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SAMDB News
News, reviews and upcoming events in film, television and theatre in South Africa.
Month: Oct 2015
dvd / blu-ray Review Uncategorized
Robot Overlords (DVD): Review
Post author By Andrew Germishuys
Post date 2015/10/30
Earth falls to an invading force of robots from a distant galaxy. The new Robot Overlords confine all who remain to their houses, implanting them with an electronic device. Any who fail to obey are obliterated.
The feel of society, in the film hints at the classic 1984, with Big Brother watching over everyone, and ever the need to comply. However, here the stakes are higher and the control more stringent.
Ben Kingsley as Robin Smythe is easy to hate, and one finds one's self wishing for his demise, even with his screen presence. It's great to see Gillian Anderson as Kate, but the it's the heroes, played by a lesser known cast, who pull the entire story together, seeking out the resistance and taking on the malevolent forces.
The plot feels very much like a video game, and will most likely draw viewers who would have an affinity to such things. There are no major twists, but the story is sure to keep you enthralled and entertained.
Would the forces of Earth band together to fight such an invading force of robotic aliens, or would be allow our usual bickering to lead to our downfall, and enslavement? Some thoughts raised by the film. Else, just marvel at the huge robots, and enjoy the carnage.
Disc And Bonus Features
The disc is encoded at a high bitrate, using the space provided on the disc. There are no visible on screen artefacts, and those with the relevant hardware or software can scale the image up to a larger size, if desired.
Sound is presented in a 5.1 mix, and while it doesn't push the use of the surround channels, it does add to the on-screen action and feel.
Navigation is simple, yet functional. There are unfortunately no additional features on the disc.
Robot Overlords is available now, to purchase, in South Africa.
dvd / blu-ray Review
The Lazarus Effect (DVD): Review
No Comments on The Lazarus Effect (DVD): Review
The Lazarus Effect, an interesting take on an age old fascination of man to bring back the dead and prolong life. It's a horror / sci-fi.
A group of medical students, while trying to find a way to prolong the time doctors have to treat a patient, stumble upon a possible way to bring recently dead patients back to life. However, as would be expected, things will inevitably go wrong.
While not a story that will tax the brain by any means, the film is likely to promote some debate on religion and the ethics of modern day medicine.
There are a decent amount of "jump scares" in the movie, and even in subsequent viewings, those still manage to catch the viewer on occasion.
While engrossing, the film is a bit short, and one is left feeling cheated slightly. There is a lot more that could have been covered in the story, had the premise been pushed just a little more. The Lazarus Effect, however, is bound to appeal to lovers of horror and sci-fi alike, and it's refreshing to see Olivia Wilde (who plays Zoe in the film) in a slightly different role, playing opposite Mark Duplass (Frank in the film).
The Lazarus Effect is an entertaining film, and one to pass the time on a lazy winter's day.
The disc is encoded at a high average bitrate, so can be scaled up to a larger screen via software or hardware if desired. However, the black letterbox bars are not a solid black. Looking closely, there are some visible dark green artefacts there. This don't distract from the actual video image though. There was also a slight encoding issue at one point on the disc. This lasted only a brief moment, and does not cover anything vital.
Sound is presented in a 5.1 mix, however it makes very little use of the surround channels. The viewer also has the option to select a stereo downmix.
There are unfortunately no bonus features included on the disc.
The Lazarus Effect is now available to purchase on disc in South Africa.
The Voices (DVD): Review
Quiet, friendly Jerry (Ryan Reynolds) leads simple life. He has a simple job, but no friends. He does however have a dog and a cat, with whom he holds conversations (with the additional voices provides by Reynolds himself). A lovable, sensible dog (Bosco) and a rather controlling cat (Mr Whiskers).
Jerry also has a crush on a fellow worker Fiona (Gemma Arterton), and with the help of his psychiatrist, he tries to ask her out). Things however take a slight turn after Jerry is stood up by Fiona, and this sets him along a path of either striving for normalcy, or indulging the inner voices and embracing this new found thrill.
The Voices is a delightfully disturbing film. It's tense, it's strange, and it will make you squirm. This is not a film with cheap "jump scares", nor is it one of those thrillers, racing against time. This starts off all sweet and innocent, much like Jerry himself, and slowly, carefully things begin to reveal themselves. It indulged the darker side of humanity, brushing up against the inner sociapath, and setting the demons free for a fun romp.
The differences between the world as perceived by Jerry and the real world, are as many as the minute idiosyncrasies. The journey we are taken on, that reveals all his many issues, is something to behold. You don't quite realise the extent of Jerry's psychosis until, as with those he targets, it is just too late.
The Voices is well written, well acted, and sure to put some thoughts into your mind about fellow co-workers.
The disc is encoded at a high bitrate, so the image is clear and stable, with no visible artefacts on screen. Those with the necessary hardware or software can scale this up, should they desire.
Sound is presented in a 5.1 soundtrack, adding to the general confusion felt by Jerry, and further drawing the viewer into the on-screen action.
There are unfortunately no additional features on the disc, other than some trailers to other releases. The disc menu is basic, yet functional and easy to use.
The Voices is available now, for purchase, in South Africa.
Call for Projects For 2016 Durban FilmMart
The Durban FilmMart (DFM) has opened submissions for projects for the 7th edition, which will take place next year. It is important to note, that the deadline for submissions has been being shifted earlier to December 14, 2015 to allow for the selection committee to have more time to assess projects, and for more time to create opportunities for marketing and promotion of the projects and film-makers at the DFM.
A joint project of Durban Film Office, the eThekwini Municipality's industry development unit, and the Durban International Film Festival (DIFF), the DFM aims to raise the visibility of African cinema, stimulate production on the continent, and facilitate project collaboration between African filmmakers.
The DFM has become an integral part of the fast-growing South African film industry and since its inception in 2010, has helped facilitate more than 90 African co-production projects, many of which have subsequently been produced as acclaimed films.
Selected DFM projects will undergo a two-day packaging and mentoring programme followed by two days of one-on-one meetings with a panel of film financiers, buyers and distributors.
The programme is open to full length feature and documentary films with Africans in key creative roles (writers, directors and producers) that are looking for co-producers, financiers, sales agents and funders. A selection committee will review all submissions for consideration, and will select 10 fiction feature and 10 documentary feature projects that are in development to participate. African filmmakers, from writers to directors, are encouraged to submit their projects by 14 December 2015.
"We would like to encourage African film-makers to take advantage of the opportunity to submit their projects to the DFM, as we have seen how valuable the programme is to helping filmmakers get their projects off the ground." says Durban Film Office's Toni Monty. "The networking with film-makers from around the globe at the DFM also provides opportunities for film-makers to grow their networks further afield. Over the years we have seen many alumnis secure further funding grants for their films, and their works screened at film festivals around the world. It is really a great springboard for developing projects."
Film-makers must note that it is important that all projects must have both a producer and director attached to them.
To find out more about the DFM 2016, project submission criteria and how to submit your project, please visit www.durbanfilmmart.com
For further enquires contact: info@durbanfilmmart.com or call +27 31 311 4243
The Good Life Network – South Africa's First Dedicated Health Channel
South Africans interested in improving their overall health will have a new trusted source through The Good Life Network, a health and development pop-up channel which will air on DStv channel 199 from 1 December 2015 to 31 March 2016.
First of its kind in South Africa, the channel is spearheaded by Soul City and Ochre Media in partnership with the National Department of Health. The Good Life Network is focused on producing and broadcasting content that contribute towards positive individual and societal health outcomes. Viewers can look forward to shows that cover nutrition, health and fitness, human rights, youth sexuality, HIV and TB, as well as consumer and gender rights.
Mr Joe Maila, spokesperson of the National Department of Health explains the Department's support of the initiative. The heartbeat of NHI is primary health care, the strength of which lies in prevention of disease and promotion of health as well as community participation: "The Department of Health has a long history of partnership with Soul City and have supported the production of Soul City's award winning dramas that have influenced social norms in Southern Africa and have addressed critical health issues in South Africa. The National Department of Health (NDOH) is concerned by the growing epidemic of Non Communicable Diseases (NCD) andwants to promote lifestyle changes and wellness strategies as key preventative options. Our association with mass media initiatives like The Good Life Network offer a powerful platform for health communications and our strides towards a vision for 'A Healthy Life for All'.
Soul City Institute for Health and Development Communication (SCIHD), a leading social behaviour change communication NGO sees The Good Life Network as a powerful first for South Africa, one that will highlight the Primary Health Care (PHC) approach. "The Good Life Network is not only a TV channel. It is a call to action for all South Africans to make small changes in their lives to live a healthier live. We will be inviting South Africans to pledge to live a Good Life," comments Lebo Ramafoko, CEO of Soul City.
The Good Life Network programming is diverse and original, including offerings such as Health Busters (breaking down myths), Food Police (helping you design healthier meals), SuperDoc (critical women's health issues) , Village Shrink (your journey to better mental health), Cook for life (cooking up delicious and healthy African meals), Get Up Stand Up (celebrating those making a difference), Fit Life (inspired fitness outside the gym), Health Bulletins (citizen journalism combined with headline stories), Straight Up (youth sexuality) and Icheke (check your health), which will promote routine health screening.
"In keeping with the successful edutainment model, The Good Life Network will service a consumer appetite for entertaining health related content and services, which ultimately empower individuals and communities to take greater control over their own health and development," says Krisen Pather, Head of Edutainment for Ochre Media.
The Good Life Network will be available to DStv customers on the DStv Access, Family, Compact, Extra and Premium packages on DStv channel 199 for four months starting 1 December 2015 to 31 March 2016.
Crimson Peak: Review
Following the tragic death of her farther, Edith (Mia Wasikowska), an aspiring author, is left torn between two loves, that for a childhood friend or the mysterious strangers Thomas Sharpe (Tom Hiddleston). Trying to escape her past, she is swept away to an old house, where things are more than they might seem, and is this new place part of a warning she received after the death of her mother, to avoid Crimson Peak.
Crimson Peak begins showing the world of old where wealth, title and status were all that counted. We see a young man trying to acquire investors for his mining machine invention, and a young girl trying to make her way as an author in a world dominated by men.
The cinematics, settings, wardrobe and style are all reminiscent of that time, and a delight to behold, taking the viewer back in time to a society that is now but a memory. With all these colourful delights, we get to see a good old fashioned story of the heart, one of love, and choosing between someone we are meant to be with, and someone people tell us we should be with, due to societal norms.
Parallel to this, there is a darker story lurking, deep below the colourful façade of the dances and dinners portrayed on screen. A story of evil, death and looking out merely for oneself. There is love here too, but a forbidden live, and a misguided one, that leads down a very dark, tragic path.
Both these stories come together as wills are pitted against each other in the final act. Unfortunately, the symbolism used in the effects do pull the viewer right out of the story, opting to be too detailed, as opposed the old "less is more" credo, where the viewers imagination would fill in the gaps.
The tension does mount in the first half of the story, playing a psychological game, but the filmmakers tended to prefer the more "jump-scare" tactic as the tale unfolds.
Crimson Peak, has wondrous cinematics, ideal casting of actors who are at the top of their game. It's just a pity that it all feels a little rushed in the final act.
Crimson Peak opens 30 October 2015 in South African cinemas.
Wild Card (Blu-Ray): Review
Action man Jason Statham is back as Nick Wild, in Wild Card. A Las Vegas bodyguard with a set of lethal skills. He lands in trouble with some mobsters, leaving him with one last play, a chance at all or nothing.
Statham doesn't disappoint with his fights, bringing a very specific style to the action scenes. Violence and action aside, the film has a competent cast, with the likes of Stanley Tucci, Anne Heche and Sofia Vargara, to name a few.
A story devoid many twists and turns, the film looks merely at the life and choices of Nick himself. A slightly mysterious background, and the choices he has made to get to this point. From here, we follow him as he needs to make one last choice, while keeping himself out of trouble, and helping those who can not help themselves, drawing on his strict honour code. Much as you would come to expect from any action film, of this sort.
However, this is not a b-grade action film. It's a simple story, but it's well executed and enjoyable. One of those movies you'd enjoy on a lazy evening, when thinking is too much of an effort. A brief look at the underground of Vegas, the gambling scene, and how quickly you can get yourself in to trouble, should you mix with the wrong sort of people.
Wild Card is a short, but enjoyable ride, full of action.
The disc is encoded at a high bitrate, with no visible artefacts on screen, with a clear and stable image.
Sound is presented in a 5.1 mix, and makes fair use of the surrounds. It would have been great to have more use of these, but it does add to the on-screen action. For a Blu-Ray disc though, a 7.1 mix may have been expected.
There are also no bonus features on the disc at all, and the menu is incredibly basic. With the large amount of storage space available on a Blu-Ray, there is no reason to not include a few additional features, especially with a title such as this.
Wild Card is now available, to purchase on disc, in South Africa.
Re-Kill (DVD): Review
Five years ago, a deadly outbreak wipes out 85% of the world's population, turning them into Re-Ans (zombies, bent on consuming the flesh of the living). Most major cities are still uninhabitable. In those cities where there remain survivors, these Re-Ans have been contained in zones, policed by R-Division, special trained S.W.A.T teams who hunt down and Re-Kill the Re-Ans, in the hopes of preventing a second outbreak, that may well lead to the extinction of mankind.
Re-Kill has the look and feel of a b-grade, low budget horror, and you constantly remind yourself that this is what you are watching. Yet, it has a charm to it, and embraces this status, even to the extent that much of the story is presented in a form akin to a camp reality show, complete with some cheeky, yet funny commercial breaks. One gets the feeling that even the apocalypse needs are marketing campaign where people could profit.
This is an action, horror film, so big plot twists are as rare as heartfelt speeches, but it's a fun action, horror. There is a story to speak of, and there are acting talents suited ideally for the characters portrayed. With Halloween coming up soon, this is sure to provide an evening of fun for a bunch of friends bent on the scarier and creepier side of life.
Re-Kill is a very basic story, a good premise, and a fun escape into a world that seems to hold the intrigue of so many, where flesh eating zombies could be right around the corner, and the viewer is left contemplating how they would handle such a situation.
The disc is encoded at a high bitrate, so the image is clear and has no visible artefacts. It can be scaled via hardware or software up to a larger or higher resolution screen, if desired.
Audio is presented in a 5.1 soundtrack, and while this is not used as extensively as one would expect, the surround and LFE channels do get a workout, adding to the on-screen action, and further drawing the viewer in to the story and events.
There are no bonus features on the disc, and the menu is very basic. This does, however, leave more room for a main feature with the maximum possible bitrate.
Re-Kill is available now, to purchase on disc, in South Africa.
Tomorrowland: A World Beyond (Blu-Ray): Review
Many years ago, a boy genius (Frank, played by George Clooney) is invited to Tomorrowland, a wonderful place created by the greatest minds, free of the negative influence of what happens on Earth. Years later, science-whizz Casey (Britt Robertson) receives a similar invite from the mysterious Athena (Raffey Cassidy). Run by futurist David Nix (Hugh Laurie), Tomorrowland beckons, however all is not as it seems.
Tomorrowland: A World Beyond is a delightful tale, not only looking to the future, but remembering the past and present. It has a feeling of nostalgia, and a feeling of a cheerful 80's science fiction story, with a sprinkle of steampunk. The visuals are awe-inspiring, while not intrusive, creating a setting that in contrast to that of every day life, as we are used to it.
Well cast, and directed, Tomorrowland is certainly a fun, family tale. There is a lesson under everything, in that we should be kind, and look after the word we have, with the antagonist not being too evil, but rather misguided in his quest for peace and tranquillity.
Disney has once again delivered a good, fun and wholesome story that can be enjoyed by those of all ages. The young cast are very talented, and are certainly ones to watch out for in the future. George Cloooney and Hugh Laurie are well cast, and bring a wry sense of humour to their characters.
Tomorrowland: A World Beyond, that is very apt for today.
A high quality disc, as one would expect from Disney. Menus are easy to navigate.
The video is encoded at a high bitrate, meaning a clear picture with no visible artefacts.
Sound is presented in a 7.1 mix, further drawing the viewer into the on-screen action, enhancing the experience.
Remembering the Future: A look behind the scenes of the film, showing some of the various locations used for the shoot, and some interviews with cast and crew. Director Brad Bird takes us through some of the locations, including some spectacular coincidences during filming with the last flight of the space shuttle and visiting the space launch platform for some man's first ventures into space. This featurette is very insightful, and one can see the passion the filmmakers have for their story and in sharing that with the world.
Casting Tomorrowland: Some insight from director Brad Bird, talking to the main cast, and showing a little bit of their real personalities (not to mention professionalism).
A Great Big Beautiful Scoring Session: Michael Giacchino takes us through the process of scoring Tomorrowland, and working with the music of legend Richard M. Sherman, scorer of Mary Poppins, The Parent Trap, Chitty Chitty Bang Bang and many more that we have all grown to love.
The World Of Tomorrow Science Hour: a humorous feature, looking at some outtakes from the show hosted by futurist David Nix. Well executed, and a fun tie-in to the film.
Animated Short – The Origins Of Plus Ultra: A small look at the Plus Ultra project, providing a bit of additional insight, and another great bonus tie-in.
Brad Bird Production Diaries: Some more behind the scenes material, and insight from director Brad Bird. Looking again at some of the processes of filming Tomorrowland, some comment by the lead cast, and a closer look at some of the locations mentioned earlier. These are rather short, but insightful, and show a side of the director that expresses the enthusiasm he has for his work.
Blast From The Past Commercial: A funny short, in the form of a commercial for the Blast from the Past store featured in the film. It provides a small amount of additional information and background to this location. Following the link to blastfromthepastsuperstore.com will take you to a Tomorrowland sub-store on Amazon.
Deleted Scenes with Filmmaker Introduction: Some deleted scenes, and parts of scenes. These were removed for the purpose of pacing, as explained by Brad Bird. While these are good scenes, it does make sense as to why they would be removed.
Other features include sneak peaks to other Disney films and attractions. One that will excite many fans is likely to be the Star Wars: The Force Awakens trailer, presented in HD and surround, at the beginning of the disc.
Tomorrowland: A World Beyond is available in South Africa, to buy on disc, from 12 October 2015.
ACT & Market Theatre Passionate About Development
The 7th annual ACT | DALRO | Nedbank Performing Arts Scholarships has bred positive efforts to groom young artists through the programme.
Apart from the main purpose of finding talented finalists who will contend for a chance to receive one of the three scholarships to the total value of R315,000, the Arts & Culture Trust (ACT) & Market Theatre have brought in an exciting element to add onto the learning and development aspect of this year's Scholarships.
Upon announcement of the three-year partnership in support of the Scholarships, both institutions have taken the relationship to another level by ensuring that skills are shared and advanced throughout the course of the programme.
At the beginning of the 2015 ACT | DALRO | Nedbank Performing Arts Scholarships' run, ACT announced that two of the previous winners will be part of the creative team as part of its alumni programme. Having gone through the grueling process of preparing for the final show, Chantél Evans and Kamogelo Nche, will now be on the other side as they are unveiled as the first pair to work with industry heavyweights who will mentor this year's crop of talented participants.
"It would be shortsighted not to exploit the programme's full and holistic potential as far as the development of young people is concerned. We are privileged to be partnering with the Market Theatre that shares our passion," says Pieter Jacobs, CEO of ACT.
Lotanang Makoti, a product of the Market Theatre Laboratory, joins the crew as Assistant Director along with a number of the establishment's current students who will gain first-hand experience by working with the creative team comprising independent and Market Theatre professionals. The Lab, as it's popularly known, was the brainchild of the Market Theatre cofounder and Artistic Director, Barney Simon, and has become the most interesting platform where young artists meet, engage and discuss issues affecting the arts industry and creative processes. The theatre also prides itself in its efforts to create an authentic South African cultural experience which is committed to providing the highest level of artistic excellence in all aspects of the performing and visual arts in which the education and development of a diverse community of artists, audiences and technicians is assured.
"This relationship with ACT has come at such a crucial time for the Market Theatre Foundation where we have completely exalted our effort around mentorship and giving space to emerging voices. We are delighted to be associated with such a brand as ACT has done a lot to inspire, guide and give a leg up to all deserving young people," says James Ngcobo, Artistic Director at the Market Theatre.
The work from these apprentices will be revealed at the 2015 ACT | DALRO | Nedbank Performing Arts Scholarships finale taking place at the Market Theatre's John Kani Theatre, in the vibrant Newtown Precinct on 12 October 2015.
For more information on the Scholarships programme, please visit www.act.org.za
92nd Oscars® Nominees
The 77th Golden Globe Award Winners
"Black Widow" Teaser Trailer & Poster
LEGO® City Adventures Premiers On Nickelodeon
Knives Out: A Witty Modern-day Murder Mystery
BTFW
© 2020	SAMDB News


