It's anything goes (with the optional theme of "party time!") at 613 Avenue Create this week! We've got 2 fabulous sponsors: Sassy Studio Designs and Oak Pond Creations. Do check out the blog to see the awesome projects that my teammates created! I hope you'll play along too!
For my project, I used the fun hide n seek ladybugs digi from Oak Pond Creations. I printed it out on cardstock, colored it with Spectrum Noir markers, and then fussy cut. With some masking, I stamped my brush strokes (Vignette: Celebrate Artsy from STAMPlorations) in Memento inks (pear tart, bahama blue, and rich cocoa). I stamped the sentiment (Sentiment Builders: Celebrate) in black. I used foam tape to adhere the colored image in the center and added some sequins (I found them in my disaster craft area stash!). I finished my card by rounding off the two bottom corners.
I based the design of my card on CAS(E) This Sketch #85. The code word at Addicted to CAS this week is "celebrate" so I'm entering my card there too. And while I'm at, I'm entering my card to Addicted to Stamps and More, where the challenge is CAS (Clean and Simple).
For my card, I colored the heart bouquet with Spectrum Noir markers and fussy cut it. I partially stenciled the Reversed Chickenwire stencil (TCW) on my card base to ground my colored image (mounted using adhesive foam). I stamped the "hello" (from the Boxed Blooms and Bold Sentiments by STAMPlorations) and then hand-wrote the rest. I finished the card by applying Diamond stickles on the hearts so they sparkle.
DH: [after looking at the card] So did I have you at hello?
me: [thinking] Nah. You had me at hi.
DH: Oh, is that what I said the first time we met?
me: Yeah, and I remember feeling like I was going to pass out as I watched you walk toward me.
DH: Good thing you didn't. I had my hands full with luggage.
Anyway, enough of the sappy stuff ;o) I hope you'll come visit the blog and check out the other projects that my teammates created for the challenge.
I'd like to enter my card to the following fun challenges: Addicted to Stamps and More #103 – Holiday (my card fits Valentine's Day); CAS(E) This Sketch #83; and Crafting with Dragonflies #30 – CAS Card.
At 613 Avenue Create this week, it's Anything Goes with the optional twist of using our Create Your Own Challenge chart. We have 2 sponsors this week: Delicious Doodles and Creative Bug. Do check out the challenge blog to see what my teammates created and we'd love for you to join us!
1. Print image on cardstock. Color with Spectrum Noir markers, fussy cut, and set aside.
3. Place 12×12 Specimen stencil (The Crafter's Workshop) over card base (140-lb cold-press watercolor paper by Canson). Smoosh some mustard seed distress ink on mat and with a very wet brush, paint ink through the stencil.
5. Emboss "thanks" sentiment (from Boxed Blooms and Bold Sentiments) in green and stamp "so much" (from Sentiment Builders: Thank You) in black.
6. Smoosh spiced marmalade distress ink on mat and water it down. Loosely watercolor it onto the card, letting it pool where the modeling paste has dried. With a sponge, lightly apply ink all around the card.
7. Mount image on card base with foam tape. (For added interest, I partially stamped the script stamp on the image too.) Finish the card by applying Diamond stickles on the flowers.
The current sketch at CAS(E) this Sketch #83 was my inspiration for this card's layout. (I'm most likely pushing it a bit with the "clean" part, but it is quite a simple card to put together.) Since I used markers to color my focal image, I can enter my card to Addicted to Stamps and More #102 – Make Your Mark. Over at Country View Challenges, it's "Stencil It!" for July. I'm also entering my card to Sister Act Card Challenge #64 – Anything Goes.
My card also doubles as a reminder card for two challenges I'm part of: TIME OUT Challenges, where we'd love to see projects inspired by the phrase, "fun in the sun" (I went with fun yellow colors in my card, and those flowers look bright and happy to me) and The Mixed Media Card Challenge, where our theme this month is "Touch of Nature." I hope you'll check out both challenges!
Popping by with another one layer card I made last night. I based the layout on the current sketch at CAS(E) This Sketch challenge. For the colors I used to stamp the "heartfelt" sentiment, I was inspired by the photo at Addicted to Stamps and More, where they're celebrating their 2nd birthday! And because I've got my flower stamp in a frame, it fits the current One Layer Simplicity Challenge – I've Been Framed. I'm entering my card to two more fun challenges: Crafting by Designs June Anything Goes Challenge and Cards und More #108 – One Layer Cards.
