The stream can be completed successfully by sending the actor reference a akka.actor.Status.Success (whose content will be ignored) in which case already buffered elements will be signaled before signaling completion.
Note that terminating the actor without first completing it, either with a success or a failure, will prevent the actor triggering downstream completion and the stream will continue to run even though the source actor is dead. Therefore you should **not** attempt to manually terminate the actor such as with a akka.actor.PoisonPill.
Helper to create 'cycled' Source from iterator provider.
Start a new 'cycled' Source from the given elements. The producer stream of elements will continue infinitely by repeating the sequence of elements provided by function parameter.
Create a Source with no elements.
Create a Source with no elements, i.e. an empty stream that is completed immediately for every connected Sink.
Create a Source that immediately ends the stream with the cause failure to every connected Sink.
Make sure that the Iterable is immutable or at least not modified after being used as a Source. Otherwise the stream may fail with ConcurrentModificationException or other more subtle errors may occur.
Starts a new Source from the given CompletionStage.
Starts a new Source from the given CompletionStage. The stream will consist of one element when the CompletionStage is completed with a successful value, which may happen before or after materializing the Flow. The stream terminates with a failure if the CompletionStage is completed with a failure.
Streams the elements of the given future source once it successfully completes. If the Future fails the stream is failed with the exception from the future. If downstream cancels before the stream completes the materialized Future will be failed with a StreamDetachedException.
Start a new Source from the given Iterator. The produced stream of elements will continue until the iterator runs empty or fails during evaluation of the next() method. Elements are pulled out of the iterator in accordance with the demand coming from the downstream transformation steps.
Streams the elements of an asynchronous source once its given CompletionStage completes.
Creates a Source that is not materialized until there is downstream demand, when the source gets materialized the materialized future is completed with its value, if downstream cancels or fails without any demand the create factory is never called and the materialized CompletionStage is failed.
Create a Source which materializes a java.util.concurrent.CompletableFuture which controls what element will be emitted by the Source.
Create a Source which materializes a java.util.concurrent.CompletableFuture which controls what element will be emitted by the Source. If the materialized promise is completed with a filled Optional, that value will be produced downstream, followed by completion. If the materialized promise is completed with an empty Optional, no value will be produced downstream and completion will be signalled immediately. If the materialized promise is completed with a failure, then the returned source will terminate with that error. If the downstream of this source cancels before the promise has been completed, then the promise will be completed with an empty Optional.
Creates a Source that is materialized as an akka.stream.javadsl.SourceQueue.
Creates a Source that is materialized as an akka.stream.javadsl.SourceQueue. You can push elements to the queue and they will be emitted to the stream if there is demand from downstream, otherwise they will be buffered until request for demand is received. Elements in the buffer will be discarded if downstream is terminated.
Acknowledgement mechanism is available. akka.stream.javadsl.SourceQueue.offer returns CompletionStage<QueueOfferResult> which completes with QueueOfferResult.enqueued if element was added to buffer or sent downstream. It completes with QueueOfferResult.dropped if element was dropped. Can also complete with QueueOfferResult.Failure - when stream failed or QueueOfferResult.QueueClosed when downstream is completed.
The strategy akka.stream.OverflowStrategy.backpressure will not complete last offer():CompletionStage call when buffer is full.
You can watch accessibility of stream with akka.stream.javadsl.SourceQueue.watchCompletion. It returns a future that completes with success when this operator is completed or fails when stream is failed.
Creates Source that represents integer values in range [start;end], with the given step.
Creates Source that represents integer values in range [start;end], step equals to 1.
Start a new Source from some resource which can be opened, read and closed. It's similar to unfoldResource but takes functions that return CompletionStage instead of plain values.
- function that reads data from opened resource. It is called each time backpressure signal is received. Stream calls close and completes when CompletionStage from read function returns None.
Creates a Source that is materialized to an akka.actor.ActorRef which points to an Actor created according to the passed in akka.actor.Props. Actor created by the props should be akka.stream.actor.ActorPublisher.


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I am going to bring the forum down for a short period this weekend to do some software updates before the game releases on Tuesday! Only a few more days, get hype!!
Thanks for the heads up! The hype is real.
Site is now back up, things should be working properly. If you have any issues with the site, please contact me.


The Larson's lead a busy life, with the entire family running a hundred miles an hour! When Sean isn't swimming competitively after a week of running his own insurance agency, he's cheering on his wife Enita who competes in triathlons in her "spare" time and runs her own veterinary clinic in Gretna.
Their annual search of a fresh Christmas tree started 15 years ago when Enita wanted to share her childhood tradition with Sean, whose upbringing in Pittsburgh usually involved a well decorated, artificial tree. Now with son Ayden and daughter Avelyn, their quest for the perfect tree involves a visit to Nordstrom's Tree Farm where they enjoy an afternoon of fun, a hayrack ride and hot chocolate while the fresh fir is prepared for the ride home.


text:
Алжир је учествовао на Светском првенству у атлетици у дворани 2010. одржаном у Дохи од 12. до 14. марта дванаести пут. Репрезентацију Алжира представљао је један атлетичар, који се такмичио у скуку удаљ.

Представник Алжира није освојио ниједну медаљу, али је поставио нови национални рекорд.

Резултати

Мушкарци

Види још

Референце

Спољашње везе
 Комплетни резултати СП 2010.
 Званични сајт ИААФ

Земље учеснице на Светском првенству у атлетици у дворани 2010.
Алжир на Светском првенству у атлетици у дворани

redpajama_set_name: RedPajamaWikipedia


text:
Q: Is this an issue with my firewall or chrome? Xmlhttprequest to C# listener error I have a Httplistener set up in C# that reads the Get parameters and performs an action, just a small personal project. Now, when I send the requests from an HTML page in chrome with 127.0.0.1:port it works fine. But if I use my full IP (the one i get from googling my IP), the xmlhttp request fails. Same when I host the file on my site. Is this an issue with Chrome or my firewall settings? I opened the port to all connections and excused Visual Studio from my firewall as well

A: The IP address that you get from Google (or wherever) is your IP address to the internet.  On your network, you will most likely have an IP address for your network that is different than your internet address.
I did a google search and found this page to help you follow the steps required by various operating systems to determine what your computer's IP address is.
As an alternative to using an IP address, you can use your computer's name.
If you want to use your internet IP address so that you can access your site from the internet and not just your network, you'll need to set up port forwarding.

A: You need to set up port forwarding on your router.