One of my kids favourites is fried rice. You can guarantee if you are out for Thai or Chinese that they will eat it if you order it. I've noticed lately that more and more brands are selling premade packets of fried rice on the supermarket shelves and that there are a few frozen/fridge packets of it too. I understand the convenience, but with a bit of simple planning, fried rice can be an easy side to have with dinner.
Fried rice is also a really good budget meal. It's rice, leftover meat etc and whatever you've got in the fridge. There should really be no need to go shopping to get stuff for fried rice, unless of course you have no rice or absolutely nothing in the fridge.
Feel free to change the veggies, change the rice, use what you've got! Swap the soy for tamari, use ketcap manis instead of the soy, add some fresh herbs such as chives or coriander. This flexibility of this recipe is only limited by your imagination.
And you know what? It's awesome in sushi. Seriously, stuff cooled fried rice in sushi and the kids love it! This is also perfect the next day in a thermos for lunch. Master 2 ate every last bit when I sent it with him this week.
Rice paper rolls- your way!
4 cups of cooked, cooled rice (brown, jasmine, white).
You need to cook the rice in advance. The best way to do this is to have rice the night before with dinner or to cook it sometime and freeze it, defrosting when needed.
Add the oil to a wok, over medium/high heat.
When the oil is hot, add the eggs to the pan.
When the egg is bubbling and starting to look cooked on the edges, flip it.
If your flip is unsuccessful, don't worry, just let it cook through then remove.
Chop the egg up and set aside.
Add the bacon to the oil along with the onion.
Add the other vegetables, fry 4-5 minutes, stirring so they don't stick.
Add the rice and the soy sauce stirring regularly.
Put the chopped egg back in the pan and stir through.
Make sure everything is heated through. Taste and add more soy depending your taste.


