, Karl Urban, Oona Laurence, Robert Redford
Director: David Lowery
Rated: PG
Running Length: 102 minutes
TMMM Score: (9/10)
Review: If you were to visit The MN Movie Man's house during the early eighties, on any given weekend you can be sure that at some point Pete's Dragon would be unspooling on an oft-rented (eventually purchased) VHS cassette. The 1977 Disney musical production was a household favorite and Helen Reddy's plaintive Candle on the Water remains one of my favorite tunes to this day.
So you'll understand that when I heard Disney was adding Pete's Dragon to it's expanding list of remakes, I was less than thrilled. How dare the studio take its folksy tale of a boy and his dragon changing a small New England town and its residents for the better and put a 21st century spin on things…and would they stoop so low as to have some pop princess warble out an auto-tune version of Candle on the Water? Right up until the lights went down and the Disney logo appeared on screen I was on the defense…but then something downright magical happened. I loved this remake.
When I say loved, I don't mean in the same way you say "I love that new Rogue One: A Star Wars Story trailer" but loved in the sense that you feel a wave of warmth emanate from your belly just thinking of certain key scenes in writer-director David Lowery's damn lovely re-imagining. Not only is it the best family film to come along in ages but it's without question the best movie released so far this summer. People wanted to believe that the terrible Suicide Squad would save the (summer) day and forgive the June and July trespasses but it turns out that Pete's Dragon is the one that flies highest.
The first thing Lowery did was wisely throw out everything but the names of Pete (Oakes Fegley, This is Where I Leave You) and his dragon Elliot (spectacularly rendered via CGI). Gone are the songs, the East coast setting, and the plot involving a runaway orphan finding a home with a lighthouse keeper and his daughter in the early 1900s. Lowery knew the charming yet staid quaintness of the original and it's accompanying songs wouldn't appeal to modern audiences so he's set his film in the 1980s Pacific Northwest.
By the time the credits are over, toddler Pete has been orphaned via tragedy and adopted by a gentle dragon he names Elliot before disappearing into the forest for the next six years. Found by a kind forest ranger (Bryce Dallas Howard, Jurassic World) and befriended by her future stepdaughter (Oona Laurence, Bad Moms), a near-feral Pete warms to this new family but struggles to leave the pain of his past and his fire-breathing constant companion behind. There's some late in the game roughness involving a logger's (Karl Urban, Star Trek) plot to hunt down and trap Elliot that gives the film some tangible conflict but it's the emotional conflict that is the biggest test for all involved.
This is a film you'll get a good cry at so just go with it and enjoy the way it kindly pushes your emotional buttons. It's not manipulative or malicious in its intent and, man, it feels so good to have an honest response to a movie this far into 2016 when many films have left me cold. The actors, especially Howard and Fegley, do outstanding work and Robert Redford (All is Lost) exudes grandfatherly warmth as Howard's dad with his own ties to Elliot.
Where the 1977 Elliot was an animated goofball with neon lime green scales and pink accents, the 2016 version is impressively created as a furry tenderheart endlessly devoted to Pete. With dog-like mannerisms (watch him struggle to get a giant log through two towering trees), Elliot wins you over from the first time he appears onscreen and thankfully the folks at Disney don't keep him under wraps/invisible for much of the movie.
Beautifully produced and told with grace, Pete's Dragon is the kind of remake that shows how to do it right. If the original wasn't broke, don't fix it via a remake but use it to inspire a new tale that can stand on its own against its predecessor. The two films may share a title but they couldn't be more different in style and tone…and this new version easily earns a spot on the shelf of future family classics.


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Q: Typescript pick up one given interface I want to create a React alert component like <alert id="component" /> and there is also another prop that I want to choose from one of "info", "success", "warning", "error", so as to display different message color, the component is like <alert id="component" info/> or <alert id="component" success/>
With Typescript, how can I make the interface has only one value from the given four options?
What I did now is:
type MessageStringType = "info" | "success" | "warning" | "error";

type MessageTypes = {
  [K in MessageStringType]: boolean;
};

type oneMessageTypes = Partial<MessageTypes>;

interface Props extends oneMessageTypes {
  id: string;
}

but this one allowed empty value from "info", "success", "warning", "error", how can I make the type check required at least one of the value?
It's like:
<Component id="abc" info />           //correct
<Component id="abc" success />        //correct
<Component id="abc" />                //wrong
<Component id="abc" info success />   //wrong

A: There's two pieces here.
First, you need to figure out the type that will for this if you hard coded it. And another way to say "must have only one" is "one must have a value, all others must be missing or undefined".
type Test =
  | { a: string, b?: void }
  | { a?: void, b: string }

const a: Test = { a: 'asd' }
const b: Test = { b: 'asd' }
const c: Test = {} // error
const d: Test = { a: 'asd', b: 'asd' } // error

This creates a union where all keys are known to the union, but each member of the union only allows one of those keys to have a value.
This will be the basis for your props type.
Playground

The second half is generating that type from the union of strings. This is trickier.
You need to distribute that union into a new type. One where you get a new member for each member of the source union. And there's a weird trick for that, which is to use a conditional type. (See this answer).
Using that We can make a type like this:
type UnionToBooleanProps<T extends string, U = T> =
    T extends string ?
        { [otherKeys in Exclude<U, T> & string]?: void } &
        { [key in T]: boolean }
    : never ;

Let's go through this.
type UnionToBooleanProps<T extends string, U = T> =

This type accepts a generic type parameter T for the union of strings that name the required property for each member. It then assign the U generic parameter to the same type.
T extends string ?

This starts a conditional type that is required in order to make sure we end up with a union and not an object type that has a union value.
{ [otherKeys in Exclude<U, T> & string]?: void } &

This declares all the keys that must NOT have a value. It maps over each keys, and for each key that doesn't match the one for this union member (this is what Exclude does), we declare that it cannot have a value.
{ [key in T]: boolean }

Which is then intersected with this, which adds back in the the one key that was not excluded by the previous line and declares that it must have a value of boolean.
: never

This last line is the falsy branch of the conditional type that will not ever be used. We just need it to make the conditional type syntactically valid.
And with that, everything works!
import React from 'react'

type UnionToBooleanProps<T extends string, U = T> =
    T extends string ?
        { [otherKeys in Exclude<U, T> & string]?: void } &
        { [key in T]: boolean }
    : never ;

type MessageStringType = "info" | "success" | "warning" | "error";

type OneMessageTypes = UnionToBooleanProps<MessageStringType>

type Props = OneMessageTypes & {
  id: string;
}

function Component(props: Props) {
    return <></>
}

const a = <Component id="abc" info />           //correct
const b = <Component id="abc" success />        //correct
const c = <Component id="abc" />                //wrong
const d = <Component id="abc" info success />   //wrong

Playground

All that said, @Nishant is probably right with their comment. Just having a { type: MessageStringType } will probably be a better API for the consumers of this component.

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While being a leader has many benefits, the role also comes with tremendous pressure. What are the pros and cons of being a leader? How can organizations support their leaders to cope with stress?
There are plenty of studies on how leadership behaviours affect followers' performance and well-being. But, very little attention has been dedicated to the well-being of the leaders themselves.
A research study entitled "Is being a leader a mixed blessing? A dual-pathway model linking leadership role occupancy to well-being" by Prof. Li Wendong from the Department of Management at The Chinese University of Hong Kong (CUHK) Business School, has addressed this often-neglected question through an innovative approach. The study was conducted in collaboration with Prof. John M. Schaubroeck from Michigan State University, Prof. Jia Lin Xie from the University of Toronto, and Prof. Anita Keller from the University of Groningen.
"A deeper understanding of this question may help organizations support their leaders in their efforts to cope with stress," says Prof. Li. "It may also equip employees to anticipate the long-term costs of taking supervisory responsibilities and thus make more informed career choices," he says.
"In terms of practical implications, organizations should seek to ensure that their investment in leaders is not compromised by low levels of leaders' well‐being that may discourage nascent leaders from continuing in their careers as leaders," he adds.
Selecting and grooming employees for leadership roles is a major investment for most organizations. Therefore, to make sure the efforts do not go to waste, Prof. Li also suggests organizations should ensure that their leaders are not over-burdened and have ample opportunities to rest and recover. On the other hand, leaders themselves may consider delegating more to decrease their job demands.


Superway Garden Products manufacture and distribute a range of insecticides, fungicides and herbicides to the home & garden, pest control, horticultural and agricultural markets.
Superway began in 1994 with the introduction of Superway Weedkiller® glyphosate to the home garden market.
Today Superway Garden Products Pty Ltd offers a comprehensive range of products that includes herbicides, insecticides,fungicides and products such as termite and pest controller, Grub and Ant pest controller and Superway Dimethoate 300 systemic insecticide for the control of insect pests on a wide range of horticultural crops and around the garden.