redpajama_set_name: RedPajamaStackExchange


text:
15 September 2017 by Preeta Bhagattjee and Christoff Pienaar Employment and Technology & Sourcing Alert
One step closer to POPIA becoming fully effective
The Protection of Personal Information Act, No 4 of 2013 (POPIA) was promulgated into law in November 2013. The primary purpose of POPIA is to promote the protection of personal information processed by public and private entities and regulate the manner in which such entities may collect, collate, store, disclose and destroy personal information. POPIA also seeks to align South African legislation with international legislation regarding the requirements for the lawful processing of personal information.
On 11 April 2014, only s1, s112, s113 and Part A of Chapter 5 of POPIA came into effect and these sections essentially deal with the definitions, establishment of the Information Regulator, regulations and the procedure for making such regulations.
Pursuant to the establishment of the Information Regulator and in accordance with s112 and s113 of POPIA, the Information Regulator released draft Protection of Personal Information Act Regulations (Regulations) on Friday, 8 September 2017 under Government Notice 709 of 2017. The publication of the draft Regulations for public comment brings South Africa a step closer towards POPIA becoming fully effective.
The draft Regulations set out detailed procedures on the practical implementation of POPIA and seek to regulate the following administrative issues:
the manner in which an objection to the processing of personal information can be made;
requests for the correction or deletion of personal information or the destruction or deletion of a record of personal information;
duties and responsibilities of information officers;
applications for the Information Regulator to issue industry codes of conduct;
the manner in which consent is requested for processing of personal information for direct marketing by means of unsolicited electronic communications;
submission of complaints or grievances;
the Information Regulator acting as a conciliator during an investigation;
the notification requirements of the Information Regulator to provide notification and information to all affected parties to a compliant/investigation; and
the notification requirements of the Information Regulator to provide notification to affected parties of its intention to carry out assessments or relating to a request by a third party to do so.
The draft Regulations also provide for various prescribed forms which are required to be utilised when requests
or complaints are submitted.
Duties and responsibilities of Information Officers
The draft Regulations specifically deal with the duties and responsibilities of Information Officers (who are required to be appointed in terms of POPIA by every responsible party). The definition of an Information Officer, in a private body, is accorded the same definition as the "head" of a private body contemplated in s1 of the Promotion of Access to Information Act, No 2 of 2000 (PAIA), which states as follows:
(a) in the case of a natural person, that natural person or any person duly authorised by that natural person;
(b) in the case of a partnership, any partner of the partnership or any person duly authorised by the partnership;
(c) in the case of a juristic person:
(i) the chief executive officer or equivalent officer of the juristic person or any person duly authorised by that officer; or
(ii) the person who is acting as such or any person duly authorised by such acting person.
In terms of s55(2) of POPIA, Information Officers must only take up their duties as prescribed in POPIA after the relevant responsible party has registered them with the Information Regulator. The draft Regulations do not, however, provide details on the registration process for appointed Information Officers. A responsible party is any public or private employer or any other person which, alone or in conjunction with others, determines the means and purpose of processing personal information. Essentially, all employers must ensure compliance with the appointment of an Information Officer.
It is important to ensure that companies duly appoint an Information Officer, if one has not already been appointed, to be registered with the Information Regulator once POPIA is in full force and effect. In terms of the draft Regulations, the Information Officer will have to take charge of the compliance requirements set out in POPIA on behalf of the responsible party. These requirements include ensuring that:
a compliance framework is implemented;
adequate measures and standards are put in place to comply with POPIA;
preliminary assessments are conducted;
a manual for the purpose of PAIA and POPIA is developed and is made available for inspection;
internal measures and adequate systems are put in place to process requests for, or access to, personal information; and
POPIA awareness training is provided.
The draft Regulations introduce very specific obligations and requirements of Information Officers and while drafted using broad language, the requirements to develop a compliance framework, ensure adequate measures and standards are in place, and to develop a combined PAIA and POPIA manual place specific additional obligations on the Information Officer and would require formal documentation to be prepared.
Objections to processing of personal information and requests for correction or deletion of records.
Section 11(3)(a) of POPIA provides that a data subject may object to the processing of personal information in the prescribed manner and on reasonable grounds. In terms of s24(1) of POPIA, a data subject may, in the prescribed manner, request a responsible party to:
correct or delete personal information about the data subject that is inaccurate, irrelevant, excessive, out of date, incomplete, misleading or obtained unlawfully; or
destroy or delete a record of personal information about the data subject that the responsible party is no longer authorised to retain.
The draft Regulations give effect to the above sections and provide prescribed forms to be used to object to the processing of personal information, or to request the correction or deletion of personal information. An oversight in the draft Regulations appears to be that these forms only provide for requests from a natural person. As POPIA applies to both natural and juristic data subjects, the forms should cater for both.
Businesses need to familiarise themselves with these requirements and adopt appropriate internal mechanisms to properly deal with any such requests. This would include ensuring that internal procedures are in place to comply with the specific obligations contained in the draft Regulations requiring that a responsible party assist a data subject with completing the prescribed forms.
From an employment perspective, employers must ensure that their employees are fully informed of their personal information which is processed and mechanisms should be put in place to allow employees to either object to the processing of such information, or correct or delete such information. The employee's request must, however, be reasonable and not impede the employer's ability to obtain the employee's personal information required for the compliance of any other employment legislation.
Consent for purposes of direct marketing
Section 69 of POPIA provides for instances in which personal information may be used for the purposes of direct marketing through unsolicited electronic communications. One such instance is where the data subject has consented to the use of his/her/its personal information for direct marketing purposes. In this regard, s69(2)(b) requires that a data subject's consent be obtained in the prescribed manner and form. The draft Regulations give effect to this section by providing for a very detailed consent form, which requires, among other things, that:
specific reference is made to s69 of POPIA;
the data subject is made aware of what the terms "processing" and "personal information" mean in terms of POPIA, before being requested to provide consent;
the consent is obtained in relation to the goods and/or services specified on the form; and
specific consent is obtained in respect of each means of electronic communication (that is fax, email, SMS or other).
Should the draft Regulations and the relevant form (Form 4) remain in the current form, responsible parties who typically rely on consents for direct marketing obtained through tick boxes in online terms (such as e-commerce businesses) will need to find a way to substantially incorporate the content of Form 4 at the time of obtaining consent. Furthermore, in light of the fact that the draft Regulations require specific reference to be made to POPIA in the consent form, multi-national organisations relying on generic consents will need to reconsider the manner in which they obtain consents from South African data subjects.
Invitation for input on rules for processing personal information concerning a data subject's health or se(x) life.
The processing of special personal information (which includes information concerning the health and se(x) life of a data subject) is prohibited unless an authorisation in terms of s27 of POPIA applies. In this regard, s32(1)(b) and s32(1)(f) of POPIA mention circumstances in which insurance companies; medical schemes and their administrators; managed healthcare organisations; administrative bodies; pension funds; employers; or institutions working with them may process personal information concerning a data subject's health or se(x) life. The Government Notice published with the draft Regulations invites interested parties to provide input and comments in respect of more detailed rules that may be prescribed concerning the application of s32(1)(b) and s32(1)(f).
Call for public comment
Members of the public are invited to comment on the draft Regulations and the deadline for submissions is 7 November 2017. Given this deadline, it is likely that the Regulations will be tabled before Parliament before the end of the year and it is anticipated that POPIA will be fully effective in 2018. Once the date of commencement of the operative provisions of POPIA is announced, all affected parties have a grace period of at least one year to ensure that their operations, policies and procedures are POPIA compliant.
It is therefore important for all businesses and employers in both the public and private sectors to take steps to assess the level of compliance within their organisations and appoint Information Officers in order to ensure compliance and avoid potential penalties under POPIA.
Written by Samiksha Singh, Preeta Bhagattjee and Christoff Pienaar (assisted by Bilal Bokhari and Aphindile Govuza)
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redpajama_set_name: RedPajamaCommonCrawl


text:
7 Tales From 'Scary Stories To Tell In The Dark' You Totally Forgot About
By M.J. Pack, February 25th 2016
With the approach of a "Scary Stories To Tell In The Dark" movie, these gruesome children's books have been the talk of the town lately. Everyone's got their favorite, but what about the lesser-known stories that fell by the wayside of your memory? I've taken it on myself to resurrect them so they can keep you awake at night once again, just like when you first read them as a kid. You're welcome.
The Big Toe
https://www.instagram.com/p/88lTkYKnb5/
What is this. WHAT IS THIS?! The first lines of this jump-scare-style-story are, I shit you not: "A boy was digging at the edge of the garden when he saw a big toe. He tried to pick it up, but it was stuck on something." WHAT SMALL CHILD IN THEIR RIGHT MIND TRIES TO PULL A HUMAN BODY PART OUT OF THE GROUND?! Oh, but don't worry. His mother is apparently also totally not a psychopath because she responds to this behavior by saying "It looks nice and plump. I'll put it in the soup, and we'll have it for supper." And dear old dad carves it into three pieces. FOR THEM TO EAT. This whole family is VOLUNTARILY engaging in cannibalism! Forget the rest of the story (wherein the toe's posthumous owner comes looking for its missing bit) because that's the creepy part right there. Case closed.
A post shared by Jason Moses (@pinkrosesmoses)
This one starts off pretty innocuous, kind of fun in fact. Two farmhands are chatting about how one of them is repeatedly being turned into a horse at night by a witch, who then rides him all across the countryside. The other one suggests he'll take the guy's place to see if it's true. It IS true and he finds himself at the witch's mercy until he can remove the enchanted bridle, turning himself back into a horse. Ahh what supernatural hijinks! Until, you know, the farmhand turns her into a horse, gets her fitted for horseshoes (apparently just to be a dick?), and trades her to her husband in exchange for a better horse. This story — you know, the one in a children's book? — ends with her husband removing the bridle AND FINDING HIS WIFE WITH HORSESHOES NAILED TO HER HANDS AND FEET. THAT IS HORRIFYING. I READ THAT WHEN I WAS EIGHT YEARS OLD. No wonder I repressed it.
A post shared by 𝕭𝖑𝖆𝖈𝖐 𝕮𝖑𝖔𝖚𝖉 𝕮𝖔𝖒𝖕𝖆𝖓𝖞 ⚡ (@blackcloudcompany)
Girl gets married. Girl plays hide-and-seek. Girl hides in trunk. Girl is never found. Girl dies in trunk. Moral of this story: don't hide in a trunk that can lock from the outside, ya dingus.
Wonderful Sausage
https://www.instagram.com/p/V_1aPnCN22/
Samuel Blunt is a butcher who murders his wife Eloise after a spat about money. (Understandable, right?) Well, what's an enterprising young man to do but grind her up into sausage meat and sell it to innocent citizens? And THEN when his new product is so successful, what ELSE is he supposed to do — NOT abduct puppies, kittens, and children to continue making his sausage? This one has a weirdly eerie open ending and also one of the most upsetting illustrations which I shared above so I'm not the only one who has to think about it all day.
The White Satin Evening Gown
https://www.instagram.com/p/0HhNrxE751/
There's not much to this story, but it sure makes you think twice about shopping for vintage clothes. It's a variation of an urban legend — sometimes the dress in question is for prom, other times it's a wedding dress — but the bottom line is a poor-ish young girl needs a beautiful dress for not a lot of cash. She finds a gown being resold cheap, but her frugal-ness ends in tragedy when the embalming fluid material left on the dress's material kills her. WHY is there embalming fluid on a beautiful dress, you ask? Oh, because the gown had been stolen from a corpse! (CHILDREN'S BOOK. CHILDREN'S. BOOK.)
"May I Carry Your Basket?"
https://www.instagram.com/p/_3EUxrTGDS/
This is just. I can't. It hardly even qualifies as a story, it's more like the ramblings of a madman off his meds. A guy asks to carry a woman's basket, she agrees, oops her head's in there, the chase is afoot, the head bites both of his legs and then the head/body disappear. I swear, that's the whole thing.
A post shared by mario (@todalanoche666)
Ted Martin and Sam Miller were good friends, according to this tale. Starts off fine enough, right? Well GUESS AGAIN because Ted and Sam spot something crawl out of a turnip field and stand up. It disappears, reappears, lather rinse repeat until Sam decides he's going to touch it because Sam is a very smart man. The thing is wearing black pants, a white shirt, and black suspenders and looks just like a skeleton. When Sam touches it, the thing gives chase, then disappears again. Okay, so it's over, right? WRONG AGAIN because Ted gets very sick a year later and dies and Sam says he looks just like the skeleton in his final days. NOW it's over. You can't give a kid such a stark, terrible glimpse of their own mortality! That kind of trauma creates… well, people like me.
Creepy Horror Horror Fiction Scary Stories To Tell In The Dark
'Scary Stories To Tell In The Dark' — What To Expect From The Film Adaption
'Scary Stories To Tell In The Dark' Is The Creepiest Movie To Hit Theaters In A Long Time
5 Stories From "Scary Stories To Tell In The Dark" That Were Pure Childhood Nightmare Fuel
Why Do We Love Horror?


