In one direction from the gate of Bishop's College, a mile or so down the road, is the vast Victoria Memorial, Lord Curzon's immense tribute to another "Mother of great power," his Queen, styled Empress of India. I would continue to object to the very idea of so oversized a tribute to colonial rule, except that today the Memorial and surrounding grounds are one of the city's few open places, a vast people's park where Indians of every background enjoy the lawns, the museum, posing for selfies at one of the Queen's statues, etc. In another direction from the College, not far away, is St. Xavier's College on Park Street, the famed and venerable Jesuit institution.
Bishop's College itself, now a seminary of the Church of North India (one of the two ecumenical communion of churches in post-war India), draws students from all over India. The principal is from the Punjab, the faculty member who met me at the airport is from Mizoram in the Northeast of India, another faculty member from Kerala, another from Andhra Pradesh. English is the only common language, I think. Today the morning prayer was a celebration of Pongal, an agricultural festival—of the bountiful harvest, the land, the farmer—celebrated everywhere in Tamil Nadu this week. It seems that all of India appears in some way on this small campus.
In my previous post, I mentioned that I am in India for a lecture series, the Westcott-Teape Lectures, which are dedicated to Hindu-Christian understanding. The Lectures were first given in 1955. They honor the interreligious vision of Brooke Foss Westcott (1825-1901). He was the Regis Professor of New Testament at Cambridge, UK, a highly respected Bible scholar, and then Bishop of Durham. A promoter of the Cambridge Mission to New Delhi, he was one of the founders of St. Stephen's College, still one of the most esteemed educational institutions in India. In books such as The Gospel of Life and The Religious Office of the Universities, Westcott expressed his hope for a new life for Christianity due to its taking root in India, just as in ancient times it had taken root in the Greek and Roman worlds.
William Marshall Teape (1862-1944) was a student of Bishop Westcott, and shared his vision for the renewal of Christianity by its encounter with Hinduism. In his teacher's honor and to further his vision of the renewal of Christianity through its encounter with Hinduism, he endowed the Lectures, a set of three connected lectures to be given regularly at St. Stephen's, Bishop's College in Kolkata, elsewhere in India and, usually by Indian scholars, at the University of Cambridge in the UK.
The first Westcott-Teape Lectures were given in 1955, when Professor CE Raven lectured on "Religion, Science, and Technology." Over the decades, well-known scholars such as Ninian Smart, RC Zaehner, John Hick, Julius Lipner and Ursula King have given the Lectures in India. In the UK, they have been given by great scholars such as Raimondo Panikkar, Stanley Samartha, Samuel Rayan, Aloysius Pieris, Margaret Chatterjee, Jyoti Sahi, Israel Selvanayagam and Sara Grant.
My lectures are entitled, "Rethinking Christian-Hindu Studies," and the individual titles (which are modified slightly in each setting): I. The Ups and Downs of the Jesuit Study of Hinduism: A Case Study; II. How and Why Hindus in the Past and Now Have Studied Christianity; III. How and Why Scholars in the West Are Studying Hinduism (and Christianity) Today.
I am focusing in all three lectures on study, the focused work of interreligious learning intentionally engaged and pursued—as distinct from the broader (and surely more important) values of dialogue, interreligious harmony, collaboration and justice. I may say more about the content of the lectures when they are over (third try, in Delhi next week), but what has been interesting thus far is the interaction with the audience. Last week in Chennai, I gave two lectures (I. and III.) at the Institute for the Dialogue of Cultures and Religions at Loyola College, and the remaining one (II.) at the University of Madras in the Philosophy Department. Last evening, I gave the first here in Kolkata. Some questions had to do with the luxury of study and the time it takes, or the vast disproportion between the resources available in the West and here. Others pushed the question of motive—why study a religion other than your own?—and this is a question core to the whole series: we need to do the hard work of study, but we need also to find for it some spiritual grounding suitable to today, when "studying Hinduism in order to convert Hindus" is an unlikely strategy, and "building an Indian Church" only a small part of a larger, now global interaction among the religions.
And, some have been raising questions about the interreligiously tense situation in India today, the feeling of many in minority religious communities of being pressured to fit in with a more active Hindu majority. A few weeks ago, there was governmental pressure, it seems, to keep the schools open on Christmas Day. And around the same time, a "Re-Conversion Program"—tellingly, also termed a "Return Home" movement—aimed at Christians and Muslims in some areas, made the news. For an American to drop in and lecture on "Hindu-Christian Studies" ought not to be an assured venture today, and I've had to keep a balance: proffering suggestions, my ideas and insights on why learning is all the more important, yet without seeming (entirely) naïve or out of place. I certainly am not in a position to lecture Indians on their interreligious duties, even if I can see how and why study matters.
Before my third and final lecture here, in the morning tomorrow (Jan. 17), I will visit the Dakshineshwar Temple, where Ramakrishna, priest of Kali, mystic, visionary interreligious figure, and for many the divine avatara for our age, lived his adult years and had his famous experiences of Christ and in other religious traditions.
Chris, the easiest way for an English speaker to learn about Ramakrishna is to read the biography of him that Christopher Isherwood wrote.


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12th & Delaware er en dokumentarfilm som foregår på et krise graviditetscenter og en abortklinik på tværs af gaden Fort Pierce, Florida. Filmen blev produceret og filmet af Rachel Grady og Heidi Ewing og dækker centreret og dets patienter over en periode på et år. Filmen viser interviews af de ansatte begge steder, såvel som de gravide kvinder der opsøgte dem. 12th & Delaware premiered on January 24, 2010 at the 2010 Sundance Film Festival in the U.S. Documentary Competition.

Kilder

Eksterne henvisninger

Dokumentarfilm fra USA
Amerikanske film fra 2010
Engelsksprogede film

redpajama_set_name: RedPajamaWikipedia


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Australian Slang Translator
How to Say "Toilet" in Australian Slang
Learn how to say "toilet" in Australian slang with this Howcast video.
How to say "toilet" in Australian. Dunny. Toilet. Dunny Toilet. Now you try. You might also say Loo. Toilet. Loo. Toilet. An outdoor toilet is a Dunny and an indoor toliet is called a loo. So you might say, "You can use the dunny out the back on the loo in the front." And that's how you say "toilet" in Australian.
How to Say "Sweatpants" in Australian Slang
How to Say "Middle of Nowhere" in Australian Slang
How to Say "A Lot" in Australian Slang
How to Say "Arrive" in Australian Slang
How to Say "Barbecue" in Australian Slang
How to Swear in Australian Slang
How to Say "I'm a Stereotypical Aussie" in Australian Slang
How to Say "Kiss" in Australian Slang
How to Express Disbelief in Australian Slang
How to Say "You're Nosy" in Australian Slang
How to Say "I'm Happy" or "I'm Excited" in Australian Slang
How to Say "Breakfast" in Australian Slang
How to Say "Sandwich" in Australian Slang
How to Say "Go Away" in Australian Slang
How to Say "McDonald's" in Australian Slang
How to Say "You're a Hooligan" in Australian Slang
How to Say "You're Conceited" in Australian Slang
How to Say "Have a Conversation" in Australian Slang
How to Say "Portable Cooler" in Australian Slang
How to Say "You're Talking Too Much" in Australian Slang
How to Say "I'm Very Thirsty" in Australian Slang
How to Say "I'm Drunk" in Australian Slang
How to Say "I'm the Real Deal" in Australian Slang
How to Call Someone a Nerd or Loser in Australian Slang
How to Say "This Afternoon" in Australian Slang

