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Bulli Bai app case: Three accused denied bail; court says their acts defamed…
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Economist Gita Gopinath appointed as IMF's first deputy managing director
hi IndiaNATIONAL
The International Monetary Fund on Thursday appointed its Indian-American Chief Economist Gita Gopinath as its first deputy managing director, the second-highest position at the global economic body.
Gopinath will take over from Geoffrey Okamoto on January 21, 2022.
The economist holds a United States citizenship and is an Overseas Citizen of India. She was appointed as the chief economist of the International Monetary Fund in October 2018.
She was the first woman chief economist in the history of the global economic body.
Gopinath received her PhD in economics from Princeton University in 2001 after earning her bachelor's degree from the University of Delhi. She earned a master's degree from the Delhi School of Economics and the University of Washington.
The economist joined the University of Chicago in 2001 before moving to Harvard University in 2005.
"I believe that Gita – universally recognized as one of the world's leading macroeconomists – has precisely the expertise that we need for the FDMD [first deputy managing director] role at this point," International Monetary Fund Managing Director Kristalina Georgieva said in a release issued late on Thursday.
Georgieva expressed gratitude for Gopinath's decision to stay at the global organisation, as she was scheduled to return to her academic position at Harvard University in January next year.
In a statement, Gopinath…
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text:
Q: Labeling in QGIS: what does the priority bar under "position" when you label a layer in QGIS, under the tab "position" at the very bottom, you can set the priority from low to high.

I can't find in the documentation what it does. What is beeing prioritized?
Sorry if it is in the docs, but I don't find it.

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text:
The Judgment of Paris Forum > 2005-2012 > 2005: July - December
Tristan & Isolde (2006)
23rd October 2005 #1
Join Date: July 2005
I remember there were a number of posts about the movie Troy on this forum before it debuted, citing it as an example of a film that would have been perfect for a Classically-proportioned actress.
I've found another one that falls into this category -- although, like Troy, I do have some hope that this will be a faithfully historical motion picture, and will avoid modern politicizing and feminist revisionism.
It's called Tristan & Isolde, and it's set for release in 2006.
Here's the official trailer for the film:
The film looks like it will be very atmospheric and true to the Northern European spirit of the source material.
Interestingly, the music will not be by Wagner. I adore Wagner's score, but it probably would have been difficult to compress into a feature-length film. I believe the plot will also diverge somewhat from Wagner's.
Perhaps the most uncanny thing about the film is that the actress who plays Isolde, Sophia Myles, is remarkably similar to Kelsey Olson (who is probably everyone's dream image of what an Isolde should look like):
A British actress, Sophia has lovely round facial features, a little like Kate Winslet's, and was an infinitely better better choice than any Hollywood waif with a radioactive tan would have been. But still, Kelsey or a fair-haired Christina Schmidt would have been more visually-appropriate Isoldes, for the time period.
Here is another image of Sophia. I am cautiously optimistic about this film.
[Images posted courtesy of sophiamyles.org--HSG]
Last edited by HSG : 26th November 2011 at 01:23. Reason: URL updatd
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24th October 2005 #2
Re: Tristan & Isolde (2006)
Indeed, let us hope that this movie will be a pleasant surprise, and will join the short list of period of films that actually manage to eschew the values of the present day, and immerse themselves in the environments of older--and nobler--cultures.
The presence of director Kevin Reynolds bodes well for the film. With his thematically faithful adaptation of The Count of Monte Cristo several years ago, Reynolds demonstrated that he can convincingly evoke the spirit of a different age. And let's not forget that, in many ways, his Robin Hood: Prince of Thieves (1991), which predated both Bravehart and The Last of the Mohicans, set the tone for every successful Hollywood period film that has followed: naturalistic, shot on location, but with sophisticated contemporary camera work.
A Tristan and Isolde film is extremely welcome because, alone among the principal Wagner operas (except for The Flying Dutchman), there is no historically-faithful production of the work currently on video. All of Wagner's other major operas (Dutchman aside) are available in faithful interpretations, performed by The Metropolitan Opera, under the direction of James Levine. But the Met's Tristan production is modernist rubbish, so this film will immediately become the definitive video document of the legend.
And what a brilliant move on the director's part to shoot the film in Ireland. The landscapes and skies in the trailer are indeed breathtaking, and immediately transport the viewer to a realm of myth and legend. As anyone who has lived in (or toured) Europe can attest, there is a certain quality about the perpetually-overcast Northern skies, with the sunlight breaking through in shafts of glowing white gold, that cannot be experienced anywhere else in the world (no, not even in New Zealand).
Incidentally, that Irish coastline would provide an ideal backdrop for a plus-size model photo shoot--especially in the historically-inspired fashions that are rightly so popular today . . .
The epic beauty of Irish goddess Charlotte Coyle (who would require no love potion to capture the heart of any living Tristan):
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M. Lopez
Join Date: August 2005
I just wanted to let everyone who is interested in this film know that the movie now has an official Web site, along with a complete trailer:
http://www.tristanandisoldemovie.com/
It looks quite authentic as a period piece, and although Sophia Myles is a very slim Isolde, the timeless beauty of her facial features is indisputable. Emily is right - she reminds me very much of the beautiful Kelsey Olson, or Kate Winslet in her younger years.