text:
Joe Scalzo Blog
The latest COVID-19 concession? No food or drink sales at Kent, Ohio State sporting events
Kent State Athletics
Kent State will no longer serve food or beer at the Memorial Athletic and Convocation Center.
If you're heading to a sporting event at Kent State or Ohio State this month, here's some advice: bring a mask, not your appetite.
Officials at both schools have temporarily suspended concession sales at athletic events due to the latest COVID-19 outbreak.
Kent State, which implemented the new policy on Sunday, Jan. 9, will continue to sell water and soft drinks at the Memorial Athletic and Convocation Center (MACC), but will not sell food or beer. All concessions are cashless and accept credit cards, debit cards and Flash Cards.
Kent State also requires fans to wear masks inside the MACC.
"It is extremely important that everyone does their part and masks up to ensure that we are able to continue to have spectators in the MACC to support our student-athletes," Kent State athletic director Randale Richmond said in a news release. "Failure to comply with the mask mandate will force us to implement attendance restrictions or eliminate all spectators."
Ohio State stopped selling concessions on Jan. 4, although it will provide water. OSU also requires fans to wear masks.
Both schools said they will continue to monitor and evaluate the policy moving forward. Currently, neither school is requiring fans to show proof or vaccination or a negative COVID-19 test within the previous 72 hours. Multiple Big Ten schools have implemented those requirements.
The moves by OSU and KSU come during a time when area colleges have been forced to cancel or postpone many athletic events due to the outbreak.
Ohio State canceled three men's basketball games in late December due to the pandemic, and its women's basketball team postponed a Jan. 3 game against Penn State.
Kent State's women's basketball team saw two games get postponed last week: a Jan. 5 home game against Miami (Ohio) and a Jan. 8 road game against Buffalo.
Akron's men's basketball team has had four games postponed since Dec. 20, including its Saturday, Jan. 8, contest at Miami (Ohio). The Zips' women's basketball team has had five games canceled or postponed this season, although the last two have been played as scheduled.
Cleveland State athletic director Scott Garrett said the school has not discussed suspending concession sales. The Vikings do require fans to wear mask indoors.
"Our fan mask-wearing when not eating or drinking has been pretty compliant," he said.
The University of Akron also has an indoor mask requirement but has not suspended concession sales.
Bryant & Stratton adds two sports
The Bryant & Stratton College Bobcats in Solon are adding two National Junior College Athletic Association athletic programs: men's soccer and women's volleyball.
Both programs will begin play in the fall and join the college's six existing athletic programs: esports, cross country, basketball, baseball, softball and track and field.
Former Mentor High School assistant coach Luciano Ruscitto will lead the men's soccer program, while former Beachwood High School volleyball coach Tiffany McFarland will lead the volleyball team.
Bryant & Stratton also has men's soccer programs at its campuses in Wauwatosa, Wisconsin, as well as Albany and Syracuse, New York.
Women's volleyball is offered at its Wauwatosa and Virginia Beach, Virginia, campuses.
Columbus Crew hires Stow native as president of business operations
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In early August 2015, four EWB India Team members (James Harper, Paul Friedlander, Rod Stubbs and Sahadev Chirayath) will be traveling to Prakasam District in Andhra Pradesh, India to assess three new projects: two water purification projects and one housing project. We'll be posting our progress on this website shortly after our return to the States. Please check in for an update in mid-August!


Flower Girl Dress Style 402 - in Ballet Pink and Bisque (shown) with Pegeen Signature Bustle - Flowers included Dress is 100% Silk. You may also add Layer With Color +50 but a new color of blush has eliminated the need for layering with only minor changes in the overall look. This is the easy to order format for the EXACT DRESS from our 2011 Wedding of the Year. You may change some colors. For more choices see style 402 which starts at $220. Available from Infant through Plus Sizes, attached crinoline/petticoat and lined with silk.


It has been a tough month for Wynwood. The neighborhood, previously known for its monthly Art Walk and thriving restaurant scene, has made national headlines since it was first confirmed on July 29th that locally-transmitted cases of Zika virus had been diagnosed in the area. The CDC issued a travel warning for pregnant women, the first of its kind within the United States, as the virus can cause microcephaly in infants, a condition associated with severe birth defects. With fears about the virus running high, local businesses have noticed a decline in visitors.
The Wynwood Yard has been hit particularly hard by the Zika downturn. After three employees tested positive for the virus, the management made the decision to temporarily close for a few days in early August, reopening only after comprehensive staff training and the installation of a mosquito mitigation system to minimize any future risk of further transmission. Like many other Wynwood businesses, it also provides free mosquito repellent to visitors. According to Heiman, neighbors have rallied around the start-up in this difficult time.
"We're just really grateful to the community for the support they have shown us ever since we re-opened," Heiman said.
To entice customers to return to the neighborhood, earlier this month many establishments participated in the Love for Locals campaign, offering limited-time-only deals and extended happy hours. Several of these promotions, including establishments Beaker and Gray, Joey's, and Wynwood Kitchen and Bar, extend through the end of August. The Wynwood Yard is throwing a welcome-back party this coming Saturday with a craft fair and specials on milk and cookies from all of its featured vendors.
Until earlier this week, Florida health officials had stated that Zika-carrying mosquitos, which only fly a few hundred feet away from their birthplace in their lifetime, were confined to a square mile in Wynwood. However, last Friday Gov. Rick Scott announced that five cases had been contracted in Miami Beach. It remains to be seen whether Miami Beach, one of the area's most popular tourist destinations, will experience a similar business downturn like Wynwood. But in the meantime, both communities can only wait and see if their best efforts to draw the rest of Miami back, will succeed.