redpajama_set_name: RedPajamaCommonCrawl


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Alessandra Benedicty-Kokken
Alessandra Benedicty-Kokken is the Research Coordinator and Senior Researcher for the Research Center of Material Culture.
In the past two decades, she has actively engaged in two professional trajectories: one in the academe; the other in cultural diplomacy. Her inquiry is one highly informed by the pedagogical communities that she has had the fortune to be a part of. Upon moving to the Netherlands, she had the privilege of teaching in various institutions: Radboud University; University of Amsterdam; Hogeschool Utrecht; University College Utrecht; and she maintains an affiliation with Gender Studies at Utrecht University. From 2009-2019, she served as Assistant professor and was promoted to Associate Professor of Caribbean and Postcolonial Studies and French at the Graduate Center (City University of New York). Previously, she worked at the Cultural Services of the French Embassy in New York as Director of Development and at the Québec Government Office in New York as Attachée for Inter-Governmental and Academic Affairs. Most recently she was a student at the Black European Summer School in Amsterdam and Critical Muslim Studies: Decolonial Struggles and Liberation Theologies in Granada. She is Series Editor for Brill's Caribbean Series and a Book Reviews Editor for the Journal of Haitian Studies, as well as a member of the FACE Foundation's French Voices selection committee.
Book and Edited Volumes
author of Spirit Possession in French, Haitian, and Vodou Thought: An Intellectual History (Lexington Books, 2015)
second editor with Kaiama L. Glover of Revisiting Marie Vieux Chauvet: Paradoxes of the Postcolonial Feminine (2016), a special issue of Yale French Studies
co-editor with Kaiama L. Glover, Jean Picard Byron, and Mark Schuller of The Haiti Exception: Anthropology and the Predicament of Narrative (Liverpool University Press, 2016).
"A 'New' Antillean DOM Arts Scene, or the pragmatic aesthetics of patience: Artincidence, Annabel Guérédrat, Daniel Goudrouffe, and Henri Tauliaut, in dialogue with Jeannette Ehlers" in Adlai Murdoch, The Struggle of Non-sovereign Caribbean Territories. Rutgers University Press, forthcoming 2021.
Co-authored with Darren Staloff. "Haiti in the Presidencies of John Adams and John Quincy Adams" in Cécile Accilien and Valérie Orlando, Teaching Haiti Beyond Literature: Intersectionalities of History, Politics and Culture. University Press of Florida, forthcoming 2020.
"Raphaël Confiant and Jewishness: The Fraught Landscapes of French, Martinican, and Franco-Martinican Intellectualisms" in Sarah Phillips Casteel and Heidi Kaufman, Caribbean Jewish Crossings: Literary History and Creative Practice. University of Virginia Press, 2019.
"'Bloodied Flower': On Translating the Burden of the Floral in Marie Chauvet's La Légende des fleurs" in Christian Flaugh and Lena Taub Robles, Marie Chauvet's Theaters: Thought, Form, and Performance of Revolt. Leiden/Boston: Brill (2018): 220-29.
"A Polyvalent Mediterranean, or the trope of nomadism in the literary œuvre of Igiaba Scego and Abdourahman Waberi," RELIEF. Revue éléctronique de littérature française. 11.2 (2017) http://doi.org/10.18352/relief.970
"On 'being Jewish', on 'studying Haiti'… Herskovits, Métraux, Race, and Human Rights." In Alessandra Benedicty-Kokken, Kaiama L. Glover, Mark Schuller, Jhon Picard Byron, eds. The Haiti Exception: Anthropology and the Predicament of Narrative. Liverpool: Liverpool University Press, Volume 7 (2016): 52-73.
"Lovers, Conversations, and the 'Critical Use of Memory': Raoul Peck's Fatal Assistance (2013) and Alain Resnais' Hiroshima, mon amour (1959)." In Toni Pressley-Sanon and Sophie Saint-Just, eds. Raoul Peck: Power, Politics and the Cinematic Imagination. (2015): 171-194.
"Ananda Devi and Dany Laferrière: The Culture Industry, Poverty Discourse, and Postcolonial Literatures in French." Frame: Tijdschrift 28.2 "The Postcolonial Cultural Industry." (Fall/Winter 2015): 31-50.
"'The Origins of Totalitarianism': from Resistance to Human Rights in Marie Chauvet's Les Rapaces." Special issue co-edited by Kaiama L. Glover and Alessandra Benedicty-Kokken, eds. Revisiting Marie Vieux Chauvet: Paradoxes of the Postcolonial Feminine. Yale French Studies. 128 (Spring 2015): 57-73.
"Living in Haiti: Space and the Urban Environment in Kettly Mars's L'heure hybride and Aux frontières de la soif. "Haiti in a Globalized Frame." Special issue co-edited by Charles Forsdick and Martin Munro. Francosphères 4.1 (September 2015): 106-120.
"The Questions We Are Asking: Hegel, Agamben, Trouillot, Mbembe, and Haitian Studies." Journal of Haitian Studies.19.1 (Fall/Winter 2013 -2014): 6-60.
"Aesthetics of 'Ex-centricity' and Considerations of 'Poverty.'" Small Axe: A Caribbean Journal of Criticism. 39 (November 2012): 166-176.
"Towards an Intellectual History of Possession: Reading 'la crise' as a Textual Space in Vodou and André Breton's Haitian Lectures and Nadja." Studies in Religion/ Sciences religieuses. 41.2 (June 2012): 280-305.
alessandra.benedicty@wereldculturen.nl
Research Coordinator & Senior Researcher
Rethinking Kirchner & Nolde - FULLY ONLINE
The Long History of Claims for the Return of Cultural Heritage from Colonial Contexts
Thinking With | Ariella Aïsha Azoulay | Algeria: The Jews are still there, in every bracelet