Oh, and be sure to select the "Large" version of the trailer, which is still quite small. The others versions are too tiny to see properly.
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All indications are that this film could be magnificent; although, with a January release date, the lack of publicity that it has generated is worrying. Perhaps after flops such as Alexander the Great and Kingdom of Heaven, Hollywood fails to appreciate public enthusiasm for period films (whereas the failure of those movies is due not to their historicity, but to the filmmakers' decision to impose modern political sensibilities on timeless stories, rather than acknowledging the radically different value-systems that existed in bygone eras).
The only distracting element in the Tristan & Isolde trailer is the contemporary background music (which is hopefully restricted to this promo, and will not be present in the actual movie). The film itself is being scored by a standard, prolific Hollywood tunesmith, and although one can understand the desire not to use a cut-and-paste version of Wagner's music, it's a shame that the producers failed to employ composers who have proven their ability to create surging orchestral soundtracks for period films, as Howard Shore did in Lord of the Rings, or as James Horner did in the flawless Braveheart.
Then again, Wagner can be successfully integrated into a film score; e.g., John Boorman's flawed but atmospheric Excalibur (1981), which is easily the best screen treatment of the Arthurian sagas, and features musical passages from many Wagnerian operas.
Incidentally, anyone who ever has the opportunity to visit the legendary Neuschwanstein castle in Bavaria will witness an unforgettable tribute to Tristan & Isolde in the king's Neo-Gothic bedroom:
The walls of the bedroom are adorned with paintings by A. Spiess, depicting moments from the Tristan & Isolde saga, including this sensual interpretation of their moonlight rendezvous:
And just for good measure, here is another wonderful painting of a moment in the story, the title of which explains the scene: "They Fought for the Love of One Lady, and Ever She Lay on the Walls and Beheld Them," by Sir William Russell Flint (1880-1969):
There is something utterly irresistible about the notion of the fair Isolde reposing indolently on a castle wall, taking pleasure in the sight of two knights locked in mortal combat for her favour. Nothing less would be her due, as a legendary beauty.
We eagerly look forward to this cinematic interpretation of one of the most venerable love stories in Western culture.
- Click here for the finest of all Tristan & Isolde recordings . . .

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Why not use the major version number?
Why not use a four part version number?
Why not use a date-based versioning scheme?
Why isn't PEP 384 enough?
Why no binary compatible additions to the C ABI in standard library releases?
Why not separate out the standard library entirely?
With the acceptance of PEP 453 meaning that pip will be available to most new Python users by default, this will hopefully reduce the pressure to add new modules to the standard library before they are sufficiently mature.
The last couple of years have also seen increased usage of the model where a standard library package also has an equivalent available from the Python Package Index that also supports older versions of Python.
Given these two developments and the level of engagement throughout the Python 3.4 release cycle, the PEP author no longer feels it would be appropriate to make such a fundamental change to the standard library development process.
This PEP proposes the adoption of a separate versioning scheme for the standard library (distinct from, but coupled to, the existing language versioning scheme) that allows accelerated releases of the Python standard library, while maintaining (or even slowing down) the current rate of change in the core language definition.
Like PEP 407, it aims to adjust the current balance between measured change that allows the broader community time to adapt and being able to keep pace with external influences that evolve more rapidly than the current release cycle can handle (this problem is particularly notable for standard library elements that relate to web technologies).
However, it's more conservative in its aims than PEP 407, seeking to restrict the increased pace of development to builtin and standard library interfaces, without affecting the rate of change for other elements such as the language syntax and version numbering as well as the CPython binary API and bytecode format.
I agree with the PEP 407 authors that the current release cycle of the standard library is too slow to effectively cope with the pace of change in some key programming areas (specifically, web protocols and related technologies, including databases, templating and serialisation formats).
However, I have written this competing PEP because I believe that the approach proposed in PEP 407 of offering full, potentially binary incompatible releases of CPython every 6 months places too great a burden on the wider Python ecosystem.
Under the current CPython release cycle, distributors of key binary extensions will often support Python releases even after the CPython branches enter "security fix only" mode (for example, Twisted currently ships binaries for 2.5, 2.6 and 2.7, NumPy and SciPy support those 3 along with 3.1 and 3.2, PyGame adds a 2.4 binary release, wxPython provides both 32-bit and 64-bit binaries for 2.6 and 2.7, etc).
If CPython were to triple (or more) its rate of releases, the developers of those libraries (many of which are even more resource starved than CPython) would face an unpalatable choice: either adopt the faster release cycle themselves (up to 18 simultaneous binary releases for PyGame!), drop older Python versions more quickly, or else tell their users to stick to the CPython LTS releases (thus defeating the entire point of speeding up the CPython release cycle in the first place).
Similarly, many support tools for Python (e.g. syntax highlighters) can take quite some time to catch up with language level changes.
At a cultural level, the Python community is also accustomed to a certain meaning for Python version numbers - they're linked to deprecation periods, support periods, all sorts of things. PEP 407 proposes that collective knowledge all be swept aside, without offering a compelling rationale for why such a course of action is actually necessary (aside from, perhaps, making the lives of the CPython core developers a little easier at the expense of everyone else).
However, if we go back to the primary rationale for increasing the pace of change (i.e. more timely support for web protocols and related technologies), we can note that those only require standard library changes. That means many (perhaps even most) of the negative effects on the wider community can be avoided by explicitly limiting which parts of CPython are affected by the new release cycle, and allowing other parts to evolve at their current, more sedate, pace.