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Toggle display of website navigation Dispatch: In an attempt to ease bureaucracy, the city hall, a glass building that resembles a flying saucer, has been fashioned as a one-stop shop for most permits. Instead of driving from one office to another to get their paperwork in order, residents simply cross the gleaming corridors to talk to officials seated at desks in the open-space area.
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Bythe government has promised to roll out a national social credit system. But it has been hard to distinguish future promises — or threats — from the realities of how social credit is being implemented. Rongcheng is one place where that future What does it take to be visible.
Three dozen pilot systems have been rolled out in cities across the country, and Rongcheng is one of them. But it also illustrates those intentions may not be as straightforward as they like to claim. Roncheng's "civilized families" are displayed on public noticeboards like these.
The bureaucrat, wearing square glasses and a black checkered sweater, shares the social credit department with seven other employees on the second floor of the city hall. From there, the math begins. Get a traffic ticket; you lose five points. Earn a city-level award, such as for committing a heroic act, doing exemplary business, or helping your family in unusual tough circumstances, and your score gets boosted by 30 points.
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Sometimes people only realize it when their big life plans — buying a home, applying for a government position or an academic title — take them to the bright hallways of the city hall.
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When asked, he checks his score. Oversized pictures depicting the heroes of this brave new world are displayed outside the city hall. They include Bi Haoran, a year-old policeman, who saved some students one evening by pushing them out of the way of a car that crashed into the crowd.
Yuan Suoping, a year-old villager, is also there. High-scoring residents are shown outside the public library and in residential communities and villages, which are already operating their own trial social credit systems.
Boards explaining how you can win or lose points and showing pictures of the best scorers are a common sight in Rongcheng; passersby talk about them with pride.
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This caricature of a system that doles out unique scores to 1. The system would instead expand and automatize existing forms of bureaucratic control, formalizing the existing controls and monitoring of Chinese citizens.
An 11th-century emperor instituted a grid system where groups of five to 25 households kept tabs on each other and were empowered to arrest delinquents. But previous efforts largely focused on groups, not individuals. Such groups were supposed to police their own members — efforts inevitably tied to the violent political struggles of the Maoist era.
Posts, the state relied on hukou, or housing registration, to keep tabs on where people lived, worked, and sent their children to school.
Along with society at large, the Communist Party has always monitored its own members for both ideological and personal loyalties. E-government projects that started in the s, such as the Golden Shield, which connected public security bureaus across the country through an online networkhave been aimed at both efficiency and control.
Hu, with his minister of public security, Zhou Yongkang, dreamed up a monitoring system capable of functioning automatically, with the end goal being to keep the Communist Party in power.
The result of decades of control, however, is that Chinese society suffers from a lack of trust, says veteran sociologist Zhang Lifan. People often expect to be cheated or to get in trouble without having done anything.The system is the brainchild of city hall staff, says He Junning, the deputy director of the Rongcheng Social Credit Management Office.
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Home / News and Media / Latest News / Press Releases / 2018-2019 / Press Release: 2019 Summer Season Announcement
Press Release: 2019 Summer Season Announcement
THE OLD GLOBE 2019 SUMMER SEASON of Love and Laughter:
The 2019 SUMMER SHAKESPEARE FESTIVAL
Will Feature
AS YOU LIKE IT, Directed by JESSICA STONE,
ROMEO AND JULIET, Directed by BARRY EDELSTEIN,
The Summer Also Welcomes Back Two Globe Favorites!:
the Award-Winning PIGPEN THEATRE CO. (The Old Man and
The Old Moon) with a World Premiere Musical
THE TALE OF DESPEREAUX,
Directed by MARC BRUNI and PIGPEN THEATRE CO.,
the Family-Friendly Show Runs JULY 6 – AUGUST 11, 2019
STEVE MARTIN'S Hilarious THE UNDERPANTS
PHOTO EDITORS: Publicity photos for The Old Globe's 2019 Summer Season are available by clicking here.
SAN DIEGO (October 19, 2018)—The Old Globe today announced the 2019 Summer Shakespeare Festival lineup, which will include two of Shakespeare's best-loved plays: the romantic comedy As You Like It, directed by Jessica Stone, will run June 16 – July 21, and love-filled tragedy Romeo and Juliet, directed by the Globe's Erna Finci Viterbi Artistic Director Barry Edelstein, August 11 – September 15. Both will play outdoors under the stars in the Lowell Davies Festival Theatre.
Indoors, the 2019 Summer Season overflows with music, adventure, and laughter, starting with the award-winning PigPen Theatre Co., which delighted Globe audiences in 2017 with The Old Man and The Old Moon. This talented ensemble returns July 6 – August 11 with a world premiere musical The Tale of Despereaux. Based on the novel by Kate DiCamillo and the Universal Pictures animated film, with book, music, and lyrics by PigPen Theatre Co., this inspiring family-friendly adventure will be directed by Marc Bruni (Beautiful: The Carole King Musical) and PigPen Theatre Co. Rounding out the summer is a sparkling comedy by the Globe's second most popular playwright-in-residence—a guy named Steve Martin: The Underpants. Adapted from Die Hose by Carl Sternheim, the play was originally commissioned by Edelstein when he ran New York's Classic Stage Company, and it will play July 27 – August 25. 2019 Summer Season subscriber tickets will go on sale Sunday, October 21, 2018 at 12:00 noon.
The 2019 Shakespeare Festival kicks off with As You Like It, the Bard's fabulously charming romantic comedy, whose heroine is one of his most remarkable creations. The magical forest of Arden is the play's famous setting, where a gallery of eccentric characters comes together to find love, fortune, redemption...and themselves. Banished from the court by her deceitful and treacherous uncle, Rosalind disguises herself as a boy, not knowing that the man she loves, also on the run, is behind the next tree. Bucolic Balboa Park is the ideal spot for Shakespeare's enticing tale of mistaken identity, heartfelt romance, and the endearing fumbles and foibles of love. Jessica Stone's recent body of work, including Barefoot in the Park, Ken Ludwig's Robin Hood, Vanya and Sonia and Masha and Spike, has had Globe audiences rolling in the aisles. Her Shakespearean directing debut will run June 16 – July 21 and open Saturday, June 22, 2019.
"Good night, good night! Parting is such sweet sorrow
That I shall say good night till it be morrow."
After his smash-hit Othello and record-breaking Hamlet, Barry Edelstein returns to the Shakespeare Festival to take on the greatest love story of all time, Romeo and Juliet. Verona's Montague and Capulet families have been feuding for ages, and whenever they meet, violence breaks out. But when Romeo glimpses Juliet across a crowded dance floor, something different happens. Can star-crossed love survive in a world of rivalry and rage? With a plot featuring a masqued ball, sleeping potions, and all-out brawling in the street, wrapped in a text full of soaring poetry, it's no wonder Romeo and Juliet has inspired countless adaptations, from ballets to movies to musicals like West Side Story. Young love has never been as dangerous or delightful as it is in Shakespeare's romantic masterpiece, brought to vivid life on our outdoor stage under the stars. Edelstein is currently working with the Los Angeles Philharmonic on a unique version of The Tempest combining Shakespeare, opera, and Broadway for November 2018, and he returns to his home territory with Romeo and Juliet, which will run August 11 – September 15, with opening night on Saturday, August 17.
The acclaimed PigPen Theatre Co. charmed and astonished Old Globe audiences with The Old Man and The Old Moon. Now they return to San Diego, bringing their one-of-a-kind theatrical and musical inventiveness to Kate DiCamillo's beloved, Newbery Medal–winning modern fable, The Tale of Despereaux. Despereaux is a courageous mouse who dreams of becoming a knight. He sets off on a noble quest that will take him down into dungeons and up to the heights of a castle tower to rescue a beautiful human princess—but the dark-hearted rat Roscuro has other ideas. The Boston Herald proclaims, "PigPen Theatre Co. is already a phenomenon," while The New Yorker says, "It's like watching child geniuses at play!" Full of gorgeous music, stunning stage effects, witty performances, and a message of optimism and community, The Tale of Despereaux is an inspiring and beguiling story for all ages. Directed by Marc Bruni and PigPen Theatre Co., it will run July 6 – August 11, opening Saturday, July 13, 2019.