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The I, Tonya actress on the good, the bad and the ugly.
Dress ELLERY
Margot Robbie just might be Australia's favourite national sweetheart and the most famous of all Neighbours alumni (sorry Kylie). The actor-turned-producer has not slowed down since her breakthrough role opposite Leonardo Dicaprio in 2013's The Wolf of Wall Street. Back then, Robbie burst into the public consciousness in the role of Naomi Lapaglia, the "hottest blonde ever", uttering the immortal line: "Mommy is just so sick and tired of wearing panties". Now, recently turned 27, fresh from her wedding in Australia's Byron Bay, and with four films out this year, Robbie's in her prime. It's not been plain sailing, however.
Last July Vanity Fair published a piece by American journalist Rich Cohen. It was an interview with Robbie, their August cover star, accompanied by a shoot that looked to enhance already established parallels between the actress and Hollywood bombshells of yesteryear (white one-pieces, wide-brimmed hats and swimming pools all featured heavily). Cohen's words were equally antiquated.
"She is 26 and beautiful, not in that otherworldly, catwalk way but in a minor knock-around key, a blue mood, a slow dance," wrote Cohen. "She is tall but only with the help of certain shoes. She can be sexy and composed even while naked but only in character."
Cohen's dissection of Robbie's looks and sinister guesses at how Robbie might appear in the nude, or in private, was not lost on the readership. The public outcry that ensued — the article was derided as "creepy" and "sexist" — serves as a strong indication of how well loved Robbie is by her public. While she remained largely schtum, her fan base happily protested for her ("don't mess with the Aussies," she later quipped).
(LEFT) T-shirt FIORUCCI, skirt LOEWE and tights TOM FORD
(RIGHT) Dress SAINT LAURENT by ANTHONY VACCARELLO and sunglasses MOSCHINO
T-shirt FIORUCCI, skirt LOEWE and tights TOM FORD
Dress SAINT LAURENT by ANTHONY VACCARELLO and sunglasses MOSCHINO
Of course Robbie is fairytale-beautiful, but in Hollywood, beauty comes as standard; it's everything else about Robbie that's interesting. Until recently, the Gold Coast native was living in a flat share with her husband Tom Ackerley and school pals in Clapham. It was a stone's throw away from her favourite party joint — the famously low-brow, sticky-carpeted club Infernos. She eats burgers, infamously slapped Leonardo DiCaprio in her The Wolf of Wall Street audition (ad lib) and uses her Instagram account to take the piss out of the relentless mob of paparazzi that trail her.
She doesn't talk earnestly about juice cleanses in interviews and is open about just how much she fancies her husband, who she met on the set of 2013's Suite Française, describing him to Vogue as "the best-looking guy in London". It's her ability to seemingly still manage to be "one of us" — free from the afflictions of pretentiousness and paranoia that so often nibble at the toes of those newly taken under the wing of big studios – that makes her the most beguiling actor currently working in Hollywood.
Ahead of time, I get a phone call. "Hey Nellie, it's Margot." I freeze – she's totally side stepped the very formal dial-in code I'd been emailed from her team. After apologising profusely for it being a Sunday, she explains I'm one of many calls she's making today in-between shooting Mary Queen of Scotshttps://www.wonderlandmagazine.com/2017/09/22/wonderland-autumn-17/, where she's playing Elizabeth I to Saoirse Ronan's Mary I. "I just got off the phone with my family in Oz," she says.
"There's always a time in the day when I can either be calling my husband back in America, my family in Australia or my friends here in London. The other day it was my 10-year school anniversary and all my mates in Oz FaceTimed me from me the party. It made me so nostalgic for school! I constantly check the world clock on my phone and think 'OK, who's awake right now? Who can I call?'"
Robbie is immensely proud of her physiotherapist mother. "It was an amazing childhood. She's Superwoman. Now I'm older I think, 'how did you raise four of us on your own whilst working six days a week?'" Refreshingly, Robbie's childhood was more rough and tumble than jazz hands. "Acting wasn't a dream someone living on the Gold Coast who didn't know anyone in the film business toyed with." But at 17, after a few indie film roles, Robbie auditioned for a part in Australia's most watched soap opera, Neighbours. Two months later she was playing the fiery Donna Freedman. "I was like 'I'm on Neighbours?'" she guffaws. "I'm gonna be on TV and someone's going to pay me to do this?" Robbie pauses for a rare breath. "At 18, people would approach me and be all like, 'you're that chick from Neighbours, do you own six houses or something?' In reality I was living in an absolute crack den of an apartment with a fridge and a mattress on the floor."
Dress LOUIS VUITTON, shorts ALAIA and vintage shoes HELMUT LANG at ALRBIGHT
Robbie largely credits her family and friends' avid support for her success. Sophia Kerr, Robbie's PA, also happens to be her best friend, and Margot assures me that wherever she goes her soft toy rabbit goes too. "One of the rare moments I'd get alone with my mum as a kid was at bedtime, with my Winnie The Pooh and Tigger. She'd do all the voices, and I'd think it was the funniest thing ever." Robbie explains that was partly what attracted her to her recent UK release, Goodbye Christopher Robin, a re-telling of how A.A. Milne was inspired by his own son when writing the Pooh stories. Robbie steps nicely into the satined shoes of Milne's troubled and rather frivolous wife, Daphne, plummy accent included. "Daphne is not likeable, but she's real." Robbie levels. "I did lots of research into the women left at home during the two world wars and I read a line that went something like, 'constant motion in the face of horror', and that's why I made her so frantic. Daphne isn't a straight villain. She's complex, and at times makes bad maternal choices, but I embraced the challenge of evoking some sort of empathy for her."
Robbie's upcoming turn as disgraced Olympian ice skater Tonya Harding may be the greatest step away from the likability that's so often attributed to Robbie herself. The film, directed by Craig Gillespie, is the true story of Harding's husband, Jeff Gillooly, who infamously hired a hitman who made a failed attempt to break the legs of his wife's biggest rival, Nancy Kerrigan in the lead up to the 1994 Winter Olympics. Nancy went on to win silver, and the shamed Harding came eighth. Snippets circulating online for I, Tonya suggest shades of Channing Tatum's mould-breaking Foxcatcher, which saw him make the transition from jock to indie heavyweight. I, Tonya is set to be as potentially transformative for Robbie, proving once and for all that she's bigger than the "girlfriend" role.
Robbie is also acting as a producer on the film, under Lucky Chap Entertainment, which she co-founded with her husband and friends Josey McNamara and the aforementioned Kerr. It makes her investment in the film both personal and financial; she even stalled her honeymoon to shoot. On set, "Tom and I were freezing our arses off, looking at each other like 'oh my god, only a few weeks ago we were getting married in the Australian sunshine,'" she recalls.
So why put herself through it? "I read the script and thought it was sheer genius. I also presumed it was fiction. When I discovered it was a true story, I knew it was big." Robbie's voice lifts an octave: her excitement about this film is palpable. "We thought long and hard about striking the right tone for this film, and when Craig Gillespie was brought in as the director it just felt so right. There was no one better for the job." While it's understandable that Robbie, who was four at the time of the Tonya Harding scandal, wouldn't recollect the bizarre news story, the frenzy that ensued will be something older generations will recall. Harding was followed day and night ahead of the games; her practice sessions at Clackamas Town Center, in Portland, were attended by thousands of spectators and packs of reporters and film crews. An old image of a glibly smiling Tonya and Nancy, side-by-side, even made the cover of TIME magazine, which ran with the scurrilous headline: "Ice Follies: The Strange Plot To Cripple Nancy Kerrigan."
(LEFT) Top PRADA and skirt ROSIE ASSOULIN
(RIGHT) Dress and sleeves CALVIN KLEIN 2O5W39NYC and earring CARTIER
Top PRADA and skirt ROSIE ASSOULIN
Dress and sleeves CALVIN KLEIN 2O5W39NYC and earring CARTIER
While Gillooly did time, Tonya pleaded guilty as a conspirator to the attack and served three years probation, 500 hours of community service, and a $160,000 fine. A poorly received autobiography was published in 2008, and later, the couple sold a sex tape to Penthouse. The story is as weird as it is tragic and engrossing, and it's testament to Robbie's increasing confidence as a producer to back such a left-field project. She tells me she's not bothered if it's a box office hit or not, and that her dedication to the role never wavered, despite the challenge of getting on to a cold, hard, ice rink every morning.
"Sarah Kawahara, who actually choreographed for Nancy Kerrigan, was training me. Before that point I thought I wasn't too bad at ice skating — I used to play ice hockey. I soon realised that I'd just been running on ice, and now there was no padding. My alarm would go off at 5.30am and I'd want to cry. Sometimes after sessions I'd get back into the car and weep."
The 80s costumes provided some relief, however. "Turns out mom jeans and scrunchies are very comfy", she says, and also a noticeable key change in wardrobe for Robbie. "When I was playing Naomi in The Wolf of Wolf Street it was so high-tempo sexy. I was acutely aware that the line in the screenplay was 'the hottest blonde ever,'" she sighs. "I'm clearly not the hottest blonde ever." Robbie turns serious for a moment. "I was just terrified that people would see the movie and think 'eugh! She's not that great.' For I, Tonya, the worse I looked the happier people were. Ironically Tonya wasn't unattractive, she's just been marred with that story. Like Daphne, Tonya, right or wrong, is human."
Following her role as the much-vilified Tonya Harding, 2018 will also be the year we see Robbie transformed into a rather gruesome-looking Elizabeth I. The Tudors this is not; behind-the-scenes photos of Robbie in full Elizabethan garb suggest the costume department has been briefed to take a much more authentic stance for Mary Queen of Scots than other blockbuster historical dramas. Robbie's ginger curly wig reveals a massively receding hairline and a balding scalp. She also sports a prosthetic, lumpy nose. For those who can only think of Margot's talent and versatility as a pendulum that swings between the minxy Naomi in The Wolf of Wall Street and the off-balance sexpot that is her Harley Quinn in the box office smash, Suicide Squad, next year looks to be the year of Robbie's reckoning.
Shirt THE ROW, coat CHANEL and shorts ALAIA
We talk at length about how focus is too often placed on the way Robbie's characters look. "It frustrates me when I work so hard to build the characters, creating childhood experiences for them that affect the way they react as an adult. All the reading, all the acting coaching, and then someone reviews the movie or interviews you and all they do is focus on the aesthetics. You think, 'fuck you. You've totally discredited the work I did and it's not fair.'"
Now 10 years into her career as an actor, I get the strong impression that the fine balance of privacy and normality is something Robbie is continually trying to strike. She famously banned phones from her wedding ("it was the best decision ever") and still manages to enjoy "ciders in the park" despite lingering paparazzi. "Yesterday I went to see a friend in hospital. I catch the Tube by myself all the time, and yeah, maybe someone notices and they'll take a picture when I'm not looking, and I see it online later and that feels odd, but I'd so much rather have that moment of 'ugh' and still have caught the Tube that day."
Maybe it's why Robbie's enjoying the escapism of stepping into such unexpected roles. The anti-matriarch Daphne, the social pariah Tonya and the hook-nosed, pock-marked, Elizabeth I — her roles are becoming increasingly diverse. Perhaps it's also part of the reason the actress is getting such a kick out of producing too. I ask her where she'd like to be in 10 years, and she doesn't miss a beat: "directing and producing and living in a tree house."
It's easy to be entranced, as Cohen clearly was, by Robbie's looks, but beneath the beauty it would seem Robbie is undergoing a deeper transformation – from an actor to a producer with serious artistic pursuits. She is the ultimate shapeshifter both on and off the screen. A Hollywood star, a producer, a real human, who goes home, sheds those skins, ties her hair up with a scrunchie and, like the rest of us, slips into sweats.
Taken from the Autumn 17 Issue of Wonderland; out now and available to buy here.
Top YEEZY, tights TOM FORD and vintage shoes HELMUT LANG at ALBRIGHT
Christine Centerner
Nellie Eden
Bryce Scarlett at The Wall Group using Moroccannoil
Pati Durborff at Forward Artists for Laura Mercier
Alexandra Jachno at AIM Artists Agency using Chanel Le Vernis
Gia Copploa's Assistant
Nickey Netzah
Gia Coppola's First Photography Assistant
Fiorella Occhipinti
Second Photography Assisant
Carley Solether
Production and Entertainment Direction
Erica Cornwall
Fashion Assistants
Eugenia Gamero, Abigail Hazard and Jessica Gardener
Spring Studios
Milk Studios
New Noise: Margot
Yolanda Kettle
Meet our new Princess Ariel: singer and actress Halle Bailey will star in a remake of Disney's The Little Mermaid.
Zoë Kravitz × Canon
Tallulah Haddon
Clara McGregor
X-Men: Dark Phoenix actress Kota Eberhardt fronts the digital cover of our Summer 19 issue.
British actress Pippa Bennett-Warner talks typecasting, dream collaborations and Gangs of London.
Actress Ella Purnell takes to the front of our Summer 19 issue in Chanel.
Pretty Little Liars and You actress Shay Mitchell on social media, sociopaths and her next viral TV series.
Actress Alisha Wainwright on her role in Netflix's new Michael B. Jordan-exec produced sci-fi show, Raising Dion.
Susan Wokoma
Actress with the London Contemporary Orchestra
Amandla Stenberg is the new face of Fenty Beauty.
Nesta Cooper is the actress with an aptitude for sci-fi about to star in one of the first Apple TV+ series.
Watch the hip-shaking, feel-good visuals for the latest Drax Project song, "Woke Up Late" ft. vocals from Hailee Steinfeld.
Lady Bird actress Odeya Rush directs a music video about pastries in love, and we are so here for it.
Stranger Things' Natalia Dyer steps out of the Upside Down and into the world of Dior's SS20 show.