Under this scheme, an unqualified version reference (such as "3.3") would always refer to the most recent corresponding language or maintenance release. It will never be used without qualification to refer to a standard library release (at least, not by python-dev - obviously, we can only set an example, not force the rest of the Python ecosystem to go along with it).
Maintenance releases will also continue as they do today, being strictly limited to bug fixes for the corresponding language release. No new features or radical internal changes are permitted.
Standard library version identifiers are constructed by combining the major and minor version numbers for the Python language release into a single two digit number and then appending a sequential standard library version identifier.
Again, the standard library release would be binary compatible with the previous language release, merely offering additional features at the Python level.
For maintenance releases the process of handling out-of-cycle releases (for example, to fix a security issue or resolve a critical bug in a new release), remains the same as it is now: the minor version number is incremented and a new release is made incorporating the required bug fixes, as well as any other bug fixes that have been committed since the previous release.
For standard library releases, the process is essentially the same, but the corresponding "What's New?" document may require some tidying up for the release (as the standard library release may incorporate new features, not just bug fixes).
The versioning scheme proposed above is based on a number of user scenarios that are likely to be encountered if this scheme is adopted. In each case, the scenario is described for both the status quo (i.e. slow release cycle) the versioning scheme in this PEP and the free wheeling minor version number scheme proposed in PEP 407.
To give away the ending, the point of using a separate version number is that for almost all scenarios, the important number is the language version, not the standard library version. Most users won't even need to care that the standard library version number exists. In the two identified cases where it matters, providing it as a separate number is actually clearer and more explicit than embedding the two different kinds of number into a single sequence and then tagging some of the numbers in the unified sequence as special.
This PEP: must choose between 3.3 (33.1), 3.3 and 2.7.
PEP 407: must choose between 3.4, 3.3 (LTS) and 2.7.
Verdict: explaining the meaning of a Long Term Support release is about as complicated as explaining the meaning of the proposed standard library release version numbers. I call this a tie.
This PEP: same as status quo for language core, standard library version numbers indicate 6 months of standard library evolution.
PEP 407: minor version differences indicate 18-24 months of language evolution up to 3.3, then 6 months of language evolution thereafter.
Verdict: Since language changes and deprecations can have a much bigger effect on the accuracy of third party documentation than the addition of new features to the standard library, I'm calling this a win for the scheme in this PEP.
Status quo: look for the binary corresponding to the Python version you are running.
This PEP: same as status quo.
PEP 407 (full releases): same as status quo, but corresponding binary version is more likely to be missing (or, if it does exist, has to be found amongst a much larger list of alternatives).
PEP 407 (ABI updates limited to LTS releases): all binary release pages will need to tell users that Python 3.3, 3.4 and 3.5 all need the 3.3 binary.
Verdict: I call this a clear win for the scheme in this PEP. Absolutely nothing changes from the current situation, since the standard library version is actually irrelevant in this case (only binary extension compatibility is important).
Status quo: unless using the PEP 384 stable ABI, a new binary release is needed every time the minor version number changes.
PEP 407 (full releases): same as status quo, but becomes a far more frequent occurrence.
PEP 407 (ABI updates limited to LTS releases): before deciding, must first look up whether the new release is an LTS release or an interim release. If it is an LTS release, then a new build is necessary.
Verdict: I call this another clear win for the scheme in this PEP. As with the end user facing side of this problem, the standard library version is actually irrelevant in this case. Moving that information out to a separate number avoids creating unnecessary confusion.
Status quo: code that triggers deprecation warnings is not guaranteed to run on a version of Python with a higher minor version number.
PEP 407: unclear, as the PEP doesn't currently spell this out. Assuming the deprecation cycle is linked to LTS releases, then upgrading to a non-LTS release is safe but upgrading to the next LTS release may require avoiding the deprecated construct.
Verdict: another clear win for the scheme in this PEP since, once again, the standard library version is irrelevant in this scenario.
Status quo: new Python versions arrive infrequently, but are a mish-mash of standard library updates and core language definition and interpreter changes.
This PEP: standard library updates, which are easier to integrate, are made available more frequently in a form that is clearly and explicitly compatible with the previous version of the language definition. This means that, once an alternative implementation catches up to Python 3.3, they should have a much easier time incorporating standard library features as they happen (especially pure Python changes), leaving minor version number updates as the only task that requires updates to their core compilation and execution components.
PEP 407 (language updates limited to LTS releases): unclear, as the PEP doesn't currently spell out a specific development strategy. Assuming a 3.3 compatibility branch is adopted (as proposed in this PEP), then the outcome would be much the same, but the version number signalling would be slightly less clear (since you would have to check to see if a particular release was an LTS release or not).
Verdict: while not as clear cut as some previous scenarios, I'm still calling this one in favour of the scheme in this PEP. Explicit is better than implicit, and the scheme in this PEP makes a clear split between the two different kinds of update rather than adding a separate "LTS" tag to an otherwise ordinary release number. Tagging a particular version as being special is great for communicating with version control systems and associated automated tools, but it's a lousy way to communicate information to other humans.
This PEP: look for "version added" or "version changed" markers in the documentation. If written as a bare Python version, such as "3.3", check against sys.version_info. If qualified with a standard library version, such as "3.3 (33.1)", check against sys.stdlib_info.