I used archival, dye, water-based (distress), and pigment (in the form of Inktense blocks) inks, as well as some watercoloring on my favorite card base (cold-pressed watercolor paper) so you could say this is a one layer mixed media card at its simplest. I went with good old-fashioned stamping and used STAMPlorations stamps — SENTIMENT BUILDERS: Thank You and Boxed Blooms and Bold Sentiments. The flowers are ones I illustrated and turned into stamps.
For my DT card, I went with a one layer card. The stamps I used are all new — they're part of the July release (preview all 6 stamp sets here) and in a few weeks, we'll have a blog hop! I couldn't wait to ink these up when they came the other day. The artsy brush stroke is from the VIGNETTE: Celebrate Artsy set, while the sentiments are from the SENTIMENT BUILDERS: Celebrate set. I stamped the brush stroke in Memento inks (love letter, tangelo, and cantaloupe). The big "celebrate" I stamped in Memento tuxedo black. I used the small "celebrate" as a border and stamped it in Memento love letter. I finished the card with some shiny gold sequins.
I based the layout of my card on CAS(E) this Sketch #79. I'm also linking up my card to CASology #98, where this week's cue word is "Shine" (I've got shiny sequins in my card) and Less is More Lucky Dip Week #174 – Use More than One Stamp (I used 3 different stamps).
Hello and welcome to a brand new challenge at Time Out Challenges! For this fortnight, our theme is SUMMER with the optional twist FLOWERS. So create a project with a summer theme (or anything really wherein your are inspired by the theme) with or without the optional twist. If you do create a project with an optional twist, you get a shot at winning a prize from our sponsor this month, CAS-ual Fridays. This week, our guest designer is Bobby from Bits & Pieces. Please check out the projects that my teammates and our guest designer created for the challenge.
I'd like to enter my card to the following fun challenges: One Layer Simplicity #6 – I've Been Framed; CAS(E) This Sketch #78 (I placed the sentiment toward the top instead of the bottom); Crafting By Designs – Anything Goes; and CASology #98 – Shine (it's summer now, which means more sunshine and being in California (where we're hitting the mid-90s this week in the valley, btw), I am enjoying the last of the poppies at our place — they're starting to wilt under the heat, but they were beautiful several weeks ago when the temps were still cooler; then I also think that the word "bloom" can, in the context of the sentiment, be synonymous with "shine"; other synonyms for shine include "excel", "be outstanding", "stand out", "be brilliant").
Anyway, the card above is for the current challenge at TIME OUT Challenges. This fortnight, it's Home Sweet Home Photo Inspiration. Joining us as guest designer is Christine. I hope you'll check out our challenge, look at the projects by my teammates, and then join us! I was inspired by the rich colors in the photo, particularly the deep pink and deep green. Taking my cue from the beautiful colors, I created the above CAS card. It's pretty straightforward really: I alternately stamped the grunge floral strips (STAMPlorations) in Memento Lilac Posies and Olive Grove on my card base. Next, I die-cut a white cardstock panel using a stitched mat die (Lil' Inker). I stamped a floral stamp (Inkadinkado) in Memento Lulu Lavender on the upper left of the panel and stamped the sentiment (STAMPlorations). I adhered the panel at an angle onto my card base.
I'm linking up my first card to the following fun challenges: The Paper Players #196 – Clean and Simple Floral; Simon Says Monday Challenge – Botanical; and Addicted to Stamps and More #96 – Anything Goes.
I went with another CAS card. I based the layout of my card on the sketch at CAS(E) This Sketch #76. I used one of the stitched mat dies from Lil' Inker to die-cut the panel. I stamped the flowers and bubbles (Inkadinkado) on the upper left in Archival Jet Black (Ranger) then loosely watercolored the images with Inktense Blocks (Derwent). I stamped the sentiment (STAMPlorations) and then adhered the panel onto the card base. I affixed 3 ivory pearls to finish the card.
My second card fits a couple other challenges: CASology #96 – Flower and Less is More #172 – Flowers.