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Is there a cavity vaccine?
- asks Ellie Robinson
Jeremy Hsu • February 23, 2007
Is brushing the only way to protect against cavities? [CREDIT: COOKIE MAGAZINE]
Ancient Teeth Meet Modern Science
Brett Israel • February 12, 2009
Talking Teeth
Teeth Timing
Brett Israel • August 25, 2009
Most of us are used to waging a lifelong battle against the bacteria that colonize our teeth and cause cavities. These pain-inducing chasms are the most common childhood disease in the United States, with 98 percent of adults aged 40-44 having suffered some sort of infection related to cavity-causing bacteria in their lifetime.
We regularly deploy dental floss, shots of antiseptic mouthwash, and stuttering electric toothbrushes to hold the bacterial swarm at bay. But scientists are working on our greatest weapon yet: a vaccine that would prevent the most common strain of cavity-causing bacteria from gaining a foothold in the first place.
Both British and American researchers have developed a variety of vaccine approaches over the years – going as far back as a 1969 experiment on monkeys – but almost all of the methods attack the same strain of bacteria in our mouths. Known as Streptococcus mutans, the bacteria strain thrives on the sugars found in the staple foods of our diets, like the fructose found in fruits or glucose, which is found in sweets. In the process of feeding and multiplying, the bacteria not only form a biofilm of yellow plaque, they also produce organic acid byproducts that eat into our teeth and eventually may cause cavities.
A vaccine would contain antigen molecules which, when injected, stimulate the body to attack the cavity-causing, plaque-forming bacteria. Depending on the specific vaccine, the immune system's antibodies can prevent the bacteria from attaching to teeth, breaking down sugars to produce acid, or reproducing itself.
Despite the fact that work on a vaccine dates back to the 1960s, safety clinical trials did not begin until the nineties, according to a review article in the July 2006 issue of Nature Reviews Immunology. In that article, Forsyth Institute researchers at the Harvard School of Dental Medicine called for increased efforts to develop a vaccine, deeming it a "public health imperative." Government researchers at the National Institute of Dental and Craniofacial Research are also working on a new vaccine approach.
Research is currently focusing on the most efficient way to deliver the vaccine directly to the mouth, according to the Forsyth Institue review article, a method that differs from usual vaccine injections into the bloodstream. One solution is to inject the vaccine near the major salivary glands, which happen to be in the mouth and throat and can naturally deliver the antibodies. An even more promising approach is to develop an effective nasal spray, which can also stimulate the needed immune response.
The ideal population to vaccinate would be very young children. When we are born, our mouths are sterile but quickly become colonized with bacteria. Over 700 largely "good" bacteria species live in our mouths, analagous to the bacteria that inhabit the human gut. If a vaccine can be given early on before bacteria start to move in, Streptococcus mutans, and other cavity causing bacteria, might never find a home on our teeth.
Since kinks in the anti-cavity vaccine have yet to be worked out, there are no FDA-approved versions on the market yet. The Forsyth Institute continues to forge ahead chasing their call-to-action: they have tested a vaccine in animals for effectiveness, as well as in humans for safety. Former Forsyth researchers are now leading a company called Oragenics, which is gearing up to obtain FDA approval for conducting major clinical trials sometime in mid-2007, in the hopes of commercializing the Institute's research.
If such a vaccine does eventually emerge, it could go a long way toward addressing health inequalities. The Surgeon General noted in 2000 that 80 percent of cavity-related problems are concentrated in just 20-25 percent of children, primarily belonging to African-American, Hispanic, Native American, and low-income families. The vaccine could theoretically help even in areas of the world where dental care is nonexistent, giving everyone something to smile about.
anatomyEver Wondered?medicinevaccine
Jeremy Hsu
Susan Newhouse says:
Will this vaccine be available to adults? I had no cavities until age 32. There were 4-5 until menopause. Since menopause I have had multiple cavities per visit. I'd love the vaccine.
Sorry for not responding earlier. Researchers have tested their experimental vaccines on adult patients, by first using antibiotics to clear the mouth of bacteria and allowing the vaccine to do its work. So while the primary vaccine targets will undoubtedly be children, I wouldn't be surprised to see versions for adults.
Joy Smith says:
I am 47 and have been menopausal for several years. After having TWO cavities in my entire life, I just saw the dentist. I now have about 2 dozen cavities. My mouth looks like it has been totally neglected for years, which is not the case. This is not fair!
paris says:
is there a vaccine yet? also, do you know any antibiotics for cavities?
Greetings, I remember emailing Oragenics back in 2006 and they said very little; any word on these studies or perhaps estimates of when they'll be concluding? I ask because we are nearing 2010!
Felicia, Angela, and I would like to let everyone know that Dr. Johnson and his staff are the BEST! The monemt we walk in the door, we get a warm welcome from Denise and Kari (who does an outstanding job of keeping track of any changes our insurance company throws her way.) Whether it is our hygenists, assistants, or Dr. Johnson, there is always a smile to be seen and positve thoughts to be shared. After all, a dentist's office is where to get a great smile! Oh, and by the way the work and professionalism is bar note' the best ever! Sincerely, Felicia, Angela, and Karol (Fifteen years of excellent dental care)care


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29/07/2019 nausika
Panama Canal Left-Hand Path: serene rainforest ambient dub noise hides a dark historical secret
Rainforest Spiritual Enslavement, Panama Canal Left-Hand Path, US, Hospital Productions, cassette set (2019)
One of many projects of the highly prolific experimental / noise musician / poet / multi-media artist Dominick Fernow, active since 1997 and perhaps known to TSP readers in the past through his noise project Prurient and his label Hospital Productions, Rainforest Spiritual Enslavement (hereafter RSE because it is a mouthful, even for my fingers which have no mouths) represents Fernow's foray into the ambient dub environment with the aim of revealing past histories of brutalities and atrocities inflicted on people by colonial imperialist powers in what apparently appear to be serene rainforest tropical paradises. This album, the fifth full-length recording made so far since RSE formed in 2012, is a reference to the French attempt to build the Panama Canal in the 1880s, in which 22,000 labourers died from disease and accidents, the investment in the construction eventually going bankrupt and the project not resumed until it was taken over by the Americans in the early 20th century and finally finished in 1914. Though the Americans had the benefit of knowing about malaria and its causes by then, the US project was still not without its costs: whole villages still had to be uprooted and its inhabitants expected to find homes elsewhere or work on the project for minimal money and in appalling conditions that cost many people lives and limbs.
The album sounds very serene, even playful in most parts, but a slight underlying feeling that the tall forest canopies, the lianas, the chirping birdlife and other animal and plant noises are covering up something dreadful that happened long ago and which is buried deep under the soil. As the music progresses, it becomes ever more hypnotic and seductive, especially on "Demons Tour the Canal" with its insistent mechanical rhythms and background washes, the constant frying sounds that could be continuously spraying water or burning grass. The pair of tracks that go by the rather pretentious title "The Mountain didn't want to be cut and the Mountain fought back" are noisier tracks combined with what could be naturally based field recordings or electronic recreations of the sounds of nature: these are very focused pieces of music that constantly call your attention to the hidden historical horrors and examples of past human arrogance and folly in presuming that Nature can be made to do human bidding.
This is often very eerie music, beautiful and hypnotic in parts, demanding to be accepted on its own terms. For dark noise music, this is very focused and well-thought out and crafted work even if the Panama Canal narrative behind it is not that clear.
The three-cassette set comes with another RSE recording "Simulated Thunderstorm", a continuous mix of past RSE cuts made by Phillipe Hallais and edited by Paul Corley. This one-track recording doesn't offer much greatly different in style from "Panama Canal …" except perhaps there are more beats and a lot more rain showers. It's nice music but a little disappointing with more emphasis on steady rainshowers and really no tropical thunderstorms and heavy downpours.
ambientcassettesdarkdubelectronicnoise
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Did you miss the premiere of Hotel Transylvania 3 in theatres? Now's your chance to see if for FREE! Get your weekend started at Downtown Sebring's Circle Park with a family-friendly movie on Friday, October 12 from 7:30–9:30 PM – Don't forget to bring chairs and blankets to sit in beautiful Circle Park!
Come early and have dinner or grab a sweet treat downtown before the movie at Southern Hospitality, Mae Lee's, Top Hot Coffee and/or Faded Bistro & Beer Garden! Be sure to stop by Sebring Soda and Ice Cream Works to grab popcorn for the movie too!
Family friendly restrooms will be available at the former Sebring Chamber office located at 309 Circle Park Drive, Sebring FL.


Gonna be headed to Lake Martin, AL for a few days in early August. Skipping the weekend days b/c it's not worth the extra rental money for the extra boat traffic. Much more fun to be had on the weekdays. If anyone wants to hang out any of those days we will be up for it. Rumor has it Moombadaze will be there as well.
Also interested, but like mmandley it is too soon to tell. Lake Martin is one that I will definitely visit though.
Would love to but will have to check flights.
44 day warning. Clear the lake. My LSV wake will swamp your fishing boats!


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Q: Semi colon separated alphanumeric I need to validate the below string using regular expression in Java:
String alphanumericList ="[\"State\"; \"districtOne\";\"districtTwo\"]";

I have tried the following:
String pattern="^\\[ (\"[\\w]\")\\s+(?:\\s+;\\s+ (\"[\\w]\")+) \\]$";
String alphanumericList ="[\"State1\"; \"district1\";\"district2\"]";

But the validation fails.
Any help is appreciated.

A: I'll try and mark the possible issues with your expression (issue numbers above the chars):
     1  4        2      3        1  4        5 1
"^\\[ (\"[\\w]\")\\s+(?:\\s+;\\s+ (\"[\\w]\")+) \\]$"

As you can see, there are at least 5 issues:

*

*The spaces in your expression are interpreted literally, i.e. if the input doesn't contain them, it would not match. Most probably you want to remove those spaces.

*You expect at least one whitespace character after the first group (\\s+), which the input doesn't seem to contain. You probably want to remove that or change the quantifier from + to *.

*You expect at least one whitespace character before each semicolon. Together with no. 2 this would make at least two after the first group. The solution would be the same as for no. 2.

*Your expression the strings between double quotes seems wrong. (\"[\\w]\")+ means "a double quote, a single word character, a double quote" and all at least once. Besides that, \w is already a character class, you the brackets around that are not needed here (unless you want to add more classes or characters inside). You probably want (\"\\w+\") instead.

*Additionally to 4 your non-capturing group that contains the semicolon ((?:\\s+;\\s+ (\"[\\w]\")+)) doesn't have a quantifier, i.e. it would be expected exactly once. You probably want to put the quantifier + or * after that group.

Another point that's not a direct issue is the capturing group around \"[\\w]\". Since you seem to want to match multiple strings after semicolons you'd only be able to capture one of the matching groups. Hence you'd most probably not be able to do what you intended anyways and thus the group is not necessary.
That said the fixed original expression would look like this:
pattern = "^\\[(\"\\w+\")(?:\\s*;\\s+\"\\w+\")+\\]$"

A: You are looking for this pattern:
String pattern = "\\[\\s*\"[^\"]*\"\\s*(?:;\\s*\"[^\"]*\"\\s*)*+\\]";

No need to add anchors since there are implicit if you use the matches() method since this method is the more appropriate for validation tasks.
pattern details:
\\[         # a literal opening square bracket
\\s*        # optional whitespaces
\"          # literal quote
[^\"]*      # content between quotes: chars that are not a quote (zero or more)
\"
\\s*
(?:         # non-capturing group:
    ;       # a literal semi-colon
    \\s*
    \"      # quoted content
    [^\"]*
    \"
    \\s*
)*+         # repeat this group zero or more time (with a possessive quantifier)
\\]         # a literal closing square bracket

The possessive quantifier prevent the regex engine to backtrack into repeated non-capturing groups if the closing square bracket is not present. It is a security to prevent uneeded backtracking and to make the pattern fail faster. Not that you can make possessive other quantifiers too before the non-capturing group for the same reason. More about possessive quantifiers.
I decided to describe the content between quotes in this way: \"[^\"]*\", but you can be more restrictive, allowing for example only words characters: \"\\w*\" or more general, allowing escaped quotes: \"[^\"\\\\]*(?:\\\\.[^\"\\\\]*)*+\"

A: Try this
static final String HEAD = "^\\[\\s*";
static final String TAIL = "\\s*\\]$";
static final String SEP = "\\s*;\\s*";
static final String ITEM = "\"[^\"]*\"";
static final String PAT = HEAD + ITEM + "(" + SEP + ITEM + ")*" + TAIL;

A: Try:
pattern = "^\\[(\"\\w+\";\\s*)*(\"\\w+\")\\]$";

redpajama_set_name: RedPajamaStackExchange


NZD is still the strongest although it was sideways all day yesterday.
AUD is showing some weakness.
CAD, CHF and EUR is still sideways, not really going anywhere.
USD showed some strength and turned into weakness this morning.
JPY is still weak but not weakening and GBP's weakening has also slowed down.
Quite a few trades coming up, but be aware that we are seeing a bit of a lull in the performance of the currencies… this could be like a still before the storm..