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Arrowsmith Program is hosting Information Sessions at our Toronto location for professionals involved in education or who are interested in the field of learning disabilities and the work of Arrowsmith Program on several Fridays throughout the year from 9:30 to 11:30 a.m.
To register for a Professional Information Session please click here.
Please join us for our next Professional Information Webinar. These webinars are intended for professionals wishing to learn more about the Arrowsmith Program and how to implement it in their school.
Please click here to choose the date and time of the webinar for which you would like to register.
Please visit our Parent Information Sessions in Toronto page for information on sessions for Parents.
Each session will begin with a formal presentation discussing the theory and methodology of the Arrowsmith Program followed by a visit to the school that will provide visitors with an opportunity to observe students working on the Arrowsmith Program exercises. For those who are interested in offering the Arrowsmith Program in their school or school board, we will be pleased to provide information about the practical aspects of implementing and delivering the Arrowsmith Program including teacher training and costs.
We will be pleased to schedule a visit to the school at a different time for small groups that are unable to attend to one of the regularly scheduled sessions.


You'll be pretty in plaid when you slip into Bluebell SweetLegs, a delightful addition to our 2019 leggings collection! Just in time for spring, this baby blue plaid print with a hint of pink will add a bit of much-needed color into your wardrobe!
Spring forward and wear Bluebell SweetLegs with a fuzzy beige cardigan, a white duster tunic, a delicate chiffon floral scarf, tan wedge booties, and a matching Bluebell Scrunchie.


text:
Q: Getting data from Mongodb Atlas in the console when running npm start , but cannot get the URL I am trying to set up a Vue js page to list the data from MongoDB Atlas.
My Node JS server is connecting fine, and getting the API (Documents) listed.
See the code here that is working, but I am not able to get the URL for my localhost.
The localhost:4000/whatever-needs-to-be-here??? is all giving an error of can't get data.
The port it is listening at is 4000
I have axios on a page trying to get data, but I am not sure what URL to enter in the axios get('????') as my local url is not working.
What am I missing to have the data display in the browser?

    npm start

    > my-view-app@0.1.0 start /Users/macbookpro/my-vue-app-03-4
    > node server.js

    Server listening at 4000

    This is what I get in the console when running npm start.

    Also, the cluster name is clusterdives,  the database name is: dive_db, the collection name is dives.

    ```
    (node:2276) DeprecationWarning: current Server Discovery and Monitoring engine is deprecated, and will be removed in a future version. To use the new Server Discover and Monitoring engine, pass option { useUnifiedTopology: true } to the MongoClient constructor.
    [MongoDB connection] SUCCESS
    [
      {
        _id: 5f9ca2dd9a1d712bd137aa73,
        dive_number: 1,
        dive_date: 2015-06-06T04:00:00.000Z,
        dive_location: 'Lake Phoenix, Rawlings, Va',
        dive_country: 'United States',
        dive_description: 'Dive number 4 of open water training',
        dive_note: 'long note and description of the dive. This is where we write down memorable moments of the dive, prior to the dive, during the dive and after the dive.',
        dive_duration: { dive_duration_value: 45, dive_duration_unit: 'min' },
        dive_depth: { dive_depth_value: 50, dive_depth_unit: 'ft' }
      },
      {
        _id: 5fa2142f137e530a5a4a7cf7,
        dive_number: '2',
        dive_date: '2015-06-06T04:00:00.000+00:00',
        dive_location: ' Lake Phoenix, Rawlings, Va',
        dive_country: 'United States',
        dive_description: 'Dive number 4 of open water training',
        dive_note: 'long note and description of the dive. This is where we write down mem',
        dive_duration: { dive_duration_value: '45', dive_duration_unit: 'min' },
        dive_depth: { dive_depth_value: '50', dive_depth_unit: 'ft' }
      }
    ]

This is the scrip section in the Mainlist vue component/page.

    <script>
    import axios from 'axios';
    export default {
      name: 'Mainlist',
      data() {
        return {
          dive_db: [],
        }
      },
      mounted() {
        axios.get('**THIS IS WHAT I AM LOOKING FOR**').then((response) => {
          console.log(response.data);
          this.dive_db = response.data;
        })
        .catch((error) => {
          console.log(error);
        })
      }
    }
    </script>

redpajama_set_name: RedPajamaStackExchange


text:
Environment>
When Greta told the UN that "real power belongs to the people", she couldn't have known the extent to which that sentiment would define the next year of climate activism. (Photo: Antonio Masiello/Getty Images)
The Rise and Rise of the Global Climate Movement
Climate activism isn't new, but the last year has seen a resurgence in attention devoted to the subject.
Sophie Yeo
I saw Greta Thunberg for the first time in Poland at the end of last year. It was during the early days of the Katowice UNclimate negotiations. She was sitting in a makeshift TV studio, having her pigtails re-tied. I was in a hurry, chasing too many stories down at once, and paid little attention to this 15-year-old girl.
Of course, I'd heard of Greta by that point. I'd received several emails inviting me to press conferences where she was speaking, but I hadn't taken the bait.
I had recently written about the Juliana v United States litigation, where a group of young people sued the government for failing to protect them against climate change, and profiled the Zero Hour campaign led by 16-year-old Seattleite Jamie Margolin. I assumed Greta was the next star of climate youth activism. What I didn't realise was that she would catalyse a shift in how climate activism works altogether.
Climate activism isn't new, but the last year has seen a resurgence in attention devoted to the subject. For many campaigners, who have grown weary of watching their warnings fall on deaf ears, it has felt like hope has arrived at last.
Greta's rise to fame was swift.
Most people already know the story. She began striking outside the Swedish Parliament in August 2018, which garnered a certain amount of interest from journalists and fellow activists - in November, she gave a talk at TedxStockholm. But it was her explosive speech at the UN talks in Katowice that catapulted her into the limelight.
"We have not come here to beg world leaders to care. You have ignored us in the past and you will ignore us again," she said. "We have run out of excuses and we are running out of time. We have come here to let you know that change is coming, whether you like it or not. The real power belongs to the people."
At the same time as Greta was standing outside Parliament by herself, then without the eyes of the world on her, another group was travelling around the UK, testing the waters for another new movement. Between March and October 2018, they held around 60 discussions across the country. These events were called Heading for Extinction - a kind of #RoryWalks(remember that?) of climate change. Then, on the last day of October, the group declared a rebellion:
"Humanity finds itself embroiled in an event unprecedented in its history," reads the Declaration. "We, in alignment with our consciences and our reasoning, declare ourselves in rebellion against our Government and the corrupted, inept institutions that threaten our future."
In the following months, these two movements exploded into the mainstream. In April 2019, Extinction Rebellion forced London to a standstill with a ten day protest, with more than 1,100 people arrested. More than a million pupils participatedin a Greta-inspired school strike in March, and many have continued to strike weekly as part of the #FridaysForFuture movement.
From the English Romantics to America's John Muir and Henry David Thoreau, writers have long advocated for the preservation of nature. Rachel Carson's Silent Spring, published in 1962, ignited environmentalists' ire over the damage wrought by pesticides.
Climate change activism is newer, but still well established. Over the past decades, it has taken the form of marches, lobbying, research, and divestment. In 1988, scientist James Hansen testified before the U.S. Senate, telling lawmakers that climate change "is already happening now". The Intergovernmental Panel on Climate Change released its first assessment in 1992.
"The last few months really feel like a moment. But this isn't the first time. There were similar moments in the 2000s, 1990s and 1980s. You could even say there was a bit of a moment in the 1950s in a way, depending on how you read it. It's like we come back to the issue every decade or so," says Alice Bell, who is currently writing a book on the history of climate change.
"The BBC had a whole climate chaos series in 2006... There were new campaign groups formed. There were Live Earth concerts. There were protests... We just called it climate chaos then, rather than climate crisis."
But if the wave of climate activism we're seeing today is part of an ongoing cycle of protest, it is also the product of external events. In 2015, nations adopted the Paris Agreement, which set out an ambition to limit global temperature rise to below 1.5C.
In 2018, the IPCC released a report on this temperature target, outlining how we get there - and the consequences of shooting past it. For young people in particular, it made sobering reading: repeated warnings that we have "twelve years to save the planet" sounds that much scarier when the consequences of failing will be felt across your own lifetime.
People involved in both Extinction Rebellion and the school strikes put the startling success of the movements down to one factor in particular: they have given individuals the power to act.
With Extinction Rebellion, this wasn't an accident. With the concentrated media attention that it receives today, people tend to forget that the movement stemmed from extensive outreach, research and experimentation, says Liam Geary Baulch, who has been involved since the early days of the movement.
"We really grew this through talking to people and training people in person, not just from media attention or Facebook. People really need to sit in a room with each other and feel the grief of the climate emergency."
Its tactics have instilled in people the idea that they, personally, can force politicians to listen. Greenpeace, says Baulch, by way of example, "is great, but it relies on people being highly skilled, it relies on money to make those kinds of actions happen, and it's not very inclusive or participatory."
"What we've done is say, look, all of us can make a difference. Some of us can do that through making creative artwork or feeding people on the streets. We can all be part of this and do it together, and that's really powerful."
The school strikes movement has also provided an outlet to people who had previously struggled to get seriously involved in climate activism, partly because it overcame the most severe time constraint: school.
"It's very difficult to get involved when you're young," says Izzy Warren, a 15-year-old based in London who has been striking since January. "You can't travel around as much, which is why we've put such an emphasis on decentralisation. We've been trying to make sure that it's accessible to everyone."
Warren has been involved in climate activism since she was eight, she says, but didn't feel like she was taken seriously until this year.
"I always got the sympathy voice because people were like, 'Oh, it's the young person talking,' but no one took my view seriously. I was always overshadowed by the adults in the room. We don't have the same political and economic power that adults have."
Tindra Jallhage Said is striking outside the Swedish Parliament when I speak to her on the phone. The 14-year-old has been stood alongside Greta since the beginning, and has watched the movement grow. Today, there's just a small group, and it's a strike only in name, given it's the school holidays.
"I'd been frustrated about how no one did anything, no one really acted," she says. When she saw pictures of Greta on social media, she saw the chance to do something herself. "When there's a lot of youth together, it can be a lot easier and less scary than if you go to another activist event, where there can be a lot of adults."
The viral nature of the movement, where young people can broadcast their concerns to millions, highlights the potency of a concoction both timeless and modern: the anger of youth and the organising power of social media.
"We have the most to lose out of all the generations, so when we see those older generations who are responsible for causing the problem not doing anything, knowing they're not going to be the ones to experience it, that makes us really angry," says Warren. "It's that anger that motivates us."
When Greta told the UN that "real power belongs to the people", she couldn't have known the extent to which that sentiment would define the next year of climate activism. What we don't know yet is whether it's enough. Enough power. Enough people.
Sophie writes about climate change for Responding to Climate Change.
EnvironmentExtinction RebellionFridaysforFutureGreta ThunbergPeople's Climate MarchSwedenUnited Nations