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Q: creat empty array of strings My app gets strings of images url from server and saves them in  an array .the problem is number of images url is not constant so i want to create empty array of strings and its size determined according to input entered to it .
i used this Strings images=new Strings[5] and i want thing like that Strings images=new Strings[] so how i can do that this is part of my code
 String[] images4=new String[3];
    String[] images5=new String[3];
    String[] images7=new String[3];
    String[] images6=new String[3];
    String[] images1=new String[3];
    String[] images2=new String[3];
    String[] images3=new String[3];
    String[] totals=new String[3];
  try {

            JSONObject json = new JSONObject(Content);
            JSONArray jre = json.getJSONArray("projects");
            JSONArray jreimages = json.getJSONArray("screenshots");
            mArrayList = new ArrayList<Projects>();

            for (int j = 0; j < jre.length(); j++) {

                mProduct = new Projects();
                JSONObject jobject = jre.getJSONObject(j);
                String name11 = jobject.getString("name");
                String description = jobject.getString("description");
                String status = jobject.getString("status");
                String version = jobject.getString("version");
                String id =jobject.getString("id");

                mProduct.setyourText(name11);
                    mProduct.setyourstatu(status);
                    mProduct.setYourversion(version);
                    mProduct.setyourdescription(description);

                      int k=0;
                int l=0;
                int o=0;
                int p=0;
                int w=0;

                    for (int i = 0; i < jreimages.length(); i++) {
                        JSONObject jjobject = jreimages.getJSONObject(i);
                        String imageid=jjobject.getString("project_id");

                        if (imageid.equals(id)) {
                            String urlimage = jjobject.getString("screenshot");
                            String total = url + urlimage;
                           // mess.setText(total);
                            if (imageid.equals("105")){
                                images1[k] = total;
                                k++;
                                totals=images1;
                            }
                           else if (imageid.equals("106")){
                                images2[k] = total;
                                k++;
                                totals=images2;
                            }
                            else if (imageid.equals("107")){
                                images3[k] = total;
                                k++;
                                totals=images3;
                            }
                              else if (imageid.equals("108")){
                                images4[k] = total;
                                k++;
                                totals=images4;
                            }
                            else if (imageid.equals("109")){
                                images5[k] = total;
                                k++;
                                totals=images5;
                            }
                            else if (imageid.equals("110")){
                                images5[k] = total;
                                k++;
                                totals=images5;
                            }
                            else if (imageid.equals("111")){
                                images6[k] = total;
                                k++;
                                totals=images6;
                            }
                            else{
                                totals=images7;
                            }
                      }

                }

                mProduct.setYourimages(totals);
                mArrayList.add(mProduct);
                mProduct = null;

            }

A: You can use two approaches:

*

*String[] arr;

*ArrayList<String> arrList= new ArrayList<>();

A: Don't create individual string array.You can use Arraylist to make a dynamic String array.
ArrayList<String> images =new ArrayList<String>();

to insert values.Just use add() method.
For example,You want to store iamgeUrls then :
images.add(image1);
images.add(image2);

And to retrieve data use get() method.Example :
images.get(position); //where position is the index of imageUrl you want to retrieve.

A: You can use:
String[] array= new String[0];

Or
ArrayList<String> array=new ArrayList<String>();


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Welcome to Omni Holistic Center, Center for Reiki , Meditation , Ramal Astrology and much more………..
Omni Holistic Center offers different healing systems based on non traditional methods without medicine and without side effects for all acute and chronic problems on all levels like Physical, Mental, Emotional, Psychological, Aura and Spiritual etc. The Omni Holistic Center is an organisation which conducts reiki and meditation programs from time to time in India and abroad. It started its operations from 11th Dec'98. In this period of time, we have conducted lectures, seminars and healing sessions at different places in our country".
The main aim of Omni Holistic Center is to spread the message of non-medicinal, non-toxic and drug free society for the people of India and the abroad. We also invite people to discuss different alternative systems of medicine which may be beneficial for the people and society. In this regard our Organisation offers some new avenues which are open to all who wish to share their work and contribution in the field of alternative medicine.
The Omni Holistic Center is also involved in healing different diseases even on distant level. We also have energy oil combinations for different purposes of healing. We have seen miraculous results on all acute and chronic problems mainly connected with the central nervous system. Dr. Sameer Kale is the founder of the Omni Holistic Center and he himself has been practicing Reiki for 22 years and meditation programs for 34 years.
We invite you to take distant healing for different problems of life. You have to send your one passport size photograph, case history and recent conditions of the heal with necessary fees. If you want to understand the vibrations of the energy at the time of distant healing, you have to tell us your time of resting. The reiki energy flows beyond time and space and it has no connection with caste, creed, religion, psychological or mental or emotional status of the heal.
The founder of the Omni Holistic Centre takes care of all healees and trainees for himself and also guides people who wish to do better in the field of reiki and meditation. We also conduct different personality development programs for reiki healers and masters/grand masters. Dr.Sameer Kale is always committed for the growth of Omni Systems. Keeping this in view, you can also have Distant Attunements from him for different systems of Omni Healing.
The Omni Holistic Centre is always keen to join hands with people who really wish to excel in the field of Reiki and Meditation. You can always join with us and share your experiences for the betterment of the society.
Dr.Sameer Kale, the founder of the Omni Holistic Centre is the Founder of the Omni Healing, Omni Sutra , Omni Sai Sutra, Omni Anugrah, Omni Saitva, Omni Sphatic, Omni Shiva, Omni Shakti and Omni Karma etc. All these Omni systems have trademark and registered so no one can use them without the permission of the founder. Dr.Sameer Kale is also the Master Teacher for Traditional Reiki,Osho Neo Reiki and Karuna Reiki. He is an independent teacher of Magnified Healing and different Meditation Programs. Please note that Dr.Sameer Kale made few Masters in different Omni Systems in the world. If someone claims to have been attuned in Omni systems, please verify with Dr.Sameer Kale first.
Consult your problems of life with Dr. Sameer Kale. Also call for Distant Healing,Distant Attunements, Counselling, Aura and chakra balancing, Scanning and Beaming and Ramal Astrology consultations etc.


Hooray for Hollywood — particularly when it's wrapped around your hips. Based in Los Angeles, designer Marco Marco initially made a name for himself designing costumes for celebs like Katy Perry and Britney Spears — but he really make his mark on the world of men's underwear. The perfect fusion of flesh and fetish, his collection of jockstraps, briefs, and boxer shorts burst with pop colors and a carnivalesque sense of the outrageous. Now you're officially ready for your closeup.


Playing out of the third-round muck and into Sunday's final pairing were two rivals whose fight over the green jacket is liable to tear it to shreds.
It will be Patrick Reed against Rory McIlroy in a rematch of 2016 Ryder Cup chaos.
Four days of the Masters have been whittled down to two men shouldering a chip and holding a grudge.
Amid late-afternoon rain showers and under rolling dark clouds Saturday, Reed and McIlroy fought their way to the top the Augusta National leaderboard less than two years after pounding on each other at Hazeltine National Golf Club, and remember that?
It was one of the greatest match play duels in golf history. Reed and McIlroy careened across greens like professional wrestlers with putters, screaming and fist-pumping and posing in an emotional round that ended in a Reed victory that led the U.S. to an eventual team triumph.
Reed should be favored to win Sunday's rematch as he leads McIlroy by three strokes after shooting a five-under 67 Saturday to finish the third round at 14 under. But on this same day, McIlroy shot a seven-under 65 and seems to have just as much momentum.
There are a few decent contenders behind those two, with Rickie Fowler, Jon Rahm and Henrik Stenson all within seven strokes of the lead. Yet in the last 25 years, more than 80% of the Masters champions have come from Sunday's final pairing, so this is all about the two loose-lipped leaders, who barely dried off Saturday before commencing the trash talk.
Oh yeah? Well, Reed thinks McIlroy needs to deal with it.
"I am leading … but at the same time, he's trying to go for a career Grand Slam … you can put it either way,'' Reed said.
Yeah, McIlroy countered, at least he's won a major, four of them to be exact.
"Patrick is going for his first and I'm going for something else,'' McIlroy said.
Reed was like, pressure? What pressure?
Don't buy it. The heat on both guys will be as huge as the gallery that will follow only them. The stakes for both are far greater than just a blazer and a trophy.
Reed, 27, is trying to win his first major championship since turning pro seven years ago. He's also trying to win over golf fans who apparently dislike him so much, he likely will receive the fewest cheers Sunday even though he attended nearby Augusta State University while McIlroy grew up 4,000 miles away in Northern Ireland.
Fans reportedly don't like Reed because they think he's too brash without backing it up. They also don't like him because his past is littered with allegations of cheating and theft. When he was asked about the reason for the alleged haters Saturday, he shrugged.
McIlroy, 28, has become one of golf's most beloved characters, but he is carrying his own weight. McIlroy is one Masters victory from becoming the sixth player to win a career Grand Slam. He's also battling the ghosts of 2011 here, when he threw away a four-shot lead in the final round to shoot an 80 and finish in a tie for 15th.
They both looked ready Saturday, trading roar for roar as they followed each other around the wet course, the echoes growing with each sweeping cheer.
McIlroy chipped in from off the green for an eagle on the eighth hole, pumping his fist in delight, and you could hear the screaming in front of the far-away clubhouse.
"Some days it's with you, and some days it's against you, and today it was with me,'' McIlroy said.
After that chip pulled McIlroy into a first-place tie, Reed rolled off two eagles on the back nine, one with a putt, one with a chip, and both with grimacing growls.
"If I feel like I'm playing really well, I almost feel like I can kick it into another gear and go even deeper,'' Reed said.
McIlroy somehow found his ball in the azaleas on No. 13, and managed to knock it out and save par, and that roar could be heard all the way around Amen Corner.
But Reed finished with three consecutive pars and walked off the course with a wry smile. Both he and McIlroy, it seems, are ready for the storm that awaits.
Finally, they agree on something.


Mixmeister Control with the Original ( CD ) Fusion Live / Upgrade to newer Version?
Is it possible to buy MM Fusion 7.7?
when I delete a file from library,this will delete also che associate .mxm file?
Can we assume that The MixMeister product has been abandoned?
Hi...what hardware controllers that you can recommend that works with Fusion?
When I try to activate my Mixmeister Studio 7.7. I get an error message 100What can I do?
Upgrade from Express to Fusion on Mac?