Legendary comedian and writer Steve Martin is back with a riotously funny farce, The Underpants. Newly married Louise is bored with her demanding and uptight bureaucrat husband. Then one day at the royal parade, she jumps up on a bench to see the king go by, and oops—wardrobe malfunction!—her bloomers come loose and fall down around her ankles. Her husband is frantic that her faux pas will cost him his job and reputation. But suddenly the room they've been trying to rent out has plenty of takers, and it just might have something to do with…the underpants. Steve Martin, who gave Globe audiences hits like Picasso at the Lapin Agile, Bright Star, and Meteor Shower, brings us a hilarious look at sudden fame and the crazy things people do when they're in the grip of romantic fever. The New York Times calls the play "laugh-out-loud funny!" and "an amalgam of comic book and social commentary made out of sex jokes, slamming doors, and sophisticated repartee." The Underpants will run July 27 – August 25, opening Thursday, August 1, 2019.
"The Globe's 2019 summer lineup is bursting with two things we all need more of: love and laughter. The four productions in the season will be created by cherished artists, including some of our dearest friends, who return to our stages in brilliant form," said Erna Finci Viterbi Artistic Director Barry Edelstein. "We are delighted to see the gifted comic director Jessica Stone make her Shakespearean directing debut with the beguiling As You Like It. I can't wait to work on a play I've longed to do, the greatest love story there is, Romeo and Juliet. The wizardly and extraordinarily gifted PigPen Theatre Co. will thrill us with their world premiere musical fable for all ages, The Tale of Despereaux, directed with Marc Bruni, fresh off the success of Beautiful on Broadway and national tour. And the Globe's dear friend Steve Martin returns for a fourth time, following the great San Diego, New York, and nationwide successes of Bright Star and Meteor Shower, with The Underpants, a play he and I originally created together and which seems even funnier and more prescient these many years later. These shows are everything the Globe exists to create: great theatre art by great artists telling great stories about things that matter. I am thrilled to share it all with our audiences."
SEASON SUBSCRIPTIONS offer substantial savings with special subscriber benefits. Tickets to the Globe's 2018 Summer Season subscriptions will go on sale on Sunday, October 21, and range from $120 to $369. Single tickets for most shows begin at $30. Subscription packages can be purchased online at www.TheOldGlobe.org, by phone at (619) 23-GLOBE [234-5623], or by visiting the box office at 1363 Old Globe Way in Balboa Park. Discounts are available for full-time students, patrons 29 years of age and younger, seniors, military members, and groups of 10 or more.
Don't miss the many humanities-based events surrounding each production—including Insights Seminars, Post-Show Forums, Subject Matters, New Voices in the Community, and Shakespeare in the Garden. Ongoing arts engagement programs throughout the year include Globe for All, AXIS, coLAB, Behind the Curtain, Bard Basics, Reflecting Shakespeare, Community Voices, Breaking Bread, Pam Farr Summer Shakespeare Studio, and Behind-the-Scenes Tours. Pioneering programs include Free Student Matinee Series, Sensory-Friendly Performances, School in the Park, and The Old Globe and University of San Diego Shiley Graduate Theatre Program. Watch for details of exciting new guests to be announced for In Conversation with Barry Edelstein, Thinking Shakespeare Live!, and January's Powers New Voices Festival. The Old Globe is an internationally recognized cultural icon striving to serve its audiences with the best possible theatrical experiences while providing year-round arts engagement and community programs for the citizens of San Diego County.
LOCATION and PARKING INFORMATION: The Old Globe is located in San Diego's Balboa Park at 1363 Old Globe Way. Through a special arrangement with the San Diego Zoo, Old Globe evening ticket-holders have the opportunity to pre-purchase valet parking in the Zoo's employee parking structure. With a drop-off point just a short walk to the Globe, theatregoers may purchase fast, easy, convenient valet parking for just $14 per vehicle per evening. Pre-paid only, available only by phone through the Old Globe Ticket Office. Call (619) 234-5623 or visit www.theoldglobe.org/plan-your-visit/directions--parking/valet-parking. The Balboa Park valet is also available during weekend performances, located in front of the Japanese Friendship Garden. For additional parking information visit www.BalboaPark.org.
There are numerous free parking lots available throughout the park. Guests may also be dropped off in front of the Mingei International Museum. There is a 10-minute zone at The Old Globe, used only for daytime deliveries, ticket purchases, and handicapped access drop-off. For directions and up-to-date information, please visit www.theoldglobe.org/plan-your-visit/directions--parking/detailed-directions.
PLEASE NOTE: To look up online or GPS directions to The Old Globe, please do not use the Delivery Address above. For GPS users, please click here for the map coordinates, and here for written directions to The Old Globe and nearby parking in Balboa Park.
CALENDAR: The Heart of Rock & Roll (9/6–10/21), M.F.A.: Julius Caesar (10/20–10/28), AXIS: Day of the Dead Celebration (10/28), Globe for All Tour: A Midsummer Night's Dream (10/30–11/18), Dr. Seuss's How the Grinch Stole Christmas! (11/3–12/29), Looking for Christmas: The New Clint Black Christmas Musical (11/11–12/16), The Grinch sensory-friendly performance and AXIS: Jungle Poppins (12/1), Familiar (1/26–3/3/2019), Tiny Beautiful Things (2/9–3/10), AXIS: I Love Africa Concert (2/9), Life After (3/22–4/28), They Promised Her the Moon (4/6–5/5), AXIS: Happy Birthday, Mr. Shakespeare! (4/20), AXIS: concert TBA (5/9), Ken Ludwig's The Gods of Comedy (5/11–6/16), What You Are (5/23–6/23), AXIS: Tuesday Dances (6/4, 6/11, 8/18, 6/25), AXIS: Make Music San Diego (6/21), As You Like It (6/16–7/21), The Tale of Despereaux (7/6–8/11), The Underpants (7/27–8/25), Romeo and Juliet (8/11–9/15).
PHOTO EDITORS: Digital images of The Old Globe's productions are available at www.theoldglobe.org/press-room.
The Tony Award-winning Old Globe is one of the country's leading professional regional theatres and has stood as San Diego's flagship arts institution for over 80 years. Under the leadership of Erna Finci Viterbi Artistic Director Barry Edelstein and Managing Director Timothy J. Shields, The Old Globe produces a year-round season of 15 productions of classic, contemporary, and new works on its three Balboa Park stages: the Donald and Darlene Shiley Stage in the 600-seat Old Globe Theatre and the 250-seat Sheryl and Harvey White Theatre, both part of The Old Globe's Conrad Prebys Theatre Center, and the 605-seat outdoor Lowell Davies Festival Theatre, home of its internationally renowned Shakespeare Festival. More than 250,000 people attend Globe productions annually and participate in the theatre's artistic and arts engagement programs. Numerous world premieres such as the 2014 Tony Award winner for Best Musical, A Gentleman's Guide to Love and Murder, Meteor Shower, Bright Star, Allegiance, The Full Monty, Dirty Rotten Scoundrels,and the annual holiday musical Dr. Seuss's How the Grinch Stole Christmas! have been developed at The Old Globe and have gone on to enjoy highly successful runs on Broadway and at regional theatres across the country.
THE OLD GLOBE 2019 SHAKESPEARE FESTIVAL
June 16 – July 21, 2019, with opening night on Saturday, June 22
Directed by Jessica Stone
The 2019 Shakespeare Festival kicks off with the Bard's fabulously charming romantic comedy, whose heroine is one of his most remarkable creations. The magical forest of Arden is the play's famous setting, where a gallery of eccentric characters comes together to find love, fortune, redemption...and themselves. Banished from the court by her deceitful and treacherous uncle, Rosalind disguises herself as a boy, not knowing that the man she loves, also on the run, is behind the next tree. Bucolic Balboa Park is the ideal spot for Shakespeare's enticing tale of mistaken identity, heartfelt romance, and the endearing fumbles and foibles of love.
Jessica Stone (Director, As You Like It) previously directed Barefoot in the Park, Ken Ludwig's Robin Hood!, Arms and the Man, and Vanya and Sonia and Masha and Spike at The Old Globe. Shehas worked as an actor on and Off Broadway and in television and film for the last 30 years. Her Broadway credits include Anything Goes, Butley, The Odd Couple, The Smell of the Kill, Design for Living, How to Succeed in Business Without Really Trying, and Grease. She has performed Off Broadway and in regional theatres across the country, including 10 seasons at Williamstown Theatre Festival. Her television credits include series-regular and guest-starring roles on CBS, NBC, ABC, and Hulu. Her film credits include work with Ang Lee, M. Night Shyamalan, and Kevin Bacon, among others. Ms. Stone's directing career began in earnest with her 2010 all-male production of A Funny Thing Happened on the Way to the Forum for Williamstown Theatre Festival. Her directing credits now include Dancing at Lughnasa, Absurd Person Singular,and A Funny Thing... (Two River Theater), Bad Dates, Ripcord, and Vanya and Sonia and Masha and Spike (Huntington Theatre Company), Bad Jews (George Street Playhouse), The 25th Annual Putnam County Spelling Bee (Bucks County Playhouse), Charlotte's Web (Theatreworks USA), and June Moon and Last of the Red Hot Lovers (Williamstown Theatre Festival). Her upcoming projects include Kate Hamill's Vanity Fair for Shakespeare Theatre Company and American Conservatory Theater. She currently lives in Brooklyn with her husband and two sons.
August 11 – September 15, 2019, with opening night on Saturday, August 17
Directed by Barry Edelstein