redpajama_set_name: RedPajamaCommonCrawl


text:
COMMENT: Saab: time to take stock
Saab Automobile, part of General Motors, has announced a cost cutting initiative, axing 20% of its workforce in Sweden, streamlining its engineering organisation and working more closely with GM's units to cut costs. In the first half of 2002, Saab posted a loss of $US131.4 million – blaming its poor performance on high start-up costs for the new 9-3, investments in its Trollhattan plant and a negative dollar exchange rate.
Saab Automobile, part of General Motors, has announced a cost cutting initiative, axing 20% of its workforce in Sweden, streamlining its engineering organisation and working more closely with GM's units to cut costs.
In the first half of 2002, Saab posted a loss of $US131.4 million – blaming its poor performance on high start-up costs for the new 9-3, investments in its Trollhattan plant and a negative dollar exchange rate.
The company has now announced several improvements that it expects to make over the coming years, but declined to comment when it will return to profitability. It says it hopes to save $50-60 million through the job losses and through its other initiatives; it hopes to increase productivity by 20% in manufacturing.
Saab has undergone a similar restructuring effort to several other manufacturers, where job losses and efficiency gains have been the key focus. However, the company has a strong basis with GM behind it and a relatively strong brand, which is targeted to the premium/executive buyer. It finds itself in its most competitive of times with strong performances from BMW and Mercedes.
So if Saab is to get back into the black, cost cutting measures and improving productivity will be important – but the biggest and most important challenge is to re-position its brand to appeal once again to young professionals like it did in the late 1980s.
SOURCE: Datamonitor COMMENTWIRE (c) 2002 Datamonitor. All rights reserved. Republication or redistribution, including by framing or similar means, is expressly prohibited without prior written consent. Datamonitor shall not be liable for errors or delays in the content, or for any actions taken in reliance thereon.
Denso Corp. - SWOT Analysis
Automotive Seating - Global Sector Overview and Forecast (Q4 2020 Update)
General Motors Co
Saab AB
Datamonitor plc


Jim Morris | Urban Futures, Inc.
Jim Morris is a Principal at InCity Consulting, he has twenty years of experience working in the fields of public policy, municipal law, economic development, and public agency governance and leadership. As an independent consultant, Jim recently completed a long-term engagement with the City of San Bernardino where he was responsible for one of the most complex redevelopment dissolutions in the State of California. Jim also advised the City's bankruptcy team on various municipal restructuring and economic development matters, including drafting the strategic plan component of the City's bankruptcy plan of adjustment. He is a sub consultant of Urban Futures, Inc.
Prior to becoming an independent consultant, Jim served for eight years as Chief of Staff to the Mayor of San Bernardino. Working closely with several redevelopment agencies and regional entities, he was part of the leadership team that helped bring over $2 billion in new infrastructure to the city, including the region's first mass transit project and the successful redevelopment of San Bernardino International Airport.
Jim began his professional career as a public law attorney with the County of San Bernardino and Best Best & Krieger LLP. For over a decade, he helped government agencies in the Inland Empire successfully navigate legal complexities affecting their organization and operations, particularly in the areas of land use, community development, water and wastewater, and public agency governance.
Jim is a graduate of Dartmouth College, and received both his Juris Doctorate and master's in Urban Planning from UCLA.


Cynical, angry, obnoxious, intolerant and generally a miserable human being are just a few of the labels pinned on God Seeker Guy for his stand on religion.
Being a religious pariah, a sort of pseudo Antichrist with religious leprosy is not an easy place to reside, however following the crowd into the darkness that is blind religious faith is abhorrent to GSG.
It is forever decreed that we think positively, stay away from negative people and shun the poison fruit that is anyone with a strong opposing view. The tenacious religious believer is by far the worst victim of this tepid reasoning.
If a Christian, a Jew, a Muslin and a… cyclist were put in the same room they would, over time, almost certainly destroy each other and only the poor unbelieving maintenance guy would be there to clean up the mess.
The intolerance practised by most religious followers is based on the wretched fear that their belief is flawed or irrelevant in a modern informed society. The world is not flat, the sun does not evolve around the earth and the gods are a wonderfully imaginative creation of a fertile but desperate human imagination.
Homo Sapiens are just another hapless animal, but one that cannot deal with its ultimate fate and so concoct vast quantities of religious porridge to feed their silly egos.
Men are indeed a downtrodden lot. We toil all day to earn our bread and to provide bread for others. Our life for the most part resembles indentured slavery perpetuated by a system that tells us we never measure up and must consume to be a sound and successful member of our species.
The religious elite add to our burden by deceiving us with promises for the afterlife they cannot furnish with any certainty. If a man were to ask a monkey to surrender his banana by promising him one hundred when he dies, the monkey will most likely insert his banana into you and walk away in disgust. We of course – desperate to free ourselves from monotony and commercial oppression – embrace any propaganda that will help us live the lie.
The male of our species is doomed to be led by the nose ( and other parts) into servitude simply because we are a one button animal and the ladies know it and because the system needs us to build their corporate pyramids.
You talk to God, you're religious. God talks to you, you're psychotic.
If one more person or magazine article tells God Seeker Guy that he's lost and needs help to find his way, he's going to cancel his subscription to 'God and more Gods' and at dinner parties he will simply discuss the various methods of buttering toast.
He's not lost—thank you very much—he's journeying down a very fruitful and fulfilling path in his search for many things, including faith.
Why is embracing a religion blindly more valid than committing to none but being open to all? GSG has learned an enormous amount of valuable and interesting concepts from all of the worlds religions and from the people willing to share their faiths in an intelligent way. He has also picked up a lot of absolute nonsense, and therein lays the problem.
Mark Twain is reputed to have said "It is better to keep your mouth closed and let people think you are a fool than to open it and remove all doubt." This applies to the vast majority of religious pundits GSG has spoken to. Very few have shown any interest in broad discussions of faith or religion, most simply choose to lecture at great length attempting to beat their visitors into submission.
Here's the irony of all of it all, GSG is actually quite passionate about faith and religious conviction. Not just as a critic, any fool can be a decrier, but as a seeker, as a man who wants to know if there is a single truth, many truths or no truths.
Assuming GSG makes it to the pearly gates one day, he assumes those in charge will appreciate his efforts to understand who and what they are, but as a precaution he plans to carry bolt cutters.
People who want to share their religious views with you, almost never want you to share yours with them.
God Seeker Guy hasn't written anything for several months because he hasn't had anything useful to say. By useful he means he's had no need to clarify anything in his mind by writing, remember he writes for himself, not for the benefit of others, that would be presumptuous. Writing just to keep a blog up to date breeds mediocrity and threatens to dull the writers mind and bore the reader to death.
Here is the question GSG is attempting to answer for himself today and thus the reason for this blog post. If there is a god and he loves us, why did he allow GSG's car to be towed away last night? A friend suggested God was testing or punishing GSG. This answer even though offered in jest, provoked a line of thought about religion, punishment and the incessant testing of the flock.
Remember Isaac barely made it out alive from the most famous religious test in history and the punishment of Jesus Christ, of course, was fatal. Hardly comparable to a temporary loss of one's transportation, but the friends response demonstrates that most faiths mete out various trials and retributions of some nature, often for no apparent reason. Isaac was wholly innocent of any wrong doing as far as we know.
It's the extreme nature of religions that is at the core of GSG struggle to come to grips with religious faith. The various religious doctrines offer little in the way of compromise, and even less in the way of understanding of alternate forms of worship. GSG likes – and at the same time dislikes – all of the world's religions. The answer of course is for him to form his own faith and teachings. His religion would be based on all the faiths combined, a sort of – Chritsto-Muslimish-Jewdeo-Hindy-Pheudo Bogomillian-Druidish combo- , although that designation may not fit on the stationary.
A Christian friend says salvation can be found only through Jesus Christ, a Muslim friend says Allah is the one true God, a Jewish friend says both of these religions are pinched from the teachings of their faith. If you park in any of their lots, better obey the rules or you'll be removed in brutal way and at your own expense.
To know a person's religion we need not listen to his profession of faith, but must find his brand of intolerance.
To Jesus Christ! A splendid chap!