Ignore them at your peril. They could save your life.
On an evening in 1876, a United States Army major named Henry Martyn Robert sat down to write Robert's Rules of Order. He did so not from ambition but for personal safety. Earlier that evening he had conducted a church meeting which, due to what he perceived to be his poor leadership, had, according to one report of the incident, "erupted into open conflict." Robert had decided that, all things being equal, meetings could henceforth be more productive if the participants weren't trying to kill each other—him in particular.
If you disagree, you can withdraw your motion without consent of the seconder, who must then sit there slightly embarrassed at having seconded … nothing.
The rules themselves strive to anticipate and prevent every possible eventuality that may erupt in conflict, open or otherwise. If you attend a meeting governed by Robert's Rules, you will listen as the minutes of the previous meeting are read aloud, along with the treasurer's report, both of which have been sent to you previously by mail. You will be asked if you have any objections or modifications, which you will not because you did not read them. (You know the person who takes the minutes and he just goes on and on.) If you have a motion, you must stand and be recognized by the chairperson. You cannot raise your hand. Hand-raising is seen as a lack of commitment ("If you can't stand up for what you believe in then sit down and shut up!"). And if you stand while someone else is already standing you will be ruled "Out of Order." That's a bad thing. If and when you do get to make a motion it must be seconded (by the "seconder"). However, before the chairperson can state the motion all other attendees are given the opportunity to modify your motion. If you disagree, you can withdraw your motion without consent of the seconder, who must then sit there slightly embarrassed at having seconded … nothing.
Space forbids me from going on but you get the, uh, point. A Robert's meeting is a place where the Rules rule. And with that I move to adjourn this meeting. Anyone second the motion?


What is one of your favorite memories from a vacation you've taken? Vacations are the best! In March, my husband and I had the opportunity to go to Hawaii! We started planning for the trip about 4-6 months ahead of time. Sitting down together, we determined how much the vacation would cost so we could save up for it. Food can be an expensive part of a trip. If you able to make a lot of your own food, this can save hundreds of dollars on a vacation. Find out in advance what your hotel/lodging has available. For our trip, we found out a microwave, blender, and fridge would be available to us. Knowing our options for cooking allowed us to plan for sandwiches, smoothies, snacks for the road, and healthy food that could be heated in the microwave. Keeping your plans organized can be challenging, especially if you have lots of flights and travel details. There are stages of preparation that happen during the planning process to help keep you organized.
Financial planning/saving, and depending on the trip, you may need to plan even further in advance to save up. Make sure your passports are up to date if they are needed to get to your destination.
Purchase plane tickets: this time-frame depends on where you're going. If you're traveling within the United States this time frame works. If you're traveling internationally, you'll want to start looking for tickets as far in advance as 8-10 months. This is also a good time to reserve your lodging and decide on transportation. If it's a popular vacation location and you plan to go at a peak tourist time, you may need to reserve lodging 6 to 12 months in advance. If you Google "Peak Tourist Time to [insert your destination here]", you can research the best time for you to go.
Decide where you'd like to explore while at your destination, what activities you want to do, research food options, and find out what amenities your lodging offers. Gather all the details, like address, phone number, hours of service, cost, and when you'd like to do the activity. Then, write them in your digital vacation file.
Start your packing list and grocery list for any items you need to purchase before going on the trip. Also, start a list for any items that you anticipate needing to buy while you are on the trip.
Make sure all your travel plans and information are organized and in one location. This could look like a digital folder, document, or paper folder. Print off anything you may need a backup paper copy of. Running through the details will help make sure you don't have to rush at last minute or end up forgetting an important address.
Relax and start preparing your mind and body to slow down. If you are running like crazy up until the moment you leave, you'll need a day or two at the beginning of your vacation just to recover. If you take some time to prepare before, you can enjoy every moment. Check in for your flight, pack the car, and get some good rest!
Use Evernote or OneNote to capture all your notes and plans.
Make Your Lists – Here are some suggestions: flights, food, hotel, airports, emergency services, budget, places to see, car rentals, packing, & the weather.
Print your hotel, flight, and rental car confirmations as a backup for any mobile confirmations.
Check-In to the flights early on your airline's mobile app. Typically, your mobile check-in process also serves as you boarding ticket.
Check your health insurance coverage early (if traveling to a different country).
Use Pinterest to collect ideas and do research about your destination.
Plan for fun – Schedule a rest day following your return date. This will give you time to unpack and get settled back in.
Don't try to do everything. If you pick the places to see and things to do that are most important, you'll be able to enjoy them. Running from one place to another may get a lot checked off your list, but it doesn't make for restful experiences.
Thinking ahead for your vacation preparation alleviates the pressure of last minute chaos and missed items when you're off on your adventure. If you start far enough in advance you won't feel like you need a vacation from your vacation.
Question: What tips and tricks have you learned about vacation planning? Share in the comments below.


A CONTROVERSIAL waste disposal and power plant has been given the go-ahead by planners in the face of strong opposition.
Residents and campaigners raised a storm of protest against the scheme by Biossence to build a waste treatment and energy recovery plant at Hooton Park.
But last night Wirral Council's planning committee finally approved the scheme at a meeting in Wallasey Town Hall attended by around 20 protesters.
People living in the nearby conservation village of Eastham fear they will be overwhelmed by lorries bringing in waste, mostly from Liverpool, to the site.
But they also claim the recycling plant is to be located in a dangerous place near a terminal storing petrol, which they say makes it a "potentially hazardous environment".
Marjorie Armstrong, chairwoman of the Eastham Village Preservation Society, said they were not against recycling and it was not a case of "not on our doorstep" but genuine concerns about safety.


text:
An Anthology of Modern Irish Poetry
Edited by Wes Davis
Belknap Press
POETRY: European: English, Irish, Scottish, Welsh
POETRY: Anthologies (multiple authors)
LITERARY COLLECTIONS: European: English, Irish, Scottish, Welsh
LITERARY CRITICISM: European: English, Irish, Scottish, Welsh
LITERARY CRITICISM: Poetry
Never before has there been a single-volume anthology of modern Irish poetry so significant and groundbreaking as An Anthology of Modern Irish Poetry. Collected here is a comprehensive representation of Irish poetic achievement in the twentieth and twenty-first centuries, from poets such as Austin Clarke and Samuel Beckett who were writing while Yeats and Joyce were still living; to those who came of age in the turbulent '60s as sectarian violence escalated, including Seamus Heaney and Michael Longley; to a new generation of Irish writers, represented by such diverse, interesting voices as David Wheatley (born 1970) and Sinéad Morrissey (born 1972).
Scholar and editor Wes Davis has chosen work by more than fifty leading modern and contemporary Irish poets. Each poet is represented by a generous number of poems (there are nearly 800 poems in the anthology). The editor's selection includes work by world-renowned poets, including a couple of Nobel Prize winners, as well as work by poets whose careers may be less well known to the general public; by poets writing in English; and by several working in the Irish language (Gaelic selections appear in translation). Accompanying the selections are a general introduction that provides a historical overview, informative short essays on each poet, and helpful notes—all prepared by the editor.
Read a New York Times essay by Wes Davis on the importance of James Joyce's work to the employees at Bell Telephone
Listen to an interview with Wes Davis on the HUP Podcast


Professor Godden is the Director, Centre for Resources Energy and Environmental Law, Melbourne Law School. Her research interests include environmental law, natural resources law (especially water) property law and indigenous peoples' land rights. The impact of her work extends beyond Australia with comparative research on environmental law and sustainability, property law and resource trading regimes, water law resources and Indigenous land rights issues, in countries as diverse as Canada, New Zealand, UK, South Africa, and the Asia- Pacific.
In 2013-15 she was an Australian Law Reform Commissioner.
Engagement with the theoretical and the grounded aspects of law is a hallmark of her scholarship distinguished by an interdisciplinary approach. She maintains a focus on legal theory, drawing on her background in law and geography. Her work has appeared in leading International journals, as well as leading Australian law journals. Professor Godden has been awarded ARC Discovery Project and Linkage Project funding, as well as undertaking a number of consultancies.
She has a longstanding record in community knowledge transfer; a recipient with other project members of a 2007 Vice Chancellor's knowledge transfer award. Her contribution to environmental conservation and social justice has been recognised by invited membership of leading international and national environmental, and natural resource organisations. Her work continues with engagement in public interest issues such as the impact of climate change on environmental law and water law and economic development for indigenous communities.
1.	National Native Title Council Cultural Flows: Component 5 (Legal and Policy): L. Godden, R. Nelson and B. Lindsay. Funding $186,000; March 2017-January 2018.
2.	Victorian Centre for Climate Change Adaptation Research: 2012 Governance arrangements for climate change adaptation and natural disaster risk management in Victoria. L. Godden at al. Funding $251,100. Project 2012-14.
3.	National Adaptation Research Network for Water Resources and Freshwater Biodiversity: 2010-2013. National Water Governance Network. R. Ison, P. Wallis and L. Godden. Funding $89,000.
4.	Commonwealth Department of Sustainability: 2010. Workshop: Building capacity among early career researchers in water governance. R. Ison, P. Wallis and L. Godden. Funding of $16,000.
5.	ARC Discovery Project: 2010. Climate Change Law and Mitigation: Forest Carbon Sequestration and Indigenous Local Community Rights. M. Tehan, L. Godden, M. Young and K. Gover. Funding of $305,000. Project 2011-2015.
6.	ARC Discovery Project: 2008-11. Responding to Climate Change: Australia's Environmental Law and Regulatory Framework. L. Godden, J. Peel and R. Keenan. Funding of $235,635.
7.	ARC Linkage Project: 2009-11. Poverty in the Midst of Plenty': Economic Empowerment, Wealth Creation and Institutional Reform for Sustainable Indigenous and Local Communities (CIs drawn from University of Melbourne, Australian National University and Griffith University) Funding of $745,000.
8.	ARC Linkage Project: 2005-08. The Implementation of Agreements and Treaties with Indigenous and Local Peoples in Postcolonial States. L. Godden, M. Langton, M. Tehan and L. Palmer. Awarded ARC funding of $450,000 plus significant industry partner funding.