Verdict: the scheme in this PEP actually allows third party libraries to be more explicit about their rate of adoption of standard library features. More conservative projects will likely pin their dependency to the language version and avoid features added in the standard library releases. Faster moving projects could instead declare their dependency on a particular standard library version. However, since PEP 407 does have the advantage of preserving the status quo, I'm calling this one for PEP 407 (albeit with a slim margin).
Status quo: if not already provided, ask the reporter which version of Python they're using. This is often done by asking for the first two lines displayed by the interactive prompt or the value of sys.version.
This PEP: same as the status quo (as sys.version will be updated to also include the standard library version), but may be needed on additional occasions (where the user knew enough to state their Python version, but that proved to be insufficient to reproduce the fault).
Verdict: another marginal win for PEP 407. The new standard library version is an extra piece of information that users may need to pass back to developers when reporting issues with Python libraries (or Python itself, on our own tracker). However, by including it in sys.version, many fault reports will already include it, and it is easy to request if needed.
Status quo: create a new maintenance release incorporating the security fix and any other bug fixes under source control. Also create source releases for any branches open solely for security fixes.
This PEP: same as the status quo for maintenance branches. Also create a new standard library release (potentially incorporating new features along with the security fix). For security branches, create source releases for both the former maintenance branch and the standard library update branch.
PEP 407: same as the status quo for maintenance and security branches, but handling security fixes for non-LTS releases is currently an open question.
Verdict: until PEP 407 is updated to actually address this scenario, a clear win for this PEP.
Similar to PEP 407, this PEP will break up the delivery of new features into more discrete chunks. Instead of a whole raft of changes landing all at once in a language release, each language release will be limited to 6 months worth of standard library changes, as well as any changes associated with new syntax.
When working on a new feature, developers will need to decide whether or not it is an acceptable change for a standard library release. If so, then it should be checked in on 3.3-compat and then merged to default. Otherwise it should be checked in directly to default.
The "version added" and "version changed" markers for any changes made on the 3.3-compat branch would need to be flagged with both the language version and the standard library version. For example: "3.3 (33.1)".
Any changes made directly on the default branch would just be flagged with "3.4" as usual.
The 3.3-compat branch would be closed to normal development at the same time as the 3.3 maintenance branch. The 3.3-compat branch would remain open for security fixes for the same period of time as the 3.3 maintenance branch.
The effect on the bug fix workflow is essentially the same as that on the workflow for new features - there is one additional branch to pass through before the change reaches the default branch.
If critical bugs are found in a maintenance release, then new maintenance and standard library releases will be created to resolve the problem. The final part of the version number will be incremented for both the language version and the standard library version.
If critical bugs are found in a standard library release that do not affect the associated maintenance release, then only a new standard library release will be created and only the standard library's version number will be incremented.
Note that in these circumstances, the standard library release may include additional features, rather than just containing the bug fix. It is assumed that anyone that cares about receiving only bug fixes without any new features mixed in will already be relying strictly on the maintenance releases rather than using the new standard library releases.
I believe this statement is just plain wrong. Life isn't that simple. Instead, developers of third party modules and frameworks will come under pressure to support the full pace of the new release cycle with binary updates, teachers and book authors will receive complaints that they're only covering an "old" version of Python ("You're only using 3.3, the latest is 3.5!"), etc.
As the minor version number starts climbing 3 times faster than it has in the past, I believe perceptions of language stability would also fall (whether such opinions were justified or not).
I believe isolating the increased pace of change to the standard library, and clearly delineating it with a separate version number will greatly reassure the rest of the community that no, we're not suddenly asking them to triple their own rate of development. Instead, we're merely going to ship standard library updates for the next language release in 6-monthly installments rather than delaying them all until the next language definition update, even those changes that are backwards compatible with the previously released version of Python.
People who want to contribute new features or improvements would be more motivated to do so, knowing that their contributions will be more quickly available to normal users.
If the faster release cycle encourages more people to focus on contributing to the standard library rather than proposing changes to the language definition, I don't see that as a bad thing.
What's New in Python 3.3?
What's New in the Python Standard Library 33.1?
What's New in the Python Standard Library 33.2?
What's New in the Python Standard Library 33.3?
What's New in Python 3.4?
For the benefit of users that ignore standard library releases, the 3.4 What's New would link back to the What's New documents for each of the standard library releases in the 3.3 series.
Merge conflicts on the NEWS file are already a hassle. Since this PEP proposes introduction of an additional branch into the normal workflow, resolving this becomes even more critical. While Mercurial phases may help to some degree, it would be good to eliminate the problem entirely.
One suggestion from Barry Warsaw is to adopt a non-conflicting separate-files-per-change approach, similar to that used by Twisted .
Putting the version information in the directory hierarchy isn't strictly necessary (since the NEWS file generator could figure out from the version history), but does make it easier for humans to keep the different versions in order.
The current release cycle is a compromise between the desire for stability in the core language definition and C extension ABI, and the desire to get new features (most notably standard library updates) into user's hands more quickly.
With the standard library release cycle decoupled (to some degree) from that of the core language definition, it provides an opportunity to actually slow down the rate of change in the language definition. The language moratorium for Python 3.2 effectively slowed that cycle down to more than 3 years (3.1: June 2009, 3.3: August 2012) without causing any major problems or complaints.