text:
Kooperationspartner & Förderer
Dialog, 03/2014
März 20, 2015 x
Dialog, 03/2014, Warsaw
-Małgorzata Leyko-
Translation: Judith Sobczak
History in a theatric remix
The author is a professor at the University of Łódź, working at the faculty of drama and theater. She is also manager of literature in the theater of W. Bogusławski in the city of Kalisz. Among other things she deals with the cultural context of the German and Jewish theater from the ending of the 19th century. Recently she wrote Theater in the land of utopia (word/picture terytoria 2012).
History is a natural domain of theater, which is always in an enduring relationship.Theater which stages history converts, in compliance with the binding aesthetics, consolidated pictures of the past. At the same time through the conventions, in which she shows them, she tesitfies binding types of historical narration in the given era. In other words: the way, by which history is constructed, by which its educational function is definded and by thus the way by which the past is presented to society, will always find a reflection in theatric conventions. That means then, when theater opposes these "official" narrations. Present breaking of historic narrations in the form of how it has been shown by tradition, moving away from generalization and standardization of the past's vision for the sake of new historical discourses, has the effect that theater also searches for new ways of presenting history and it is evident that is is surprisingly creative in showing erased tracks of the past. This is as clear in diverse memory concepts on stage as the opposing category towards history, as it is search for a new practice concerning the presentation of extruded or absent problems in the main flow of history. Building a frame of reflection over the present reading of history, theater artists are engaged in making history and using strategies and techniques similar to these which are used in the area of cyberculture.
In his text History in cultural remix Andrzej Radomski refers mainly to new practices in history making in the world wide web. But he also stresses that "historiography 2.0" could refer to more institutionalized undertakings, so also to theater. However Lawrence Lessig determines changes in the range of democratizing participation in culture as a crossing from the culture RO (Read Only) to the culture RW (Read/Write) in the context of practical remix, Andrzej Radomski is calling the changes in history creation also a process of going through historiography RO, which is created by professional historians, to historiography RW, which is based on the "community production of history".
The effect of it is a public (popular) history created by public historians in an environment beyond academic theories. This public history on an equal footing with other cultural elements could also become an object of consumption and entertainment not only in a virtual range, but in the form of more or less instutionalized ventures. In the sphere of spectacles this could be for example reconstructions of historical events or theater performances or even expanding the description – performance activities which are based on the historiography RW, so a collage, adaptation, rewriting. remix, mash-up, found footage of existing fragments in terms of historical records/documents, which create a completely new whole and have an own message formulated by the author. This type of activities lead to the form of critical-historical researches, instead of the only former aesthetically aim. Today, theatrical remix of history has diverse forms and expresses a whole spectrum of attitudes and aims which are placed between two poles: art and history undertood as a reconstruction of something, that does not exist anymore.
This polarity I want to explain by two examples – projects realized in 2012 and 2013. The first one places itself by the subtitle – History Remix – into the over talked issues.
Displaced women. History Remix. Berlin – Łódź – Minsk is a trilateral project realized by an international artist team and performers, who are following the aim of extracting women's experiences during World War II from oblivion which were displaced from the "male" version of history. Monika Dobrowlańska – co-author and director – connects three areas of culture through her biography: born and educated in Poland, she continued her studies in Germany and graduated in the GITIS Acting and Directing Class in Moscow. As a dramatist Michał Walczak cooperated with her, one of the most interesting contemporary polish authors, the stage design and costumes were developed by Johanna Pfau, who gained experience through designing the decoration of the most famous German directors.This anchoring of artists in different cultures was reflected in the way of working out the given issue, because although the events of the second World War seen through the German, Russian or Polish perspective are almost 70 years ago, there is no common international history. But the authors were able to create a certain type of a transcultural narration based on the war experiences deep down in the memories of women from different countries. The basis of the script are three recently published reports showing the experiences of the women in different situations throughout the war. Their common denominator is the fact that all were a taboo subject in the war discourse.