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Prakash Raniga, Founding Partner
Prakash is a Principal of the firm and has been in practice in Melbourne since 1986 for over 32 years. He is a well-established Melbourne lawyer.
A graduate of Arts and Law from Melbourne University in 1983, Prakash was admitted as a lawyer in Victoria in 1984 after undertaking his PLT at Leo Cussens. Following this, Prakash gained admission in Fiji and practiced in Fiji for a brief period before returning to Melbourne in 1986. Upon his return, Prakash practiced with a Melbourne law firm for a brief period before joining Rossi, Ryan and Collins. In 1998, Prakash became a partner of that firm and took over the interest of Mr Collins, the firm then became known as Rossi Ryan & Raniga.
As Prakash has been in practice for more than 32 years, the scope of work he undertakes includes a vast number of matters in the Family Court and Federal Circuit Court ranging from complex children's disputes to multimillion-dollar property cases.
In addition to family law matters, Prakash has been involved in civil cases in the Magistrates' Court, County Court, Supreme Court, Federal Court, and VCAT. The cases range from commercial disputes, debt collection, building disputes, unfair dismissal, employment disputes, and the Fair Work Commission. Prakash also has extensive experience including successful appeals from VCAT proceedings in the Building List as well as the General Civil List.
Apart from litigation work, Prakash has also been involved in sale and purchase of businesses, conveyancing, and provides advice in relation to commercial contracts. During his time as a Partner and Principal Lawyer, he employed, trained, and supervised many junior lawyers. This has enabled Prakash to be able to take a wide range of work. Prakash and his team have built a good relationship with a number of barristers in various areas of law to complement and provide a successful outcome for his clients.
The firm has also undertaken criminal law work, restricted to summary charges in the Magistrates' Court, including but not limited to negotiating with the police prosecution to reduce charges and securing diversions or withdrawal of charges.


Bharat Sanchar Nigam (BSNL) has announced revision of its popular 3G data packs by reducing validity. The new revision comes in less than two months after last revision of 3G data packs. The new tariffs will come into effect from 20 April 2016 on PAN India basis.
BSNL has reduced validity of popular data STV 57 offering 250MB data for 27 days has been reduced to 21 days. Similarly, STV 68 offering 1GB data now comes with a single day of validity. The data voucher, which was originally introduced with 10 days validity, has witnessed several rounds of revision and got reduced its validity period to just 1 day.
BSNL is also changing how it calculate validity for data STVs from days to calendar days. With effect from 1st May 2016 onwards, the validity of STV will be up to 23:59 hours of last day of validity irrespective of validity on first day.
BSNL, which once used to offer lowest 3G data tariff in the country has been hiking its data packs by reducing validity of existing data packs and introducing new data pack at higher denomination. With the introduction of Rs 239 1.2GB monthly data pack, BSNL is trying to match its 3G offering with incumbent operators, who offer 1GB 3G/4G for Rs 250.
Note : Do cross check with BSNL before opting the plan.
I think next week they will revise it to 1 hours or may be 30 minutes.