The NEWS file management scheme described above is actually designed to allow us the flexibility to slow down language releases at the same time as standard library releases become more frequent.
The elegance of the proposed branch structure and NEWS entry layout is that this decision wouldn't really need to be made until shortly before the planned 3.4 release date. At that point, the decision could be made to postpone the 3.4 release and keep the 3.3 and 3.3-compat branches open after the 3.3.3 maintenance release and the 3.3 (33.3) standard library release, thus adding another standard library release to the cycle. The choice between another standard library release or a full language release would then be available every 6 months after that.
As noted in the previous section, one benefit of the scheme proposed in this PEP is that it largely decouples the language release cycle from the standard library release cycle. The standard library could be updated every 3 months, or even once a month, without having any flow on effects on the language version numbering or the perceived stability of the core language.
While that pace of development isn't practical as long as the binary installer creation for Windows and Mac OS X involves several manual steps (including manual testing) and for as long as we don't have separate "<branch>-release" trees that only receive versions that have been marked as good by the stable buildbots, it's still a useful criterion to keep in mind when considering proposed new versioning schemes: what if we eventually want to make standard library releases even faster than every 6 months?
If the practical issues were ever resolved, then the separate standard library versioning scheme in this PEP could handle it. The tagged version number approach proposed in PEP 407 could not (at least, not without a lot of user confusion and uncertainty).
The simplest and most logical solution would actually be to map the major.minor.micro version numbers to the language version, stdlib version and maintenance release version respectively.
However, the ongoing pain of the Python 2 -> Python 3 transition (and associated workarounds like the python3 and python2 symlinks to refer directly to the desired release series) means that this simple option isn't viable for historical reasons.
However, this scheme isn't viable due to backwards compatibility constraints on the sys.version_info structure.
Change the release version number to the date of the current month.
Update the What's New, NEWS and documentation to refer to the new release number.
With the sequential scheme now proposed, such releases should at most require a little tidying up of the What's New document before making the release.
PEP 384 introduced the notion of a "Stable ABI" for CPython, a limited subset of the full C ABI that is guaranteed to remain stable. Extensions built against the stable ABI should be able to support all subsequent Python versions with the same binary.
This will help new projects to avoid coupling their C extension modules too closely to a specific version of CPython. For existing modules, however, migrating to the stable ABI can involve quite a lot of work (especially for extension modules that define a lot of classes). With limited development resources available, any time spent on such a change is time that could otherwise have been spent working on features that offer more direct benefits to end users.
There are also other benefits to separate versioning (as described above) that are not directly related to the question of binary compatibility with third party C extensions.
There's a case to be made that additions to the CPython C ABI could reasonably be permitted in standard library releases. This would give C extension authors the same freedom as any other package or module author to depend either on a particular language version or on a standard library version.
The PEP currently associates the interpreter version with the language version, and therefore limits major interpreter changes (including C ABI additions) to the language releases.
An alternative, internally consistent, approach would be to link the interpreter version with the standard library version, with only changes that may affect backwards compatibility limited to language releases.
While such an approach could probably be made to work, there does not appear to be a compelling justification for it, and the approach currently described in the PEP is simpler and easier to explain.
A concept that is occasionally discussed is the idea of making the standard library truly independent from the CPython reference implementation.
My personal opinion is that actually making such a change would involve a lot of work for next to no pay-off. CPython without the standard library is useless (the build chain won't even run, let alone the test suite). You also can't create a standalone pure Python standard library either, because too many "standard library modules" are actually tightly linked in to the internal details of their respective interpreters (for example, the builtins, weakref, gc, sys, inspect, ast).
Creating a separate CPython development branch that is kept compatible with the previous language release, and making releases from that branch that are identified with a separate standard library version number should provide most of the benefits of a separate standard library repository with only a fraction of the pain.
Thanks go to the PEP 407 authors for starting this discussion, as well as to those authors and Larry Hastings for initial discussions of the proposal made in this PEP.


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text:
MADISON SQUARE GARDEN ENTMT CORP
Symbol MSGE
Madison Square Garden Entertainment Corp. Provides Update on Potential Spin-Off Transaction
Company Now Exploring Spin-off of Live Entertainment Business from MSG Sphere, MSG Networks and Tao Group Hospitality Businesses
NEW YORK -- (Business Wire)
Madison Square Garden Entertainment Corp. (NYSE: MSGE) ("MSG Entertainment") today announced that its board of directors has approved a revised plan for the proposed separation of the Company's businesses. The Company is now exploring a potential spin-off of its traditional live entertainment business, which includes a diverse collection of performance venues, entertainment and sports bookings and the Christmas Spectacular production. The proposed transaction would separate this business from the Company's MSG Sphere, MSG Networks and Tao Group Hospitality businesses.
The Company had previously been exploring a potential spin-off of the traditional live entertainment and MSG Networks businesses from the MSG Sphere and Tao Group Hospitality businesses. However, after thorough evaluation, the Company believes the revised plan is optimal for maximizing shareholder value, while providing both companies with enhanced strategic and financial flexibility to drive long-term growth.