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Similarly, a 2009 article in the Oxfordian journal Brief Chronicles noted that Francis Meres, in Palladis Tamia compares 17 named English poets to 16 named classical poets. 14 However, this proved to be the heyday of the theory. 190 Some Oxfordians argue that The Famous Victories was written by Oxford, based on the exaggerated role it gave to the 11th Earl of Oxford. "Shakespeare Revealed in Oxford's Poetry." Malim, Richard,. Greenstreet argued that Fenner's dismissive comment revealed that unknown works were penned by Derby. When the moon shone we did not see the candle Por. "Critically Examining Oxfordian Claims: Oxford's Bible". 1011 Elliott Valenza 2004,. . Alfred Harbage, "Love's Labours Lost and the Early Shakespeare Philological Quarterly essay on drug rehabilitation 41,. Simon 's No Bed for Bacon, Bacon constantly intrudes on Shakespeare's rehearsals and lectures him on playwriting technique (with"tions from Bacon's actual works until Shakespeare in exasperation asks "Master Bacon: do I write my plays, or do you?" NBC-TV Cartoon Peabody's Improbable History, Episode.
Portsmouth, New Hampshire: Peter. Caldecott: Our English Homer,. Lawrence Manley, "From Strange's Men to Pembroke's Men: 2 "Henry VI" and "The First Part of the Contention". 2 young adult novel Shakespeare's Secret by Elise Broach is centred on the Oxfordian theory.
Great Oxford: Essays on the Life and Work of Edward de Vere, 17th Earl of Oxford, 15501604.
William, shakespeare, he died in April 1616, which unambiguously specifies that the reference.
Shakespeare s modern audience, however, is far less diverse than the one for which he originally wrote.
138 Against the Oxford theory are several references to Shakespeare, later than 1604, which imply that the author was then still alive. Bard Facts, trivia about the world's most famous bard from words coined by the bard to his marriage. "Edward de Vere, 17th earl of Oxford", Britannica Concise Encyclopedia, 2007, archived from the original on 29 September 2007, retrieved Fowler, William Plumer (1986 Shakespeare Revealed in Oxford's Letters, Portsmouth, New Hampshire: Peter. 21 Evans drew on a recent argument that the plot of Measure for Measure was similar to the events that occurred in Paris in 1582, when the king Henry III of France was absent. 169 Similar variants such as "Crambo" and "Corabme" appear in Latin-English dictionaries at the time. This Star of England (1952) by Charlton and Dorothy Ogburn included arguments in support of this version of the theory. Such Fruits Out of Italy: The Italian Renaissance in Shakespeare's Plays and Poems. Shake-speare's' Unknown Home On the River Avon Discovered Edward De Vere's Ownership of a Famous Warwickshire Literary Retreat Indicates Him As the True 'Sweet Swan of Avon. 70 71 In 2005 Ross Jackson published Shaker of the Speare: The Francis Bacon Story, a novel also based on the Prince Tudor model.


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February Challenge - With Love!
Before I get onto the challenge I'd like to welcome 2 new Members to the DT! The first one some of you will remember as she has been on the DT before, CRAFTY NATALIE! It's great to have her back!
The second lady is LYN and I think you'll agree that her creations are super cute!
This month's challenge is With Love!
With Valentine's Day next week we want to see some loved up creations. Worry not though if you don't want to make a Valentines card then you can enter with creations simply using a Pink & Red theme instead!
This month's prize is from CRAFTY RIBBONS and the prize is a selection of these ribbons!
Please remember to follow the rules you can find at the TOP of our blog before entering as sadly I have to remove a few each week simply because they haven't been followed.
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Winner & Top 3 for February Challenge!
Thank you to all of you who joined in with our January challenge, it was great to see all of your creations!
Please don't forget to e-mail me claiming your prize, there's been a few prizes recently that haven't been claimed by the winners!
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If you do not have a blog you are welcome to join in the challenges and email us pictures of your creations! Also if you have any questions please feel free to contact us!
Welcome to Creative Inspirations Challenge Blog!
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The Advanced Food & Beverage Class Fall's dining series.
Watch this short video to see and hear what our dining series experiences are all about.
Check out Facebook for latest updates!
This year we are excited to be taking a different approach to the dinner. Instead of a banquet style event, we are having a prix fixe menu with interactive stations, and will be taking reservations. There will be a cocktail area for those waiting for their table and reservation times are indicative of the time your table will be seated.
We will try to accommodate all reservation requests. Thank you for your understanding.
We would like to thank our past sponsors for whose generosity and support have continued to allow the hospitality management program to continue its current and future students.
If you are interested being a sponsor go to the "BUY TICKET" page ABOVE and follow the link to purchase a ticket or contact Donna Stickney at donna.stickney@unh.edu. We greatly appreciate your support as this is a non-profit experience.
Please help yourself to the Kabob Station and select your choice from the following options.
Greetings from the UNH Hospitality Management Advanced Food and Beverage Class!
Dinners are not suitable for children.
The dinners will be held rain, shine or snow.
Alternative meals, due to food allergies or vegetarian diets, are available for the event. While we certainly respect dietary choices, we're unable to create additional menus for those with likes and dislikes.
Refunds are NOT available. You are welcome to transfer your reservation to friends or family or to that nice person you met on Facebook, but you absolutely MUST contact us with a first and last name and an email address for the new ticket holder 5 days prior to the event.
A cash bar will be available. Throughout the event you'll have a chance to share a glass of wine with old and new friends, eat amazing food and unwind, all the while helping to support UNH hospitality students. A brief speech by the students will conclude the evening with a toast to all who worked long hours to put on this event. The entire process from marketing to polishing and sorting silverware is made possible by our students.
Your evening begins at 5:00 p.m. with a cocktail hour in the Paul College Great Hall in Durham. Tables will be seated according to their reservations starting at 5:30 p.m. Feel free to arrive before your reservation time if you would like to enjoy some cocktails, or you may arrive about 10 minutes before your reservation to be seated.
Your morning begins at 11:00 a.m. with cocktail hour in the Paul College Great Hall in Durham. Tables will be seated according to their reservations starting at 11:30 a.m. Feel free to arrive before your reservation time if you would like to enjoy some cocktails, or you may arrive about 10 minutes before your reservation to be seated.
The price of the prix fixe menus do not include alcoholic beverages, coffee, or tea.
Paul College (building) is handicap accessible. View transportation map. Take Pettee Brook Lane to UNH Health Services, a large brick building on your right, just before Main Street. Handicap parking is available on the back side of the building in the Health Services lot.
Parking Meter and Pay-by-the-Hour areas are available near Paul College.
NOTE: Please visit Visitor Parking Options for information on metered Pay-by-the-Hour parking in various lots and other campus paystation & meters around campus.
Campus Crossing Visitor Lot (Next to Memorial Union Building, to entrance, follow Main Street and take a right on Mill Road. Formerly known as "Mill Road Visitor Lot" or "C-Lot").
Thompson Hall Lot (Between Hamilton Smith and Thompson Hall - limited parking for up to 2 hours only).
Meters on Main Street and Pettee Brook Lane.
Meters on Quad Way after Memorial Union Building (take right on Quad Way from Main Street).
Meters off Strafford Avenue near New England Center (Take a left on Garrison).
From Main Street, take left on Garrison and park behind Stoke Hall on left.
From Main Street, take a right just after Hamilton Smith and just before Holloway Commons/the Memorial Union Building (J-Lot).
From Main Street, take a left on Edgewood Road, then a right on Strafford, parking available at the New England Center.
From Main Street, take a left on Edgewood Road, left at the Elliot Alumni Center, parking available at Elliot Alumni Center.