The Unwomanly Face of the War of Swietlana Alexievich are several dozen of collected tales of women, who survived the Second World War. They participated in war next to men as first-aid workers, liaison officers, snipers, but from the historical view they got excluded, excluded from the participation in heroism and also from suffering which goes with the war. On the other side the memoirs from the 20th April until the 22nd June 1945, which were written by a pseudonym Anonyma and were published entitled Eine Frau in Berlin, are showing dramatic survivals of a German woman in times of the Berlin occupation by the Soviet army. Sentenced to their oppression and violence, she tries to survive and for the price of her own dignity she is looking for salvation. As a consequence she is able to survive, but rejected by the closest man in her life. At the end it is clear that their war stories do not have a tangential point. Finally community work Berlin. Memories of Polish people concerning forced labour in the capital of the Third Reich in 1939-1945 contains among other things a report of a young Polish woman, who was deported from Łódź to forced labour in a Berlin factory, where she was forced to work overtaxing her strenghs. Facing violence and a life in very bad conditions, she also meets some gestures of compassion and solidarity. Extracting fragments from these three texts, where each is functioning as an autonomous memory record, the authors of the script are making a "postproduction" through processing already existing contents and changing the former record. Since Ewa Wójtowicz writes:
The artist is becoming […] a postproducer not just in respect of material artefacts or electronic versions of the work as a project, but also in respect of the meanings, which emerge through the work that faces new reports enabled by the remix.
That, what was an record of individual experiences and functions in the context of similar war desitinies and experiences – separately – Russian, German and Polish women, was rewritten and ended up in a new story, bringing the history of women during World War II into being, absent in the official history record.
Three actresses from Germany, Poland and Belarus: Anna Poetter, Monika Dawidziuk and Svetlana Anikej, impersonating not only "displaced women" – women precipitated through war from their own environment – but also their butchers. They are telling about their destinies in German, Russian and Polish, alternating further images. On the empty stage there are sitting three women on chairs in neutral clothes, behind them there are some screens, where the translation and their zoomed faces are displayed and in the final scene archival photographies. These three chairs and a mobile wooden chest is enough for everything: trenches, factory machines, table, shelters of the Berlin apartment or a smashed-up truck. With their uniforms, military side caps and trousers, red canvas, too tight sweaters or headscarfs the actresses fluently change their role, at the same time giving a new meaning to the played space. These simple drama devices support and dramatize this unusual story, which shows a less known face of the war.
How Swietłana Aleksijewicz writes,
women are telling differently and about something different. "Female" war has its own colours, smells, own lights and feelings. Own words. There are no heroes and unreal achievements, there are just humans occupied with human and inhuman issues. And not only humans are suffering there, but also the earth, birds, trees. All people who live together with us on this earth. They suffer without words and this is even worse… .
Starting points for the staged tale are details, small things, gestures and pictures, crumbs of a normal life, which are used to anchor the memory, says Pierre Nora. They appear in the memories of the women because in their version of events "there are a lot more things during war besides death. There is everything we have in our normal lives. War is also life. To this life belong "very long plaits, up to the knees" which are cutted by the 18-year-old girl entering the Red Army. And the plaits of the forced labourer, cutted because of head louses and send to the mother in a cardboard. A red scarf which was lost by Sasza – a sharpshooter, because "a red scarf on the snow is visible, unmasking. And a foal who "is running in such a calm way as nothing would be going on, no war" in front of the starving female soldiers. And the candy which were shared by a stranger. There is also this number K1. 7176, which was given to Polish girl forced to labour, and a vanishing, foggy picture in front of tired eyes during the drill work. This is a memorized picture of the conquered German villages: "flowerpots with flowers, nice curtains in the windows, even in the sheds. At home – white dishes. Expensive dishes. Pottery". This picture is in contrast to the momories of the dominating cold and mud at the front: "We slept on straw, on twigs. Sometimes two or three days without a warm meal". This memory also refers to tattered, bloodstained dresses and a stuffy smell of the basement, in which conquerors raped German women. Stars on the hats and military caots, whose owners could have guaranteed even for short security. And the painting on the wall of the Reichstag: "The Russian girl from Saratow defeated you".
But the moment of defeat, the historical ending of the war, started admittedly a tragic chapter in the life of these women, which were aware of two truths "the own truth, pushed down to the underworld and to a foreign, […] soaked by the spirit of the time. The smell of newspapers", as there were two wars at once. They had to adapt to life, which they did not know, when they went to the front as teenage girls. The women's participation in war – on both sides of the front – has been revealed by infamy. The women were excluded from the war discourse as well in terms of suffering which they had to face, as in terms of heroism by which they were distinguished. After some passed years they state with bitterness: "Men were the conquerors, heroes, fiances, they had their war and looked at us with totally different eyes. […] they took our victory from us".