The revised transaction would be structured as a tax-free spin-off to all MSGE shareholders. In the first step of the transaction, record holders of MSGE Class A and Class B common stock would receive a pro-rata distribution expected to be equivalent, in aggregate, to an approximately two-thirds economic interest in the live entertainment company, which would take on the name Madison Square Garden Entertainment Corp. The remaining approximately one-third economic interest in the live entertainment company would be retained by the current parent company, which would be renamed MSG Sphere Corp. Those retained shares would then be available for use in a tax-free exchange offer for the common stock of MSG Sphere Corp., to raise capital for general corporate purposes, and/or for use in a follow-on pro-rata spin-off to shareholders of MSG Sphere Corp.
Executive Chairman and CEO James L. Dolan said "We believe the revised spin-off structure best positions these two companies for long-term success. One would be a pure-play live entertainment company driven by the strong financial profile of our iconic venues and the Christmas Spectacular production. The second company, comprised of MSG Sphere, MSG Networks and Tao Group Hospitality, would have enhanced flexibility to execute its business strategy and pursue global growth opportunities."
The live entertainment company is expected to include:
A diverse collection of venues: Madison Square Garden, Hulu Theater at Madison Square Garden, Radio City Music Hall, the Beacon Theatre and The Chicago Theatre;
The Company's entertainment and sports bookings business, which showcases a broad array of compelling concerts, family shows and special events, as well as a diverse mix of sporting events, for millions of guests annually;
The Radio City Rockettes and the Christmas Spectacular production, which has been a holiday tradition for 89 years; and
Valuable long-term Arena License Agreements with the New York Knicks and New York Rangers, both of which play their home games exclusively at Madison Square Garden.
After the proposed spin-off, MSG Sphere Corp. is expected to include:
MSG Sphere – state-of-the-art venues that will combine cutting-edge technology with multi-sensory storytelling to deliver immersive experiences on an unparalleled scale. The first MSG Sphere is currently under construction in Las Vegas and expected to open in the second half of calendar 2023;
MSG Networks, which owns two regional sports and entertainment networks, MSG Network and MSG Sportsnet (formerly MSG+), as well as a companion streaming service, MSG GO, and features exclusive live local games of 5 NBA and NHL sports franchises;
Majority interest in Tao Group Hospitality, a global entertainment dining and nightlife provider, with over 70 branded locations in more than 20 markets across 4 continents; and
An approximately one-third economic interest in the live entertainment company.
Completion of the transaction would be subject to various conditions, including effectiveness of the Form 10 Registration Statement, certain league and other approvals, receipt of a tax opinion from counsel and final Board approval.
A registration statement on Form 10 relating to the proposed spin-off of MSG Entertainment's traditional live entertainment business is expected to be filed with the SEC. Securities of MSG Entertainment's traditional live entertainment business may not be sold, nor may offers to buy be accepted, prior to the time the Form 10 is filed and becomes effective. This release shall not constitute an offer to sell or the solicitation of an offer to buy, nor shall there be any sale of the securities of MSG Entertainment's traditional live entertainment business in any state or jurisdiction in which such offer, solicitation, or sale would be unlawful prior to registration or qualification under the securities laws of any such state or jurisdiction.
About Madison Square Garden Entertainment Corp.
Madison Square Garden Entertainment Corp. (MSG Entertainment) is a leader in live entertainment. The Company presents or hosts a broad array of events in its diverse collection of venues: New York's Madison Square Garden, Hulu Theater at Madison Square Garden, Radio City Music Hall and Beacon Theatre; and The Chicago Theatre. MSG Entertainment is also building a new state-of-the-art venue in Las Vegas, MSG Sphere at The Venetian. In addition, the Company features the original production – the Christmas Spectacular Starringthe Radio City Rockettes – and the Company's two regional sports and entertainment networks, MSG Network and MSG Sportsnet, deliver a wide range of live sports content and other programming. Also under the MSG Entertainment umbrella is Tao Group Hospitality, with entertainment dining and nightlife brands including: Tao, Hakkasan, Omnia, Marquee, Lavo, Beauty & Essex and Cathédrale. More information is available at www.msgentertainment.com.
This press release may contain statements that constitute forward-looking statements within the meaning of the Private Securities Litigation Reform Act of 1995. Investors are cautioned that any such forward-looking statements are not guarantees of future performance or results and involve risks and uncertainties, and that actual results, developments or events may differ materially from those in the forward-looking statements as a result of various factors, including financial community perceptions of the Company and its business, operations, financial condition and the industries in which it operates, the impact of the COVID-19 pandemic and the factors described in the Company's filings with the Securities and Exchange Commission, including the sections titled "Risk Factors" and "Management's Discussion and Analysis of Financial Condition and Results of Operations" contained therein. The Company disclaims any obligation to update any forward-looking statements contained herein.
Ari Danes, CFA
Senior Vice President, Investor Relations, Financial Communications & Treasury
Madison Square Garden Entertainment Corp.
Justin Blaber
Vice President, Financial Communications
Grace Kaminer
Senior Director, Investor Relations & Treasury
Source: Madison Square Garden Entertainment Corp.