text:
Surah 55. Ar-Rahman
Duas from the Al-Quran
Surah: 1 Al-Fatiha 2 Al-Baqara 3 Al-i'Imran 4 An-Nisaa 5 Al-Maida 6 Al-An'am 7 Al-A'raf 8 Al-Anfal 9 At-Tauba 10 Yunus 11 Hud 12 Yusuf 13 Ar-Ra'd 14 Ibrahim 15 Al-Hijr 16 An-Nahl 17 Al-Israa 18 Al-Kahf 19 Maryam 20 Ta-ha 21 Al-Anbiyaa 22 Al-Hajj 23 Al-Muminun 24 An-Nur 25 Al-Furqan 26 Ash-Shu'araa 27 An-Naml 28 Al-Qasas 29 Al-Ankabut 30 Ar-Rum 31 Luqman 32 As-Sajda 33 Al-Ahzab 34 Saba 35 Fatir 36 YaSin 37 As-Saffat 38 Sad 39 Az-Zumar 40 Al-Mu'min 41 Ha-Mim 42 Ash-Shura 43 Az-Zukhruf 44 Ad-Dukhan 45 Al-Jathiya 46 Al-Ahqaf 47 Muhammad 48 Al-Fat-h 49 Al-Hujurat 50 Qaf 51 Az-Zariyat 52 At-Tur 53 An-Najm 54 Al-Qamar 55 Ar-Rahman 56 Al-Waqi'a 57 Al-Hadid 58 Al-Mujadila 59 Al-Hashr 60 Al-Mumtahana 61 As-Saff 62 Al-Jamu'a 63 Al-Munafiqun 64 At-Tagabun 65 At-Talaq 66 At-Tahrim 67 Al-Mulk 68 Al-Qalam 69 Al-Haqqa 70 Al-Ma'arij 71 Nuh 72 Al-Jinn 73 Al-Muzzammil 74 Al-Muddaththir 75 Al-Qiyamat 76 Ad-Dahr 77 Al-Mursalat 78 An-Nabaa 79 An-Nazi'at 80 Abasa 81 At-Takwir 82 Al-Infitar 83 Al-Mutaffifin 84 Al-Inshiqaq 85 Al-Buruj 86 At-Tariq 87 Al-A'la 88 Al-Gashiya 89 Al-Fajr 90 Al-Balad 91 Ash-Shams 92 Al-Lail 93 Adh-Dhuha 94 Al-Sharh 95 At-Tin 96 Al-Alaq 97 Al-Qadr 98 Al-Baiyina 99 Al-Zalzalah 100 Al-Adiyat 101 Al-Qari'a 102 At-Takathur 103 Al-Asr 104 Al-Humaza 105 Al-Fil 106 Quraish 107 Al-Ma'un 108 Al-Kauthar 109 Al-Kafirun 110 An-Nasr 111 Al-Lahab 112 Al-Ikhlaas 113 Al-Falaq 114 An-Nas
Ayah: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78
Juz: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30
This Surah is entitled Ar Rahman, the word with which it begins. This title, however, deeply relates to the subject matter of the Surah too, for in it, from the beginning to the end, the manifestations and fruits of Allah's attribute of mercy and grace have been mentioned.
Period of Revelation
The commentators generally hold the view that this is a Makki Surah, though according to some traditions which have been cited on the authority of Hadrat Abdullah bin Abbas, Ikrimah and Qatadah, it was revealed at Madinah. But, firstly, there are also some other traditions from these very authorities, which contradict this view; secondly, its subject matter bears a closer resemblance with the Makki Surahs than with the Madani Surahs; rather it appears to belong to the very early Makkah period. However, there are several authentic traditions which testify that it had been revealed in Makkah itself many years before the hijra.
Musnad Ahmad contains a tradition from Hadrat Asma, daughter of Abu Bakr (may Allah bless them both), to the effect: "I saw the Messenger of Allah offering his Prayers in the sacred precincts of the Ka'bah facing the corner in which the "Black Stone" is fixed. This relates to the time when the Divine Command, fasda bi-ma tumar ("So, proclaim publicly, O Prophet, what you are being commanded") had not yet been revealed. The polytheists at that time were hearing the words, Fa-biayyi alaa'i Rabbi kuma tukadhdhi ban, being recited by him in the Prayer." This shows than this Surah had been sent down even before Surah Al-Hijr.
Al-Bazzar, Ibn Jarir, Ibn Al-Mundhir, Daraqutni (in Al Afrad), Ibn Marduyah and Ibn Al Khatib (in At- Tarikh) have related, on the authority of Hadrat Abdullah bin Umar, that once the Holy Prophet (peace and blessings of Allah be upon him) recited Surah Ar-Rahman himself, or heard it recited before him: then he said to the people: How is it that I am not hearing from you the kind of good answer that the jinn had given to their Lord? When the people asked what it was he replied: "As I recited the Divine Words, Fa bi-ayyi alaa'i Rabbi-kuma tukadhdhiban, the jinn in response would repeat the words La bi shai'in min ni'mati Rabbi-na nukadhdhib: 'We do not deny any of our Lord's blessings'."
A similar theme has been related by Tirmidhi, Hakim and Hafiz Abu Bakr al-Bazzar from Hadrat Jabir bin Abdullah. Their tradition contains these words: "When the people kept silent on hearing the Surah Ar-Rahman, the Holy Prophet said, 'I recited this very Surah before the jinn in the night when they had gathered together to hear the Quran. They responded to it better than you have. As I recited the Divine Words, Fa bi ayyi alaa'i Rabbikuma tukadhdhiban ("O jinn and men, which blessings of your Lord will you deny?") they would respond to it, saying: "O our Lord, do not deny any of your blessings Praise is for You alone" '!"
This tradition indicates that on the occasion of the incident that bas been related in Surah Al Ahqaf (vv. 29- 32) of the jinn's hearing the Quran from the Holy Prophet (peace and blessings of Allah be upon him); he was reciting Surah Ar Rahman in the Prayer. This happened in the 10th year of the Prophethood when the Holy Prophet had halted at Makkah on his way back from Ta'if. Although in some other traditions it has been reported that the Holy Prophet did not know then that the jinn were hearing him recite the Quran, but afterwards Allah had informed him of this, it is not unreasonable to suppose that just as Allah had informed him of the jinn's hearing the Quran so also Allah Himself might have told him as to what answer they were giving on hearing Surah Ar Rahman.
These traditions only indicate that Surah Ar Rahman had been revealed even before Surahs Al-Hijr and Al-Ahqaf. Besides, we come across another tradition which shows that it is one of those Surahs which were the earliest Revelations at Makkah. Ibn Ishaq has related this on the authority of Hadrat Urwah bin Zubair: The Companions one day said to one another: "The Quraish have never heard any one recite the Quran publicly to them, and who would read out the Divine Word aloud to them? Hadrat Abdullah bin Masud said that he would. The Companions expressed the apprehension that he might be subjected to a harsh treatment and said that it should better be done by a person of a powerful family, who would protect him if the Quraish tried to subject him to violence. Hadrat Abdullah said: 'Let me alone: my Protector is Allah.' So early next morning he went to the Ka'bah while the Quraish chiefs were sitting in their respective conferences. Hadrat Abdullah arrived at the Maqam (station of Abraham) and began to recite Surah Ar-Rahman raising his voice as he did so. The Quraish first tried for a while to understand what he was saying. Then, when they realized that it was the Word that Muhammad (peace and blessings of Allah be upon him) was representing as the Word of God, they fell upon him and began to hit him in the face. But Hadrat Abdullah was not deterred: he continued to receive the slaps and to read the Quran as long as he could. At last, when he returned with a swollen face, the Companions said that they apprehended the same. He replied: 'God's enemies were never so light for me as they were today. If you say I'll recite the Quran to them again tomorrow.' They all said, 'No, you have done enough; you have made them listen to what they didn't want to hear.'" (Ibn Hisham, vol. 1, p. 336).
Theme and Subject Matter
This is the only Surah of the Quran in which besides men the jinn also, who are the other creation of the earth endowed with freedom of will and action, have been directly addressed, and both men and jinn have been made to realize the wonders of Allah's power, His countless blessings, their own helplessness and accountability before Him, and have been warned of the evil consequences of His disobedience and made aware of the best results of His obedience. Although at several other places in the Quran there are clear pointers to show that like the men the jinn too are a creation who have been endowed with freedom of will and action and are accountable, who have been granted the freedom of belief and unbelief, of obedience and disobedience, and among them too there are the believers and the unbelievers, the obedient and the rebellious, as among human beings, and among them too there exist such groups as have believed in the Prophets sent by God and in the Divine Books, this Surah clearly points out that the message of the Holy Prophet (peace and blessings of Allah be upon him) and the Quran is meant both for men and for jinn and that his Prophethood is not restricted to human beings alone.
Although in the beginning of the Surah the address is directed only to human beings, for to them only belongs the vicegerency of the earth, among them only have the Messengers of Allah been raised, and in their tongues only have the Divine Books been revealed, yet from verse 13 onward both the men and the jinn have been addressed and one and the same invitation has been extended to both.
Source: Maududi Surah Introductions
Comments_arabic page


text:
Q: MySQL Connector is not working while I'm trying to add data into the table I'm working on a sign up page and while inserting the values in the table it shows the error that no suitable driver found. I have added MySQL connector in it.
Here is the error message:

Here is the code for connecting to the database:
package Admin;

import java.sql.Connection;
import java.sql.DriverManager;
import java.sql.SQLException;

public class ConnectionWithDb {

    private static final String USERNAME = "sweta";
    private static final String PASSWORD = "dhanuk";
    private static final String CONN = "jdbc:mysql://localhost:9999/inventory";

    public static Connection getConnection() throws SQLException{
        return DriverManager.getConnection(CONN, USERNAME, PASSWORD);
    }
}

Here is the signup page:
<%@page contentType="text/html" pageEncoding="UTF-8"%>

<%@ page import="Admin.ConnectionWithDb" %>
<%@page import="java.sql.*,java.util.*"%>
<%
    String first_name=request.getParameter("fname");
    String last_name=request.getParameter("lname");
    String emailid=request.getParameter("email");
    String cont=request.getParameter("contact");
    String add=request.getParameter("address");
    String usname=request.getParameter("username");
    String pwd=request.getParameter("passw");

    Connection con = null;
    con = ConnectionWithDb.getConnection();
    PreparedStatement pst = con.prepareStatement("INSERT INTO users (user_fname, user_lname,
    user_emailid, user_address," + "user_contact, username, password)" + "VALUES
    ('"+first_name+"','"+last_name+"','"+emailid+"','"+cont+"', '"+add+"','"+usname+"','"+pwd+"')");

     int i = pst.executeUpdate();
        if(i != 0){
            System.out.println("The data has been successfully inserted");
        }
        else{
            System.out.println("There was an error inserting the data");
        }
%>

<!DOCTYPE html>

   <jsp:include page="header1.jsp" />

                <form name="registration_form">

Register Here

Please fill your required details in the form provided.

