10 nominations, 0 wins. If it wasn't for The Color Purple and The Turning Point, Gangs of New York would live in infamy as the Oscar's biggest loser [both of those films received 11 nominations each]. By simple odds and statistics, it is strange for a film to be that liked and still not win in even one category. The full slate of the 75th Academy Awards, which has no substantial frontrunner, makes it an even stranger occurrence.
In case you blocked it out, the March 23, 2003 ceremony's biggest winner was Chicago, which took home 6 statues from its 13 nominations, including Best Picture and Best Supporting Actress [Catherine Zeta-Jones]. Otherwise, the awards winners were pretty wide open, with 9 total films winning in the open categories [non-documentary, animated, short films]. But, alas, none were Gangs of New York. Along with Chicago, only The Pianist, Frida, and Lord of the Rings: The Two Towers won more than once.
For the non-Gangs of New York categories worth noting, Nicole Kidman won Best Actress for her role as Virginia Woolf in The Hours, besting Salma Hayek [Frida], Diane Lane [Unfaithful], Julianne Moore [Far from Heaven], and Renée Zellweger [Chicago]. Chris Cooper and previously mentioned Catherine Zeta-Jones each won in the supporting acting categories. Perhaps most interestingly, Studio Ghibli film Spirited Away won Best Animated Film while Michael Moore's Bowling for Columbine was awarded Best Documentary.
As part of this exercise, I will determine winners in each category only by the films that were nominated. So, if I thought Adaptation. was the best original screenplay of the year, I'm still going to focus on what is in front of me. There are far too many films from the year that I didn't see to consider everything, so this makes it easier for everyone. And with that, here are my takes on the 10 categories which included Gangs of New York.
As you'll see become a theme throughout this look back at these Oscars and especially in the categories that were won by Chicago, the grand modern musical sort of had it in the bag. With this quick and slick film, which zips and whirls between fantasy and reality, a heightened world and musical fantasy, there is a whole lot of editing going on. That's never necessarily a bad thing, and depending on your enjoyment of Chicago, that may or may not be a worthy win. There is no doubt, however, that Chicago really runs. Flashy cuts aside, if the edit had been bad, the film wouldn't be nearly as broadly entertaining. Another theme you'll see throughout this piece is that, unlike the Academy, I don't find Chicago to be the best choice in most of its categories.
What's the old joke about long films? Such and such film could have used an editor… [As long as this piece ends up, you could say I need an editor, too. Fair.] All three of Gangs of New York, The Two Towers, and The Pianist are incredibly long and expansive films. The only one of the three that I can really feel drag at times is The Pianist, however. Whenever Gangs of New York starts to feel long, there is another change of pace or a watershed scene about to take place. This is definitely a sign of a well edited film, even if it could have easily been 20-25 minutes shorter [the screenplay shares the blame there, too].
Ultimately, though, my pick would be Stephen Daldry's The Hours, which is an exemplary version of the interconnectedness-between-places-and-times film. At the beginning of The Hours, the editing works very hard to connect the women of each story within the space of the film before we really know anything about them. We see them start their days in a quick montage, waking to alarms, looking in mirrors, readying for breakfast, with the subtle differences marking their individual lives. This technique isn't exactly groundbreaking for this type of film [especially as more of these films have come in the following years], but it is smooth and catches the rhythm of the film immediately. The stories build through their connections over the course of the film, not always as directly as the opening sequence, but always because of the editing.
Here again, on paper Chicago is clearly the prototypical Oscar frontrunner. All five nominees being historical epics from starkly different periods and locations make it a pretty interesting field, however. But it is certainly natural to gravitate to the era of flapper girls and zoot suits.
The three periods of The Hours allows for a higher degree of difficulty, but there isn't much memorable outside of Virginia Woolf's overall look. Likewise, the costuming in The Pianist didn't particularly stand out while I watched it, even with the nomination in mind—though a German officer's coat does play an important role in the film's climax.
In my opinion, the two most "costumy" [by that I mean the costumes are an actively important piece to the filmmaking] films are Frida and Gangs of New York. Frida Kahlo's wonderful dresses are as potent as the art she creates. But Gangs of New York has a slight advantage for wonderfully dressing the dozens of characters that make up the hordes seen around the Five Points. The crazy plaid pants, abundance of top hats, vests, and colorful corsets take what we would expect from a costume drama of this era, but have a unique and dungy flair.
Four of the nominees in cinematography take on a very classical style. Road to Perdition is probably the most clear example of that, and maybe that's why it ultimately won the prize. It isn't a stodgy looking picture, though, with innovative camerawork and a number of brilliant scenes that are directly created by the film's look. The film's climactic shootout in a rain drenched Chicago street is the highlight—it is undoubtedly the first image that comes to mind; it is difficult to remember the entire film doesn't have this same aesthetic. For its mix of classic and modern cinematographic techniques, Road to Perdition is the most striking film of the year and one of the few categories the Oscars definitely got right.
The Pianist has the same approach, but much less artistic style—at least less flash. Gangs of New York mixes the classical style with a bit of a more modern energy. Surprisingly, though, there aren't many specific shots that stand out to me. The foggy final showdown between Amsterdam and the Butcher is almost enough on its own to pick.
Far from Heaven is classical but fitting to a more specific style of film. An homage to the Sirkian melodramas of the 1950s, the film's cinematography is most striking by its use of vibrant colors, used to heighten the emotional states of its characters. Otherwise, Far from Heaven uses elegantly moving camerawork [more movement than the typical film from the period] and a beautiful soft light that supports the gauzy nostalgia of its themes. This was definitely the biggest contender to Road to Perdition in my opinion.
The "one that doesn't belong" is the much more modern looking Chicago. But unlike its token lead for editing and other technical and artistic categories, cinematography isn't Chicago's best feature. In fact, it probably doesn't even deserve its nomination on merit and I'll assume it is here because of its general sweep over the year. It isn't an ugly film by any means, but the shot selection philosophy of the musical numbers typically make them feel smaller than they should. The kinetic use of the camera, too, diminishes the impact just enough to be a disappointing misstep.
This category that is basically a coin flip for me. The 1920's aesthetics of Chicago vs. the grimness of Gangs of New York vs. the brightness of Frida vs. the epicness of The Lord of the Rings vs. the gangster style of Road to Perdition. They are all so different but so fully realized.
Ultimately, the coin comes up with Frida, which is the bright and painterly film you would expect from its subject and director Julie Taymor, who is an underrated visual stylist. I'm not sure if any of the other nominees put in as much attention for every detail on screen, with the look of its main character, the art [both cinematic and work of its character] surrounding her, and the overall color palette. I can't fault any other preference, including the Academy's, but I'll take the most immediately striking looking film.
I'm not going to pretend to be an expert in sound mixing, but I'm guessing a musical with lively and well produced songs is going to have the edge, which ultimately led to Chicago's win. I really have no issue with this pick, even if I can't articulately defend it.
Of the big blockbusters, Spider-Man actually might have the most interesting use of sound. Upon rewatching the film, I noticed an interesting sound mix during the final fight between the title hero and the Green Goblin, which was very reminiscent to the close-up montages director Sam Raimi used throughout his Evil Dead series.
I don't need to spend a lot of time on this category. "Lose Yourself" is the only option, not only because it is fun that Eminem is an Oscar winner. It is also a great pop song that fits with the film it represents. As the first rap song to win an Oscar, it is an important part of cinema history. Also, "The Hands That Build America" is by U2, which should have disqualified it from the start.
Though it used to be a more regular practice, screenplay nominations for foreign language films is relatively rare. Since 2000, 13 foreign language films have been nominated [4 adapted, 9 original] which comes out to about 8% of the total [Babel counts, though it is in multiple languages, including English]. Surprisingly, two were nominated in this year, including the winner, Talk to Her—only the fifth foreign language film to win the Oscar, and the first since French film A Man and a Woman in 1966.
Talk to Her may have been an unconventional and surprising choice, but its screenplay builds and changes its dramatic tones incredibly well. It is far from as big and broad as Gangs of New York, but offers a much more diverse dramatic ride. Seamlessly, it shifts from romance to melodrama to thriller. Gangs of New York is impressive for taking big ideas and political history to make a cinematic revenge tale, but Talk to Her does more with less through its screenplay.
The other foreign language film in the bunch, Y tu mamá también gets the nominations for being a painfully honest and smarter-than-average look at teenage male friendship. What it does best, however, is build the world through narration that seasons the lives of its characters and the people and places they encounter on their journey. Little touches, like the story of a couple who died in a terrible accident at an otherwise unassuming spot on a road years earlier, aren't particularly necessary to the main plot, but make this world feel real.
The original screenplay nomination was the Academy's official nod to the biggest surprise hit of 2002, My Big Fat Greek Wedding, and it probably is the most well suited nod it could give. Written by its star Nia Vardalos, it takes a pretty broad romantic comedy framework and fills it with personal touches. Being the only comedy of the bunch, it is a welcome inclusion, but it is not the strongest screenplay of the year.
Far from Heaven is a painstakingly 1950s melodrama narrative that would have never been made in the 1950s. The homosexual and interracial relationships aren't so radical today, but within the 1950s context the stakes are resounding. Because it is such an artistic homage, its technical achievements [including its nominated cinematography] are in the forefront. The screenplay, however, definitely deserves recognition for how it subtly plays with the Sirkian melodrama tropes without feeling reductive. Overall, though, I like the Academy's surprising pick of Talk to Her.
When Adrien Brody won the Oscar for his role as Szpilman, the Jewish pianist who suffers greatly during the German occupation of Poland during World War II, he became the youngest winner for the category—a record that still holds today. Though his win is definitely surprising given the status of actors he was up against, the Academy definitely loves honoring work for the type of role he was playing, and The Pianist definitely gives him a lot of emotional ground to cover. It is pretty easy to scoff at the win in hindsight given his infamous acceptance kiss and where Brody's career has gone since [though there are definitely a few films he's done that are greatly underrated]. That aside, judging the work alone, he doesn't give my favorite performance of the group. Brody works best in the film in the silent moments, especially in a very tense third act when he has become near destitute. Still, the character doesn't show off great range and the actor himself doesn't transcend or add to the dramatic stakes being placed upon him.
In what is likely his last of 12 Oscar nominations, About Schmidt is a nice final chapter for Jack Nicholson [I realize he was in more films afterwards, including The Departed, but if About Schmidt goes down as his last notable role, I'd be happy with that]. He's an unorthodox voice for director Alexander Payne's midwestern sensibilities, but he really nails the part. He's especially good in the dramatic breakdown following the death of Schmidt's wife, unhinged and sad without going over the top. Nicholson hasn't been as likeable a presence for a long time, but unfortunately, there are a few behemoth performances that draw more attention.
Daniel Day-Lewis and Nicolas Cage are the two frontrunners for me. But to say a word about Michael Caine in The Quiet American, it is a fine performance in a mediocre film that seems most notable because the performance doesn't mesh with his oft-parodied rhythm.
And so, Nicolas Cage's performance in Adaptation. is one of my all-time favorites. He perfectly conceives the absolutely oddball creation of screenwriter Charlie Kaufman in a way few actors could. He is a perfect sad sack vehicle for the dark comedy. And his ability to play two characters with wildly different worldviews is wonderful, especially without any grand mannerism or physical ticks to easily differentiate the two characters more naturally. Cage gives so much life to Charlie and Donald that it almost defies regular Oscar categorization. Say what you will about the majority of Nicolas Cage's career since Adaptation., but he is absolutely brilliant with proper material and motivation.
Polanski's win was, no doubt, a controversial one. I'll assume that you know director's circumstances and I'd rather not get into the art vs. artist debate in this space, but I'll say that on merit alone, I don't think Polanski shouldn't have won this directing prize. Honestly, compared to Polanski's best work, The Pianist seems pretty direct-by-numbers, at least stylistically. In its theme and character, it fits right in with the auteur's work, but it is mostly pretty undistinguished looking. It is definitely competently made, and Polanski's natural sense of paranoia brings out a lot in the film's best moments. Perhaps more outward style would have detracted from the story or been impossible given the overall classical look of the film, but like another nominee I'll mention below, I prioritize voice and style when I'm thinking about great directorial work. Polanski's work here only hits on one of those personal requirements.
If there is one thing that has become clear over years, it's that the industry loves them some Rob Marshall. The man responsible for an inordinate number of 21st century movie musicals [though it has surprisingly only been three, though that still might qualify as "inordinate"] made his debut with the Broadway adaptation. His direction of the big song setpieces definitely live in the ADHD music video era, with quick cuts and too many closeups. Still, there are some nice flourishes, especially in numbers like "Razzle Dazzle" and the "All That Jazz" opening. Marshall's style also comes off a bit like a watered down, mainstream version of Moulin Rouge, with the glitz and glamour without the desire to be weird.
Daldry's work in The Hours is delicate despite the intensity of the drama. I'm not sure if the look and tone of each of the three stories being basically the same is a strength or weakness. Certainly, the storytelling method wouldn't be so seamless if the parts were more visually distinct, and there would be some thematic resonance lost, but it lacks a directorial stamp that might be necessary to win this award. That's an unfair position for Daldry—what is better for the film shows off his skills as a workman other than a more artistic craftsman.
Using my personal scale of voice + style, this was a close choice [go figure] between Almodóvar and Scorsese. Two of the most acclaimed film stylists of this generation, their films couldn't be much more different. At the time, Scorsese was on his famous winless streak that would finally end with The Departed, so I'm sure there was some pressure on the Academy to choose him, and I wouldn't have argued. Gangs of New York, like most of master's films, is big and bold and distinct, but also incredibly personal. Given how much we've noted this week that the themes resonate even stronger today, it has proved to be have an important cinematic voice, as well.
Unfortunately for Scorsese, though, I adore Talk to Her. Almodóvar is one of the most distinct filmmakers working today and this is perhaps the best version of his style and storytelling. Only a filmmaker with his talent could so easily juggle the film's mix of contradictory styles—at times lush, at times incredibly dark. And none of the nominated films so clearly bear its filmmaker's vision.
Did Chicago really win Best Picture or was it a showstopping musical fantasy we all just imagined? Considered one of the lesser winners in Oscar history, I went into my first viewing of Chicago expecting something far worse than the resulting slick and entertaining song and dance show. That might be damning it with faint praise, as it actually surprising that a group of people would consider it the best film of any given year, but it is quite enjoyable.
So, then, one must turn to the other nominees and wonder if it was just the beneficiary of weak competition. The remainder is made of three epics and a smaller drama that is thematically larger than what is on the page. If I was under complete control of this year's ceremony, the Best Picture would most certainly have come off the board to one of the more interesting films that were nominated in other categories, yet missing here: Adaptation., Far from Heaven, Talk to Her, and Y tu mamá también leading that cause. Of what was nominated, it is a tough call to pick a winner.
After winning Best Actor and Best Director, among its other nominations, The Pianist probably would have been the favorite in the moments before the envelope was opened, and I'm actually a bit surprised it didn't win. Given its subject matter and its classical artistic craft, it seems like a film the Academy usually chooses to honor. And given Polanski's controversial win, it may have been safer to give The Pianist Best Picture while choosing a different director [I know that's not how it works, but it makes sense in my head]. Certainly, there would have been much less head-scratching in the years to come if The Pianist would have won, though the criticisms may have shifted to it being a "safe" pick.
Part two of The Lord of the Rings trilogy is maybe the weakest entrant of the extraordinary series [that's grading on a steep curve, I realize]. And in any case, I think it is fair to consider that Peter Jackson's work on the revolutionary series would get plenty of love the following year, possibly as a sum of the series parts.
The Hours is a film I'd seen previously but hadn't thought of much since. Similarly, I think it has been mostly forgotten or remembered solely as a style of film that would become increasingly dour and obvious. It is a really beautiful film with an exceptional cast [Nicole Kidman won the Oscar for a very good performance despite the facial appliance that might end up as the leading image of the film's legacy] and sharp convergence of script and edit. I fear if it had won Best Picture, it wouldn't be held in much higher regard, though perhaps more than Chicago.
That leaves Gangs of New York, a film that is more of a base entertainment than the prestige picture it may seem to be. That isn't a criticism—far from it actually. No matter how dynamic the historical period, whenever Hollywood gets its hands on material like this, it is too easy to screw it up. Gangs of New York could have easily been Les Miserables, but it is instead appropriately wacky and violent. Even with Leo DiCaprio in the midst of his most awkward leading man period and a Cameron Diaz being miscast [though I think she is better than she's been given credit], the thrown-in romance doesn't derail what is otherwise so unusual.
Honestly, this was a difficult choice despite having no personal stakes whatsoever. Since I only "awarded" Gangs of New York in one other category [and Best Costumes, no less], it seems like it may not be worthy of being my "Best Picture," but given the other films the Academy chose to highlight and the fact that it was a worthy nominee in all 10 of its nominated categories, I feel it is the right choice. None of these films particularly stand out, so I prefer the most lively one. For any of its faults, Gangs of New York is a big, interesting, complex, and well-rounded. It isn't the best picture of 2002, but under the circumstances, it should have been Best Picture.