The BA program is for students wanting a broad liberal arts education with an emphasis in physics and is the appropriate major for students interested in teaching high school physics. It may be a suitable foundation for students who are planning a career not usually regarded as physics, such as business education, law, medicine, writing, environmental concerns, public safety, or computer programming.
This major partially satisfies the criteria for a teaching endorsement in Physics (5-12), qualifying students to teach physics at the high school, middle, or junior high levels. Students who successfully complete the Physics BA and STEM Teaching Program (an alternative to the Professional Education Program) are eligible to apply for Washington State teacher certification. Teacher certification candidates must receive a C grade or higher in all major and STEM Teaching Program courses, have a GPA of at least 3.0 for either the last 45 graded quarter credits or overall CWU/transfer cumulative, and meet all Washington State teacher certification requirements. See the physics teaching advisor as soon as possible to develop a course of study.
This major satisfies the criteria for an endorsement in physics and qualifies students to teach physics at the high school, middle, or junior high levels. Students taking this major for endorsement are required to take the Science and Mathematics Teaching Minor. See the physics teaching advisor as early as possible to develop a graduation plan. Students completing this program are required to demonstrate proficiency of student learning outcomes through a program portfolio prior to student teaching. In addition to the above requirements, students must pass the NES exam for physics to receive a physics endorsement. Students should seriously consider working toward endorsement in a second area, such as biology, chemistry, earth science, middle-level science, middle-level mathematics, secondary mathematics or science.
At least four credits must be from the physics department at the 200-level or above. The rest of the credits may be from any department, including physics, at the 200-level or above. Courses must be approved by the department chair and advisor.


text:
import React, { Component } from 'react';
import PropTypes from 'prop-types';
import ReactDOM from 'react-dom';
import ThemeService from '../styles/ChamelThemeService';
import Paper from '../Paper/Paper';
import AppBarRightToolbar from './AppBarRightToolbar';
import Dom from '../utils/Dom';
import Events from '../utils/Events';

/**
 * AppBar - the main toolbar for the application
 */
class AppBar extends Component {
  /**
   * Set accepted properties
   */
  static propTypes = {
    onNavBtnClick: PropTypes.func,
    className: PropTypes.string,
    iconElementLeft: PropTypes.element,
    iconElementRight: PropTypes.oneOfType([PropTypes.element, PropTypes.array]),
    title: PropTypes.node,
    zDepth: PropTypes.number,
    fixed: PropTypes.bool,
  };

  /**
   * Set property defaults
   */
  static defaultProps = {
    title: '',
    zDepth: 1,
    fixed: false,
  };

  /**
   * An alternate theme may be passed down by a provider
   */
  static contextTypes = {
    chamelTheme: PropTypes.object,
  };

  /**
   * Class constructor
   *
   * @param {Object} props Properties to send to the render function
   */
  constructor(props) {
    // Call paprent constructor
    super(props);

    this.state = {
      startTopOffset: 0,
      startWidth: 0,
      curTopOffset: -1,
    };
  }

  componentDidMount() {
    // If we are working with a device that supports status bar color, then set
    if (typeof cordova != 'undefined' && typeof StatusBar != 'undefined') {
      if (cordova.platformId == 'android') {
        // StatusBar.backgroundColorByHexString("#fff");
      }
    }

    // Save the original top position of the menu
    if (this.props.fixed) {
      let offset = Dom.offset(ReactDOM.findDOMNode(this.refs.appBarInnerCon));
      this.setState({
        startTopOffset: offset.top,
        startWidth: offset.width,
        startHeight: offset.height,
      });

      // Now listen for window scroll events
      Events.on(window, 'scroll', this._onWindowScroll);
    }
  }

  componentWillUnmount() {
    // Remove window scroll event
    if (this.props.fixed) {
      Events.off(window, 'scroll', this._onWindowScroll);
    }
  }

  render() {
    // Determine which theme to use
    let theme =
      this.context.chamelTheme && this.context.chamelTheme.appBar
        ? this.context.chamelTheme.appBar
        : ThemeService.defaultTheme.appBar;

    let classes = theme.appBarOuter,
      elementCenter,
      menuElementLeft,
      menuElementRight;

    if (this.props.className) {
      classes += ' ' + this.props.className;
    }

    // Set the left elements
    if (this.props.iconElementLeft) {
      // Add any appBar custom styles to the icon
      let iconElementLeft = this.props.iconElementLeft;
      /*this._addAppBarStyleToElements(
       this.props.iconElementLeft, theme
       );*/

      menuElementLeft =
{iconElementLeft}
;
    }

    // Set the right elements
    let rightElements = this.props.iconElementRight || null;

    // If right elements exists, wrap in a toolbar
    if (rightElements) {
      menuElementRight = <AppBarRightToolbar>{rightElements}</AppBarRightToolbar>;
    }

    // Add main content which is normally the title
    if (this.props.title) {
      // If the title is a string, wrap in an h1 tag.
      // If not, just use it as a node.
      elementCenter =
        toString.call(this.props.title) === '[object String]' ? (

{this.props.title}

        ) : (
          this.props.title
        );
    } else if (this.props.children) {
      elementCenter =
{this.props.children}
;
    }

    // Get the zDepth passed - we may increment if we are floating
    let zDepth = this.props.zDepth;

    // Handle offset when the document scrolls and the appbar is fixed
    let innerConStyle = null;
    let outerConStyle = null;
    if (this.props.fixed && this.state.curTopOffset !== -1) {
      innerConStyle = {
        top: this.state.curTopOffset + 'px',
        width: this.state.startWidth + 'px',
        position: 'fixed',
        zIndex: 100,
      };

      /*
       * Set the outer con style since a fixed element will cause it to shrink
       * which makes the UX pretty bad when elements suddenly jump
       */
      outerConStyle = { height: this.state.startHeight + 'px' };

      // Increment zDepth to indicate floating
      // TODO: Commenting this out since it is creating visual problems in netric
      // with side-by-side toolbars. We should probably change  that and then bring this back
      //zDepth++;
    }

    return (

          <Paper ref="appBarInnerCon" rounded={false} className={classes} zDepth={zDepth}>
            {menuElementLeft}
            {elementCenter}
            {menuElementRight}
          </Paper>

    );
  }

  /**
   * Handle when the document is scrolled while the
   * The starting top of this menu was not 0 so it means
   * the menu is a fixed position and docked. A menu can be docked
   * below the top of the page (like below an AppBar) so we
   * want to be able to reposition the leftnav when the user scrolls
   * so it scrolls with the document until 0 (top)
   */
  _onWindowScroll = () => {
    // If the starting state was 0 then do nothing
    if (!this.props.fixed) {
      return;
    }

    // Get the scroll offset of the window
    let windowOffset = Dom.scrollOffset();

    /*
     * If we have scrolled, then follow the scroll.
     * Because the left nav div is position:fixed, then we
     * can move all the way to 0 to be at the top no matter how
     * far down the page they scroll
     */
    let newTop = this.state.startTopOffset - windowOffset.top;
    if (newTop < 0) {
      newTop = 0;
    }

    // Restore the original state if we are back in the viewport.
    if (windowOffset.top <= this.state.startTopOffset) {
      newTop = -1; // Reset
    }

    // Set state
    this.setState({ curTopOffset: newTop });
  };

  /**
   * Add appBar specific styles to elements
   *
   * @param {ReactElement} element
   * @param {Object} theme
   * @private
   * @return {ReactElement} Cloned element plus appbar style
   */
  _addAppBarStyleToElements = (element, theme) => {
    // If an array, iterate over it for each element
    if (Array.isArray(element)) {
      for (let i in element) {
        // Apply any appBar custom styles to the elements
        element[i] = this._addAppBarStyleToElements(element[i], theme);
      }
      return element;
    } else {
      // If this is not a react element, just return whatever we got
      if (!element.type) {
        return element;
      }

      // Get existing className
      let className = element.props.className ? element.props.className : '';

      /*
       * If the element is supported, then clone a new element and
       * append appBar special class to the className
       */
      switch (element.type.name) {
        case 'IconButton':
        case 'SelectButton':
          return React.cloneElement(element, {
            className: className + ' ' + theme.appBarIconButton,
          });
        case 'Button':
        default:
          return React.cloneElement(element, {
            className: className + ' ' + theme.button,
          });
      }
    }
  };
}

export default AppBar;

redpajama_set_name: RedPajamaGithub


Hello again, readers! I hope that each of you are enjoying your summer! It seems to have really flown by fast, and I can't believe that a week from today is Independence Day! Yup, my most favorite holiday of the year, the 4th of July. I just love it! The grilling, the good food, family, water sports, sunshine, and fireworks…what more could you ask for?!
I wanted to post a recipe today that would be a good one to serve at your 4th of July party. I know this dessert is not colored red, white, and blue like in all those food magazines with pretty holiday-themed dishes. But what's more American than S'MORES?! I guarantee that this will be a gigantic hit at your party. These are ooey gooey and delicious, and if you serve this while it's still warm, people might faint from bliss.
I've made a similar recipe before called S'mores Cookie Bars, and the recipes are a lot alike. The other recipe uses regular graham crackers as the crust, but this one uses crushed graham cracker crumbs with melted butter to make the crust. And this one includes made-from-scratch cookie dough instead of store bought. So this one is a bit more involved than the other, but it paid off in the end because I think this one is better! And it's really not that difficult either, so I think it's worth the couple extra steps.
Preheat oven to 350 degrees. Spray square baking pan (9x9) with non-stick butter spray.
Combine graham cracker crumbs and melted butter - form crust in the bottom of the pan.
Mix together sugars, vanilla, egg, and softened butter. In a separate bowl combine the salt, baking soda and flour. Once mixed, combine with other mixture.
Oh my goodness, those do look heavenly. I can't wait to make these next Friday.
You are certainly in for a treat Judy! I know everyone will love it!
Well, I made them and you were right. Everyone loved them. They turned out fabulous. My Mom asked for the recipe and she promptly made them for her Bible study.
Awesome! I'm so glad they were a hit :-). I need to make them again because they ran out so quickly last time that not everyone got to try them…and they haven't let me live it down either!
Have these in the oven right now! Had a bit of trouble getting the dough over the crust, but I think it will even out okay. Smells awesome!
Don't you just love the smell of fresh baked cookies combined with the smell of s'mores?! It's the best. Thanks for the comment, and I hope you like them!