Personal Information

First Name* :

                        <input type="text" placeholder=" " required=" " name="fname"/>

Last Name* :

                      <input type="text" placeholder=" " required=" " name="lname"/>

Email Address* :

                      <input type="text" placeholder=" " required=" " name="email"/>

Contact Details :

                        <input type="text" placeholder=" " name="contact"/>

Address :

                      <input type="text" placeholder=" " name="address"/>

Login Information

Username* :

                        <input type="text" placeholder=" " required=" " name="username"/>

Password* :

                      <input type="text" placeholder=" " required=" " name="passw"/>

                      <input type="submit" value="Submit" name="submit_button">

                </form>

* marked fields are mandatory.

      <jsp:include page="footer1.jsp" />

I have also added the MySQL Connector, please tell me if I have added it in the right folder or not.


All Velvet Sky flights have been suspended until March 5, the low-cost airline said on Monday.
"As a result of recent events, the negative impact on business, the adverse publicity, Excalibur Aerospace wishes to announce the suspension of all its Velvet Sky flights, from Monday, February 27 until Monday, March 5," the airline said in a statement.
Excalibur Aerospace was the majority owner of Velvet Sky airline.
The airline had flight delays on Wednesday. All flights were cancelled on Thursday.
Velvet Sky spokesperson Gary Webb said at the time there was a dispute with a service provider.
The airline was busy changing service providers, and the matter had not been concluded in time to allow flights to get off the ground.
After delays on Friday morning, flights were scheduled to continue around 2pm, and continued until about noon on Monday, Webb said.
The black economic empowerment company is based in Durban and flies between that city, Johannesburg, Cape Town and Polokwane.
Velvet Sky said customers holding reservations for dates during the suspension could change their bookings, or apply for a refund.
On Friday the airline, which allegedly owes BP Southern more than R29-million for aviation fuel, was given until March 5 to respond to BP's application to provisionally liquidate the airline.
In the Pietermaritzburg High Court, BP's counsel Gerrie Roberts SC, said Velvet Sky had breached its undertaking to pay arrears by February 17, and had not kept up to date with current payments for aviation fuel.
"Velvet Sky has often delayed paying what was due to BP," he said.
He said the low-cost airline had known that BP would launch a provisional liquidation application on Friday, but had not responded.
Farouk Moosa SC, for Velvet Sky, said negotiations were taking place and denied claims that pilots had not been paid.
"Payments to staff are up to date," Moosa said.


text:
Baz Luhrmann's gaudy 'Elvis' is a shapeless blur of a musical biopic
Fresh Air | By Justin Chang
DAVE DAVIES, HOST:
This is FRESH AIR. Baz Luhrmann, the director of such razzle dazzle, entertaining films as "Moulin Rouge" and "The Great Gatsby," takes on the life and career of Elvis Presley in the new musical biopic "Elvis." Opening in theaters this week, the movie stars Austin Butler as Presley and Tom Hanks as his longtime manager, Colonel Tom Parker. Our film critic Justin Chang has this review.
JUSTIN CHANG, BYLINE: There may be a great movie hiding somewhere within the gaudy two-hour-and-39-minute sprawl of Baz Luhrmann's "Elvis," but it's buried under an awful lot of clutter. It's not that I mind Luhrmann's famous lack of subtlety. When you're dramatizing a figure as endlessly mythologized as Elvis Presley, subtlety isn't really the point. And at times, the director's flamboyant excesses feel in line with Elvis's own. It helps that Luhrmann has a solid star in Austin Butler, who may bear an iffy physical resemblance to Presley, but does a fine approximation of his wide ranging voice and swaggering dance moves. But as good as he sounds when he's covering "Blue Suede Shoes" and "Heartbreak Hotel," Butler's Elvis is continually upstaged, and not just by the movie's bombastic style.
Luhrmann, one of the four credited screenwriters, makes the odd decision to tell the story from the perspective of Colonel Tom Parker, the Dutch-born impresario who becomes Presley's notoriously ruthless manager. He's played by an uncharacteristically grating Tom Hanks, wearing a fat suit and prosthetic jowls and jabbering in an over-the-top accent. In this early scene, set aboard a carnival Ferris wheel sometime during the 1950s, Parker tells Elvis that he's going to be a huge star, but only on one condition.
(SOUNDBITE OF FILM, "ELVIS")
TOM HANKS: (As Colonel Tom Parker) Your future, Mr. Presley, blaging before you - recording contracts, television, even Hollywood.
AUSTIN BUTLER: (As Elvis Presley) You're great, Colonel. You are the best person I could ever hope to work with. You know, this is something I ain't never said to nobody before. I believe I can be great, too.
HANKS: (As Colonel Tom Parker) Oh, no doubt. But we could be even greater together. But to achieve this, I need to represent you exclusively.
BUTLER: (As Elvis Presley) Exclusively. Sir, I don't follow. What about Hank Snow?
HANKS: (As Colonel Tom Parker) Hank, yes. He sent me here to fire you. Hank wants you off the tour, so I will have to leave Hank. We will both have to make sacrifices.
CHANG: Hank Snow, the popular country singer who helped discover Presley, is one of several formative figures who pop up early on. We see Elvis as a young boy in Tupelo, Miss., where he spends time in Black churches and experiences a spiritual and musical epiphany. To its credit, the movie acknowledges the Black musicians like B.B. King, Little Richard and Big Mama Thornton who influenced Presley. But Luhrmann's filmmaking is finally too broad in its strokes to really tackle Elvis's much-contested legacy as a white musician who helped sell Black music to white audiences.
Where the movie does succeed - and it's no small thing - is in conveying what an exhilarating performer Presley was. When a still-unknown Elvis performs "Baby Let's Play House" on stage, the movie lingers on. The young women in the audience screaming and swooning in ecstasy. Parker and others later try to keep Elvis's gyrating pelvis in line by enforcing a no-wiggle rule at concerts, to no avail. Luhrmann piles on the visual flourishes, sometimes rendering the performance footage in sizzling black and white, and sometimes splitting the screen into as many as eight separate images. It's overkill, no question, but it also has an undeniable verve.
As usual, though, Luhrmann's flair for spectacle tends to overwhelm his basic story sense. Much of the movie rushes past in a shapeless blur. And while Butler's performance has its poignant moments, there's too little sense of the human being beneath the slick hair and zany suits. The workmanlike script lurches between high points and low points with little connective tissue. Elvis's mostly undistinguished movie career is quickly glossed over. Olivia De Jonge makes a striking Priscilla Presley, but nothing about their unhappy marriage feels distinct from all the unhappy marriages that we've seen in countless other celebrity biopics.
Through it all, Colonel Parker keeps plodding behind the scenes, manipulating Elvis's image at will, and ultimately scoring him a lucrative berth at Las Vegas's new International Hotel in 1969. Elvis will remain a fixture of the hotel for the next seven years, performing show after sold-out show until just a year before his death. During that time, he gradually wastes away, ravaged by addiction, haunted by his failures as a husband and father, and exploited at every turn by a manager he can't shake off no matter how hard he tries.
There's a lot here for Elvis experts to debate and debunk, but however much historical truth there is in Luhrmann's film, there's no mistaking his anger at Parker for using Elvis's massive fame to pay off his many gambling debts and fund his extravagant lifestyle. Luhrmann's portrait of Parker is damning, but it also distracts from the story he's trying to tell. The tragedy of Elvis is that he never breaks free of Colonel Parker, the tragedy of "Elvis," the movie, is that it never does either.
DAVIES: Justin Chang is the film critic for the LA Times. He reviewed "Elvis," directed by Baz Luhrmann. On Monday's show, comedian, actor and writer Joel Kim Booster. He wrote and stars in the romantic comedy "Fire Island," which is now streaming on Hulu. He has a new comedy special on Netflix called "Psychosexual," and he co-stars with Maya Rudolph in the new Apple TV+ series "Loot." I hope you can join us.
(SOUNDBITE OF SONG, "ALL SHOOK UP")
ELVIS PRESLEY: (Singing) Well, bless my soul. What's wrong with me? I'm itching like a man in a fuzzy tree. My friends say I'm acting wild as a bug. I'm in love. I'm all shook up. (Vocalizing).
DAVIES: Our senior producer today is Heidi Saman. Our technical director and engineer is Audrey Bentham, with additional engineering support from Joyce Lieberman and Julian Herzfeld. For Terry Gross, I'm Dave DAVIES. Transcript provided by NPR, Copyright NPR.
Justin Chang
Justin Chang is a film critic for the Los Angeles Times and NPR's Fresh Air, and a regular contributor to KPCC's FilmWeek. He previously served as chief film critic and editor of film reviews for Variety.
See stories by Justin Chang


The tale of Rudolph the red-nosed reindeer has never been told quite like this.
Gone are the days where standard Christmas tunes are performed in your standard, typical, merry fashion. A Cappella is evolving and holiday music is no exception to what college groups are willing to re-imagine.
The Mental Notes from the University of Massachusetts Dartmouth college have taken our favorite song about Santa's reindeer, and reworked it into a jazzy, hip-hop arrangement that breathes new life into the popular Christmas hit.
Full of rhythmic variances, a stylish intro, and even minor bass solos, this performance has it all. Well, besides the video quality that is. But we're sure you'll enjoy it nonetheless.