There are only three certainties in SW1 now: death, taxes and slapdowns of Johnson.
Back in the heady pre-Brexit days of early-ish 2016, top Tories were strongly opposed to explicit attacks on Boris Johnson.
"Doing blue on bue just leads to psychodrama," David Cameron's communications chief Craig Oliver is said to have remarked during the Brexit campaign.
"I think he is wrong on this...I think the tone that he has used isn't right and I think that we just need to be very focused on actually moving forward with the Chequers plan."


Wehmeyer holds a bachelor's degree in business from Midcontinent University; a master's degree in special education and her Rank I in advanced learning behavioral disorders from Murray State University; and her director of special education endorsement from University of the Cumberlands.
Wehmeyer resides in Paducah, and has two sons. Cody B. Martin and his wife, Katie, live in Wyoming and serve in the United States Air Force. Wyatt Martin lives in Paducah and attends WKCTC. Wehmeyer is a member of Arcadia United Methodist Church in Paducah.


Sorry, deze aanbiedingen is verlopen.
Festively spend Easter with your family and friends in one of our Fletcher Hotels. Enjoy the beautiful nature together or undertake a great variety of other activities. Since all our unique 3- and 4-star hotels have wonderful surroundings, there is always something to choose from. For young and old. Looking for Easter eggs in the woods or in the dunes? It's your choice. Hop on a bike for a beautiful ride or take a challenging hike. After a strenuous day you can rest in a comfortable (family) hotel room. Everything is possible, at Fletcher.
Enjoy a culinary tour de force and unwind in a laid back atmosphere and peaceful ambiance. Hotel-Restaurant Auberge De Kieviet has a convivial lounge and atmospheric, highly praised restaurant. The hotel is the ideal base from which to explore nearby cities such as The Hague and Leiden.


GAYGLORYHOLE CurvyNina jasmin. VeronikaLinaSw. MarcusYonsi. DONDONATO.
likkko4kaSammSaraSorceressalovelysamyloving .zoebabykeRocknRosseNoLimits4FriendsmelissaAny .JolieEverettMaxReadyToPlayLeonJamesroxhannaMoore .LeoGreyHazinuaGulichkaLolaHoneyBB .anzhelinkaSorceressatwolatinshotxMiaKittyX .SexiestEyesSEXYGIRLHOT2BABYDOLL951CutieErica .AmandaSexy95SammSaraValerieCruzPiinckHappines .PatriciaSTEINGiselleFayeNoLimits4Friendsalexselim85 .LeonJamesJustNatCurtisWilsonlikkko4ka .JembeauMissJessyxGreenAMETHYSTbadGIRLSinBED .nycostephanysuperbGAYcock8roxihtywasterwoMariaAnn .
CharmEvelinPamelaHaleyLylSweetyBABYDOLL951 .DianaSpicyMissJessyxGulichkaValerieCruz .ValerieCruzSexiestEyesNoLimits4FriendsMissJessyx .roxhannaMooreJustNatsuperbGAYcock8badbos .BABYDOLL951KasashPamelaHaleyroxhannaMoore .DaisyNiceDONDONATOSorceressaBABYDOLL951 .BrianRileyanzhelinkanycostephanyWillPlayeer .RocknRosseRocknRosseroxihtywasterwoSexiestEyes .twolatinshotxMissJessyxKinkySisyDeanCm .valerianddaryCutieEricaJembeauNicolee2x .Kasashwillyboy1PreciouStyleMaxReadyToPlay .