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Prof. Dr. phil. h. c. Friedrich Nietzsche; He began his career as a classical philologist before turning to philosophy. He became the youngest person ever to hold the Chair of Classical Philology at the University of Basel (Switzerland) in 1869 at the age of 24. Nietzsche's writing spans philosophical polemics, poetry, cultural criticism, and fiction while displaying a fondness for aphorism and irony. His body of work touched a wide range of topics, including art, philology, history, music, religion, tragedy, culture, and science, and drew inspiration from Greek tragedy as well as figures such as Zoroaster, Arthur Schopenhauer, Ralph Waldo Emerson, Richard Wagner and Johann Wolfgang von Goethe. Nietzsche's thought enjoyed renewed popularity in the 1960s and his ideas have since had a profound impact on 20th- and early 21st-century thinkers across philosophy—especially in schools of continental philosophy such as existentialism, postmodernism and post-structuralism—as well as art, literature, poetry, politics, and popular culture.
Friedrich Wilhelm Nietzsche (b. 15 October 1844 in Röcken near Leipzig, Kingdom of Saxony, German Confederation; d. 25 August 1900 in Weimar, Saxe-Weimar-Eisenach, German Empire) was a German philosopher, cultural critic, poet, philologist, as well as and Latin and Greek scholar, whose work has exerted a profound influence on Western philosophy and modern intellectual history, who published intensively in the 1870s and 1880s.
He is famous for uncompromising criticisms of traditional European morality and religion, as well as of conventional philosophical ideas and social and political pieties associated with modernity. Many of these criticisms rely on psychological diagnoses that expose false consciousness infecting people's received ideas; for that reason, he is often associated with a group of late modern thinkers who advanced a "hermeneutics of suspicion" against traditional values. Nietzsche also used his psychological analyses to support original theories about the nature of the self and provocative proposals suggesting new values that he thought would promote cultural renewal and improve social and psychological life by comparison to life under the traditional values he criticized.
2.1 Influence
4 Quotes (small selection)
5 Writings (excerpt)
6.1 Georg Wilhelm Friedrich Hegel
Portrait of German philosopher and poet Friedrich W. Nietzsche (1844-1900) taken in February of 1873.
Friedrich's beloved sister Therese Elisabeth Alexandra Nietzsche; The common account made by Nietzsche new editors and translators in the 1950s has been that in 1930, Förster-Nietzsche, a true German nationalist, became a supporter of the NSDAP and falsified Nietzsche's work instead of just editing. This account has been debunked by recent scholarship.[1] She was never a supporter or member of the party, although she welcomed the politics of Italy (Mussolini) and Germany. It is however well established that when Hitler came to power in 1933, the Nietzsche Archive received financial support and publicity from the government. Förster-Nietzsche's funeral in 1935 was attended by Adolf Hitler and several high-ranking German officials.
Friedrich Wilhelm Nietzsche, named after King Friedrich Wilhelm IV of Prussia, was born into, and largely remained within, the Bildungsbürgertum, a sort of highly cultivated middleclass. By the time he was a teenager, he had been writing music and poetry. His aunt Rosalie gave him a biography of Alexander von Humboldt (de) for his 15th birthday, and reading this inspired a love of learning "for its own sake". The schools he attended, the books he read, and his general milieu fostered and inculcated his interests in Bildung, or self-development. Nietzsche attended a boys' school and then a private school, where he became friends with Gustav Krug and Wilhelm Pinder, all three of whom came from highly respected families. Academic records from one of the schools attended by Nietzsche noted that he excelled in Christian theology. In 1854, he began to attend Dom-Gymnasium in Naumburg. Because his father had worked for the state (as a pastor) the now-fatherless Nietzsche was offered a scholarship to study at the internationally recognized Schulpforta. He studied there from 1858 to 1864, becoming friends with Paul Deussen and Carl von Gersdorff. He also found time to work on poems and musical compositions. Nietzsche led "Germania", a patriotic music and literature club, during his summers in Naumburg. At Schulpforta, Nietzsche received an important grounding in languages—Greek, Latin, Hebrew, and French—so as to be able to read important primary sources; he also experienced for the first time being away from his family life in a small-town conservative environment.
He began military service (Einjährig-Freiwilliger) in October 1867 in the cavalry company of an artillery regiment, sustained a serious chest injury while mounting a horse in March 1868, and resumed his studies in Leipzig in October 1868 while on extended sick leave from the military. During the years in Leipzig, Nietzsche discovered Arthur Schopenhauer's philosophy, met the great operatic composer Richard Wagner, and began his lifelong friendship with fellow classicist Erwin Rohde (author of Psyche).
Nietzsche sought refuge in music, writing a number of compositions strongly influenced by Robert Schumann, the German Romantic composer. Nietzsche began his career as a philologist before turning to philosophy. At the age of 24. he became Professor of Classical Philology at the University of Basel. He resigned in 1879 due to health problems that plagued him most of his life; he completed much of his core writing in the following decade. He was awarded an honorary doctorate by Leipzig University in March 1869. Nietzsche's 1870 projected doctoral thesis, "Contribution toward the Study and the Critique of the Sources of Diogenes Laertius" ("Beiträge zur Quellenkunde und Kritik des Laertius Diogenes"), examined the origins of the ideas of Diogenes Laërtius. Though never submitted, it was later published as a Gratulationsschrift ('congratulatory publication') in Basel.
In 1870, the patriotic Nietzsche volunteered as a Krankenpfleger (nurse) in the Franco-Prussian War. In addition, after the founding of the Reich on January 18, 1871, Nietzsche complained about the lack of intellectual unity in Germany alongside the political unity that had just been achieved. In 1889, at age 45, he suffered a collapse and afterward a complete loss of his mental faculties, with paralysis and probably vascular dementia. He lived his remaining years in the care of his mother until her death in 1897 and then with his sister Elisabeth Förster-Nietzsche.
Nietzsche was born on October 15, 1844, in Röcken (near Leipzig), where his father was a Lutheran minister. His father died in 1849, and the family relocated to Naumburg, where he grew up in a household comprising his mother, grandmother, two aunts, and his younger sister, Elisabeth. Nietzsche had a brilliant school and university career, culminating in May 1869 when he was called to a chair in classical philology at Basel. At age 24, he was the youngest ever appointed to that post. His teacher Friedrich Wilhelm Ritschl wrote in his letter of reference that Nietzsche was so promising that "He will simply be able to do anything he wants to do" (Kaufmann 1954: 8). Most of Nietzsche's university work and his early publications were in philology, but he was already interested in philosophy, particularly the work of Arthur Schopenhauer and Friedrich Albert Lange. Before the opportunity at Basel arose, Nietzsche had planned to pursue a second Ph.D. in philosophy, with a project about theories of teleology in the time since Kant.
When he was a student in Leipzig, Nietzsche met Richard Wagner, and after his move to Basel, he became a frequent guest in the Wagner household at Villa Tribschen in Lucerne. Nietzsche's friendship with Wagner (and Cosima Liszt Wagner) lasted into the mid-1870s, and that friendship—together with their ultimate break—were key touchstones in his personal and professional life. His first book, The Birth of Tragedy out of the Spirit of Music (1872), was not the careful work of classical scholarship the field might have expected, but a controversial polemic combining speculations about the collapse of the tragic culture of fifth-century Athens with a proposal that Wagnerian music-drama might become the source of a renewed tragic culture for contemporary Germany. The work was generally ill-received within classical studies—and savagely reviewed by Ulrich Wilamovitz-Möllendorff, who went on to become one of the leading classicists of the generation—even though it contained some striking interpretive insights (e.g., about the role of the chorus in Greek tragedy). Following the first book, Nietzsche continued his efforts to influence the broader direction of German intellectual culture, publishing essays intended for a wide public on David Friedrich Strauss, on the "use of history for life", on Schopenhauer, and on Wagner. These essays are known collectively as the Untimely Meditations.
Although he assisted in early planning for Wagner's Bayreuth project and attended the first festival, Nietzsche was not favorably impressed by the cultural atmosphere there, and his relationship with the Wagners soured after 1876. Nietzsche's health, always fragile, forced him to take leave from Basel in 1876–77. He used the time to explore a broadly naturalistic critique of traditional morality and culture—an interest encouraged by his friendship with Paul Rée, who was with Nietzsche in Sorrento working on his Origin of Moral Sensations (see Janaway 2007: 74–89; Small 2005). Nietzsche's research resulted in Human, All-too-human (1878), which introduced his readers to the corrosive attacks on conventional pieties for which he became famous, as well as to a style of writing in short, numbered paragraphs and pithy aphorisms to which he often returned in later work. When he sent the book to the Wagners early in 1878, it effectively ended their friendship: Nietzsche later wrote that his book and Wagner's Parsifal libretto crossed in the mail "as if two swords had crossed" (EH III, HH, 5).
Nietzsche's health did not measurably improve during the leave, and by 1879, he was forced to resign his professorship altogether. As a result, he was freed to write and to develop the style that suited him. He published a book almost every year thereafter. These works began with Daybreak (1881), which collected critical observations on morality and its underlying psychology, and there followed the mature works for which Nietzsche is best known: The Gay Science (1882, second expanded edition 1887), Thus Spoke Zarathustra (1883–5), Beyond Good and Evil (1886), On the Genealogy of Morality (1887), and in the last year of his productive life Twilight of the Idols (1888) and The Wagner Case (1888), along with The Antichrist and his intellectual biography, Ecce Homo, which were published only later. At the beginning of this period, Nietzsche enjoyed an intense but ultimately painful friendship with Rée and Lou Salomé, a brilliant young Russian student. The three initially planned to live together in a kind of intellectual commune, but Nietzsche and Rée both developed romantic interest in Salomé, and after Nietzsche unsuccessfully proposed marriage, Salomé and Rée departed for Berlin. Salomé later wrote an illuminating book about Nietzsche (Salomé [1894] 2001), which first proposed an influential periodization of his philosophical development.
In later years, Nietzsche moved frequently in the effort to find a climate that would improve his health, settling into a pattern of spending winters near the Mediterranean (usually in Italy) and summers in Sils Maria, Switzerland. His symptoms included intense headaches, nausea, and trouble with his eyesight. Recent work (Huenemann 2013) has convincingly argued that he probably suffered from a retro-orbital meningioma, a slow-growing tumor on the brain surface behind his right eye. In January 1889, Nietzsche collapsed in the street in Turin, and when he regained consciousness he wrote a series of increasingly deranged letters. His close Basel friend Franz Overbeck was gravely concerned and travelled to Turin, where he found Nietzsche suffering from dementia. After unsuccessful treatment in Basel and Jena, he was released into the care of his mother, and later his sister, eventually lapsing entirely into silence. He lived on until 1900, when he died of a stroke complicated by pneumonia.
During his illness, his sister Elisabeth assumed control of his literary legacy, and she eventually published The Antichrist and Ecce Homo, as well as a selection of writing from his notebooks for which she used the title The Will to Power, following Nietzsche's remark in the Genealogy (GM III, 27) that he planned a major work under that title. The editorial work was not well founded in Nietzsche's surviving plans for the book and was also marred by Elisabeth's strong anti-Semitic commitments, which had been extremely distressing to Nietzsche himself. As a result, The Will to Power leaves a somewhat misleading impression of the general character and content of the writings left in Nietzsche's notebooks. That writing is now available in an outstanding critical edition (KGA, more widely available in KSA; English translations of selections are available in WEN and WLN.)
Nietzsche's life has been the subject of several full-length biographies (Hayman 1980, Cate 2002, Safranski 2003, Young 2010, Prideaux 2018), as well as speculative fictional reconstructions (Yalom 1992); readers can find more details about his life and particular works in the entry on Nietzsche's Life and Works and in the articles comprising the first three parts of Gemes and Richardson (2013), as well as in Meyer (2019), which treats the publication strategy of Nietzsche's "middle period" works (HH, D, GS).[2]
Nietzsche died in 1900, after many strokes and pneumonia. After his death, his sister Elisabeth became the curator and editor of Nietzsche's manuscripts.
Nietzsche once wrote that some men are born posthumously, and that is certainly true in his case. The history of philosophy, theology, and psychology since the early 20th century is unintelligible without him. The German philosophers Max Scheler, Karl Jaspers, and Martin Heidegger laboured in his debt, for example, as did the French philosophers Albert Camus, Jacques Derrida, and Michel Foucault. Existentialism and deconstruction, a movement in philosophy and literary criticism, owe much to him. The theologians Paul Tillich and Lev Shestov acknowledged their debt, as did the "God is dead" theologian Thomas J.J. Altizer; Martin Buber, Judaism's greatest 20th-century thinker, counted Nietzsche among the three most-important influences in his life and translated the first part of Zarathustra into Polish. The psychologists Alfred Adler and Carl Jung were deeply influenced, as was Sigmund Freud, who said of Nietzsche that he had a more-penetrating understanding of himself than any man who ever lived or was ever likely to live. Novelists like Thomas Mann, Hermann Hesse, André Malraux, André Gide, and John Gardner were inspired by him and wrote about him, as did the poets and playwrights George Bernard Shaw, Rainer Maria Rilke, Stefan George, and William Butler Yeats, among others. Nietzsche's great influence is due not only to his originality but also to the fact that he was one of the German language's most-brilliant prose writers.[3]
Nietzsche's parents, Carl Ludwig Nietzsche (1813–1849), a Lutheran pastor and former teacher, and Franziska, née Oehler (1826–1897), married in 1843, the year before their son's birth. They had two other children: a daughter, Therese Elisabeth Alexandra Förster-Nietzsche (10 July 1846 – 8 November 1935); and a second son, Ludwig Joseph, born in 1848. Nietzsche's father died from a brain ailment in 1849; Ludwig Joseph died six months later at age two. The family then moved to Naumburg, where they lived with Nietzsche's maternal grandmother and his father's two unmarried sisters. After the death of Nietzsche's grandmother in 1856, the family moved into their own house, now Nietzsche-Haus, a museum and Nietzsche study center.
Quotes (small selection)
"Behold, I bring you the Superman! The Superman is the meaning of the earth. Let your will say: The Superman shall be the meaning of the earth! I beg of you my brothers, remain true to the earth, and believe not those who speak to you of otherworldly hopes! Poisoners are they, whether they know it or not. Despisers of life are they, decaying ones and poisoned ones themselves, of whom the earth is weary: so away with them!"
Übermensch: In his 1883 book, Thus Spoke Zarathustra (German: Also sprach Zarathustra), Nietzsche has his character Zarathustra posit the Übermensch as a goal for humanity to set for itself. The Übermensch represents a shift from otherworldly Christian values and manifests the grounded human ideal. In 1896, Alexander Tille made the first English translation of Thus Spoke Zarathustra, rendering Übermensch as "Beyond-Man". In 1909, Thomas Common translated it as "Superman", following the terminology of George Bernard Shaw's 1903 stage play Man and Superman. Walter Kaufmann lambasted this translation in the 1950s for two reasons: first, the failure of the English prefix "super" to capture the nuance of the German über (though in Latin, its meaning of "above" or "beyond" is closer to the German); and second, for promoting misidentification of Nietzsche's concept with the comic-book character Superman. Kaufmann and others preferred to translate Übermensch as "overman". A translation like "superior humans" might better fit the concept of Nietzsche as he unfolds his narrative. Scholars continue to employ both terms, some simply opting to reproduce the German word.
"I cannot believe in a God who wants to be praised all the time. [...] I would believe only in a God that knows how to Dance."
"Is man one of God's blunders? Or is God one of man's blunders?"
"The snake which cannot cast its skin has to die. As well the minds which are prevented from changing their opinions; they cease to be mind."
"In individuals, insanity is rare; but in groups, parties, nations and epochs, it is the rule."
"Whoever fights monsters should see to it that in the process he does not become a monster. And if you gaze long enough into an abyss, the abyss will gaze back into you."
"That which does not kill us makes us stronger."
"I'm not upset that you lied to me, I'm upset that from now on I can't believe you."
"I am a forest, and a night of dark trees: but he who is not afraid of my darkness, will find banks full of roses under my cypresses."
"Every deep thinker is more afraid of being understood than of being misunderstood."
"It is not a lack of love, but a lack of friendship that makes unhappy marriages."
"In heaven, all the interesting people are missing."
"Sometimes people don't want to hear the truth because they don't want their illusions destroyed."
"When we are tired, we are attacked by ideas we conquered long ago."
"The individual has always had to struggle to keep from being overwhelmed by the tribe. If you try it, you will be lonely often, and sometimes frightened. But no price is too high to pay for the privilege of owning yourself."
"God is dead, but considering the state the species man is in, there will perhaps be caves, for ages yet, in which his shadow will be shown."
"God is dead. God remains dead. And we have killed him. How shall we comfort ourselves, the murderers of all murderers? What was holiest and mightiest of all that the world has yet owned has bled to death under our knives: who will wipe this blood off us? What water is there for us to clean ourselves? What festivals of atonement, what sacred games shall we have to invent? Is not the greatness of this deed too great for us? Must we ourselves not become gods simply to appear worthy of it?"
Writings (excerpt)
Kritische Gesamtausgabe Briefwechsel, G. Colli and M. Montinari (ed.), 24 volumes in 4 parts, Berlin: Walter de Gruyter, 1975.
The Antichrist, Walter Kaufmann (trans.), in The Portable Nietzsche, Walter Kaufmann (ed.), New York: Viking Press, 1968.
Beyond Good and Evil, Walter Kaufmann (trans.), New York: Random House, 1966.
The Birth of Tragedy, Walter Kaufmann (trans.), in The Birth of Tragedy and The Case of Wagner, New York: Random House, 1967.
The Case of Wagner, Walter Kaufmann (trans.), inThe Birth of Tragedy and The Case of Wagner, New York: Random House, 1967.
Daybreak: Thoughts on the Prejudices of Morality, R. J. Hollingdale (trans.), Cambridge: Cambridge University Press, 1982.
Ecce Homo: How One Becomes What One Is, Walter Kaufmann (trans.), in On the Genealogy of Morals and Ecce Homo, New York: Random House, 1967.
The Gay [Happy] Science, with a Prelude of Rhymes and an Appendix of Songs (Die fröhliche Wissenschaft; The Joyful Pursuit of Knowledge and Understanding), Walter Kaufmann (trans.), New York: Random House, 1974.
Human, All Too Human: A Book for Free Spirits, R. J. Hollingdale (trans.), Cambridge: Cambridge University Press, 1986.
Nietzsche Contra Wagner, Walter Kaufmann (trans.), in The Portable Nietzsche, New York: Viking Press, 1968.
On the Genealogy of Morals, Walter Kaufmann and R.J. Hollingdale (trans.), in On the Genealogy of Morals and Ecce Homo, New York: Random House, 1967.
Philosophy and Truth: Selections from Nietzsche's Notebooks of the Early 1870s, Daniel Breazeale (trans. and ed.), Atlantic Highlands, N.J.: Humanities Press, 1979.
Philosophy in the Tragic Age of the Greeks, Marianne Cowan (trans.), Chicago: Henry Regnery Company, 1962.
Thus Spoke Zarathustra, Walter Kaufmann (trans.), in The Portable Nietzsche, New York: Viking Press, 1968.
Twilight of the Idols, Walter Kaufmann (trans.), in The Portable Nietzsche, New York: Viking Press, 1968.
Untimely Meditations, R. J. Hollingdale (trans.), Cambridge: Cambridge University Press, 1983.
The Will to Power, Walter Kaufmann (trans.), New York: Random House, 1967.
Review: Nietzsche's Jewish Problem 1
Nietzsche on the Jews
Nietzsche on Religion
Nietzsche and the Origins of Christianity 1
The Hegel–Nietzsche debate
"Hegel is a systematic philosopher who places his faith in the rigorous and methodical unfolding of dialectical reason, whereas Nietzsche is an unsystematic, highly literary writer, the champion of brilliant isolated perceptions and colourful, arresting metaphors."
Bowden! — The Uses and Abuses of Nietzsche
↑ Nietzsche's Hatred of "Jew Hatred" By BRIAN LEITER, Review of Nietzsche's Jewish Problem: Between Anti-Semitism and Anti-Judaism by Robert C. Holub
↑ Friedrich Nietzsche, Stanford Encyclopedia of Philosophy (archive)
↑ Friedrich Nietzsche, Encyclopædia Britannica
Retrieved from "http://en.metapedia.org/m/index.php?title=Friedrich_Nietzsche&oldid=471826"
Nietzscheanism
German philosophers