Legal news for product liability attorneys. LELE & Co. brand name "Maria Elena" and "Eddie" sweatshirts were recalled.
CPSC alerts product liability attorneys- A strangulation hazard prompted the recall of children's hooded sweatshirts.
Los Angeles, CA—Due to the possibility of strangulation, LELE & Company Inc. and the U.S. Consumer Product Safety Commission (CPSC) http://www.cpsc.gov/ have recalled nearly 2,700 children's hooded sweatshirt sets with drawstrings. The CPSC announced the recall on Wednesday, March 3, 2010.
The Vietnam-manufactured LELE & Company hooded drawstring sweatshirts can pose a strangulation hazard to young children, although no incidents or injuries have been reported. Only the sweatshirts sold under the brand name of "Maria Elena" and "Eddie," are included in this recall. The recalled outerwear was sold in children's sizes 8 through 14, which have various character designs on the front, including the words "Princess," "Prince" and "Champion." Style number 4282 can be found on the back of the clothing tag that is fastened to the label. The children's clothing was sold at Dd's Discount, Frine Solarzvo and Toro Wholesale stores in California, El Carrusel and Hana Hosiery in Georgia, Lacala Design in Illinois, and La Revoltosa stores in Florida from August 2008 through August 2009 for the retail price between $6.50 and $9.


One of the challenges in hip replacement is dealing with bone loss. This is usually the case in revision surgery where loosening of the implant leads to large cavities or holes in the bone. This leads to a weak foundation to put in another implant solidly. In the hip socket, there are a number of ways to solve this issue using a combination of bone cement, bone graft or larger implants with added metal constructs.
In the case of the femur (thigh bone), we use longer, bigger implants that cover a much larger surface area of the bone to integrate.
Image showing a loose total hip replacement on the right side. The arrows are pointing to loosening of the implant with massive bone loss.
The new implant has been put in, and large bits of metal substituted for the bone loss; this x-ray is one year after the procedure.


text:
Q: Update EF record will not affected I have 4 tables that 2 of them are just for insert tracking data of 2 others.
I want to insert into 2 tables and update data in the 2 other tables.
This is my code:
using (var context = new AutoPackEntities())
{
    var myJsonObject = JsonConvert.DeserializeObject<JRDocument>(jsonObject);

    var activity = context.NetworkActivities
                .Include(c => c.Document)
                .Include(c => c.NetworkActivityTracking)
                .Include(c => c.Document.DocumentsTracking)
                .FirstOrDefault(c => c.Id == myJsonObject.Activity.Id);

    DocumentTracking myDocumentTrack = new DocumentTracking();
    NetworkActivityTracking  myActivityTrack =new NetworkActivityTracking();

    myActivityTrack = CreateActivityTrack(activity);
    myDocumentTrack = CreateDocumentTrack(activity.Document);

    activity.NetworkActivityTracking.Add(myActivityTrack);
    activity.Document.DocumentsTracking.Add(myDocumentTrack);

    activity = myJsonObject.Activity;
    activity.Document = myJsonObject.Document;

    context.DocumentsTracking.Add(myDocumentTrack);
    context.NetworkActivitiesTracking.Add(myActivityTrack);

    context.SaveChanges();
}

This code returns OK and does not throw any errors, and I can tell that insert data will be done, but the update does not change anything, and the data is what it was before.
Data should insert into these tables:
NetworkActivityTracking, DocumentTracking

and should update these tables:
NetworkActivities, Document


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Helping U get the best deal.
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I have NOT stopped talking about my Camino experience since I got home. I would do it all again tomorrow. So thank you again for being such a wonderful tour guide and friend along the way. TD. Hobart, Tasmania.
My husband and I joined the Travel Enriched group in September in Porto Portugal and felt a real sense of achievement on arrival in Santiago Spain. We had travelled part of the French Camino in 2013, walking shorter distances and so we were prepared for a wonderful experience and had a good idea of the style of holiday. This walk, however, challenged us more and we thoroughly enjoyed it, feeling very satisfied at the end of the day with what we had seen and accomplished. We surprised ourselves as we are both senior citizens but now feel young again!
Diane and her tour colleague were gracious companions and guides. Nothing was a trouble. Diane had selected comfortable hotels in convenient locations and her organisational skills were excellent … there was never a hitch. This is also a well priced trip with a variety of countryside and villages and towns…. great value for money. No two days are the same. J&R M. Sydney, NSW.
The communication before, during and after the Travel Enriched Camino Tour was outstanding, clear and relevant at all times. Ideas on training and preparation proved very helpful…. Diane had a special gift for meeting the varied needs of all in the group. Any request was dealt with promptly and all were treated with equal respect. I really could not fault the planning of everything about the tour. It is excellent value for money. I really enjoyed Diane's company and am so grateful for the opportunity to walk my Camino. MV. Hobart, Tasmania.
Thank you Diane for putting the tour together. The walk really is a walk of a lifetime. Having said that I hope to do it again someday. JH. Sydney, NSW.
I really enjoyed the Camino and what I was able to achieve. I also greatly appreciated the guidance, encouragement and gentle support of our Tour Leaders. This was a real adhesive factor and made the whole experience so much smoother. MS. Hobart, Tasmania.
If you are thinking of joining one of our 2015 Tours, it's wise to book early. Places are limited to 14 participants. Early bird discounts apply for those who pay the full Tour costs before the due date. Whether you are a sole traveller or in a group of friends who want to walk the Camino together, we'd be happy to discuss how we might be of assistance. Please email or call us today!


Get your champ this attractive set of t-shirt and pants to uplift his everyday look. Made with a premium quality fabric, this set is easy on his skin. The pants come with elasticised waistbands and drawstrings for a secure and desired fit.


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Die Insel Tulipatan (Originaltitel: "L'île de Tulipatan") ist eine französische Operette in einem Akt von Jacques Offenbach nach einem Libretto von Henri Charles Chivot und Alfred Duru. Das Werk erlebte seine Uraufführung am 30. September 1868 in Offenbachs eigenem Théâtre des Bouffes-Parisiens in Paris.
Wegen ihrer Kürze wird die Operette Insel Tulipatan häufig mit anderen Einaktern an einem Abend gegeben.

Handlung
Vorgeschichte:
Sehnlichst wünschte sich Herzog Cacatois XXII. einen Thronerben, er hatte bereits zwei Töchter. Als die Herzogin das dritte Mal schwanger wurde und die Geburt bevorstand, war Herzog Cacatois XXII im Ausland. Aus Furcht vor seinem enttäuschten Zorn gab man sein drittes Kind, wiederum ein Mädchen, als Knaben aus. Théodorine, die Gattin des Großseneschallen Romboidal, schenkte einem Knaben das Leben. In panischer Angst vor Militärdienst und Krieg ließ die Mutter ihren Sohn als Mädchen Hermosa aufwachsen, der Vater war unterdessen im Krieg.

Haupthandlung:
Da die Insel Tulipatan sehr klein ist, lernen sich im Laufe ihres Lebens Hermosa und Alexis kennen. Hermosa ("die wilde Hummel") und Alexis, die beide konträr – eben in ihrem tatsächlichen physischen Geschlecht – fühlen, verlieben sich ineinander. Die Eltern sind aus unterschiedlichen Gründen entsetzt: Der Großseneschall weiß, dass Alexis ein Mädchen ist, Théodorine weiß, dass Hermosa ein Junge ist. Beide fürchten im Fall einer Beziehung der Kinder eine "gleichgeschlechtliche" Verbindung, die ihnen "unmöglich" erscheint. Um das zu verhindern, wird jedem Kind einzeln und nacheinander das Geheimnis des Geschlechtertauschs offenbart. Hermosa erfährt zufällig von diesem "Geheimnis" ihres Freundes Alexis und sagt, es würde sie nicht stören, dass er ein Mädchen sei (dies wird bei Offenbach in einem turbulenten Duett zwischen Vater und Tochter ausmusiziert). Sie heiratet ihn dennoch. Die Eltern, die jeweils nur die halbe geschlechtliche Wahrheit über ihre Kinder wissen, sind entsetzt über das unkonventionelle Verhalten der Sprösslinge und versuchen mit allen Mitteln, eine Hochzeit zu verhindern. Die beiden Kinder eilen dennoch in die Kapelle, enthüllen einander ihre wahre Geschlechts-Zugehörigkeit und lassen sich unter dem Beifall der Untertanen trauen. Erst als auch Alexis offiziell zu Alexandra mutiert, beruhigen sich die Gemüter, bleibt doch allen Beteiligten eine noch größere "Emanzipation" erspart. Zur allgemeinen Verwunderung ist der Herzog sehr gefasst, als er erfahren muss, dass er wieder keinen Thronerben hat. Er sieht darin einen Grund nochmals zu heiraten, um endlich einen männlichen Thronerben zu zeugen.

Orchester
Zwei Flöten, zwei Oboen, zwei Klarinetten, zwei Fagotte, vier Hörner, zwei Trompeten, drei Posaunen, Schlagzeug und Streicher.

Aufführungsdaten
Kurt Gänzl zählt die Aufführungsdaten von Tulipatan in seinem Buch Encyclopaedia of the Musical Theatre (2001) auf:
"Auf dem europäischen Kontinent hat L'Île de Tulipatan im Laufe der Jahre viele Revivals erlebt, u. a. am Wiener Carltheater in einer Franz-Steiner-Produktion (24. Januar 1889) mit Karl Streitmann (Hermosa), Wilhelm Knaack (Romboïdal) und Frl. Seebold (Alexis). Das Stück wurde 1917 an der Berliner Oper gegeben, 1918 an der Wiener Staatsoper. In Ungarn spielte man es 1891 unter dem Titel XII Cactus, aber scheinbar in der gleichen Follinusz-Übersetzung, die man 20 Jahre zuvor in Arad benutzt hatte. In Paris wurde es in jüngerer Vergangenheit 1982 beim Festival du Marais gespielt, anschließend im Théâtre de la Gaîté-Montparnasse mit Christian Pernot, Kay Fender und Pierre Jacquemont."
Bei den Erstaufführungen zählt Gänzl auf: "Deutschland: Friedrich-Wilhelmstädtisches Theater, 21. Juli 1869; Österreich: Carltheater, 5. Mai 1869; Großbritannien: Theatre Royal, Leeds als King Kokatoo, or Who is who and which is which? 4. März 1872; Opera Comique, London als Kissi-Kissi, 12. Juli 1873; Ungarn: Arad 1869; Australien: St George's Hall, Melbourne als Alexis, 3. Juni 1886."