ATIKOKAN, Ont. -- Agnico Eagles Mines Limited has struck a deal to acquire full ownership of the Hammond Reef gold project in northwestern Ontario.
The property is currently owned by Canadian Malartic Corporation, a 50/50 partnership between Agnico and Yamana Gold.
Although it is not yet a mine, Atikokan officials hope it will eventually create hundreds of new jobs in the area.
Under the agreement, Agnico will purchase Yamana's interest in Hammond Reef and some other projects in Ontario and Quebec for about $163 million U.S. The transaction is expected to be completed before April of 2018.
Hammond Reef is about 25 kilometres northeast of Atikokan.
According to information supplied by Canadian Malartic, past exploration work on the property led to the development of a small mining operation in the 1890s, and again in the 1930s. Other exploration work by Falconbridge in the 1980s, and by Pentland Firth in the 1990s, paved the way for Brett Resources Inc. to launch a much bigger exploration project in 2008..
In 2010, after acquiring Brett Resources, Osisko Mining carried out an intensive exploration program and updated the earlier definition of the deposit.
Development was advanced further after the Canadian Malartic Partnership was formed in 2014.
In a news release, Agnico describes the current status of Hammond Reef as an advanced stage gold project covering approximately 31,000 hectares and containing well-defined mineral resources.
The gold-mining company operates eight mines in Canada, Mexico and Finland.
Atikokan Mayor Dennis Brown told tbnewswatch.com on Wednesday that, based on his knowledge of Agnico and its interest in the project, the announcement that it will take full ownership of Hammond Reef is good news for his community.
"They've identified the deposit. They know it's there. They've just about finished the environmental assessment process. Hopefully it will become a mine some day," Brown said.
The mayor said Atikokan at one time had a population of over 6,000, but the count presently stands at around 2,800.
"We need more people. We still have the same amount of amenities and infrastructure to operate. It would be great if we could get some more people working here."
Brown said he's hoping for encouraging news about Hammond Reef in the New Year.


text:
All Car Categories
2009 Cadillac STS 3.6 L VVT V6 Engine 302 hp Distinctive Luxury
• Standard 3.6L VVT V-6 with efficient direct injection technology
• Platinum model returns with distinctive exterior and interior appointments
• STS-V offered with 469-hp (349 kW)* 4.4L supercharged Northstar V-8
• Available Lane Departure and Side Blind Zone Alert systems
2009 CADILLAC STS OFFERS TECHNICALLY ADVANCED LÚXÚRY AND PERFORMANCE
Substantially enhanced and restyled for 2008, the 2009 Cadillac STS luxury performance sedan continues to offer premium levels of technology, craftsmanship and performance.
The advanced features include a standard, 302-horsepower 3.6L V-6 engine with direct injection technology that produces excellent power while reducing emissions and maintaining fuel economy.
'The STS is a showcase of Cadillac's design, technology and performance,' said Jim Taylor, Cadillac general manager.
The 2009 Cadillac STS is available in V-6 and V-8 rear-wheel-drive and all-wheel-drive models. The ultra-luxury STS Platinum Edtion returns for 2009, along with the STS-V. Part of Cadillac's acclaimed V-Series, the STS-V represents the full extent of the car's luxury and performance including a supercharged, 469-horsepower (349 kW) Northstar V-8 engine.
The STS Platinum delivers distinctive luxury nuances, such as 18-inch wheels, leather-wrapped interior, an Alcantara ™ headliner and exclusive Platinum badging.
Bold styling
Enhanced last year, the STS expresses the bold design flair that has become a Cadillac signature. Úp front, the dual-textured, multi-faceted grille reflects the styling seen on the Escalade and CTS. High Intensity Discharge (HID) headlamps and the Intellibeam automatic high-beam system are available.
The lower front fascia features a distinctive intake and grille pattern evoking Cadillac's V-Series high-performance models. Similarly, side air extractors, again inspired by the Sixteen concept and Escalade, are now incorporated into the front fenders of STS. New chrome-plated door handles and lower rocker moldings are added for more presence and refinement.
At the rear, the new fascia is now body color and is highlighted with polished aluminum three-inch exhaust tips. New, polished 18-inch x 8-inch aluminum 14-spoke wheels are available.
Interior appointments
Inside, STS' luxurious interior includes a §teering wheel with available genuine Sapele wood trim. Sapele is an exotic wood more commonly used in fine furniture and musical instruments. A heated §teering wheel also is available. The center stack of the instrument panel is revised with the addition of wood trim that has new metallic surroundings.
Additional available features for the V-6-equipped STS include a reconfigurable head-up display. The head-up display projects key driving information (such as speedometer ratings) onto the windshield, enabling drivers to keep their eyes on the road.
Other technological appointments are plentiful, purposeful and driver oriented, including a Keyless Access system; Adaptive Remote Start system (not available in Europe or Russia); Adaptive Cruise Control (ACC); heated and ventilated seats and heated §teering wheel.
An available infotainment system includes one of the industry's first OEM-installed surround-sound audio systems. The cabin is immersed with 15 Bose speakers. The 5.1 Bose system also has an integrated six-disc CD/DVD changer and plays formats including DVD-A, CD and MP3. It includes an eight-inch full VGA-quality touch screen and advanced navigation. In addition, the system has Bluetooth phone capability, advanced voice recognition and OnStar.
STS models feature OnStar Turn-by-Turn Navigation. It allows consumers to talk to a live advisor, who in turn sends complete step-by-step directions to customers' vehicles through their OnStar system. These audio directions automatically play through the vehicle's stereo as needed, triggered by the OnStar system's GPS capabilities. This enables drivers to be led to their destination while keeping their hands on the wheel and eyes on the road. New for 2009 is eNav that works with Turn-by-Turn navigation to deliver MapQuest directions directly from OnStar.
Direct injection 3.6L V-6
The STS' standard 3.6L V-6 engine uses direct injection technology. It is an advanced system for more precise and productive fuel delivery, enabling greater power and fuel efficiency than a comparable, non-direct injected engine, while also delivering a 25-percent reduction in cold-start hydrocarbon emissions
The direct injected 3.6L engine is rated at 302 horsepower (225 kW)* at 6,300 rpm; torque is 272 lb.-ft. (366 Nm)* at 5,200 rpm. It is GM's third engine variant offered with direct injection technology. With direct injection technology, fuel is sprayed directly into the engine cylinder where it is mixed with air. As the fuel vaporizes in the cylinder, the air and fuel mixture is cooled. This enables the use of a higher compression ratio in the combustion chamber, 11.3:1, which improves engine performance and efficiency.
Direct injection requires higher fuel pressure than conventional fuel-injected engines, and the engine-driven high-pressure fuel pump is used to supply up to 1,740 psi (120 bar) of pressure. The system regulates lower fuel pressure at idle – approximately 508 psi (35 bar) and higher pressure at wide-open throttle. The exhaust cam-driven high-pressure pump works in conjunction with a conventional fuel tank-mounted supply pump.
Four-cam phasing
In addition to direct injection, variable valve timing also helps reduce exhaust emissions and improve performance and fuel economy by optimizing the phasing of the intake and exhaust valves relative to the crankshaft position at all operating conditions. The result is linear delivery of torque, with near-peak levels over a broad rpm range, and high specific output (maximum horsepower per liter of displacement) without sacrificing overall engine response and driveability.
Cam phasing pays big dividends in reducing exhaust emissions by optimizing exhaust valve overlap and eliminating the need for a separate exhaust gas recirculation (EGR) system.
By closing the exhaust valves late at appropriate times, the cam phasers allow the engine to draw the desired amount of exhaust gas back into the combustion chamber, reducing unburned hydrocarbon emissions. The return of exhaust gases also decreases peak temperatures, which contributes to the reduction of oxides of nitrogen (NO x) emissions. In tandem with the dramatic 25-percent reduction in cold-start hydrocarbon emissions enabled by direct injection, the 3.6-liter VVT DI V-6 surpasses all emissions mandates, and does so without complex, weight-increasing emissions control systems such as EGR and air injection reaction (AIR).
4.6L Northstar V-8 and transmission details
In addition to the direct injected V-6, STS is available with the powerful 4.6L Northstar V-8, which delivers 320 horsepower (239 kW)* and 315 lb.-ft. (427 Nm)* of torque. It, too, features variable valve timing (VVT) for precise fuel management and exceptional power at all rpm levels.
Coupled to the new 3.6L V-6 engine or the 4.6L Northstar V-8 is GM Hydra-Matic's fuel-saving 6L50 six-speed electronically controlled automatic transmission. It has a 6.04:1 overall ratio that enables a steep first-gear that helps deliver strong launch acceleration.
Active §teering technology
STS' StabiliTrak electronic stability control system includes the option of active §teering technology. In addition to controlling brakes and reducing engine power, this latest iteration of StabiliTrak combines active front §teering to turn the front wheels into the skid when rear wheels lose traction.
The system includes a new §teering motor assembly combined with computer-driven electronic controls that measure wheel slippage at all four wheels independently during acceleration, braking and adverse road conditions. Active §teering is available exclusively on all-wheel-drive 4.6L Northstar V-8 models.
An advanced Lane Departure Warning System is available on the 2009 STS. Controlled by a camera located in the rearview mirror that reads the lines in the road, the system alerts drivers when they have strayed into another lane without signaling. Drivers receive both audible and visual alert cues.
When the Lane Departure Warning System is engaged, a driver traveling at 35 mph or more who crosses a detected lane marking without signaling is alerted in two ways: The system flashes an amber indicator light located in the fuel gauge of the instrument panel, and an alerting chime of three beeps is played. The system does not steer the vehicle; it is designed only to alert drivers so they can take appropriate action to move the vehicle back into the lane.
Side Blind Zone Alert System
Another optional feature is a Side Blind Zone Alert System that extends and enhances driver awareness and vision. Alternating radar beams in Side Blind Zone Alert System sweep adjacent lanes of traffic, covering a zone of about one lane over from both sides of the vehicle, or 11 feet (3.5 m). The zone starts at each side mirror and goes back about 16 feet (5 m).
When the system is engaged, a driver will know that following vehicles in the adjacent lanes are entering their side blind zone when an amber symbol, located in the outside rearview mirror, is illuminated. The system is not designed to detect vehicles outside of the side blind zone that may be rapidly approaching, or detect pedestrians, bicyclists or animals. It's designed to ignore infrastructure such as fire hydrants or parked cars. In addition, the system displays do not come on while the vehicle is approaching or passing other vehicles.
Performance handling package
A performance handling package is available fo r V-8-equipped rear-wheel and all-wheel-drive models and V-6-equipped rear-drive models. The package includes 18-inch x 8.5-inch aluminum alloy, chrome-plated wheels fitted with P255/45R18 Bridgestone Potenza summer-only tires.
Four-piston caliper Brembo brakes, with front rotors measuring 355 mm x 32 mm and 365 mm x 28 mm rear rotors, provide enhanced stopping ability. All four rotors are vented.
STS Platinum
The STS Platinum sedan extends the luxurious look and feel of the STS with elements such as 18-inch chrome-finish wheels, a brighter chrome-finish grille and exclusive Platinum badging.
Inside, STS Platinum features a hand-cut, sewn and leather-wrapped instrument panel, door trim and center console areas. The seats are fully leather, a semi-aniline variety called Tuscany. Luxury touches include chrome accents on the instrument panel and doors, a leather-wrapped and heated §teering wheel, olive ash burl wood accents with a saddle-stained shade, premium floor mats, Alcantara headliner and a Platinum badge on the door sill. STS Platinum comes in either a Cocoa over Cashmere or an Ebony interior color scheme.
The supercharged Cadillac STS-V is a powerful expression of Cadillac power and performance. It carries all the sophistication of its STS siblings, yet elevates the performance and luxury attributes of the brand's V-Series lineup to their fullest extent.
The 469-horsepower (349 kW)* STS-V is capable of exceptional performance for an automobile of its size. Each 4.4L Supercharged Northstar V-8 engine is hand assembled to exacting standards at GM's Performance Build Center in Wixom, Mich., and is built from start to finish by a single expert craftsman. Production is limited to ensure exclusivity in the marketplace.
The engine is paired with the GM Hydra-Matic 6L80 six-speed electronically controlled automatic transmission with driver shift control. This powerful combination enables 0-to-60-mph acceleration in less than five seconds. The STS-V includes numerous chassis enhancements, including massive Brembo brakes with air cooling, larger wheels and tires for better grip and larger front and rear stabilizer bars for better performance.
The interior features extensive use of leather wrapped surfaces, created by craftsmen who cut, wrap and sew leather around components individually. Kinetic aluminum accents adorn the §teering wheel and instrument panel. STS-V features deep-tinted Olive Ash Burl wood accenting the center stack and door trim.
All STS models are built at GM's state-of-the-art Lansing Grand River assembly center in Lansing, Mich
Price this car:
MSRP: $46,845 – $57,895
Invoice: $31,133 – $32,733
Source: Cadillac Press Release
Prices, Reviews, and Specifications by BatuCars.com
20 Jun 2011 Categories: Cadillac. Tags: 2008 cadillac cts, 2010 cadillac, All Racing Car Photos, cadillac car, cadillac cars, cadillac cts, cadillac cts-v, cadillac deville, cadillac dts, cadillac escalade, cadillac records, cadillac srx, cadillac sts, Car, Cars, escalade, Free Car Pics, Hatchback Cars Pics, Hot Car Gallery, Hot Cars, Last Car Models, New Car Pics, Sedan Cars, Speedy Car Pics, Sport Cars.
« 2009 Cadillac XLR-V 4.4 L Northstar V8 Supercharged 443 hp 'Keyless' Car
2007 Cadillac XLR-V Supercharged 443 hp V8 Engine Luxury Cars »
All car images and press releases in the content copyright by their car manufactures. We collect it for customer informations about car products. If any images or content you see here are in violation of copyright, please contact us, provide proof of copyright infringement, and we will remove the images... If you need to contact us, you can email this address; "admin@batucars.com" Copyright © 2011 BATUCARS
Coolaq