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US breaks daily record for coronavirus cases with nearly 84,000 new infections
24 October, 2020, 09:15 am
Last modified: 24 October, 2020, 09:21 am
US suspends 44 US flights by Chinese carriers after China action
US and Russia agree to keep talking after meeting on Ukraine
US opposes plans to strengthen World Health Organization
75% of Covid-19 patients in Chattogram infected by Omicron
Now, hospitalisations are over 41,000 and deaths average nearly 800 per day
Workers prepare to load a deceased person into a trailer outside of Brooklyn Hospital Center during the coronavirus disease (Covid-19) outbreak in the Brooklyn borough of New York City, New York, US, March 30, 2020/ Reuters
The United States broke its daily record for new coronavirus infections on Friday as it reported at least 83,948 new cases due to outbreaks in virtually every part of the country, according to a Reuters tally.
The spike in cases comes less than two weeks before the presidential election on Nov. 3 and is hitting battleground states such as Ohio, Michigan, North Carolina, Pennsylvania and Wisconsin. On Thursday, the United States reported a near-record 76,195 new cases.
The previous record was 77,299 new cases on July 16. At the time, hospitalizations for Covid-19 patients hit 47,000 and two weeks later deaths rose to an average of 1,200 per day.
Now, hospitalisations are over 41,000 and deaths average nearly 800 per day.
Health experts have not pinpointed the reason for the rise but have long warned that colder temperatures driving people inside, fatigue with Covid-19 precautions and students returning to schools and colleges, could promote the spread of the virus.
The United States has the most cases in the world at 8.5 million and the most fatalities with 224,000 lives lost. The United States has reported over the past week an average of 60,000 new cases per day, the highest seven-day average since early August.
The Midwest has been the epicenter of the latest surge but infections are rising nationwide.
The Northeast reported an 83% increase in cases in the past month. New cases have doubled in Connecticut, New Hampshire, Rhode Island and New Jersey in the past four weeks as compared to the prior four weeks, according to a Reuters analysis.
Western states including Montana, New Mexico and Wyoming have reported a 200% increase in cases in the past four weeks when compared with the previous four weeks.
Top News / World+Biz
Coronavirus / US / coronavirus cases


LIVERPOOL have rejected a loan bid from Roma for Mamadou Sakho.
The Serie A side made the offer earlier this week to take the France defender to Italy for the rest of the season.
The offer did not include a permanent deal at the end of the agreement.
But the Reds have turned down the bid despite Sakho falling behind Dejan Lovren in the battle to partner Martin Skrtel at the heart of Liverpool's defence.
Sakho, 25, cost Liverpool £18m to bring him from Paris St Germain in 2013.
He made 16 Premier League appearances last term but is now seen by boss Brendan Rodgers as back up to Lovren and Skrtel.
Sakho was not impressed to be left out of the squad for Liverpool's win over Stoke last weekend.
The defender missed some training sessions during the week as his partner was giving birth in Paris, but he was at the Britannia Stadium.
Roma have also released former England defender Ashley Cole from his contract 12 months early.


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2019 Directory
Past Show Videos
2020 Online Show
2020 Featured Artists
Video Profiles
Gallery of Winners
2020 Fact Sheet
The 59th Annual Armonk Outdoor Art Show will feature juried artists from across the US and Canada, including 31 new artists. We encourage you to explore the full roster of exhibiting artists, peruse images of their work, and connect directly with them in advance of the show.
This year, more than ever, our artists look forward to meeting in person. Until then, enjoy a peek at our Six Featured Artists and learn about their technique and inspiration!
Ummarid Eitharong
5' x 6', Acrylic paint on watercolor paper
Traveling to the US from his homeland of Bangkok, Thailand in the late 1960s at age 17, Ummarid Eitharong "Tony" brought his love of art with him. Now residing in Ponce Inlet, FL, his art has evolved over the years from the photorealism of his early pencil drawings to his large-scale mixed-media collages. His current works, which have been his focus for the past 10 years, are 2D mixed media and acrylic paintings that combine wide, sweeping brush strokes of bold color in abstract designs. While self-taught, he credits a few good friends for their constructive input. His influence comes from color theorists, including old masters like Josef Albers, with "inspiration from everything that is around me: nature, landscapes, seascapes, urban landscapes and flowers."
A veteran exhibitor and award-winning artist at the Armonk Outdoor Art Show (including Best in Show), Tony currently travels around the country to other outdoor shows. His work has also been exhibited in museums over the years. He loves to come to Armonk, where he says, "The customers are well informed and appreciative."
Lorraine Glessner
"She Had a Darkness in Her Past That Made Her Vulnerable"
7"x 5" x 1",
encaustic/collage/pyrography on wood.
Lorraine Glessner grew up in Bucks County and now lives in Jenkintown, PA. She studied art at Philadelphia College of Textiles & Science (which is now Jefferson University), computer graphics at Moore College of Art & Design, and received an MFA in Fiber & Materials Studies at Tyler School of Art, Temple University. Using landscape as inspiration, Lorraine works in encaustic, applying paint, fusing the layers, then scraping back or adding more paint. "Encaustic is my primary medium because of its smell, its luminosity and tactile qualities that are unmatched by any other medium. Although encaustic is a painter's medium, I approach working with it is as a craftsperson."
"Memory, experience, all of life is made up of layers. Everything we do is cumulative to what we have done before and everything we perceive is in the context of what we know. My work contains many layers of information collaged within the medium and because of the inherent transparency of wax, many levels of meaning merge and coexist within the painting."
lorraineglessner.net
Amy Hudon
Azurite Leaf Drops on Triple Diamond and Sapphire tops
Amy Hudon feels incredibly fortunate to live and work on Cape Cod, MA for most of her life. She and her husband John have raised two girls on the Cape, surrounded by ocean on all sides with ponds and lakes scattered everywhere. After owning their own fine jewelry store for 13 years, Amy now shows her work exclusively at quality juried shows in the Northeast.