Bluegill fish skeleton pendant. Great for the fisherman in your life - Man or Woman. Also makes a nice earring!
Design based on the bluegill a popular species of freshwater fish in the sunfish family.
This elegant pendant is a bit over 2 inches long.


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Cheat Sheet: What's the big deal with Krispy Kreme?
Jihee Junn | Staff Writer
Welcome to the Cheat Sheet, a clickable, shareable, bite-sized FAQ on the news of the moment. Today, Jihee Junn finds out what all the fuss is about with global doughnut brand Krispy Kreme, which launched in New Zealand this week.
Doughnuts!
What's your favourite?
Can't go wrong with a good ol' glazed. There are few better joys in the world than taking a deft bite into that sugary veneer.
I hear Krispy Kreme's big on the glazed doughnuts. Speaking of, what's Krispy Kreme anyway?
Krispy Kreme's an American doughnut company and coffee chain which was founded in 1937 in North Carolina. It rapidly expanded in the 1990s when it started opening stores outside the southeastern United States, and in 2001 it opened its first international branch in Ontario, Canada. There are now more than 800 stores worldwide and the company also sells its doughnuts in convenience stores like 7-Eleven.
Krispy Kreme's first NZ store in the south Auckland suburb of Manukau (supplied)
But we've had Dunkin Donuts in New Zealand for years. Why are people so excited about another American doughnut company entering the market?
Because people like new things? Sure, Dunkin Donuts is a huge name in the world of sweet ring-shaped bread, but so is Krispy Kreme. Its arrival has been a long time coming, so the hype and anticipation's been building for quite some time.
One of the most exciting things about the new store for a lot of people is the 24-hour drive-thru, meaning people can get their 3:00 am doughnut fix without even having to get off their bums. Then there's the impressive production facility working behind the scenes which, at full capacity, can whip out over 4,300 doughnuts every hour.
Also, in today's social media age, having Instagram-worthy food porn like rainbow sprinkled doughnuts and caramel drizzled shakes generally helps to get the excitement levels up.
Fair enough. So, what was opening day like on Wednesday?
As a somewhat functioning adult with a full-time job, I wasn't quite afforded the luxury of lining up to attend the store's 8:00 am (!) start. But according to Krispy Kreme's own PR crew, dozens of dedicated fans did make the trek to Manukau in the wee hours of the morning to queue up before doors opened. First in line was South Auckland resident Shannice Godkin, 18, who camped outside the store from Monday evening onwards with her best friend and cousin.
For her unlikely heroics, she was awarded a year's supply of doughnuts as "New Zealand's number one fan" while her best friend received six months and her cousin received one month. Meanwhile, the first 100 people in line all received a free box of doughnuts as well as some Krispy Kreme branded merch.
Donut doubt her dedication: Shannice Godkin loves doughnuts so much she spent two days camped outside Krispy Kreme's first store. (supplied)
Gosh, that's a bit OTT don't you think?
Well, people camp out for two weeks straight for iPhones and Yeezys. Whatcha gonna do?
It should also be noted that despite being an otherwise festive day, reports have come out that a woman from the Phillippines was turned away from lining up when security guards found out she wasn't a New Zealand citizen. Krispy Kreme has since apologised, but not before the Phillippine ambassador took to Facebook to call the store KKK, or Krispy Kreme for Kiwis.
We're still left with the most important question though, which is: do Krispy Kreme doughnuts actually taste any good?
I'm no doughnut connoisseur, but they taste pretty good to me. Sure, they're nothing to write home about, but I wouldn't say no if someone offered me one. Are they any better or worse than what its main competitor, Dunkin Donuts, has on offer? That's a matter of personal preference. But they seem pretty on par to me.
I'm sold. Can't wait to stuff my face full of them!
Not so fast there! In case you need reminding that doughnuts are a treat food, the Choc Iced doughnut contains 17.9g of sugar per serving. And according to the World Health Organisation, that's two-thirds of an average adult's recommended daily sugar intake.
Krispy Kreme's production line can make over 4,300 doughnuts an hour when running at full capacity (supplied)
In fact, the poor nutritional value of Krispy Kreme's doughnuts has attracted the ire of some New Zealand anti-obesity advocates. They've accused the company of deliberately exploiting some of the country's most vulnerable people by opening its first store in the south Auckland suburb of Manukau, which has one of the highest obesity rates in New Zealand. In 2013, the Counties Manukau health district obesity rate rose to 38%, while the national rate rose to 'only' 29%, according to Ministry of Health data.
Krispy Kreme defended the location of its store, arguing that it was "driven by finding the most suitable site to build a manufacturing and retail space". They also said that its arrival in NZ has allowed it to employ over 150 people of which 80% are from South Auckland
Treat food. Got it. But just one last question: is it 'donuts' or 'doughnuts'?
According to the fountain of knowledge that is the internet, the dictionary-approved spelling of the ring-shaped cake is 'doughnut'. 'Donut' is the shortened version that's been around since the late 1800s. But it wasn't until the 20th century that it became popularised thanks to Dunkin Donuts. So +1 to Krispy Kreme for its technical accuracy regarding the word 'doughnut'. But -1 for spelling everything else in its name wrong.
The Spinoff's business content is brought to you by our friends at Kiwibank. Kiwibank backs small to medium businesses, social enterprises and Kiwis who innovate to make good things happen.
Check out how Kiwibank can help your business take the next step.
The Spinoff's business section is enabled by our friends at Kiwibank. Kiwibank backs small to medium businesses, social enterprises and Kiwis who innovate to make good things happen.
Every meat-free fast food burger in New Zealand, reviewed and ranked
Alex Casey
New Zealand's gluten-free bread, reviewed and ranked
Michael Andrew
Business editor
Food media's diversity problem: What NZ can learn from the Bon Appétit saga
Jean Teng and Charlotte Muru-Lanning


I want to thank everyone that took the time to fill out a survey this weekend. For anyone that was not able to, please take a moment to click the link below to fill one out online. All information is anonymous so please be honest.


text:
La Sinfonía n.º 2 en do menor, op. 17 (Pequeña Rusia) es una obra compuesta por Piotr Ilich Chaikovski. La compuso inicialmente en 1872, siendo posteriormente revisada hasta su versión definitiva en 1880.

La Segunda Sinfonía fue compuesta en entre los años 1872 y 1880, y hace uso de los tres temas del folclore de Ucrania, conocida como "Pequeña Rusia", epíteto que mantuvo. Uno de los tres temas del folclore ucraniano tratados en la sinfonía se llama La grulla («Журавель»), y la escuchó durante una de las muchas vacaciones de verano del compositor con su hermana Aleksandra en Kámianka, gobernación de Kiev.