redpajama_set_name: RedPajamaCommonCrawl


This week (while still patting myself on the back for my first sub 2-hour half marathon!) I found myself trying to explain to my husband why I needed to keep doing this. Why I needed to keep running and keep going to yoga. Why these hobbies where more than just hobbies.
I think the conversation started when we talking about our AmEx bill. My membership to my yoga studio was up for renewal and I was about to fork over several hundred dollars for the next six months, I just registered for the Wine & Dine Half Marathon and despite it's hefty price tag I'm pretty much ready and waiting for registration to open for the Inaugural Dopey Challenge.
In hindsight I think I may have actually been trying to rationalize all these costs to myself more than to him, because despite the fact this his wife decided to pick up a few expensive hobbies right around the same time she decided to leave her job and go back to school for 5 years (all while we're trying to save to buy a house) the man (who I'll be nominating for sainthood) has never said a negative word about any of it.
And while I struggled to put into words what running and yoga has done for me, he didn't need me to tell him because he could see it.
I am less stressed, happier, more confident and I continue to amaze myself with what I can accomplish. From running my first half marathon, to my first full…then Goofy, becoming a certified yoga teacher and now a sub-2 hour half marathon all in less than 2 years.
Focusing on running and yoga has at the same time helped me focus on other things.
But, I am pretty sure to keep those other things in focus I need to keep running and keep yoga-ing.
Running and yoga are like the cross training for the rest of my life. And the rest of my life is a pretty important thing, which makes the price tag that comes with these "hobbies" a little easier to swallow.
I really like the way you explained how running and yoga keep you balanced. I have not been keeping to a consistent running schedule AND feel stressed right now. It's probably connected!
I'm so glad you understood what I was trying to say because I was having such a hard time putting it into words! There is definitely a connection between working out and how I feel and now that I know it's there I don't want to stop!
You have inspired me to try yoga Danielle. I have downloaded an app for my phone and I am starting tomorrow. I cannot wait!
Yeah! Yoga can be frustrating at first for a lot athletes because it's so much slower than were used to going in out other sports, but that's why it's so great! It's the yin to the yang of running, biking, etc! A great way to slow the mind and take the time to really focus on your body.
Good luck and please please please let me know if you have any questions, I'm more than happy to help!
Its crazy how expensive running can be but I always tell myself about the doctor bills I am saving by being a healthy weight and keeping a healthy mind that running and yoga give me!! (Although my boyfriend still doesn't get why I pay money to run, luckily I have been crazy for this stuff since he has known me)! Maybe we are crazy, but its a great kind of crazy!
Yes! That's actually a benefit I hadn't even thought of when I was writing this, but it's so true, keeping out bodies healthy now will definitely be beneficial in the long run!
Couldn't do any of this without you, love you! MWA!
I can completely relate to this post, and you articulate everything so well. I was just talking with a friend last night about how I view my career as a tool to give me the ability to do things outside of work that make me happy. Life is about choices – even if the ones we make mean we have to wait longer to buy things that we want, as long as we're working to better ourselves and be happier, I think personally that's the right call nearly every time. So happy for you!
Exactly! And I think that's one of the reasons that I was so unhappy at my old job…it didn't leave room for ANYTHING outside of it, it WAS my life. I am so much happier now that I have the time to do things for me and that I recognize how important it is!
Your confidence is shining through in the post. The new fitness gains you have made have enabled all aspects of your life to improve. Way to go on life Danielle. It is really fun following your blog!
Thank you so much Pam! It really is amazing to have an online support system too, I love hearing about all my blogging/ running friends successes as well!
your such an inspiration and have accomplished so much in such a short time!! its amazing how a physical workout (running, yoga, etc.) can completely change us on the inside – i know this past year and a half i have grown more than probably my other 23 years combined.
Good for you Jackie, keep it up! I wish I had discovered this at 23, but better late than never, right??
Here's to amazingly supportive partners! I don't know where I'd be without mine. Sounds like we both scored in that department!
Yes, definitely, we're both very lucky!
Couldn't have said it any better..just replace yoga with CrossFit 🙂 Def keeps me grounded and clears my mind. And without either, I wouldn't have found the Herd or many of my other good friends. Totally worth it!
Yeah for the herd! I mean who would I talk running and Disney with if I didn't have you guys?!? Pretty sure my other friends are sick of hearing about it!
I know your struggle. My husband and I finally had to cap our spending on runs. Since we've done that it has helped us because while we are getting the physical benefits of running, it was putting an added financial stress on us because of how much money we were spending on races. I think we've finally found a happy balance.
Exactly, I really need to budget myself better when it comes to these races, moving forward I'm going to try to do a better job of that. The crazy thing is when you start running it's like, "oh, running is so inexpensive, all you need is sneakers!" NOT TRUE.
Agreed. I've been doing the debate on doing the Dopey because of money. But I really want to because I think it will be something really special.
As always good reading. Now for my son Jason he IS a very lucky husband, the way I see it he's also found a very great friend in you.
Totally love that quote at the end!
You are so right! What a great way of putting it!
While I'm not a big racer, running, yoga and occasional interval workouts are what keep me sane and happy. It has gotten me through a really tough few months and its so engrained in me, I can't imagine ever going back to the way I was before focusing on my health & happiness.
So glad to hear that running and yoga helped you through a tough time…it's amazing what taking some time to focus on ourselves can do for us! Keep it up!
It's so great that you have Jason to support you. I am constantly grateful for the support Doug gives (I mean, hello, running the Dumbo on our honeymoon!). When I started running, he was always supportive of all my crazy registrations and then when I started seeing a trainer, although it's a huge expense that we really can't afford, he is supportive still because he sees the change in me, how my running and working out make me feel better about myself.
Long story short (too late, I know) I completely empathize with this post. That first half marathon changed my life. And I fully intend on running, working out (and yoga too lol) a part of my lifestyle.
Haha, Doug may win the award with letting you detour from your honeymoon for Dumbo! So glad that you can relate to my post…I wasn't sure if it sounded crazy when I wrote it!