Monika Dobrowlanska's play was composed due to a principle of freely consequense of sampled text sequences, scenery flow, memory stream, theatre situations built around the prop, gesture, image, a word precisely outplayed by actresses. The play refers to the question of excilded women' identity and integrates itself into the present process of activitizing our mind and the history itself, knowledge and ingnorance.
Creating the "place of memory" in the meanining of Pierre Nora, the artists of Displaced Women History Remix tries to show that history is not able to dominate diferent memories, which abandonned from their main flow do return to strengthen our identity since seeing for memory ist he test of finding one's own history story. Nora claims that the "places of memory" emerged while in society past rituals started to vanish, when society started to reavange on ist own new over old, young over old, future times over oast times. The place of memory includes museums, archives, cementaries, festivals, annniversaries, monuments, shrines.
If would give the same status tot he theatre, their similiar as in the case of literature – it will be become a place of memory unless it verifies history, when the artist becomes as well a human being of art as well as a human being of action, what means that he changes the individual discourse to collective one by his artistic acting.
(…)
So, while using mixed up techniques, the artist creates a "device of negotiating meaning and identity". He activates the interpretation creativeness of the recipient through the same tactic, because the mix refers in equal measure to the process of creativeness and delivery. The performance Displaced women does not have the character of a dead repository, but fulfils the role of an emphatically shelter, it directs the record to the individual viewe, commiting its operation to what could be his participation in the collective memory. The function of theatre understood like descriped is the eloquent expression of the experience revived in memory, which becomes a device of the dramatic remix through direct participation of the viewer.
With the performance Displaced women, which I use as an example of drama fulfilling a indirect function towards history and wherein the viewer's aesthetic experience connects to cognitive experiences, I would like to confront a totally different project. Their creators just make use of the situation of a drama performance to show results of historical researches, revealing uncomfortable and excluded aspects of the past events. However arts – in a wide range of understanding – is bringing art performances in a modern way to science laboratories, we are facing an opposite situation – science (history) is entering the stage.
At the 70th anniversary of the Wannsee conference, 20 January 2012, the group Historikerlabor (laboratory of historians) presented at the villa next to Grosser Wannsee 56/58 in Berlin the historical performance Die Wannsee-Konferenz. It was the effect of several months work of 15 German historians born (with one exception) between 1971 and 1984, invited to the project by its iniciator – Christian Tietz, a historian and director working with amateur companies.The aim of Christian Tietz and the group of young explorers was a performance in a historical place where the conference had taken place. The place which served to plan in detail the logistic, legal and economic aspect regarding the extermination of eleven million Jews. The drama company did not have the intention to prepare a historical reenactement, which would be based on the reconstruction of the conference's course with portraying each participant of the conference. There was neither the intention to create a "Dokutainment", which would be a form of an easily digestible story. The authors of the project named it "Dokumentar-Theater-Projekt" (project of the documentary theater). They rather tried to find a lively way, which would involve the spectators directly and deeply and would also confront them with events of the past which had been eclipsed by oficial historical records and narrations. The historian-performers cared a lot to unveil the falseness written in the basic document, which is the protocol of the conference's course to "the Final Solution of the Jewish Question" (as the extermination of Jews was called euphemistically) and they also cared to unmask the real aim of the conference. In this case we deal with the creating of historiography RW in a grass roots way (socially, popularly and publically) which initially emerges during the cooperation between professional historians, but does not belong to the professional academic historical discourse and its use is the emerging direct announcement addressed to the spectator-participants of the event.
The task of the project producers was the gathering of archive material within a few months of research, which enabled to take a closer look at the biographies and views of each 15 conference participants regarding the extermination of Jews. Furthermore it was also important to examine, which role the organizations and institutions represented by them played. From researchers one expected to hear the answer to the following questions concerning every conference participant: "Which view did he hold in terms of the Jews' extermination? Had he been a declared anti-Semite or rather a careerist which had found an opportunity to reach this aim? What was the role of the institution, for which he worked in the extermination of Jews? Had he been a forcing power or rather tried to stop this process? Which aims were represented by the institution during the conference in Wannsee?". The gathered documents and comments of historians were initially the basis of two months work on the script. This was made by Kalliniki Fili and the rehearsals were conducted by Christian Tietz. In this way 15 paths were created to enter the event which happened in January 1942 in the Wannsee villa. The structure of the whole event was determined by reading the protocol, which was remixed with quotations and comments of the founded documents. The content of the protocol, which could have implied the preparation of a huge european campaign of Jewish evacuation, had been confronted with documents unambiguously prooving fully consciousness of all participants that the conference's aim is the total annihilation of all European Jews. There were no reports which would suggest any scruples or doubts of the participants. Every quoted fragment of the text was added with its source to convince the spectators that these are real hard facts and no historical fiction.