Looking towards the project's end, the BIOrescue consortium is pleased to invite all interested stakeholders, including partners from other biorefinery projects, to join them in a dedicated workshop to be held in the morning of 28 February in Mainz, Germany, to discuss the challenges and opportunities arising from the exploitation of sustainable biomass sources in Europe for the commercialisation of new bio-based products.
To explore this topic, EU-funded projects and industry stakeholders will present the support measures implemented in terms of infrastructure development, standardisation and market uptake for bio-based products.
In that sense, all participating partners will also be invited to pitch their concept and ideas for the development of the European bio-based industry and to present or discover inspirational examples of biorefinery projects at the occasion of the poster session organised during the coffee break.
Join our workshop to exchange ideas and voice your opinion on the future of the European bio-based industry sector. Are you interested in pitching your biorefinery concept and / or presenting a poster to feed the discussions? You can indicate it in the registration form and seize this opportunity to network with your future partners.
On 22 February 2019 the European Commission will organise a "Coordinators' Day on Grant Agreement Preparation" for coordinators of successful proposals. The purpose of this event is to explain the details on the preparation and signature of grant agreements. It will take place at the Charlemagne building in Brussels from 09:30H to 17:00H. This session is mainly meant for coordinators of proposals who were invited to prepare a grant agreement, but other participants (National Contact Points, beneficiaries, etc) are also welcome to attend, subject to the availability of seats.
Registration (first-come first-served basis) is via the following website. The agenda is available under the same link. It will also be possible to follow the event online (no need to register for the live stream).
For any question, please contact EC-EGRANTS-TRAINING@ec.europa.eu.
JPI HDHL will organise a conference on "Diet as leverage point towards a healthy and sustainable food system" in Brussels. During this conference, a workshop - JPI HDHL, FIT4FOOD2030 will be organised, from 14.00-16.15.
This workshop will focus on the role that research funders can play in increasing the impact of the research that they fund. Applying a holistic or systems approach and Responsible Research and Innovation (RRI) are ways to make the R&I system more effective, particularly when dealing with complex challenges like transition of the food system. The policy-science interface and the role of funding instruments will also be discussed. Experts from the Fit4Food2030 consortium, a project in which innovative R&I approaches are key, will present during this workshop and guide interactive exchange. It is primarily aimed at public funding agencies, foundations and private funders, but open to everyone.
Climate change and its impact on society and ecosystems is a global challenge and the White Rose Universities of Leeds, Sheffield and York aim to provide effective policy and solutions to these problems.
Underpinned by robust research, our speakers will focus on key climate change policy areas and the work being conducted over our global networks to enhance our physical, technological, economic and social understanding of climate change with strategies for mitigation and adaptation.
nsuring sustainable access to abiotic raw materials on a global level for the decades to come requires discussions on how to internalize the external environmental and social costs of raw material production and a fair and just distribution of responsibilities, costs and benefits along global supply chains.
Against this background, the international conference "Raw materials & Environment 2019" aims to foster awareness of environmental issues in the national, European and international debates on responsible sourcing and responsible mining. It will feature analyses, challenges and solutions in the thematic areas of mining, raw material supply and sustainable development.
Focus shall lie on environmental aspects of extracting and producing minerals and metals. Linkages to related thematic areas will be addressed so that the interdependencies between environmental protection, human rights, security of supply, distributional justice, global responsibility can be elaborated. Possibly conflicting objectives will be pointed out and discussed in order to contribute to the achievement of the integrated and indivisible sustainable development goals.


text:
Q: IPC Message queue not works with forked process I'm trying to use IPC message queue with a forked process, passing a pointer to a dynamically allocated string, but it doesn't work.
This is a simple test that I made. It doesn't print the string received from the queue. But if I try to remove the fork() it works perfectly.
#include <sys/types.h>
#include <sys/ipc.h>
#include <sys/msg.h>
#include <stdio.h>
#include <stdlib.h>
#include <string.h>

#define MSGSZ     128

typedef struct msgbuf {
    long    mtype;
    char    *mtext;
} message_buf;

int
main ()
{
    int msqid;
    char *p;
    key_t key = 129;

    message_buf sbuf, rbuf;
    p = (char *) malloc(sizeof(char) * MSGSZ);

    if ((msqid = msgget(key, IPC_CREAT|0666)) < 0) {
        perror("msgget");
        exit(1);
    }

    if (fork() == 0) {
        strcpy(p, "Did you get this?");
        sbuf.mtype = 1;
        sbuf.mtext = p;

        if (msgsnd(msqid, &sbuf, MSGSZ, IPC_NOWAIT) < 0) {
            perror("msgsnd");
            exit(1);
        }
    }
    else {
        sleep(1);

        if (msgrcv(msqid, &rbuf, MSGSZ, 0, 0) < 0) {
            perror("msgrcv");
            exit(1);
        }

        printf("Forked version: %s\n", rbuf.mtext);
        msgctl(msqid, IPC_RMID, NULL);
    }
}

A: The problem is that you are sending a pointer across process boundaries. Pointers are only valid within the same process and are meaningless when sent/used in another process. In fact, you are sending the pointer value followed by a whole bunch of garbage bytes as themsgbuf.mtext is in fact not MSGSZ bytes in size (so technically invoking Undefined Behaviour).
What you need to do is to declare the buffer inline in the message. That is, change the message_buf definition to be:
typedef struct msgbuf {
    long    mtype;
    char    mtext[MSGSZ];
} message_buf;

And then strcpy straight into mtext:
strcpy(sbuf.mtext, "Did you get this?");

For clarity, below is the full program with the changes described:
#include <sys/types.h>
#include <sys/ipc.h>
#include <sys/msg.h>
#include <stdio.h>
#include <stdlib.h>
#include <string.h>

#define MSGSZ     128

typedef struct msgbuf {
    long    mtype;
    char    mtext[MSGSZ];
} message_buf;

int
main (void)
{
    int msqid;
    key_t key = 129;

    message_buf sbuf, rbuf;

    if ((msqid = msgget(key, IPC_CREAT|0666)) < 0) {
        perror("msgget");
        exit(1);
    }

    if (fork() == 0) {
        strcpy(sbuf.mtext, "Did you get this?");
        sbuf.mtype = 1;

        if (msgsnd(msqid, &sbuf, MSGSZ, IPC_NOWAIT) < 0) {
            perror("msgsnd");
            exit(1);
        }
    }
    else {
        sleep(1);

        if (msgrcv(msqid, &rbuf, MSGSZ, 0, 0) < 0) {
            perror("msgrcv");
            exit(1);
        }

        printf("Forked version: %s\n", rbuf.mtext);
        msgctl(msqid, IPC_RMID, NULL);
    }
}


text:
Q: Basic antd example rendering a blank page I'm trying to create the most basic react app using antd but it renders a blank page. I used a venv, ran npx create-react-app . and replaced the default App.js file contents with the below example from the antd website. Can someone please advise?
App.js:
import React from 'react';
import { Button } from 'antd';
import 'antd/dist/reset.css';
import './App.css';

const App = () => (
  <div className="App">
    <Button type="primary">Button</Button>
  </div>
);

export default App;

Terminal output:
Compiled successfully!

You can now view antd-examples in the browser.

  Local:            http://localhost:3000
  On Your Network:  http://10.5.0.2:3000

Note that the development build is not optimized.
To create a production build, use npm run build.

webpack compiled successfully

I was expecting to see a button show up with the above code given there were no errors or warnings but just saw a blank screen instead. Note that when I use the starter code generated from running npx create-react-app .  the page renders fine and I see the slowly rotating react symbol.
Edit:

*

*There is some messages in the console log. You can see it here in pastebin.

*The package.json file contents are here on pastebin.

A: The problem in this case is that the antd dependency is missing in the package.json. After installing it with yarn add antd the code works like expected.


text:
Formula One: Lewis Hamilton wins Spanish Grand Prix, regains lead in drivers' championship
Mercedes' British driver Lewis Hamilton competes in the Spanish Formula One Grand Prix at the Circuit de Catalunya in Barcelona, on May 12, 2019. PHOTO: AFP
May 12, 2019, 11:05 pm SGT
http://str.sg/oVcV
BARCELONA (REUTERS) - Lewis Hamilton returned to the top of the Formula One world championship on Sunday (May 12) by winning the Spanish Grand Prix in a fifth successive one-two for Mercedes.
The 76th victory of the five-time world champion's career, and third of the season, sent him seven points clear of Finnish team-mate Valtteri Bottas after five of the 21 races.
The Briton took an extra point for recording the fastest lap of the race.
Max Verstappen finished third for Honda-powered Red Bull, ahead of Ferrari's Sebastian Vettel and Charles Leclerc.
Meanwhile, Mercedes team boss Toto Wolff revealed that they have discussed the possibility of Hamilton one day racing for Ferrari and insisted that such a move would be no drama.
Hamilton, 34, has a contract with Mercedes until the end of next year, by which time he could have equalled Ferrari great Michael Schumacher's unprecedented seven titles and broken other records.
"You have to simply acknowledge that probably it's in every driver's head to drive at Ferrari one day," Wolff told reporters at the Spanish Grand Prix.
"It's the most iconic, historic Formula One brand out there and I totally respect if a driver has the desire to drive at Ferrari.
"Even within the team we have discussed it and with Lewis we have discussed it and we have agreed on the topic.
"We had the discussion when we negotiated the last contract and I think that you just have to be open-minded and understand that drivers will explore opportunities that exist and benchmark themselves."
Wolff said there was no suggestion at present that the Briton wanted to move.
Hamilton has won four of his titles with the German manufacturer after his first, in 2008, with McLaren.
"I think we are providing him with a car that is capable of achieving his objectives. If we continue to have a car that is performing on that level, I think there is no reason to go and we would really love him to stay," said Wolff. "And if one day ways part, it will be very positive and each of us will try to achieve success with a different set-up. So no drama."