text:
Q: docker mysql Exception:Can anyone see the root cause in logs It is normal when the project is deployed locally.
Exception shows up when i am trying to deploy on ESC server by using docker
Here is logs
2022-06-14 09:10:51.319  INFO 1 --- [nio-8080-exec-6] com.zaxxer.hikari.HikariDataSource       : HikariPool-1 - Starting...
2022-06-14 09:10:52.337 ERROR 1 --- [nio-8080-exec-6] com.zaxxer.hikari.pool.HikariPool        : HikariPool-1 - Exception during pool initialization.
com.mysql.cj.jdbc.exceptions.CommunicationsException: Communications link failure
The last packet sent successfully to the server was 0 milliseconds ago. The driver has not received any packets from the server.
at com.mysql.cj.jdbc.exceptions.SQLError.createCommunicationsException(SQLError.java:174) ~[mysql-connector-java-8.0.19.jar!/:8.0.19]
at com.mysql.cj.jdbc.exceptions.SQLExceptionsMapping.translateException(SQLExceptionsMapping.java:64) ~[mysql-connector-java-8.0.19.jar!/:8.0.19]
at com.mysql.cj.jdbc.ConnectionImpl.createNewIO(ConnectionImpl.java:836) ~[mysql-connector-java-8.0.19.jar!/:8.0.19]
at com.mysql.cj.jdbc.ConnectionImpl.(ConnectionImpl.java:456) ~[mysql-connector-java-8.0.19.jar!/:8.0.19]
at com.mysql.cj.jdbc.ConnectionImpl.getInstance(ConnectionImpl.java:246) ~[mysql-connector-java-8.0.19.jar!/:8.0.19]
at com.mysql.cj.jdbc.NonRegisteringDriver.connect(NonRegisteringDriver.java:197) ~[mysql-connector-java-8.0.19.jar!/:8.0.19]
at com.zaxxer.hikari.util.DriverDataSource.getConnection(DriverDataSource.java:138) ~[HikariCP-3.4.2.jar!/:na]
at com.zaxxer.hikari.pool.PoolBase.newConnection(PoolBase.java:354) ~[HikariCP-3.4.2.jar!/:na]
at com.zaxxer.hikari.pool.PoolBase.newPoolEntry(PoolBase.java:202) ~[HikariCP-3.4.2.jar!/:na]
at com.zaxxer.hikari.pool.HikariPool.createPoolEntry(HikariPool.java:473) [HikariCP-3.4.2.jar!/:na]
at com.zaxxer.hikari.pool.HikariPool.checkFailFast(HikariPool.java:554) [HikariCP-3.4.2.jar!/:na]
at com.zaxxer.hikari.pool.HikariPool.(HikariPool.java:115) [HikariCP-3.4.2.jar!/:na]...............
Caused by: com.mysql.cj.exceptions.CJCommunicationsException: Communications link failure
The last packet sent successfully to the server was 0 milliseconds ago. The driver has not received any packets from the server.
    at sun.reflect.NativeConstructorAccessorImpl.newInstance0(Native Method) ~[na:1.8.0_111]
    at sun.reflect.NativeConstructorAccessorImpl.newInstance(NativeConstructorAccessorImpl.java:62) ~[na:1.8.0_111]
    at sun.reflect.DelegatingConstructorAccessorImpl.newInstance(DelegatingConstructorAccessorImpl.java:45) ~[na:1.8.0_111]
    at java.lang.reflect.Constructor.newInstance(Constructor.java:423) ~[na:1.8.0_111]
    at com.mysql.cj.exceptions.ExceptionFactory.createException(ExceptionFactory.java:61) ~[mysql-connector-java-8.0.19.jar!/:8.0.19]
    at com.mysql.cj.exceptions.ExceptionFactory.createException(ExceptionFactory.java:105) ~[mysql-connector-java-8.0.19.jar!/:8.0.19]
    at com.mysql.cj.exceptions.ExceptionFactory.createException(ExceptionFactory.java:151) ~[mysql-connector-java-8.0.19.jar!/:8.0.19]
    at com.mysql.cj.exceptions.ExceptionFactory.createCommunicationsException(ExceptionFactory.java:167) ~[mysql-connector-java-8.0.19.jar!/:8.0.19]
    at com.mysql.cj.protocol.a.NativeSocketConnection.connect(NativeSocketConnection.java:91) ~[mysql-connector-java-8.0.19.jar!/:8.0.19]
    at com.mysql.cj.NativeSession.connect(NativeSession.java:144) ~[mysql-connector-java-8.0.19.jar!/:8.0.19]
    at com.mysql.cj.jdbc.ConnectionImpl.connectOneTryOnly(ConnectionImpl.java:956) ~[mysql-connector-java-8.0.19.jar!/:8.0.19]
    at com.mysql.cj.jdbc.ConnectionImpl.createNewIO(ConnectionImpl.java:826) ~[mysql-connector-java-8.0.19.jar!/:8.0.19]
    ... 121 common frames omitted
Caused by: java.net.ConnectException: Connection refused (Connection refused)
    at java.net.PlainSocketImpl.socketConnect(Native Method) ~[na:1.8.0_111]
    at java.net.AbstractPlainSocketImpl.doConnect(AbstractPlainSocketImpl.java:350) ~[na:1.8.0_111]
    at java.net.AbstractPlainSocketImpl.connectToAddress(AbstractPlainSocketImpl.java:206) ~[na:1.8.0_111]
    at java.net.AbstractPlainSocketImpl.connect(AbstractPlainSocketImpl.java:188) ~[na:1.8.0_111]
    at java.net.SocksSocketImpl.connect(SocksSocketImpl.java:392) ~[na:1.8.0_111]
    at java.net.Socket.connect(Socket.java:589) ~[na:1.8.0_111]
    at com.mysql.cj.protocol.StandardSocketFactory.connect(StandardSocketFactory.java:155) ~[mysql-connector-java-8.0.19.jar!/:8.0.19]
    at com.mysql.cj.protocol.a.NativeSocketConnection.connect(NativeSocketConnection.java:65) ~[mysql-connector-java-8.0.19.jar!/:8.0.19]
    ... 124 common frames omitted
2022-06-14 09:10:52.358 ERROR 1 --- [nio-8080-exec-6] o.a.c.c.C.[.[.[/].[dispatcherServlet]    : Servlet.service() for servlet [dispatcherServlet] in context with path [] threw exception [Request processing failed; nested exception is org.mybatis.spring.MyBatisSystemException: nested exception is org.apache.ibatis.exceptions.PersistenceException:
### Error querying database.  Cause: org.springframework.jdbc.CannotGetJdbcConnectionException: Failed to obtain JDBC Connection; nested exception is com.mysql.cj.jdbc.exceptions.CommunicationsException: Communications link failure
The last packet sent successfully to the server was 0 milliseconds ago. The driver has not received any packets from the server.
### The error may exist in com/llj/dao/CategoryDao.java (best guess)
### The error may involve com.llj.dao.CategoryDao.findAllCategory
### The error occurred while executing a query
### Cause: org.springframework.jdbc.CannotGetJdbcConnectionException: Failed to obtain JDBC Connection; nested exception is com.mysql.cj.jdbc.exceptions.CommunicationsException: Communications link failure
The last packet sent successfully to the server was 0 milliseconds ago. The driver has not received any packets from the server.] with root cause
java.net.ConnectException: Connection refused (Connection refused)
    at java.net.PlainSocketImpl.socketConnect(Native Method) ~[na:1.8.0_111]
    at java.net.AbstractPlainSocketImpl.doConnect(AbstractPlainSocketImpl.java:350) ~[na:1.8.0_111]
    at java.net.AbstractPlainSocketImpl.connectToAddress(AbstractPlainSocketImpl.java:206) ~[na:1.8.0_111]
    at java.net.AbstractPlainSocketImpl.connect(AbstractPlainSocketImpl.java:188) ~[na:1.8.0_111]
    at java.net.SocksSocketImpl.connect(SocksSocketImpl.java:392) ~[na:1.8.0_111]
    at java.net.Socket.connect(Socket.java:589) ~[na:1.8.0_111]................................................

Here is docker-compose.yml
version: '3'

services:
  nginx:
    image: nginx:latest
    ports:
      - 80:80
    volumes:
      - /root/nginx/html:/usr/share/nginx/html
      - /root/nginx/nginx.conf:/etc/nginx/nginx.conf
    privileged: true
  mysql:
    image: mysql:5.7.27
    ports:
      - 3306:3306
    environment:
      - MYSQL_ROOT_PASSWORD=xxxxxx
  redis:
    image: redis:latest
  wallpaper:
    image: wallpaper:latest
    build: .
    ports:
      - 8080:8080
    depends_on:
      - mysql
      - redis

Here is Dockerfile
FROM java:8

EXPOSE 8080

ADD Wallpaper-1.0-SNAPSHOT.jar app.jar
RUN bash -c 'touch /app.jar'

ENTRYPOINT ["java","-jar","/app.jar","--spring.profiles.active=pro"]

Here is application-pro.yml
spring:
  datasource:
    driver-class-name: com.mysql.cj.jdbc.Driver
    url: jdbc:mysql://mysql:3306/wallpaper?useUnicode=true&useSSL=false&characterEncoding=utf8&serverTimezone=Asia/Shanghai
    username: root
    password: xxxxxx
  servlet:
    multipart:
      max-file-size: 30MB
      max-request-size: 100MB

pagehelper:
  helper-dialect: mysql

shiro-redis:
  enable: true
  redis-manger:
    host: redis:6379

A: Assuming Wallpaper to be your application, ther error is your mysql container never booted up.
If you are trying to access from an external application, you cant use dns mysql in application properties, instead use the IP exposed by ECS or whatever LB you have attached infront of it.
Like
    url: jdbc:mysql://myecsip:3306/wallpaper?useUnicode=true&useSSL=false&characterEncoding=utf8&serverTimezone=Asia/Shanghai

If you still find no luck in figuring mysql issue, can you post the container logs of your mysql?

redpajama_set_name: RedPajamaStackExchange


text:
Q: How can I load a data table after the page loads? I would like to load data in a table but I would like to do this after the page loads.  The actual page has a table, a textbox, and a search button.  I was thinking ajax would help, but I am yet to find a good solution for my problem.  How do I do this? Javascript, Jquery or otherwise.