When designing her jewelry, she tries to include elements that reflect her personal modern and minimal aesthetic combined with organic forms, textures and details. Pebbles, beach grass blades, waves, flying birds are some of the easy to recognize beach-inspired themes in her collections She works exclusively in precious materials: platinum, palladium, all colors of gold, silver, diamonds and gems, creating pieces that can be worn daily, in different combinations, with different parts and pieces, changeable and adaptable.
"My hope and goal has always been to handmake easy-to-wear heirloom-quality pieces that are either somewhat innovative or recognizably unique, reflecting not only my style, but also bringing everyday happiness and genuine enjoyment to anyone who wears them: making fine jewelry fun."
amyhudon.com
Marlene Rose
"Lime Green Temple Buddha"
16"h x 11"w x 8"d, sandcast glass and steel
Marlene Rose, a native of Long Island and longtime resident of FL, is an award-winning sculptor in her chosen medium, sand-cast glass. While obtaining her BFA at Tulane University in New Orleans, she was introduced to the technique of sandcasting by professor Gene Koss, one of the pioneers of using glass as a sculptural medium. A process developed in the mid-1980s, sandcasting glass is based on the ancient tradition of bronze casting. Marlene pours liquid molten glass into carefully prepared sand molds and then cools them in a specially controlled oven for six days or more before cracking open the mold to see what is revealed. She finishes each piece of glass with a steel frame that completes the sculpture.
Marlene explains, "All of my work, whether figurative or abstract, has a spiritual aspect to it. While the Buddha faces are inspired by Buddhas from Vietnam, China and India, the concept of the face itself has come to mean much more to me. The imagery transcends culture and appeals to a universal common thread in humanity, of the striving to be bigger than oneself, and to dissolve the man-made barriers between cultures and people."
Marlene exhibits her work in art fairs, gallery shows, and solo museum exhibitions. She was a featured guest on the season premiere of CBS Sunday Morning September 2019.
marlenerose.com
Andrew Sovjani
36" x 36", analog/digital hybrid archival pigment print
Andrew Sovjani is a visual artist recognized for blurring the boundaries between photography, printmaking and painting. Employing his unique hybrid technique, Andrew captures each image on black and white large format film "that renders light and detail beautifully." He creates a print in the darkroom and proceeds to chemically alter that print over several days to bring in unusual colors, mark making, and spontaneous effects. Next, the raw work print is brought into the computer, further enhanced, and then printed digitally. Andrew says that his work is "loosely about time, light and the hand of man."
Raised by two working artists in nearby Yorktown Heights, NY, Andrew currently lives in the hills of Pioneer Valley in Massachusetts, surrounded by bountiful gardens and chickens. Largely self-taught, he studied for a period with one of Ansel Adams' assistants. He has exhibited in national juried shows all over the US and his award-winning work has been in solo and group exhibitions in NY, Boston, Seattle, San Francisco and Washington, DC.
andrewsovjani.com
54"x 54", acrylic on paper mounted on canvas
Born in Nanchang, China and now residing in Chicago, Yang Yang creates figurative paintings and sculptures in unconventional forms adapted from Chinese legends and historical figures. Using media ranging from paper and canvas to fiberglass, ceramic and bronze, his works have been shown in museum exhibitions, including the Museum of Fine Art in Shannxi, China and the Minneapolis Institute of Art, as well as in many fine art galleries.
As an artist, Yang possesses a unique style for expressing an alternate way to live in fairness. "Human compassion is admirable, he says, but we cannot save all animals from their predators…The all-important question is how to share fairness with our environment." Using art as a form of thinking, Yang may include a vulnerable person on a dangerous table, a warning of a black crow, a naked figure crawling to survive. In his series "The Pilgrimage," we see a group of people traveling and worshiping. To gain ultimate peace, he believes, we must "leave behind not only hate but also love."
yyfineart.com
The Armonk Outdoor Art Show is sponsored by Friends of the North Castle Public Library, Inc., a non-profit 501(c)(3) organization. Every year, Art Show net proceeds support the North Castle Public Library, funding: educational and entertainment programs for all ages, furnishing and upgrades in our libraries, and The Armonk Players theater group.
© 2020 Friends of the North Castle Public Library, Inc. All Rights Reserved. We are a non-profit 501(c)(3) organization; your gift is fully tax deductible!
Design by Cecile Rothschild - Create & Associates. Inc.
Armonk Outdoor Art Show
Friends of the North Castle Public Library
19 Whippoorwill Road East
205 Business Park Dr.
@ArmonkOutdoorArtShow #AOAS #ArmonkOutdoorArtShow


Children's Cath-Lab Addition_Dallas, TX | Group Structural Engineers, Inc.
Structural Engineering included analysis of the existing concrete structure to determine if the new heavier weight could be supported. New strengthen was added to the concrete joist. New uni struct was added for boom supports as well as new holes coordinated and cut through the existing wide pan floor system. GSEI coordinate with the contractor and responded quickly to help meet a very tight schedule.The floor hospital floor remained open during construction.