Después de la frialdad con que se acogió el primer movimiento, la sinfonía fue aplaudida de inmediato por el público, críticos y amigos del compositor. Nikolái Rubinstein, que estaba en el podio, tuvo que repetir una parte de la sinfonía en el estreno, que tuvo lugar 7 de febrero de 1873.

Chaikovski tenía el hábito y la pasión de revisar, ampliar, cortar o destruir parte de sus composiciones y revisar a lo largo de los años una obra con la que nunca quedaba totalmente satisfecho. Con esta sinfonía ocurrió lo mismo.

Composición
Chaikovski escribió gran parte de la Pequeña Sinfonía Rusa durante sus vacaciones de verano en Kamianka (Kamenka) en Ucrania con la familia de su hermana Aleksandra, los Davydov. La finca Davydov se había convertido en el refugio favorito del compositor. Alexandra, de hecho, animó al compositor a hacer de Kamenka su segundo hogar. Su afecto por la hacienda dio sus frutos al utilizar canciones locales en la sinfonía que estaba escribiendo. Incluso una vez escribió, en broma, que el verdadero crédito por el final de la segunda sinfonía debería haber sido "para el verdadero compositor de dicha obra: Peter Gerasimovich". Gerasimovich, el anciano mayordomo de la casa Davydov, le cantó la canción popular "La grulla" a Chaikovski mientras el compositor trabajaba en la sinfonía.

Una de las anécdotas favoritas de Chaikovski cuenta que estuvo a punto de perder los bocetos de la sinfonía en el camino de regreso a Moscú. Para persuadir a un jefe de correos recalcitrante de que enganchara los caballos al carruaje en el que él y su hermano Modest habían viajado, Chaikovski se presentó como «Príncipe Volkonsky, caballero de cámara del Emperador». Cuando llegaron a la parada nocturna, notó que faltaba su equipaje, incluida la partitura de la sinfonía. Temiendo que el jefe de correos hubiera abierto el equipaje y averiguado su identidad, envió a alguien a buscarlo. El intermediario volvió con las manos vacías. El administrador de correos solo entregaría el equipaje al príncipe mismo. Armándose de valor, Chaikovski regresó. Su equipaje no había sido abierto, para su alivio. Conversó durante algún tiempo con el jefe de correos y, finalmente, le preguntó por su nombre. «Chaikovski», respondió el jefe de correos. Atónito, el compositor pensó que tal vez se trataba de una venganza ingeniosa. Finalmente averiguó que Chaikovski era en realidad el nombre del jefe de correos. Después de enterarse de este hecho, se deleitaba contando la historia.

Influencia de la Kamarinskaya
Chaikovski había utilizado canciones populares en sus primeros días en San Petersburgo y en su obertura estudiantil La tormenta. Ahora quería utilizar las canciones folklóricas como material sinfónico válido. La mayor deuda de Chaikovski en este sentido fue con la Kamarinskaya de Glinka. Creía fervientemente que en la Kamarinskaya se encontraba el núcleo de toda la escuela de música sinfónica rusa, "así como todo el roble está en la bellota", como escribió en su diario en 1888.

La Kamarinskaya se basa en dos melodías. La primera es un canto nupcial, "Izza gor" (Desde más allá de las montañas). La segunda, la canción que da título a la pieza, es un naigrish, una danza instrumental con una melodía en ostinato que se repite mientras los bailarines pueden seguirla. Glinka usa el principio de la canción popular para permitir que la estructura musical se desarrolle alrededor de una constante temática, o en realidad dos constantes, ya que usa dos canciones populares. Varía el material de fondo que rodea estas canciones más que las canciones mismas: color orquestal (timbre), armonización, contrapunto. De esta forma, Glinka conserva el carácter original de la danza, complementándolo con variaciones creativas en el tratamiento orquestal.

Idealmente, los temas de una pieza occidental interactúan, contrastan y cambian. Esta actividad alimenta el crecimiento de la composición como una creación orgánica. La tensión sigue aumentando a medida que este diálogo temático se vuelve cada vez más complejo. Este diálogo o intercambio finalmente impulsa la pieza a un punto culminante de resolución. La Kamarinskaya no sigue este patrón. Tampoco puede. El ostinato de la segunda melodía no permitirá ningún desarrollo del motivo musical sin distorsionar el carácter de la pieza. La música se repite constantemente, aunque con fondos cambiantes. Debido a esta falta de crecimiento temático, la música permanece estática, sin avanzar. Este tampoco es un problema exclusivo de la Kamarinskaya. La música rusa, especialmente la música folclórica rusa, se niega obstinadamente a seguir los principios occidentales que Chaikovski había aprendido en San Petersburgo. Esta puede haber sido una de las razones por las que su maestro Antón Rubinstein no consideró que las canciones populares fueran material musical viable para otra cosa que no fuera el folclore local.

Para Chaikovski, la Kamarinskaya ofrecía un ejemplo viable de las posibilidades creativas de las canciones populares en una estructura sinfónica, utilizando una variedad de combinaciones armónicas y contrapuntísticas. También le ofreció un modelo sobre cómo se podría hacer funcionar una estructura de este tipo, excluyendo la posibilidad de inercia o repetición excesiva. Debido a su entrenamiento compositivo, Chaikovski pudo construir el final de la segunda sinfonía de manera más sólida y en una escala de tiempo mayor de lo que Glinka o Músorgsky podrían haber hecho. Sin la Kamarinskaya, sin embargo, Chaikovski sabía que no tenía una base sobre la cual construir ese final.

Recepción
Chaikovski tocó el final de la sinfonía al piano en una reunión en la casa de Rimsky-Kórsakov en San Petersburgo el 7 de enero de 1873. A su hermano Modest, le escribió: "La compañía entera casi me hizo pedazos de éxtasis, y Madame Rimskaya-Korsakova me rogó llorando que la dejara arreglarla para un dúo de piano". Ni Balakirev ni Músorgsky estuvieron presentes. Borodín estaba presente y pudo haber aprobado la obra él mismo. También estuvo presente el crítico musical Vladimir Stasov. Impresionado por lo que escuchó, Stasov le preguntó a Chaikovski qué pensaba escribir a continuación. Stasov pronto influiría en el compositor para que escribiese el poema sinfónico La tempestad y más tarde, con Balákirev, la Sinfonía Manfredo.

El estreno de la sinfonía completa tuvo lugar en Moscú bajo la dirección de Nikolái Rubinstein el 7 de febrero de 1873. Chaikovski le escribió a Stasov al día siguiente que «disfrutó de un gran éxito, tan grande que Rubinstein quería volver a interpretarla... a petición del público». Esa actuación públicamente exigida, el 9 de abril, fue aún más exitosa. El 27 de mayo se llevó a cabo una tercera interpretación en Moscú, nuevamente a petición del público. La reacción de la crítica fue igual de entusiasta. Stasov escribió así sobre el final: «en términos de color, factura y humor... una de las creaciones más importantes de toda la escuela rusa». Hermann Laroche, que había viajado desde San Petersburgo especialmente para el concierto, escribió en el Registro de Moscú el 1 de febrero, «en mucho tiempo no me había encontrado con una obra con un desarrollo temático de ideas tan poderoso y con contrastes tan bien motivados y artísticamente pensados».

Mientras tanto, Eduard Nápravník dirigió el estreno en San Petersburgo el 7 de marzo. A pesar de una crítica negativa de César Cui, el público de San Petersburgo recibió la pieza de manera suficientemente positiva como para garantizarle una segunda interpretación en la temporada siguiente.

Revisión

Ya en la misma carta que describe el estreno de 1873, Chaikovski le escribió a Stasov: «A decir verdad, no estoy completamente satisfecho con los tres primeros movimientos, pero 'La grulla' ['Zhuravel'] en sí misma [el final que emplea la melodía popular rusa] no ha salido tan mal». A pesar de esto, Chaikovski persuadió al editor Bessel para que publicara la partitura. Bessel lanzó un arreglo para dúo de piano (preparado por Chaikovsky después de que Rimskaya-Korsakova tuviera que retirarse debido a una enfermedad) pero tardó en publicar la partitura completa.

En 1879, Chaikovski le pidió la devolución de la partitura manuscrita. A su llegada, comenzó a revisarla. El 2 de enero de 1880, envió a Bessel un informe del progreso de la revisión: «1. He compuesto el primer movimiento de nuevo, dejando solo la introducción y la coda en su forma anterior. 2. He vuelto a componer el segundo movimiento. 3. He modificado el tercer movimiento, acortándolo y volviéndolo a marcar. 4. He acortado el final y lo he vuelto a marcar». Afirmó que había completado este trabajo en tres días. El 16 de enero, le escribió a Sergei Taneyev: «Este movimiento [el primero] ha salido comprimido, corto y no es difícil. Si el epíteto 'imposible' se aplica a algo, es a este primer movimiento en su forma original. Dios mío ¡Qué difícil, ruidoso, inconexo y confuso era esto!» El estreno de la versión revisada se representó en San Petersburgo el 12 de febrero de 1881, bajo la dirección de Karl Zike.

La versión revisada de 1880 suele ser la que se interpreta y graba hoy día, pero se ha cuestionado su verdadera preeminencia. Con solo 35 minutos de duración (algo más corta que muchas sinfonías de la época), también es aproximadamente cinco minutos más corta que su versión predecesora. Chaikovski mantuvo sus revisiones e informó a Eduard Nápravník que la versión de 1880 era la única que autorizaba. Ocho años después de la muerte de Chaikovsky, Sergei Taneyev comparó las dos versiones y favoreció la original de 1872. La opinión de Nikolay Kashkin era la misma.

La opinión de Taneyev tenía un peso considerable. En los 19 años transcurridos entre el estreno de la versión original y su evaluación de ambas versiones, Taneyev no solo se convirtió en un destacado maestro de composición, sino que también se ganó la reputación de ser uno de los mejores artesanos entre todos los compositores rusos. Se sintió lo suficientemente fuerte sobre el asunto como para escribir al hermano del compositor, Modest: «Me parece que en algún concierto futuro deberías dejar que la gente escuche la Segunda Sinfonía real, en su forma original ... Cuando te vea, tocaré ambas versiones y probablemente estarás de acuerdo conmigo sobre la superioridad de la primera».