     New Entries

   <%foreach(var item in Model.NewList) { %>

     <%=item.Date.ToShortDateString() %>
     <%=Html.ActionLink(item.id,"Redirect/" + item.id)%>

   <% } %>

   <%= Html.TextBox("IdNum") %>
   <input type="submit" name="Submit" value="Submit" />

A: After the page load completes run a jquery script which will load the data by using ajax and databind it with jQuery Templates


text:
Q: Затирается результат первого из двух setOnItemClickListener Встроил ListView в основную разметку
  <ListView
    android:id="@+id/listView"
    android:layout_width="100dp"
    android:layout_height="180dp"
    android:layout_marginTop="310dp"
    android:layout_marginStart="40dp"
    android:visibility="visible" />

ListView с такой разметкой (list_item.xml)

android:layout_width="100dp"
android:layout_height="20dp" >

<TextView
    android:id="@+id/text_view_listW"
    android:layout_width="60dp"
    android:layout_height="20dp"
    android:background="@drawable/item_selector"
    android:textSize="16sp"
    android:paddingStart="10dp"
    android:paddingEnd="20dp"

    android:text="@string/listW" />

<TextView
    android:id="@+id/text_view_listB"

    android:layout_width="40dp"
    android:layout_height="20dp"
    android:background="@drawable/item_selector"

    android:textSize="16sp"
    android:paddingStart="0dp"
    android:paddingEnd="20dp"

В основной активити я делаю так
       ListView listView = (ListView)findViewById(R.id.listView);

   final String[] listW = new String[] {
            "A8", "C5", "F4", "H7", "W2",
            "F4", "H6", "K8", "N7", "B6",
            "B6", "M7", "R3"
    };
    final String[] listB = new String[] {
            "V2", "X5", "Z4", "N7", "B2",
            "D4", "C6", "V8", "N7", "V6",
            "A6", "H7", "M3"
    };
    ArrayList<HashMap<String, String>> arrayList1 = new ArrayList<>();
    HashMap<String, String> map;
    for(int h=0;h<listB.length;h++) {
        map = new HashMap<>();
        map.put("listW", listW[h]);
        map.put("listB", listB[h]);
        arrayList1.add(map);
    }
    SimpleAdapter adapter = new SimpleAdapter(this, arrayList1,
            R.layout.list_item,
            new String[]{"listW", "listB"},
            new int[]{R.id.text_view_listW, R.id.text_view_listB});

listView.setOnItemClickListener(new AdapterView.OnItemClickListener() {
    @Override
    public void onItemClick(AdapterView < ? > parent, View itemClicked2, int position,
        long id) {
        String text2;
        LinearLayout ll1 = (LinearLayout) itemClicked2;
        TextView tv2;

        tv2 = (TextView) ll1.findViewById(R.id.text_view_listB);

        text2 = tv2.getText().toString();
        Log.d(LOG_TAG, " " + text2);

    }

});

listView.setOnItemClickListener(new AdapterView.OnItemClickListener() {
    @Override
    public void onItemClick(AdapterView < ? > parent, View itemClicked1, int position,
        long id) {
        LinearLayout ll1 = (LinearLayout) itemClicked1;
        TextView tv1 = (TextView) ll1.findViewById(R.id.text_view_listW);

        final String text1 = tv1.getText().toString();
         Log.d(LOG_TAG, " " + text1);
    }
});

listView.setAdapter(adapter);

Т.е. в списке у меня есть два столбца. Как я полагаю я поставил по листенеру на каждый столбец, чтобы при нажатии на любой из них в лог выводилось содержимое ячейки. Но выводится только содержимое последнего листенера, а первый как бы затирается. Что не так?
p.s. В результате я хочу обрабатывать каждый клик по любому столбцу. Пока что получается или обрабатывается клик по первому столбцу или по второму(предыдущий затирается - почему, я уже понял).


the 50th percentile program with Small Area FMRs (safmrs) in certain. Representatives Keith Ellison (D-MN) and Gwen Moore (D-WI) have issued a Dear Colleague letter calling on Congress to keep housing dollars within housing in any comprehensive tax reform bill. 3700) that the House already approved unanimously in February. 3 The annual allocations under the program increased significantly in 2001 when Congress increased the state allocations. HUD announced its intention to amend Fair Market Rent (FMR) regulations for the Housing Choice Voucher program in a Federal Register notice on June 2 (see Memo, 6/8) and sought public comments. Postal Service ZIP code areas. A broad coalition of housing advocates, including nlihc, have worked to advance versions of this legislation for many years. It also describes how other PHAs may voluntarily use safmrs. Lihtc accounts for the majority (approximately 90) of all affordable rental housing created in the United States today. 3700 by unanimous consent. To apply for "certain development vouchers Public Housing Authority (PHA) at: Sacramento 801 12th Street, Sacramento, CA 95814. To prevent displacement of elderly residents, owners may seek Tenant Protection Vouchers (TPVs) or Senior Preservation Rental Assistance Contracts (spracs).
If you are currently living in Virginia, for example, and need assisted living care the median amount you would pay is 41,775 a year, according to a Genworth Financial long-term care survey. Do I want to live in a senior community with people my age? Each HUD field office determines their own passbook savings rate based on average savings account rates.
You are involuntarily displaced, paying more than 50 rent, etc.). Medical deductions including services of a physician, health care professional, hospital or health care facility; medical insurance premiums; prescription and non-prescription medicines; dental expenses; eye glasses and examinations; periodic payments of medical bills;. They will collect information on family income (tax returns, bank statements, Social Security, etc.) assets, and family composition. Other features include housekeeping, transportation to health care, home-delivered meals. Privately-owned properties are also those that have been constructed by large corporate construction firms. For more information, click here to visit the HUD website. Could I afford the cost of assisted care? There are three types of affordable rent programs: public housing, multifamily subsidized housing, and voucher housing programs. For example, the Housing Opportunities of SW Washington (hosww) Section 8 Advantage Program requires you to use Section 8 vouchers on a rental for at least 12 months before using them to purchase a home. You can find a list of participating PHAs here. Families can also receive assistance with down payments, closing costs, and may even receive lower interest rates!


Patras is not only the largest, but also acts the capital of western Greece. It is home to more than 200,000 residents and a busy port that forms an important part of the national economy. Within its borders, you will find several institutions of higher education.


text:
Quora Question: What is EgyptAir's Safety Record?
By Quora Contributor On 5/28/16 at 4:00 PM EDT
The EgyptAir stand in Barcelona, Spain, after the news of flight MS804 was made public, May 19. Joan Cros/NurPhoto via Getty Images
World EgyptAir MS804 Disaster World News EgyptAir Paris
Quora Questions are part of a partnership between Newsweek and Quora, through which we'll be posting relevant and interesting answers from Quora contributors throughout the week. Read more about the partnership here.
Answer from Cyrille Daoud:
The EgyptAir company is hardly to blame for the recent crash (unless it was a mechanical failure). If this crash is linked to a terrorist attack, the Paris "Charles de Gaulle" airport staff and security personnel is the most to blame for allowing such an act to take place, as they were the ones responsible for securing the airplane and making sure that no passenger carried a bomb on board. Now, back to the question: EgyptAir, which is one of the oldest airline companies in the world, having been founded in 1932, has suffered only one crash due to terror attacks and had two aircrafts rerouted by hijackers. But this tendency seems to be changing as ISIS battles along with the Muslim Brotherhood trying to topple the Egyptian government and strike the West.
Incidents:
On November 23, 1985, EgyptAir Flight 648, operated by a Boeing 737, was hijacked to Malta International Airport by three men from the Abu Nidal terrorist group. Omar Rezaq was among them. An Egyptian sky marshall on board shot and killed one of the hijackers before being gunned down himself. After several hours of negotiations, Egyptian troops stormed the aircraft and battled with the hijackers, who threw several hand grenades and shot and killed five passengers. The aircraft was severely damaged by the explosions and fire. Two of the six crew members and 59 of the 90 passengers were killed.
On March 29. 2016, EgyptAir Flight 181, operated by Airbus A320-232 (SU-GCB) was hijacked whilst on a flight from Borg El Arab Airport, Alexandria to Cairo International Airport. The aircraft, with 81 passengers on board, landed at Larnaca International Airport, Cyprus, where all hostages were released and the hijacker surrendered to authorities.
On May 19, 2016, EgyptAir Flight 804, an Airbus A320-232 (SU-GCC) with 56 passengers and 10 crew members disappeared over the Mediterranean Sea. The fate of the aircraft is unclear yet, but is thought to have crashed near the Greek island of Karpathos, inside Egyptian airspace. But many aspects of the loss of contact point out a terrorist attack as being the leading cause of the crash.
As you can see, EgyptAir has suffered few security breaches, especially when compared to countless other airline companies. And I would again like to emphasize that airports are responsible for securing each flight and not the airline even though Egyptair flights always have air marshals on board.
However, EgyptAir does have a history of neglecting their aircrafts' security and failing to prevent dysfunctions from occuring before flight.
The Egypt national airline suffered three deadly crashes in its 45 years of existence. A crash landing in Yemen in 1972 killed 42 people while another 37 were killed the following year in Cyprus.
On Christmas Day 1976, an EgyptAir Boeing 707 slammed into a factory in Thailand, killing all 52 people aboard and another 19 on the ground. Investigators blamed pilot error but Egypt accused the Thai control tower of failing to warn the crew of bad weather.
The most recent crash before the disappearance of MS804 was in EgyptAir 843, which hit a hill as it came in to land in Tunisia in 2002. Fourteen people of the 62 aboard were killed.
What is EgyptAir's safety record? Does it have a good reputation? originally appeared on Quora—the knowledge-sharing network where compelling questions are answered by people with unique insights. You can follow Quora on Twitter, Facebook, and Google+. More questions:
EgyptAir Flight MS804 Crash: What are the possible reasons for the crash of the EgyptAir Flight MS804 which was flying from Paris to Cairo?
EgyptAir: What will the disappearance of flight MS804 prove to the aviation industry?
Air Travel: Why do you need information from a black box when a plane crashes?


text:
You Can Thank Yankee Stadium For Warning Tracks In MLB
In a little known fact the warning track that we see in all 30 Major League stadiums was not always present, not until the New York Yankees made it common place. Well Major League Baseball made it common place on this day in 1949 when the owners agreed to add warning tracks made of cinder for the 1950 season.
Yankee Stadium was the first stadium to have a warning track because they had an actual running truck, used in Yankee Stadium's track and field events, that helped fielders know how close they were to the fall. Players loved it, the players were safer so the crowds and the ownership loved it, and we all win.
So thank a Yankee today when your center fielder doesn't snow plow the wall and end his career prematurely.
Labels: History, Major League Baseball, Major League History, New York Yankees, sports history, This Day In Yankees History, Warning Track, Yankee Stadium
Greene: Playing for the Yankees "a Dream Come True"
Greene Comes Up Huge For Yankees in Shutout of Ori...
The Philadelphia Phillies Are Smoking Something...
Game Thread: Yankees vs. Orioles 7/12
Alex Rodriguez: It's Not Too Late To Save Miami
New York Yankees Game Preview vs. Baltimore Oriole...
Brian Cashman is not giving up, but should he?
If Anyone Should Apologize It's Not Masahiro Tanaka
My Plan For Jeff Francis & The Yankees Bullpen
You Can Thank Yankee Stadium For Warning Tracks In...
This Day In New York Yankees History 7/12: Gator C...