Cross-Dressing in Insel Tulipatan
Das Besondere bei Die Insel Tulipatan ist, dass das Cross-Dressing hier in beide Richtungen geht (also Mann als Frau, Frau als Mann) und im Stück direkt thematisiert wird, im Gegensatz zur Rolle des Orest in Offenbachs Die schöne Helena, beispielsweise, der einfach nur eine mit einer Frau besetzte Männerrolle ist, was aber nicht im Libretto diskutiert wird.
Kevin Clarke schreibt in der Einleitung zum Buch Glitter & Be Gay: Die authentische Operette und ihre schwulen Verehrer unter der Überschrift "Homosexualität und Operette?": "Auch wenn Hetero-Herren im Publikum Anfang des 20. Jahrhunderts auf der Bühne (sowie im Foyer) primäre Hetero-Sex offeriert wurde […] kam in der sexuell befreiten Welt der Operette immer wieder Homoerotik vor." Zuerst trat diese Homoerotik nur als Witz auf, wie in der Die Insel Tulipatan, dann versteckt in den Operetten von Franz von Suppè und Johann Strauß mit ihren Damen in zweideutigen Hosenrollen.

Hans-Dieter Roser schreibt in seinem Artikel Chacun à son goût: Cross-Dressing in der Wiener Operette 1860–1936, ebenfalls in Glitter & Be Gay: "Das Jahrhundert der Aufklärung war […] die am stärksten feminisierte Epoche vor unserer Gegenwart, was sich unter anderem in einem Hang zum Transvestismus äußerte […] Ein gewaltiger Schritt, wenn man bedenkt, dass im Mittelalter die Veränderung des sozialen Geschlechts noch als Sünde und Verbrechen bezeichnet wurde. Bei den adeligen Maskeraden im Wien des 18. Jahrhunderts traten die Herren dagegen gern in Damenkleidung auf, die Damen in Hosen […]. Der Kleidertausch war Klamotte. Und diese wurde auch gern in der Operette verwendet."

Erfolg durch Darstellung von Homosexualität
Frivoler Extremklamauk fanden die Wiener in der mit Kittel- und Hosenrolle besetzten Offenbach'schen Bouffonerie L'Île de Tulipatan, die 1869 am Wiener Carl-Theater deutlich freundlicher aufgenommen wurde als Offenbachs Einakter Mesdames de la Halle, in dem er die liebeshungrigen Pariser Marktfrauen von männlichen Schauspielern darstellen lässt, als dreiste Verspottung eines bestimmten Typus Frau. Dass L'Île de Tulipatan von den Wienern so gut aufgenommen wurde erstaunt, denn hier geht es nicht nur um sentimentale Liebe und Herzschmerz (das auch), sondern man hat es hier mit der thematisch ersten schwullesbischen Operette überhaupt zu tun.
Hans-Dieter Roser schreibt: "Auch für die Insel Tulipatan war bei der Wiener Erstaufführung am 5. Mai 1869 die schauspielerische Crème des Carl-Theaters unter der persönlichen Leitung Offenbachs aufgeboten. Schon am nächsten Tag konnte man in der Presse (Neues Fremden-Blatt Wien, 6. Mai 1869) lesen: Tulipatan ist vielleicht nicht die musikalisch gelungenste, aber unstreitig die lustigste Operette, die Offenbach komponierte, und besitzt zugleich das amüsanteste Libretto, das dem launigen (Übersetzer Julius) Hopp gelungen ist […] König Kaktus hat einen Sohn, der eine Tochter, und Minister Fikus eine Tochter, die ein Sohn ist. Daraus ergeben sich eine Reihe hochkomischer und frivoler Situationen, die Komponist wie Librettist vortrefflich auszubeuten wußten."
Mit diesen Erfolgen konnte die französische Operette in Wien Fuß fassen und lokale Komponisten reizte ebenfalls das frivole Spiel mit Geschlechtern. Besonders interessant war es, besonders attraktive Frauen in Hosenrollen auf die Bühne zu bringen, also die Umkehrung der Kittel-Situation. Der Zauber im Cross-Dressing bestand darin, dass natürlich in einer Zeit, in der Frauen vom Hals bis zum Zeh verpackt waren, Damenbein zeigten, aber auch darin, ein quasi anderes Geschlecht durchklingen zu lassen und synthetisch ein "drittes Geschlecht" zu schaffen – androgyn, reizvoll und vor allem emanzipiert. Auch ermöglichten solche Hosenrollen erstmals eine musikalische klangliche Seligkeit in den Duetten mit den "echten" Damen auf der Bühne.
Indem Frauen als Männer auftreten, setzen sie sich meist sehr emanzipiert in Szene und benehmen sich ganz und gar nicht so, wie gesellschaftliche Normen das damals von Frauen erwartet haben. In Tulipatan ist das einen Schritt weiter gedreht, indem Hermosa sich als Frau nicht an Verhaltenskonventionen halten will, jagen geht usw. und damit ihre Eltern in die Verzweiflung treibt, während Alexis sich als Prinz nicht männlich genug benimmt. Diese ganze Thematik – Gender als gesellschaftliche Konstruktion – greift die Schriften von Judith Butler um über 100 Jahre voraus und Tulipatan dekonstruiert, wie Butler, Normen und Konventionen.

Musikstücke
 Ouvertüre
 Dialog
 Vivat, die Freude! Es lebe der Scherz (Romboidal, Chor)
 Dialog
 Er lebe hoch tausend jahr' – Es ist' ne Ente, Zeitungsente (Cacatois, Chor) – Enten-Couplet
 Dieser Tag ist ein herrlicher Tag – Ach, mein Freund ist entfloh'n (Romboidal, Cacatois, Alexis, Chor)
 Wär' ich vom männlichen Geschlechte (Hermosa, Alexis)
 Ich hole jetzt den feurig-gold'nen Wein (Théodorine, Romboidal, Hermosa)
 Du kennst jetzt meine grossen Leiden (Romboidal, Hermosa)
 Sie sind's? – Ich bin's (Alexis, Hermosa)
 Barcarole (Romboidal, Théodorine, Cacatois, Chor)
 Dialog und Melodram
 Finale: In des Lebens Gondel (Cacatois, Romboidal, Théodorine, Alexis, Hermosa, Chor)

Literatur
 Kevin Clarke: Einleitung: Homosexualität und Operette? In: Kevin Clarke (Hrsg.): Glitter & Be Gay. Die authentische Operette und ihre schwulen Verehrer. Männerschwarm Verlag, Hamburg 2007, ISBN 978-3-939542-13-1, S. 7–22.
 Kurt Gänzl: Exportartikel Operette. In: Marie-Theres Arnbom, Kevin Clarke, Thomas Trabitsch (Hrsg.): Welt der Operette. Glamour, Stars und Showbusiness. Brandstätter, Wien 2011, ISBN 978-3-85033-581-2.
 Kurt Gänzl: L'ile de Tulipatan. In: Kurt Gänzl: The Encyclopedia of the Musical Theatre. 2. Auflage. Schirmer Books, New York NY u. a. 2001, ISBN 0-02-864970-2.
 Marjorie Garber: Verhüllte Interessen. Transvestismus und kulturelle Angst. Fischer, Frankfurt am Main 1993, ISBN 3-10-024405-2.
 Hans-Dieter Roser: Chacun à son goût: Cross-Dressing in der Wiener Operette 1860–1936. In: Kevin Clarke (Hrsg.): Glitter & Be Gay. Die authentische Operette und ihre schwulen Verehrer. Männerschwarm Verlag, Hamburg 2007, ISBN 978-3-939542-13-1, S. 40–59.
 Hellmuth Steger, Karl Howe: Operettenführer. Von Offenbach bis zum Musical (= Fischer-Bücherei 225, ). Fischer, Frankfurt am Main 1958.

 Dieter Zimmerschied: Operette. Phänomen und Entwicklung (= Materialien zur Didaktik und Methodik des Musikunterrichts. Band 15). Breitkopf & Härtel, Wiesbaden 1988, ISBN 3-7651-0183-4.

Weblinks

 Operetten-Lexikon.info

Operette aus dem 19. Jahrhundert
Werk von Jacques Offenbach
Operette nach Titel
Musik 1868

redpajama_set_name: RedPajamaWikipedia


Warner Brothers Productions -- "Bad Puddy Tat" Hand Painted Limited Edition Cel. (1987). Friz Freleng was the genius who paired Tweety with Sylvester at Warner Brothers in the late 1940s. He directed almost all of their cartoons and created one of the best comedy pairings in film. This hand inked and hand painted limited edition is one of Freleng's earliest releases of the classic pair. Granny confronts Sylvester as he pretends he's not going to eat Tweety! Cel size is 12.5" x 10.5." Edition 182/200. Signature is faded.