After his smash-hit Othello and record-breaking Hamlet, Barry Edelstein returns to the Shakespeare Festival to take on the greatest love story of all time. Verona's Montague and Capulet families have been feuding for ages, and whenever they meet, violence breaks out. But when Romeo glimpses Juliet across a crowded dance floor, something different happens. Can star-crossed love survive in a world of rivalry and rage? With a plot featuring a masqued ball, sleeping potions, and all-out brawling in the street, wrapped in a text full of soaring poetry, it's no wonder Romeo and Juliet has inspired countless adaptations, from ballets to movies to musicals like West Side Story. Young love has never been as dangerous or delightful as it is in Shakespeare's romantic masterpiece, brought to vivid life on our outdoor stage under the stars.
Barry Edelstein (Director, Romeo and Juliet) is a stage director, producer, author, and educator. He has directed nearly half of the Bard's plays. His Globe directing credits include The Winter's Tale, Othello, The Twenty-seventh Man, the world premiere of Rain, Picasso at the Lapin Agile, Hamlet, and the world premiere of The Wanderers. He also directed All's Well That Ends Well as the inaugural production of the Globe for All community tour. He will next direct The Tempest at the Los Angeles Philharmonic in November. As Director of the Shakespeare Initiative at The Public Theater (2008–2012), Mr. Edelstein oversaw all of the company's Shakespearean productions as well as its educational, community outreach, and artist-training programs. At The Public, he staged the world premiere of The Twenty-seventh Man, Julius Caesar, The Merchant of Venice, Timon of Athens, and Steve Martin's WASP and Other Plays.He was also Associate Producer of The Public's Broadway production of The Merchant of Venice starring Al Pacino. From 1998 to 2003 he was Artistic Director of Classic Stage Company. His book Thinking Shakespeare, which was rereleased in a second edition in June,is the standard text on American Shakespearean acting. He is also the author of Bardisms: Shakespeare for All Occasions. He is a graduate of Tufts University and the University of Oxford, where he studied as a Rhodes Scholar.
THE OLD GLOBE 2019 SUMMER SEASON
July 6 – August 11, 2019, with opening night on Saturday, July 13
World premiere musical
The Tale of Despereaux
Book, music, and lyrics by PigPen Theatre Co.
Based on the novel by Kate DiCamillo and the Universal Pictures animated film
Directed by Marc Bruni and PigPen Theatre Co.
The acclaimed PigPen Theatre Co. charmed and astonished Old Globe audiences with The Old Man and The Old Moon. Now they return to San Diego, bringing their one-of-a-kind theatrical and musical inventiveness to Kate DiCamillo's beloved, Newbery Medal–winning modern fable. Despereaux is a courageous mouse who dreams of becoming a knight. He sets off on a noble quest that will take him down into dungeons and up to the heights of a castle tower to rescue a beautiful human princess—but the dark-hearted rat Roscuro has other ideas. The Boston Herald proclaims, "PigPen Theatre Co. is already a phenomenon," while The New Yorker says, "It's like watching child geniuses at play!" Full of gorgeous music, stunning stage effects, witty performances, and a message of optimism and community, The Tale of Despereaux is an inspiring and beguiling story for all ages.
PigPen Theatre Co. (Book, Music, Lyrics, Co-Directors, The Tale of Despereaux)began creating their unique brand of theatre, music, and film as freshmen at Carnegie Mellon University's School of Drama in 2007. They have since produced their original plays in New York City and toured the country, earning them Critic's Picks from The New York Times, Time Out New York, Chicago Tribune, Chicago Sun-Times, The Boston Globe, and many more, and ranking them in the top 10 theatrical events of 2011, 2012, 2013, and 2016. They were the first group to win the New York International Fringe Festival's top honor for a play two years in a row (2010 and 2011), and they have since gone on to win IRNE (2012, 2015) and Joseph Jefferson Awards (2014) for their theatrical productions. In 2016, Sir Trevor Nunn invited PigPen to be a part of his first American acting company for a production of Shakespeare's Pericles. PigPen's debut album, Bremen, was named No. 10 album of the year in The Huffington Post's 2012 Grammy Awards preview, sending PigPen on tour playing to sold-out crowds across the country. American Songwriter premiered their follow-up EP, The Way I'm Running, in 2013 while the band was playing a series of concerts that became one of the most popular residencies of the past decade at the legendary Schubas Tavern in Chicago. In 2015, PigPen released their sophomore album, Whole Sun; performed at Mumford & Sons's return to the Gentlemen of the Road festival; and made their feature film debut in Jonathan Demme's Ricki and the Flash starring Meryl Streep. In 2018, PigPen announced that they are creating two stage musicals based on beloved novels: The Tale of Despereaux by Kate DiCamillo (in partnership with Universal Theatrical Group) and Water for Elephants by Sara Gruen (in collaboration with Rick Elice).
Marc Bruni (Co-Director, The Tale of Despereaux) is currently represented on Broadway and U.S. tour with the Tony, Olivier, and Grammy Award–winning Beautiful: The Carole King Musical. He won the Helpmann Award for Best Direction of a Musical for its Australian production, and the show has also played the West End, U.K. tour, and Japan. His other credits include Off Broadway's long-running Old Jews Telling Jokes (New York and Chicago; Joseph Jefferson Award nomination), Paint Your Wagon, Pipe Dream, Fanny, and Hey, Look Me Over! (City Center Encores!), Roman Holiday (Golden Gate Theatre), Trevor (Writers Theatre; Jeff Award nomination), The Explorers Club (Manhattan Theatre Club), How to Succeed in Business Without Really Trying (The Kennedy Center), The Sound of Music (Lyric Opera of Chicago), Other People's Money (Long Wharf Theatre; Connecticut Critics Circle Award nomination), Presto Change-O (Barrington Stage Company), and Ordinary Days (Roundabout Theatre Company). He has directed nine musicals for The Muny in St. Louis, most recently My Fair Lady and Singin' in the Rain, and has twice been nominated for Kevin Kline Awards. He also won the New York Musical Festival Award for his direction of Such Good Friends. He is a proud member of Stage Directors and Choreographers Society and a graduate of Dartmouth College.
July 27 – August 25, 2019, with opening night on Thursday, August 1
Adapted from Die Hose by Carl Sternheim
Legendary comedian and writer Steve Martin is back with a riotously funny farce. Newly married Louise is bored with her demanding and uptight bureaucrat husband. Then one day at the royal parade, she jumps up on a bench to see the king go by, and oops—wardrobe malfunction!—her bloomers come loose and fall down around her ankles. Her husband is frantic that her faux pas will cost him his job and reputation. But suddenly the room they've been trying to rent out has plenty of takers, and it just might have something to do with…the underpants. Steve Martin, who gave Globe audiences hits like Picasso at the Lapin Agile, Bright Star, and Meteor Shower, brings us a hilarious look at sudden fame and the crazy things people do when they're in the grip of romantic fever. The New York Times calls the play "laugh-out-loud funny!" and "an amalgam of comic book and social commentary made out of sex jokes, slamming doors, and sophisticated repartee."
Steve Martin (Playwright, The Underpants) is one of the most well-known talents in entertainment. His work has earned him an Academy Award, five Grammy Awards, an Emmy Award, the Mark Twain Prize, and the Kennedy Center Honor. Mr. Martin began his career on "The Smothers Brothers Comedy Hour" (1967–1969), for which he earned his first Emmy Award for Outstanding Writing Achievement in Comedy, Variety or Music in 1969. In the mid-1970s, he shone as a stand-up on "The Tonight Show Starring Johnny Carson" and NBC's "Saturday Night Live." His films are widely popular successes and are the kind of movies that are viewed again and again: The Jerk (1979), Planes, Trains & Automobiles (1987), Roxanne (1987), Parenthood (1989), L.A. Story (1991), Father of the Bride (1991), and Bowfinger (1999). Mr. Martin is also an accomplished Grammy Award–winning, boundary-pushing bluegrass banjoist and composer. In 2013, he released his third full-length album called Love Has Come For You, a unique collaboration with songwriter Edie Brickell. Love Has Come For You won a Grammy for Best American Roots Song for the title track and inspired their musical Bright Star, which had its world premiere at The Old Globe. Bright Star received five Tony Award nominations and received Outstanding New Broadway Musical and Outstanding New Score at the Outer Critics Circle Awards. Mr. Martin and Ms. Brickell's second album together, So Familiar, was released on Rounder Records and featured 12 remarkable songs that bought the acclaimed duo's musical collaboration into fresh creative territory. Steve Martin and the Steep Canyon Rangers released a second album together in 2017 titled The Long-Awaited Album. As an author, Mr. Martin's work includes the novel An Object of Beauty; the play Picasso at the Lapin Agile;a collection of comic pieces, Pure Drivel; a bestselling novella, Shopgirl; and his memoir, Born Standing Up. After making its world premiere at The Old Globe, his play Meteor Shower premiered on Broadway in 2017 in a production starring Emmy Award winner Amy Schumer, Keegan-Michael Key, Tony Award winner Laura Benanti, and Jeremy Shamos, directed by four-time Tony Award winner Jerry Zaks. Mr. Martin's 2018 Netflix special with Martin Short, An Evening You Will Forget for the Rest of Your Life, received four Emmy nominations. Mr. Martin and Mr. Short will announce additional tour dates in 2019 for their new comedy show, Now You See Them, Soon You Won't.