Product Overview: Comfort leisure shoe with feature contrast uppers and functional side zipper. Comfort footbed and on-trend white sole (similar to a jogger style, but not as bulky!). Removable innersole - orthotic friendly. H / wider fitting. Leather uppers. In UK sizing (check size chart for comparison). Ara are a European brand known for their classic styling and quality manufacturing.


text:
Te'tuxwtun totem pole unveiled at VIU
FeaturesIn Focus
By Lys Morton	 Last updated Feb 16, 2019
William Good and Footprints of the Wolf perform. (Lys Morton)
As Vancouver Island University continues to integrate Indigenous perspectives on campus, the university celebrated two new pieces of Coast Salish art that will be displayed at the Nanaimo Campus.
The unveiling ceremony for the Te'tuxwtun (Mt. Benson) totem pole was held in the newly constructed Centre for Health and Science (CHS) on February 9. William Good, artist of the Te'tuxwtun totem pole, and his family attended the ceremony. Footprints of the Wolf, a Snuneymuxw drumming family, was a highlight of the event. Good drummed in the younger members of the group as they performed the Frog dance. With a frog as one of the carvings on the Te'tuxwtun totem pole, Good highlighted the importance of the animal in the Snuneymuxw culture.
"It's a bringer of good luck and good fortune and we have a frog song in my family," Good said. "My grandchildren and great-grandchildren danced the frog dance today and when we were singing and when they threw their arms out, they were throwing good luck and food fortune to all the people that were here and good fortune to this facility."
The ceremony was opened by Don Campbell, adopted brother of William Good, who smudged the newly carved pole and the area. Geraldine Manson, Elder in Residence, then led prayer and spoke about the importance of the installation:
"This piece represents the health and the healing in this building."
Witnesses were called by Manson for the ceremony, who instructed them to observe all the ceremony held and to share what they'd seen. Mayor Leonard Krog was called as witness along with Patrick Aleck, Russell Scow, and Pat Taylor. Tricia Thomas was then asked to speak about the significance of the installation.
"This is more than just a cool unveiling," Thomas said. "It is aimed at sharing art and culture as a way of health. Culture and art tells us who we are. And our generation is getting that back."
The Te'tuxwtun pole represents the beginning of humanity, healing, and learning. It will stand to greet anyone coming through the main entrance of the CHS. Its placement is significant as a way to recognize the importance of Te'tuxwtun to the Snuneymuxw people. The symbolism, meaning, and teachings behind the art of the Te'tuxwtun pole led to its placement in the CHS building. An eagle rests on the top, which is said to bring messages and healing. Te'tuxwtun, meaning "man," is situated below the eagle and wears a blanket adorned with sea wolves, another symbol of healing. At the base is the frog, to bring good luck and fortune to the students.
The view from floor two of the Te'tuxwtun totem pole. (Lys Morton)
William Good is a master carver and cultural historian. He is credited for revitalizing the traditional art forms of the Snuneymuxw people. Good spent decades researching the nearly-extinct techniques that were a vital part of the visual language for the Coast Salish people. He also spent years teaching and sharing what he's learned to students and the general community. Good has a history working with paint, jewellery, steam bent boxes, gold, silver, art restoration, garment manufacturing, and silk screens. Although retired now, Good continues to carve master works. He has passed the traditional art form he helped revitalize to his son, Joel Good, who created the second piece.
The second piece of Coast Salish art, a sul'sul'tun, is installed in the new Trades Complex. The sul'sul'tun is a type of spindle whorl, an item commonly used to spin wool from goat or dog hair to weave traditional blankets. A design with two sea wolves, a wind mask, and a salmon coming out of the water decorate the sul'sul'tun.
Joel Good has found passion in the traditional art form from the Snuneymuxw First Nation. The sul'sul'tun design, and all of Good's designs, find root in the traditional legends Good was taught, along with what he has learned from extensive research of the original art styles. Good also credits his mother, Sandra Moorhouse-Good, as a significant source of inspiration.
The partnership between VIU and the Goods came about after VIU put out a request for proposals from local Snuneymuxw artists and awarded the commission to the two artists. Carol Stuart, Provost and Vice-President Academic, says VIU's motive behind including art installations in the new buildings was based on respect.
"VIU is located on unceded territory for the Snuneymuxw First Nation people," Stuart said, "and we felt it was very important to recognize the original occupants of the land."
With the placement of both pieces mirroring the themes of education in those buildings, the art shows VIU's continued steps towards acknowledging the history, culture, and importance of the land the campus is situated on.
"VIU believes strongly in acknowledging and representing the original peoples in the physical spaces of our campuses and looks for every opportunity to do so through art, traditional plants, ceremony, and other mechanisms," Stuart said.
The partnership with VIU and with the Elders, who are integral in many aspects of the campus, was a factor that was important in the development of the new pieces and their placement.
"In that process we take guidance from the Elders to determine appropriate locations, protocols, and cultural considerations in the work of VIU to welcome Indigenous peoples," Stuart said. "Since we sit on the land of Coast Salish people, we also take guidance for our efforts to welcome others to their lands."
At the closing of the ceremony, William Good touched again on the importance of the younger generations seeing this art come back.
"They can have their ways back, and their culture," Good said. "We are giving them their pride back."
snuneymuxwTe'tuxwtuntotem poleviu
Lys Morton
Lys lives by the motto "fake it 'till you make it." He's taken that to heart and is faking as hard as he can to be a journalist. He's been published in The Coil, the Navigator, and can be found ranting about people using "he/she" instead of "they."
Q/A: with Mariners announcer, Matt Carter
WIG brings Dante's Inferno to the stage
Craft beer generation


The helicopter sweeps low over swirling brown waters surrounding the towns and villages. Herds of animals are trapped on the smallest patches of high ground, huddled tightly together and lowing pitifully. On the rooftops of people's houses are groups of bewildered children surrounded by goats, chickens, cooking pots, plastic chairs, beds, blankets and buckets. Everything families hold dear has been gathered there in hope of rescue. Some people have resorted to climbing trees to avoid the rising water, others are wading through the strong currents in search of refuge.
In recent years, Mozambique's national disaster management agency, the INGC, has done a commendable job of relocating thousands of people away from the more risky, flood-prone areas of the country, to higher ground. Those places Mercy Air used to land during the rescues of 2000 are now under water. People have reported that one town was submerged under 2 meters of water. Roads have been completely cut off and from the air there is water as far as the eye can see.
"I heard a South African Air Force (SAAF) Oryx helicopter on the same radio frequency as us, so I asked him if they were equipped with a winch and able to come to our GPS position. That first rescue was of two women we found trying to swim through the strong brown current, holding on for dear life to a closed plastic bucket containing their belongings. The helicopter winch operation was a success and their lives were saved.
"Now we continued scouting for more groups of survivors, directing the SAAF helicopter to the exact locations to rescue them. Some families we found had climbed into trees and I wondered how long they had they been there, waiting for help.
"Continuing the search, we hovered slow and low over the muddy flood waters, not wanting to miss anyone. The hard fact keeps hitting me that we must have missed people who might have been rescued. I feel guilty about that; I pray they are found tomorrow. Government boats are still continuing their search and rescue.
"In this short operation with SAAF, over just one afternoon, we saved more than 20 people: women with children on their backs, some men, and several weak and elderly people. During the 30 second turn-around time, every time we were on the ground, many children came to us with waving hands, asking to be flown away too.
Pray for Mercy Air as they continue to support by air the efforts of aid organizations such as CARE, Save the Children, Concern and Samaritan's Purse.


A day of DIY could spell disaster with the kids around so I desperately attempted to think of something that might make it slightly more child friendly. We hauled the sand pit out of the garage and took it over. This bought us enough time to take out about 5 doors. What to do next? I was busy peeling wall paper off in one of the rooms as Ava spotted what she thought might actually constitute a good time. An hour later and her calls of 'mummy, this is F.U.N.' and a nearly stripped wall (well, at child height anyway) confirmed that this indeed was not a bad way to spend an afternoon.