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Home » News » Israel awaits US$3.1b American handout
Israel awaits US$3.1b American handout
A senior Israeli official will travel to Washington next week in the hopes of signing a long-anticipated agreement that could result in increased U.S. military assistance to Israel, the Israeli prime minister's office said Monday (July 25).
The premier's office said in a statement that Brig. Gen. (Res.) Jacob Nagel, acting head of Israel's National Security Council, will meet White House officials to sign an agreement "as soon as possible."
The U.S. gives Israel US$3.1 billion annually in an agreement expiring before the 2018 fiscal year. The Obama administration has offered Israel an enhanced decade-long military aid package to ease Israel's concerns over the U.S.-led Iranian nuclear deal.
Since the Iran deal was signed, the U.S. and Israel have haggled over how much Israel would receive. Prime Minister Benjamin Netanyahu once reportedly suggested Israel might get a better deal from the next U.S. administration.
White House officials declined to comment on Israel's announcement of Nagel's visit, but said U.S. and Israeli officials are in regular contact to try to finalize the deal.
The Israeli prime minister's office said Israel does not seek an increase in the already agreed upon US$3.1 billion for the 2017 fiscal year.
"Israel places great value on the predictability and certainty of the military assistance it receives from the United States and on honoring bilateral agreements," the prime minister's office said.
US handout
Kremlin says Egypt's rumored sale of Mistrals for $1 is 'utter nonsense' October 22, 2016
EEFC-Ural Bank demands $4.7 million from ex-head Gitelson June 26, 2016
Australian Extinction Is First of Mammal Due to Climate Change, Scientists Say June 16, 2016
Aleppo police chief comments on school attack in city's western area October 28, 2016
Syrian army continues its crackdown against terrorists in different provinces October 19, 2016


These aren't finished – they're just night time thoughts that will come together somehow into prints, later. I like putting them online because then I can look at my ideas from my phone. Love that phone.
Another fantastic course at Workspace Studios on how to set faceted stones, tutored by the fabulous Annie Collins and Vaune Mason This is going to be the perfect technique for me – if only I had known when I made this ring below. I love it, but it could have been better with a few beautifully controlled settings. Next time!
Anyhow, here's a few pics on the process. I'll just say that these photos are more for my own memory than to be a good explanation of the technique. If you want to learn how to do this yourself, my advice is to take the Workspace Studios class – Vaune is a great teacher! If only I could explain it as well as she did during the class.
Remember to use a piece of metal thick enough so the point of the stone doesn't come through.
Measure the stone. This is a 3.5mm stone.
To set a 3.5mm stone, you first need to drill a hole about 3/4 the size of the stone's diameter (2.6mm). We actually used a 2mm drill.
Centre punch /scribe a point in the centre of the metal, then drill the 2mm hole.
Then drill a seat for the stone with a burr the same size as the stone.
Drilling with a 3.5mm burr.
You need to drill STRAIGHT down, so you keep a straight 'cliff' around the edge.
I recently attended a great course at Workspace Studios on how to create claw settings, tutored by the directors Annie Collins and Vaune Mason, both talented practicing jewellers. I'm really happy to finally know how to do this properly!
After measuring the stone, preparing an appropriate sized ring and cutting wire for prongs, set up the claw setting in a block ready for solder.
The setting, ready to solder – flux applied.
Ready to curve the prongs.
For setting, put the stone into the setting and set the whole thing in 'jet set'.
Vaune Mason's soldering notes for creating a great claw setting.
blutakked to a tiny anvil for ease of burnishing the claws down.
Vaune Mason's notes on how to burnish the claws down on a claw setting.


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Here's What Brooks Brothers Will Look Like Under New Owners ABG and Mall Giant Simon
By Samantha McDonald
Samantha McDonald
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A man passes a Brooks Brothers store in New York.
CREDIT: Mark Lennihan/AP
Brooks Brothers officially has new ownership.
Authentic Brands Group LLC and SPARC Group LLC — a venture created by the brand management firm and mall giant Simon Property Group Inc. — announced today that they have completed the acquisition of the menswear retailer, which filed for Chapter 11 protection in early July.
As part of the transaction, SPARC assumes the role of core licensee for Brooks Brothers. It will manage the chain's operations, including retail, wholesale and e-commerce, while ABG has purchased its intellectual property and will oversee all licensing partnerships, new business and brand development.
Additionally, ABG and SPARC will share brand marketing responsibilities, which are centered on "adapting Brooks Brothers for a new generation" by expanding its online presence and launching a "fresh slate" of collaborations.
The Deal Makers: 2020's Top M&A Players
Mall Giant Simon Is Helping Mango Expand in the US -- and It's a Win-Win for Both
Adidas' Acquisition of Reebok Was a 'Failure From the Start' -- Who Could Be Its New Owner?
"We are thrilled to bring this world-class brand into the fold," ABG founder, chairman and CEO Jamie Salter said in a statement. "Brooks Brothers comes at an important time in ABG's development as we are placing a significant emphasis on growing our retail and e-commerce footprint. We see a great opportunity to strategically expand this powerhouse brand across the globe."
SPARC CEO Marc Miller added, "Brooks Brothers' new structure is another example of how ABG and SPARC are innovating the traditional brand model. Our strategic partnership will allow us to leverage the tremendous equity of this quintessential American brand through key partnerships, dynamic marketing and cutting-edge product design."
Brooks Brothers currently has about 250 stores in North America and planned to shutter just over 50 locations as a result of the COVID-19 health crisis, which forced widespread closures across the retail sector. At least 125 of the storied American clothier's brick-and-mortar units are expected to continue operating as part of the agreement. (It has more than 500 outposts around the world, as well as maintains wholesale partnerships with department stores including Nordstrom and Macy's to sell its collections.)
SPARC now serves as the dedicated operating partner for Brooks Brothers, Nautica, Aéropostale and Lucky Brand: ABG and Simon recently became the core licensee of Lucky Brand Dungarees LLC, which also went bankrupt in early July. Along with mall owner General Growth Properties, now owned by Brookfield Property Partners, Simon also saved Aéropostale from liquidation in 2016.
Authentic Brands Group
Simon Property Group


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One area in which volunteering is important is in helping people who are new, or relatively new, to a country settle and integrate. This is the focus of A Part of Society. The report rightly starts from a position that, although (in the UK at least) we know a great deal about…
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Do we need another study on volunteer motives? Michael Callow's work (published in the International Journal of Nonprofit and Voluntary Sector Marketing) argues that we do and that there is value in looking at volunteering among retirees. Too often, says Callow, we categorise…
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This Research to Practice reviews a report on recruiting and retaining volunteers to work with AIDS service organisations. The study findings were developed through a survey of volunteers plus interviews and focus groups with managers of volunteers. The study examined the…
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This article examines a research report done at Wilfrid Laurier University in Waterloo, Ontario, Canada by Evelina J. Rog, S. Mark Pancer, and Mark C. Baetz: "Corporate Volunteer Programs: Maximising Employee Motivation and Minimizing Barriers to Program Participation." The…
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Volunteering is increasingly being recognised as an activity that can promote social inclusion. However, it has been debated (certainly in the UK) how far volunteering is still an exclusive activity benefiting certain sections of society far more than others. We know barriers…
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Research-to-Practice Editor Steven Howlett re-visits a paper by Colin Rochester published in Voluntary Action, the journal of the Institute for Volunteering Research in 1999, about the management implications for volunteer coordination based on the organisational setting in…
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This edition of Research-to-Practice looks at three reports that examine corporate employee volunteering. Employee volunteering is an area of considerable growth and of great interest, but how can volunteer-involving organisations and volunteers managers make the most of…
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When the 1997 National Survey for Volunteering in the UK was published, it appeared to show that young peoples' regard and enthusiasm for volunteering was in decline. Responding to this, the Institute for Volunteering Research produced the report 'What Young People Want from…
Involvement in Civil Society Groups: Is It Good for Your Health?
It seems counter-intuitive for most people working in volunteering that such participation should be bad for your health. A new research paper in the Journal of Epidemiology and Community Health claims just this, flying in the face of much other evidence. Is volunteering bad for…
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Is Volunteering Rewarding in Itself? Stephan Meier and Alois Stutzer Institute for Empirical Research in Economics, University of Zurich February 2004 Some things said about volunteering seem intuitively right; such as, volunteering can make you happy. Research such as the…
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The current UK government has often re-iterated that its policy is 'evidence led'. Whether this happens in practice is for others to decide, but a useful spin-off is that research has become more prevalent in areas interesting government. This Research into Practice focuses on a…
A Model for Applying Data
This Research to Practice article examines how Five Key Trends and Their Impact on the Voluntary Sector (a feature article in this issue) can be a model for interpreting data in a practical, put-it-to-use way. The "Five Key Trends..." article is itself an example of translating…
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Victoria is a fascinating city nestled in the westernmost portion of British Columbia. It is a city which is known for being "more English than the English" and a great place to have afternoon tea in the old style. You wouldn't think they'd be producing material on the cutting…
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World Leisure, an international organization devoted to the scientific study and promotion of leisure, has as part of its structure several commissions devoted to matters consistent with this mission. One of these – the Volunteerism Commission – was founded to organize and…
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Exploring Hispanic American Involvement in Community Leadership through Volunteerism
One of the least-researched areas of volunteer involvement in the United States is that of ethnic volunteering. Hispanic volunteering, in particular, has received much less attention than it deserves considering the vast increase in size and importance of the Hispanic population…
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Steven Farmer and Donald Fedor have taken a look at factors which make volunteers decide to continue and increase their contribution of volunteer time and effort to a particular organization. This issue is a serious one to effective involvement of volunteers, since the…
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This is a VIDEO SOUND brand of the Hindi DVD. Has the UPC Code 677565042396 16x9 Anamarphic Widescreen. Color. NTSC FORMAT-ALL REGIONS. Dolby Digtal 5.1 Sound. HAS ENGLISH, SUBTITLES. Directed by: Satish Kaushik. Music: Anu Maliik. Lyrics: Javd Akhar. Starring: Anil Kapoor, Shilpa Shetty, Kirti Reddy, Kadar Khan and Amrish Puri. Release Date: 14 Jan 2002 (USA).
The story revolves around two families the Chaddha family (played by Amish Puri and Farida Jalal) and the D'Souza family (played by K. Vishvanath and Rohini Hatangadi). There is a constant feud between the two families with Chaddhas and D'Souzas always having their differences over almost every issue.
After 25 years of not seeing eye-to-eye the families receive a strange letter from somebody called Raja (Anil Kapoor) claming to be their grandchild. This astounds both the families, as Raja becomes the common link between the two families. That is why when Raja enters their lives he is met with complete denial. However, he shacks up with Ghooman Singh (Kader Khan), a cacophonous singer.
Soon Raja begins cajoling his grandparents and wins their acceptance. In return his grandparents begin pressurizing him to marry. In return Raja too crop up a lie that he is already married to a Punjabi girl, Banto Betty (Shilpa Shetty). On the other hand, there is also in the picture a modern and sensuous girl Florence (Kirti Reddy).
Raja too gets a shock out of blues when suddenly Banto Betty makes an entry into the family without his knowledge. However, the bitter truth is that Raja is in love with someone else.
How Raja gets out of this quandary and also reunites the feuding Chaddha and D'Souza family is what the rest of the film is all about.
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This Hindi Movies collection has been tagged as BE 1 NA 19.95 anil kapoor shilpa shetty kirti reddy kader khan amrish puri.