The Winholt NHPL-1836C Non-Insulated Heater / Proofer Cabinet features aluminum construction, forced air, dual proof / heat control, a lift-off clear door, removable control drawer and LED thermometer display. This mobile cabinet is full height and accommodates (35) 18-inch by 26-inch pans. Unit includes corner bumpers, (2) swivel plate casters and (2) swivel / brake plate casters with polyurethane tread. NEMA 5-15P, 14.0 amps, 1440 watts, 120v/60/1-ph, cETLus, NSF.


text:
package state;

import util.JavaLog;

public class NoJobState implements JobState{

	private Worker mWorker ;
	public NoJobState(Worker worker){
		this.mWorker = worker;
	}
	@Override
	public void interview() {
		JavaLog.d("Let's go interview");
	}

	@Override
	public void fire() {
		JavaLog.d("I have no job = =");
	}

	@Override
	public void hire() {
		JavaLog.d("Let's go to work");
		mWorker.setState(mWorker.getWorkingJobState());
	}

	@Override
	public void work() {
		JavaLog.d("I have no job to work");
	}

	@Override
	public void readBook() {
		JavaLog.d("Let's go read book");
	}

}

redpajama_set_name: RedPajamaGithub


text:
Current: The Future of Conservative Foreign Policy: Political Realities and Electoral Viability A Response from James Jay Carafano
The Future of Conservative Foreign Policy: Political Realities and Electoral Viability
A Response from James Jay Carafano
The first point I want to cover is the issue of millennial voters. I don't pretend to be an expert. But I think there are some rules that apply, not just to millennials, but rules that are really generation-proof, rules that reflect how all Americans practice their civil responsibilities. I think there are three of them. We should keep these in mind when we think about not just the best way to appeal to voters but how to govern to protect the freedom, prosperity, and security of all Americans. That said, it is also worth acknowledging perspectives that are unique to millennials, younger voters, and future voters. The hopes, dreams, aspirations, and interests of every generation make us who we are.
My second point addresses the larger issue. We need an American public that is resilient enough to sustain support for long-term competition, because structuring the United States to win long-term competition is the core of what is needed for future U.S. strategy.
A Generation Gap?
There is a real question whether millennials in their political views over the long term will really be that different than any other generation of voters. Here are three rules that I think apply to all generations.
Rule #1. Americans have always tended to address domestic and foreign policies differently. On domestic issues, they tend to align with politicians who align with their views. If a politician is advocating Obamacare, and voters like Obamacare, then they like the politician. In foreign policy, they tend to do the opposite. They trust the politicians they like and trust them to lead on foreign policy. The exception to this rule occurs during periods when voters sense an existential crisis, losing trust in the politicians and then voting with their gut: Who can pull us out of this mess? Good examples of this discontinuous voter behavior are the outbreak of the Korean War, the intense unrest from the civil rights movement and antiwar protests in 1968, and the backlash against the Iraq War and Hurricane Katrina response, when voters rejected the established order. These are the exceptions that make the rule.
The bottom line is that on matters of foreign policy, like every other generation, millennials are likely to vote for the leaders they trust, not necessarily the policy positions candidates take.
"Never confuse popularity with popular will."
Rule #2. Never confuse popularity with popular will. Popularity is how a voter feels about something at the moment. Popular will is the underlying willingness of the people to be governed. Popularity can change in a news cycle. Popular will is far more durable and matters much more in foreign policy issues. Because presidents have fixed four-year terms and enormous constitutional authorities in matters of foreign and defense policy, they don't have to fret about winning popularity contests all that much.
The Vietnam War is perhaps the best exemplar of this dynamic. The defeat in Vietnam is often portrayed as the American people abandoning the war after the Tet Offensive; the war had just become too unpopular. Yet, they elected a president who actually accelerated and expanded military operations. The United States didn't sign a peace treaty until 1973. We didn't abandon Vietnam until 1975. Arguably, if Nixon had not been impeached and was still president, he could and would have resisted congressional pressure to cut off aid to South Vietnam. The United States might still be in South Vietnam today. The point is that it was seven years from when Walter Cronkite said the war was lost, turning American public opinion against Vietnam, to the end of U.S. engagement. That's because many Americans might not have liked the war, but Americans were still willing to be governed by their elected officials, and their elected leaders kept fighting.
The United States is certainly capable of fighting long and unpopular wars, sustaining military presence overseas, and engaging in all kinds of other proactive foreign policy activities—even if they don't always poll well at home. Wilson and FDR knew this. They both ran for election promising to keep America out of the war. They both made those campaign promises knowing full well they would not be able to keep them. Neither fretted about going back on campaign promises when national interests dictated otherwise. FDR, of course, did have Pearl Harbor, which immediately swung public opinion. Americans who had overwhelmingly opposed U.S. entry into the war before the Japanese attack continued to support the war effort through years of conflict, privation, and sacrifice.
The lesson here is that once elected, officials can largely count on the willingness of the people to be governed when they shape their foreign and security policies. Those policies should be focused on national interests, not on what polls well at a particular moment with millennials or anyone else.
Rule #3. Americans are not Hobbesian. Thomas Hobbes, the 17th- century British political philosopher, postulated that human behavior was driven by ceaseless cravings. Since we are incapable of curbing our appetites, the only way to avoid endless war and competition is to turn control over to an authoritarian ruler to discipline us and enforce rules to govern us. Even fans of freedom wondered if Hobbes might not have had a point. In Democracy in America (1835), Alexis de Tocqueville had lots of nice things to say about the new nation and the idea of people governing themselves, but he wondered if a representative republic really could fight wars and deal with protracted security challenges without collapsing over internal squabbling over self-interests while the barbarians stormed the gates. Well over two hundred years of history, multiple wars, and incessant domestic policy debates have answered that question. Americans aren't Hobbesian. We have governed ourselves just fine for some time now, surviving even the sternest tests, including a national Civil War over slavery.
In practice, free societies can be more resilient. This is because Hobbes was wrong. Sure, humans have cravings—no people more than Americans. Some crave material goods. Others want homes, relief from student debt, safe spaces, and participation trophies. But humans also show capacity for self-restraint. We restrict our cravings when we sense they are self-destructive and not in our self- interest—that's why democracy works.
In this respect, I don't think millennials are any different. I imagine many would prefer using plastic straws, but they would vote to forswear them because they are convinced that plastic straws are bad for the environment. In the same way, generations ago, people started wearing seat belts and smoked and drank less because they concluded the harm outweighed the compulsion to give into the desire of continuing risky behaviors.
This human impulse, I think, extends to politics. In the end, voters of all ages will vote for what they perceive is in their best interest—not just vote for all the stuff they want.
Where millennials (and also even younger voters) may be unique is in perceiving crises that are "generational." That is, they recognize something as an existential threat, but other voting age groups do not. There is an argument to be made that climate change might be one of these. This is an issue worthy of addressing. The reality is, like the oceans filling with plastic, Americans are not really the problem here. The challenge is the behavior of other nations. So this really is a foreign policy issue, and if there is an effort to break the stranglehold of how millennials perceive this issue, there has to be a credible and efficacious agenda to show we are working on that.
The greater Middle East, as a contrasting example, is a less existential issue for millennials. There has been, on the other hand, a monumental shift in how Israel is perceived. That is, however, not just a generational issue. Israel is becoming a partisan issue in the United States in large part because the Left is increasingly willing to frame the bilateral relationship as a human rights challenge— and Israelis are not the good guys. This is another problem worth working on.
What these issues have in common is that they tend to blur the distinction between domestic and foreign policy. There is no question that millennials have a more globalist view of the world. Both human rights and climate change are examples. This breaks down the traditional paradigm of domestic versus foreign policy behavior in voters that I referenced earlier in my commentary. Younger "globalist" voters are tending to see these kinds of issues as domestic—something that affects their daily lives, not just something far away for politicians to worry about.
That is another reason not to be sanguine about how millennials and younger voters think about these issues: They may well carry this perspective with them as they age. They likely won't grow out of it. What is interesting about both these issues is that they were manufactured by the Left—not the issues themselves, but the belief that that the issues are existential challenges that require social justice responses. The Left may not be done. They will likely create more of these. One possibility is viewing the national debt as an existential threat, not in a fiscally conservative manner but as a social justice problem.
That said, I think conservatives can counter these concerns in the way they pitch such issues to millennials. It is not that conservatives need to change their foreign policy to accommodate millennials. As with any group that disagrees with you but that you want to bring over to your side, you have to start by acknowledging that their concerns are valid. Then make the case that there is a different and more efficacious way to address the problem than what the Left is offering. This may not win over many voters, but it will neutralize the issue.
Will for the Fight?
My second comment relates to Paul Lettow's larger point on strategy. I agree the focus should be on key regional competitions—Europe, the Greater Middle East, and the Indo-Pacific—and the goal is maintaining the U.S. core competitive advantages in security, prosperity, and liberty as we work to keep these regions relatively stable, well-governed, and economically free. This pairs with the second goal—protecting the freedom of the commons (space, cyber, seas, air). The United States has to have access to these regions to be able to protect our interests or to get somewhere to protect our interests. Satisfying these two vital concerns makes the third key interest—protecting the homeland—much easier.
Paul is right. The United States remains competitive by the prudent and judicious use of power—leaning forward, maintaining a forward presence—to demonstrate the resolve to protect our interests. But we must not waste power and become overly entangled, draining rather than enriching U.S. power.
Strategy has to be suitable, feasible, and acceptable. This gets to my second point. This strategy might be suitable and feasible, but it also has to be acceptable. To the point, for the strategy to work, Americans have to be willing to compete on the global stage for a long time.
For many conservatives, winning them over to this formula isn't that hard. You just have to prove that it will work over time. Nothing breeds confidence like the perception of success. If conservatives see America's power isn't waning, they will keep confidence in their leaders and trust them to manage our foreign policy. We already see this in President Trump's base. All he has to do to keep them is not start World War III or tank the economy.
The larger issue ties back to my point on millennials. Many in that generation don't see competition as a good thing. Their default preference is for cooperation. Their desire to cooperate not confront is echoed in other quarters, especially in the transatlantic community. This is very different than the situation during the Cold War, when Left and Right pushed and tugged, but not over the core strategic concept to view the Cold War as a competition.
That said, there is growing convergence among the policy elites— the pandering of progressive presidential candidates aside—that the United States is in for a long competitive fight. This fight will not be a replay of the Cold War, but it will be like the Cold War in that success will mean sustaining our competitive strengths and identity over a long-term competition (the core of Kennan's proposal in the Long Telegram).
For example, it is noteworthy that Presidents Bush, Obama, and Trump all had the same top bad guy list: Russia, China, Iran, North Korea, and terrorism. They had different ideas about dealing with them, but they agreed on the competitors. That is the most consistent threat perception among American political elites that we have seen since the end of the Cold War. I think it reflects a strategic consensus among elites that we haven't seen since the 1950s. That's something to build on. However, the foundation under it isn't fully formed.
On the one hand, there are many Americans who aren't up for competition. Some of them are opposed to the idea, some are afraid, some are lukewarm toward the idea of competing, and some are wedded to a more structuralist view of the world order. Here is where libertarians of the world fit in. On their own, I don't see them as a rising force in foreign policy. But I do see them making common cause with others who eschew the concept of competition. This coalition of the willing might prove not insignificant—especially if foreign affairs turn south or national elections bring progressives to power.
On the other hand, there are many willing to embrace competition, especially among conservatives. The problem here is the tendency of some of our friends to frame the world in Manichaean terms. That is, they have a black-and-white view of competition that may have been appropriate for the Cold War and the Global War on Terror but that is ill-suited to contemporary challenges. The world isn't black and white; we can't dump countries like Pakistan, Turkey, Qatar, and Saudi Arabia in the "for us" or "against us" camps.
In summary, what I feel I have added to the conversation here is to suggest that (1) we should not change the strategy to gain greater acceptability—that will make our strategy less suitable and less feasible; and (2) there is no single narrative that adequately addresses how to build sustainable acceptability for a long-term strategy. I'm not sure I would try. Rather, I would pursue different narrative paths that drive toward consensus over the next six years. That is certainly a worthwhile effort.