text:
Lebanese Fashion Designers Highlight Breast Cancer on Catwalk
Published October 16th, 2018 - 08:08 GMT
(Shutterstock/ File Photo)
The third edition of the LIPS Management Designers and Brands Show opened with a bang Monday in the glittering ballroom of the Hilton Beirut Habtoor Grand Hotel, showcasing the work of both established and up-and-coming Lebanese fashion designers.
Beyond the glitz and the glam, the event also had a social mission: held during Breast Cancer Awareness Month, profits raised from the shows will go toward fight the disease. The first of the 2018 event's 25 shows was Lebanese fashion house Choueiter's newest collection, worn by models who wove their way across an unorthodox catwalk made of two diamond-shaped runways.
"Opening the show is great, but very challenging at the same time," Nabil Choueiter said. The collection's pieces featured wintery colors black, gold and silver and were based on the idea of the "chic, modern woman," he added.
Choueiter Haute Couture was founded in 1955, when Lebanese designers Georges and Edward Choueiter opened their first atelier in Beirut. They went on to open two more boutiques, in Riyadh and Paris.
The Designers and Brands project was established in 2009 by LIPS, an events business catering to Lebanon's fashion industry. LIPS continues to manage the project and also runs other fashion events as well as Lebanon's largest modeling network. Its CEO, Johnny Fadlallah, works alongside his daughters Samantha, the company's COO, and Cynthia, its designers' coordinator and stylist.
When asked about the importance of Beirut hosting such an event, Fadlallah told The Daily Star, "Lebanon was, is and always will be the capital of fashion in the Middle East. We have giants in the field participating."
Farah Mastoura, from UAE-based online dress hire service Designer 24, which has operated in Lebanon for three years, similarly spoke about the high standards in the Lebanese fashion industry. "Lebanese women are always up-to-date when it comes to fashion. That pushes businesses to be up-to-date," she said.
Designer 24, whose models walked the catwalk Monday evening, aims to make luxury designer fashion more accessible by allowing customers to both hire occasion wear and loan their own dresses to the company. Mastoura said: "The aim of our show here is to show people that designer dresses can be accessible to people with all body shapes of all sizes."
This year, LIPS is also introducing a showroom where designers can present their brand, accompanied by a glamorous reception. More than 80 of them will present clothing, accessories, shoes and much more.
Such aspects of the event enabled up-and-coming Lebanese fashion stars to present their collections alongside more established designers. Dutch model Michelle Wiegman looked regal in a shimmering dress from Rachad Itani's fall-winter collection. When asked about the development of the fashion industry in Lebanon, she told The Daily Star, "My experience between now and two years ago is that fashion is going more toward Europe. Brands are focusing on a bigger market."
"For me, the designs are really beautiful I feel like a princess wearing this gown," she said.
Aya Hammoud, a 22-year-old designer who was showing a collection for the first time, told The Daily Star that she believes fashion is "natural for Lebanese people: We're born like this." Her fall-winter collection, Stars in the Night, which will be worn on the catwalk Tuesday at 7:30, features modern, metallic pieces inspired by "shiny objects in the darkness."
The 2018 edition of the Designers and Brands event is particularly notable, as all profits from dress sales will go to the Lebanese Breast Cancer Foundation. Maria Farah, one of LIPS' models, was diagnosed with the disease six months ago, but is now in remission.
Farah's battle with the disease inspired LIPS to host the "Pink Party" Sunday, in coordination with the Lebanese Breast Cancer Foundation. More than 20 celebrities, influencers and bloggers walked the runway in a pink-themed fashion show to raise awareness of the disease. Hairstylists from Schwarzkopf are running a Share Your Hair campaign during the event to encourage attendees to donate their hair to create wigs for women fighting cancer.
The LIPS Management Designers and Brands Show will continue each evening from 4-10:30 p.m. until Wednesday, Oct. 10, at the Hilton Beirut Habtoor Grand Hotel.
This article has been adapted from its original source.
Via SyndiGate.info
Copyright © 2021, The Daily Star. All rights reserved.
Is There an Arabian Stereotype in The Dune Movie?
Macron Kicks Off Gulf Tour By Signing Multi-billion Jets Deal With The UAE
Laporta: I Never Asked Messi to Play for Barcelona for Free
Lebanon's George Kordahi Resigns After Much Pressure
Pope Francis in Cyprus, Holds Open Mass to Thousands - AFP


text:
A Superb Meditation on Life and Death: 'El Velador'
Cynthia Fuchs
Natalia Almada's superb El Velador (The Night Watchman) shows the labor of death, the construction and care of mausoleums, the difficulty of living with loss.
El Velador (The Night Watchman)
Director: Natalia Almada
Studio: Icarus Films
US date: 2012-06-14 (Museum of Modern Art)
It's morning in Culiacán, Mexico. A rooster crows, the sound far off and faint. A dog walks with a man, making their way to the man's workplace, the cemetery. The camera doesn't move as they come near, slowly. The light behind them is pink and pale yellow, they pass a series of mausoleums in varying states of completion. For a moment, the pair is obscured by a pile of sheet rock, thin slabs waiting to be assembled into the next gravesite. "As soon as I wake up I take a walk around," says Martin. "When people drink, they leave a lot of empty beer cans. I gather them up. But that's all I do."
The moment is one of the few in Natalia Almada's superb El Velador (The Night Watchman) when Martin speaks. More often, he works, which means, he keeps watch over the cemetery, walking among the tombs and hosing down the desperately dry roads and walkways. But still, the film -- which opens at the Museum of Modern Art on 13 June and will air on on PBS 27 September -- is full of sound, the clatter of construction, the music of funeral bands, the occasional wailing of mourners, as well as the sounds of children playing, a little girl who practices counting as she skips over the stones of a memorial, a portrait of the deceased on the wall behind her.
This and other images of the dead show reveal -- again and again -- that they're young. The cemetery at Culiacán is a preferred site for burying victims in Mexico's drug wars. There are many victims, gang members and police officers, as well as innocent bystanders. The TV that Martin runs at night by way of a makeshift antenna reports that some 11,000 have been killed this past month alone, some 21,915 so far during Felipe Calderón's presidency. You come to realize, late in the documentary, that the year is 2009, when a worker arrives at the cemetery with news: Arturo Beltrán Leyva has been killed, "the capo of capos." ("A shitload of money is going to fly, man," observes another worker as they prepare for their day, slipping on their Nikes and pulling together their buckets.)
As you watch them go on about their business, you think again, that as much as such events might be news, the capture or killing of a specific figure or the retribution that comes a few days later (a head is left near Arturo's grave, a head "in a black plastic bag," the news reports), really, the specific time is irrelevant. This not only because the war goes on and on, and so the bodies keep coming to Culiacán, but also because the film presents the days and nights here as endless in other ways, periods of time that are unmeasured, dissolving into one another.
The effect of these accumulating images is gradual, stunning. You hear context, when Barry McCaffery is interviewed on TV, lamenting the money the US is spending in Afghanistan, compared to its neglect of Mexico, "the most important country along with Canada on the face of the earth to us." Janet Napolitano says that in Ciudad Juárez, "civil order has been lost."
Or maybe this order is only shape-shifted, to memorials and burials. Alongside such reports, you see the industry that surrounds the violence, in long shots of mausoleums in mid-construction, and lose-ups of men mixing cement or laying bricks, men smoking cigarettes, their faces white with dust, their hands smeared with wet mortar. You see as well the elaborate floral arrangements delivered to the cemetery, workers moving them. You hear, from off-screen, an occasional funeral party, people in pain, people imposing ritual on chaos. The television reports more deaths: someone has been executed, a young woman was "found chopped in pieces." The TV reporter says the act is thought to be a "vendetta against one of the cartels."
If the film doesn't track causes and effects per se, it invites you to consider consequences. During the days, another young woman comes to work: she mops the marble floors of mausoleums, accompanied by children. The girl skips and runs. Two younger boys, dressed in neat shorts and shirts, follow the woman as she makes her way from one section to another. She's slender and dedicated to the task, the camera pausing to note that her feet bare as she mops, squeezing polish from a plastic bottle onto the surface, shiny and smooth. You don't see much of her face. It's easy to guess that she's one of many family members who visit the cemetery each week, to look after the sites. It's also, sadly, easy to imagine the difficult world the kids inhabit, not only the violence that claims relatives but also shapes their sense of the future, in any number of ways, in their ongoing sense of loss, in the tributes paid to the dead, in the vexing, frightening opportunities to support their families as they grow older.
The film doesn't identify these many effects. But it lets you wonder about them, in focusing on the expansive land of the cemetery, so soon to be filled, on the workers who do fill the empty space, sky and ground littered with structures. They serve as memorials to lives and deaths. But, as moving as they may be -- and here they're gaudy and too big, signs of respect -- they only serve to mark more, more money, more bodies, more lives changed forever.
Late in El Velador, Martin listens to a weather report on television. It's raining outside. The camera observes him looking out from the doorway of the shack where he stays, cuts to a series of close-up shots of puddles, mud, rain pelting concrete. His television is now moved inside, its volume turned up against the rain, increasingly loud. The weather lady notes the "rain and strong winds" currently affecting Culiacán. "There's a chance," she goes on. "That unstable conditions will affect the country for at least 24 hours." The rain is pounding.


The property is an urban haven of refined service and understated elegance. This fine property is located at 'Braj Bhoomi' Lord Krishna's birth place-tourist destination with the ultimate in world class service and facilities, combined with the group's traditional reputation for genuine hospitality experience. Last but not least, while the entire our team remains at your disposal for any assistance or service you may need. Thanking you in anticipation of your patronage.


The Hôtel La Réserve is a spectacular property developed by Jean-Michel Wilmotte.
It is located in Ramatuelle, France, and has a stunning landscaping program, a luminous interior, and an atmosphere that promises relaxation at its highest level.
"After Geneva and Paris, La Réserve opened a spa hotel on the outskirts of Saint-Tropez. Sited at the centre of a hill clad with holm oak and stone pine trees, in fusion with an extraordinary natural environment, La Réserve Ramatuelle is a new stylish and discreet refuge offering a five-star service to its guests. Wilmotte & Associés SA metamorphosed a 1970s building into 21st century luxury hotel.


Prize is awarded to the best overall solution.
Prize is awarded to the team that best uses the athenahealth API in their solution.
Prize is awarded to the best inpatient solution.
We are excited to announce the 2016 athenahealth hackathon in Austin as part of our More Disruption Please (MDP) program! Health care presents a huge opportunity for those interested in creating change through technology, and we need insight from experts in all different industries. The goal of this event is to bring together smart, forward-thinkers to produce solutions that will disrupt the status quo. If you are an engineer, entrepreneur, physician, designer, scientist, patient, or just interested in using your skills to drive a change in health care, then we want you!
We'll provide you with tools to make your idea a reality, including access to APIs that integrate with athenahealth's solutions – you bring the innovation and passion!
Not sure how much can get done in 48 hours? Check out our blog post from our 2015 event to see the inspiring solutions your fellow hackers came up with.
Now it's your turn to disrupt health care. Apply here!
5:00pm - Eat.Drink.Disrupt Hackathon Kickoff Party at Parlor and Yard | RSVP here.
2:00pm - 4:00pm - Team presentations - "Pitchfest"
Participants: Individuals (18 years of age and older) that are able to attend both days of this hackathon at athenahealth's Austin, TX HQ.
To be a part of this hackathon please apply here!
We are always looking for mentors to help our hackers navigate their weekend. If interested in becoming a mentor please apply here.