Más recientemente, Hans Keller ha defendido al menos la interpretación ocasional de la versión de 1872. El Dr. David Brown agregó: «Para ser justos con la segunda versión, es ciertamente atractiva y estructuralmente tan clara como Chaikovski pudiera desear. Hay una pesadez innegable en la versión original, pero su escala imponente y su riqueza de contenido y detalle la convierten en una pieza mucho más impresionante que debería ser restaurada en el lugar, que todavía está permanentemente usurpada por su sucesora más delgada y mucho menos creativa».

La única grabación de la versión original de la obra, fue realizada por Geoffrey Simon y la Orquesta Sinfónica de Londres.

Estructura
La segunda sinfonía, con una duración de treinta minutos, se compone de los cuatro movimientos usuales.

El primer movimiento, Andante sostenido: variante del tema ucraniano acerca del Volga, retomado en el desarrollo y que se repite en el estribillo.
El segundo movimiento, Andantino marcial, casi modesto: se refiere a una marcha nupcial compuesta para una obra no publicada: Ondine.
El tercer movimiento, un animado Scherzo. Allegro no cita textualmente un tema popular, pero tiene la apariencia y características.
El Cuarto Movimiento, Finale. Moderato assai: Después de una breve fanfarria, cita el tema popular en una serie de variaciones cada vez más complejas.

Discografía seleccionada

 Leonard Bernstein - New York Philharmonic
 Carlo Maria Giulini - Philharmonia Orchestra
 Andrew Litton - Bournemouth Symphony Orchestra
 Claudio Abbado - Chicago Symphony Orchestra
 Sir Neville Marriner - Academy of St Martin in the Fields
 Riccardo Muti - Philharmonia Orchestra
 Eugene Ormandy - Philadelphia Orchestra
 Geoffrey Simon - London Symphony Orchestra en la versión original de 1872
 Yuri Temirkanov - Royal Philharmonic Orchestra
 Vasily Petrenko - Royal Liverpool Philharmonic Orchestra
 Lorin Maazel - Pittsburgh Symphony Orchestra
 Kirill Karabits - Bournemouth Symphony Orchestra
 Neeme Jarvi - Gothenburg Symphony Orchestra

Véase también

Nacionalismo (música)

Notas

 También contiene la traducción de algunos apartados del mismo artículo de Wikipedia en inglés.

Referencias

2
Composiciones de 1872
Composiciones en do menor

redpajama_set_name: RedPajamaWikipedia


If somebody accuses a person to be disloyal, when you're totally innocent, it may be very complicated, when it comes to if your partner says that you're showing just about all signs, such as hardly ever staying in house within Brindle Heath as well as becoming as well pleasant with a few individuals when you're in Salford.
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text:
Q: Pandas dataframe division returning 'inf' when dividing by non-zero When I tried to create a new column in my pandas dataframe by dividing an existing column by another existing column, I am getting 'inf' in rows where there is no division by zero.
claims_report['% COST DIFFERENCE'] = 100*claims_report['COST DIFFERENCE']/claims_data['ORIGINAL UNIT COST']
print(claims_report[['ORIGINAL UNIT COST','COST DIFFERENCE','% COST DIFFERENCE']].head(9))

The result of the above code is:
   ORIGINAL UNIT COST  COST DIFFERENCE  % COST DIFFERENCE
0              4.3732          11.2500         257.248697
1              3.7935          22.0000         579.939370
2              6.9167          22.0000         318.070756
3              1.1429           4.5000         393.735235
4              0.0000           7.3269                inf
5              7.3269          -0.8622         -11.767596
6              6.4647           0.7853          12.147509
7              0.2590           0.0170           6.563707
8             14.4471         -12.7145               -inf

By my calculations, there should not be a -inf in row 8. As a check I ran the following code:
for i in range(9):
print(i, claims_report['COST DIFFERENCE'][i], claims_report['ORIGINAL UNIT COST'][i], claims_report['COST DIFFERENCE'][i]/claims_report['ORIGINAL UNIT COST'][i])

Which gives me the expected result in row 8:
0 11.25 4.3732 2.5724869660660388
1 22.0 3.7935 5.799393699749571
2 22.0 6.9167 3.180707562855119
3 4.5 1.1429 3.937352349286902
4 7.3269 0.0 inf
5 -0.8622 7.3269 -0.11767596118412971
6 0.7853 6.4647 0.1214750877844293
7 0.017 0.259 0.06563706563706564
8 -12.7145 14.4471 -0.880072817382035

Anyone familiar with this type of issue?

A: In your first line
claims_report['% COST DIFFERENCE'] = 100*claims_report['COST DIFFERENCE']/claims_data['ORIGINAL UNIT COST']

Didn't you mean "claims_report" instead of "claims_data"? Maybe you're just selecting the wrong dataframe?

A: Another solution in the future may be to do:
import pandas as pd
pd.set_option('use_inf_as_na', True)

which sets any values in your pandas dataframe from 'inf' to 'nan'. Then you can use the fillna method like this:
df = df.fillna(value=0, inplace=True)


It was such a strange thing. No one (as far as we know) had ever been asked to spit into a plastic container and return it to a lab just out of curiosity. To make the idea more (sorry) palatable, 23andMe launched a very successful PR campaign that encouraged the well-heeled, the science- and tech-savvy, the famous, and the "all of the aboves" to make spitting out of curiosity into coast-to-coast social events.
Fast forward less than a decade. You can still buy a DNA kit from 23andMe, but the price has fallen to a more accessible $99.
Reined in by the FDA, the company no longer offers deep insights into individuals' health at genome-level (although the FDA cleared them to sell a test for Bloom Syndrome in February), but you can still learn about where your ancestors' genes originated. More recently, the company has set its sights on drug development.
At the same time, social media became a tremendous force. Facebook, which had about 100 million users in 2008, has close to 1.4 billion users worldwide today.
Those numbers were not lost on researchers at the University of Michigan who launched a new kind of social spitting event with the hope of advancing precision medicine. Enter Genes for Good.
Gonçalo Abecasis is a biostatistics professor at the university and the principal investigator for Genes for Good. Along with his colleagues in Michigan and collaborator Scott Vrieze at the University of Colorado in Boulder, Abecasis has launched a Facebook application to enlist tens of thousands of people to contribute their DNA and their health information to wide-ranging research into diseases like diabetes, alcoholism, heart disease, cancer, and obesity.
Volunteers participate by getting the app from the Facebook store -- it's free -- and answering an initial, detailed survey about their health to determine whether they qualify for the study. If they qualify, respondents receive a "spit kit" from Genes for Good which they return to the researchers. After a couple of weeks, the participants will get a report on their genetic ancestry along with their raw genetic test results. If they choose, they can take their results to a genetic testing lab to get specific information about their personal health and disease risks. As long as they are enrolled, volunteers will be asked to participate in daily mini-surveys (often just one question) to help researchers collect information about their lifestyles that might impact their health.
Abecasis doesn't expect the research to end with Genes for Good. The group hopes to collaborate with other researchers by sharing participants' de-identified data for compatible research projects.
While this is exciting on many fronts, people have concerns. Because their data will be used for research, consent management is an issue, but Genes for Good claims to have that covered. When you download the app, you're encouraged to click through a very short graphical presentation explaining the process. After that, you're presented with a consent form.
For now, at least, participation is limited to U.S. Facebook users, and they must be over 18. Still, though, people will chafe at the idea of transmitting their genetic information over Facebook.
Her assessment may be spot on. However, Genes for Good stresses that Facebook is only the communications portal and that they will not have access to any users' information. Facebook users will have the option to make their participation public and they'll only be encouraged to share the fact that the project is available and seeking volunteers.
Despite some early criticism (similar to that faced by Apple about ResearchKit), Abecasis and his colleagues are hoping that Genes for Good will be the next Ice Bucket challenge, with tens of thousands of diverse social media users motivated by altruism to improve human health.


TEGUCIGALPA, Honduras – A land rights group says famed Honduran human rights lawyer Antonio Trejo Cabrera has been shot to death while attending a wedding.
The Peasants Movement of the valley of Bajo Aguan says in a statement that Trejo was shot five times Sunday in the capital of Tegucigalpa.
The lawyer had represented three lands rights groups in disputes between agrarian organizations and landowners. More than 60 people have been killed in such disputes over the past two years. Trejo had also helped prepare motions declaring unconstitutional a proposal to build three privately run cities with their own police, laws and tax systems.


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Mixtape: Vol. 6
@ Stony Island Arts Bank
6760 S Stony Island Ave, Chicago, IL 60649
Opening Friday, September 21st, from 7:30PM - 10PM
For the sixth installment of Mixtape, Arts Bank Cinema will be broadcasting select shorts inspired by John H. Johnson and Johnson Publishing Co., including The Secret of Selling the Negro Market (1954), David Hartt's Stray Light (2013) and much more treasurable footage.
When John H. Johnson opened the doors to the Johnson Publishing Co. headquarters on 820 South Michigan Avenue in 1972, he opened more than just a home for the empire he started just thirty years hitherto. He opened the doors to a novel triumph: being the first Black owner of a headquarters on the Magnificent Mile. Indeed, a magnificent victory. With their powerhouse media and publishing enterprise, the Johnson family opened more doors for Black creators, talent, voices and celebrities to craft culture. Whereas the building is no longer what it intended to be decades later; the office, the library, the cultural prominence has found a new home. A home on the Southside of Chicago, in a community that is deserving of the token of it's Black excellence.
The Arts Bank's Johnson Lounge will open to the public at 7pm with a concession bar and Johnson curated set. Showtime will begin exactly at 7:45pm.
More events on this date
Tags: Black Cinema House, Chicago, David Hartt, John H. Johnson, Johnson Publishing Company, Rebuild Foundation, South Shore, Stony Island Arts Bank