In other words, $7,800 in 1910 is equivalent in purchasing power to about $206,171.93 in 2018, a difference of $198,371.93 over 108 years.
This chart shows calculation of buying power equivalence, often referred to as "the value of a dollar" over time for $7,800 in 1910 (price index tracking began in 1635).
Inflation can also vary widely by country. For comparison, in the UK £7,800.00 in 1910 would be equivalent to £895,044.60 in 2018, an absolute change of £887,244.60 and a cumulative change of 11,374.93%.
Compare these numbers to the US's overall absolute change of $198,371.93 and total percent change of 2,543.23%.
$7,800 in 1910 has the same "purchasing power" or "buying power" as $206,171.93 in 2018.
To help put this inflation into perspective, if we had invested $7,800 in the S&P 500 index in 1910, our investment would be nominally worth approximately $173,393,089.73 in 2018. This is a return on investment of 2,222,888.33%, with an absolute return of $173,385,289.73.
The compounding effect of inflation would account for 96.22% of returns ($166,825,690.25) during this period. This means the inflation-adjusted real return of our $7,800 investment is $6,559,599.48.
You may use the following MLA citation for this page: "$7,800 in 1910 → 2018 | Inflation Calculator." U.S. Official Inflation Data, Alioth Finance, 20 Apr. 2019, https://www.officialdata.org/1910-dollars-in-2018?amount=7800.


text:
Adam Levine Is the Global Ambassador for YSL Beauty's New Y Eau de Parfum
By Meg Storm
Colin Tilley
We're about to be able to smell Adam Levine's scent for miles. Well, not in the literal sense. YSL Beauty just announced that it has tapped the Maroon 5 frontman to be the global ambassador for its new Y eau de parfum. And while the fragrance doesn't launch until August, we've got a sneak peek of the sexy campaign. Happy Friday, everyone!
Shot by director Colin Tilley, The Voice coach is all kinds of rock and roll cool in the first-look pic, where he sports a fitted black t-shirt showing off his tattoos, a cropped cut and facial hair against an ombre blue sky.
Kim Kardashian Teases KKW Body Fragrance With Sexy Nude Instagram Pics and a Sneak Peek at the Bottle
When it debuts this summer, Y eau de parfum will be the newest addition to the Y fam. The original scent, Y eau de toilette, is a boldly woody blend of bergamot, sage, ginger, cedar wood and balsam fir that launched in October 2017. Adam served as the face of the U.S. digital campaign for the scent last year, but he is back for the new launch on a global scale.
Happy National Fragrance Day! Celebrate With 9 Totally Fresh Spring Scents
"It's incredible to be expanding my role with YSL Beauty and to be able to reach out to a global audience via a brand which I've always loved for its standout style and innovation," he said in a statement. "Continuing the story of Y is important to me – it's easy to relate to the passion and strong sense of individuality that the house of YSL imparts, but importantly it also feels right for now, for the creative generation of today."
Celeb Maternity Swimsuits: Pregnant Stars in Chic Bikinis and One Pieces
While we aren't exactly sure how the new juice will differ from the OG, YSL Beauty shared that the newbie will be a "more intense rendition," and Adam will portray a man who is adventurously pursuing his dream but "still has questions to answer." The jury's out on what that means, but if this photo is any indication, we have a feeling the campaign will be making it harder and harder to breathe (sorry, we had to!) because the musician looks so good.


Thank goodness – we finally have a solution to all those muggings of four-year-olds. It really was becoming a problem.
The answer comes in the form of the hiply-named 1stFone (Get it? Becoz thts hw we txt) aimed at kids aged between four and nine sold as a bully-proof (yeah right), theft-proof phone that can't do anything beyond making and receiving calls.
If you ask us, it just feels like an attempt to turn a profit out of parent fears. And only adding strength to that argument is the price tag of £55 (around $85/AUS$85). Seriously guys? It has about as much functionality as a walkie-talkie.
We'll tell you what isn't so ridiculous - our awesome blips.


(Device Manager: IDE ATA/ATAPI controllers -> Primary/Secondary IDE Channel -> Advanced Settings tab -> Device 0/1, Transfer Mode pull-down menu, choosing "DMA if available".
windows refuses to enable DMA, stays in PIO mode.
BE VERY CAREFUL your OS drive isn't on the channel your'e uninstalling!!!
then scan for new hardware (Action -> Scan for hardware changes), and let windows redetect and reinstall the IDE channel and the devices on it.
usually after this operation selecting "DMA if available" enables DMA.
some members of the forum reported that it is possible to uninstall the IDE channel on which the OS drive is located without problems. after doing so windows asks for a reboot after which it redetects and reinstalls the IDE channel. i have'nt tried this myself (yet) though. so do it at you own risk.
Last edited by dodecahedron on Tue Jan 21, 2003 7:29 am, edited 5 times in total.
minchin wrote: First, set the device that keep stuck in PIO mode to PIO mode only. Reboot.
Then set the device again to Use UDMA if available. Reboot.... Wowlah! The hard drive is no in UDMA mode!
Each of these subkeys has a named valued called "DriverDesc" that will make it clear to you to which component they correspond. Open the subkey corresponding to the channel on which your troublesome drive is located. Then, if the troublesome drive is the master, delete the "MasterIdDataChecksum" named value. Or, if the troublesome drive is the slave, delete the "SlaveIdDataChecksum" named value.
Reboot. The OS will redetect the device DMA capabilities after reboot.
Note that for many older CD-ROM drives DMA can not be enabled in Windows 2000/XP, so be sure to check the capabilities of your particular drive if you continue to have problems.
Hello ! I tried everything you sais, and it still didn't work... But I finally found a solution, which is installing new drivers for the IDE channels.
I had the same problem but none of the tips here worked for me.
I have my cd-rw (dma33) and my dvd(dma66) on the secondary IDE.
When the settings for the secondary IDE channel in my BIOS are set to NONE/NONE, the OS will not enable DMA33/66 but forced it to MULTI-WORD DMA mode 2.
I changed the settings to AUTO/AUTO and voila!, XP enables DMA33 and DMA66.
I've had a Dell Dimension 8300 for about 3 years now and it came with the samsung DVD-Rom SD 616t. I added the Lacie (samsung) internal d2 DVD burner with lightscribe and both were working great for the past year. Recently I started developing choppy/stuttering playback but all other functions were fine.
Finally followed cfitz's directions for editing the registry and Presto, All Systems Go.
you guys aren't reading the FAQ Forum Guidelines.
the FAQs are for FAQs. not for asking questions, for help or commentary. such posts should be made in other forums (DVD Writers Forum for instance).
your posts will be deleted in a while (a week or so).
Just wanted to let you know, I experienced the same problem (IDE channel in PIO mode and not able to change it). After many times banging my head on the table finally a IDE/RAID driver update solved the problem. I have a MSI P096 Neo motherboard and downloaded the latest JMicron RAID Drivers from the MSI website. Hope this will help someone.
Driver updates and registry fixes are almost always the fix for this kind of issue. Otherwise you are going to have to consider disaster recovery software of some kind. I have had about four years of guess and check experience so I stand by my comments. For me it was always an issue of staying poorly organized. I would send you a copy, but for some reason I don't feel as safe using dvd burning codecs for software as I do for movies and shows.


text:
Page 1, 21 September 1839 — While congratulations on the suppression of Chartism have been freely
21 SEPTEMBER 1839, Page 1
While congratulations on the suppression of Chartism have been freely
indulged in, the Sheffield professors of that faith have given proof that their spirit is as yet unsubdued. Sheffield has been seriously disturbed by the proceedings of Chartists ; who have assembled in large numbers at night, abstaining generally from speech-making, but exhibiting arms, parading the streets, and re- sisting the military and police employed to disperse them. We are prepared for these outbreaks. Unless trade revive, the number of idle or only partially-employed operatives will be very great during the winter. The punishment of men regarded :as martyrs to Chartism irritates as much as terrifies their -followers. The con- tinuance of physical distress will render them reckless ; and as no means have been taken to remove the causes of discontent among the working classes, that discontent is sure to break forth in out- rages, which must be suppressed, and their authors punished ; and while affairs move in this vicious circle, additions are constantly made to the sources of mischief and alarm. The revival of Chartism, in a community noted for its general tranquillity, and after "examples" had been made in other places, is a symptom not to be disregarded. It is a practical illustration of the truth, that popular irritation, arising from substantial and palpable grievances, cannot be quelled by mere force of law.