The executors – the historians themselves – did not impersonate the role of the conference's participants, they also did not speak them. In a way they did represent them but they spoke on behalf of the history. The whole spectacle was without any historical staffage. It was conducted in a small audience, where the conference had taken place 70 years ago. Today you can find there an exhibition showing all effects of the then undertaken decision. Along the room fiveteen chairs were arranged alternately in both sides; on both sides the audience was gathered. On the chairs the performers sat who appeared in their private clothes holding files with the read out documents and with a photo of each former participant of the conference. They did not use any theatrical devices, "they were real protagonists, being historians or their representants, who wanted to share their researches with the audience on the stage". On less space the spectators were listening for one and a half hour (this is also the duration of the Wannsee Conference) to texts expressing completely contempt to human life. Their image of the past, primarily shaped by media, got confronted in an authentic place with the testimony of time, which they would have never get to know in another way. Each presentation was accompanied by a discussion, which allowed to reach distance to the represented facts.
The project Die Wannsee-Konferenz met a perfect reception and a wide public interest; the spectacle was repeated several times, among others at the Berlin Maxim Gorki-Theater, it was also registered on DVD. Above all things it was a grass roots initiative for the historical Die Erfindung und Vernichtung des Untermenschen (the finding and extermination of the under man), which following parts will be the next projects – Die Hungerplan-Konferenz und der Vernichtungskrieg gegen Sowjetunion (conference about the plan of starvation and exterminating war against the Soviet Union). The premiere will take place in May 2014 in the German-Russian museum, Berlin-Karlshorst, as well as "Die Endlösung der Zigeunerfrage" – ein fiktives, wissenschaftliches und internationales Simposion, Berlin 1941 ("The Final Solution of the Gypsy Question" – ficticious, scientific and international symposium, Berlin 1941), which effects will be represented in February and March 2015 at the Max Planck Institute, Berlin-Dahlem.
The chosen topics in both over talked operations on the verge of theater and history, as well in Displaced women, as in Die Wannsee-Konferenz, had been even used earlier through dramatists or television-film producers. So when these topics became again a device of historical-artisitical creation, this means that in a reality of communication dominated by media (the present situation of the executors and spectators) theater defends itself by the directness of influence on the spectator and makes him a participant of the operations made with historical materials. In the area of theater remixed history exists in a different way than in the sphere of cyberculture, referring to this Andrzej Radomski writes: "The object of the historiography's researches vanishes – the world of history. There are just constructions left in the database, which could be understood as informations at the same time". In theater this world of history still is omnipresent.
Kategorien:Kritiken
Schlagworte:Displaced Women
Teatralnoe dvizene Dveri
© 2015-2022 Multicultural City e.V. · Impressum: DE | EN

redpajama_set_name: RedPajamaCommonCrawl


text:
The Iran Primer
Iran Policy
Part 2: Iran Responds to Sanctions on Supreme Leader, IRGC
Iranian leaders condemned President Donald Trump's decision to impose sanctions on the supreme leader and senior IRGC commanders. Trump characterized the move as a "proportionate response to Iran's increasingly provocative actions," referring to the downing of a U.S. drone on June 20 and attacks on tankers in May and June that Washington also attributed to Tehran.
Iran's Foreign Ministry spokesperson, however, said the new sanctions meant "closing the doors of diplomacy" between Tehran and Washington. President Rouhani and President Trump traded barbs. "The White House has become stricken with mental disability. They don't know what to do," he said in a televised address. Some Western media outlets translated Rouhani's words as "mentally retarded."
President Trump, in a series of angry tweets, called Rouhani's remarks "very ignorant and insulting."
....Iran's very ignorant and insulting statement, put out today, only shows that they do not understand reality. Any attack by Iran on anything American will be met with great and overwhelming force. In some areas, overwhelming will mean obliteration. No more John Kerry & Obama!
The following are reactions from Iran to the U.S. sanctions.
Supreme Leader Ayatollah Ali Khamenei
"The most vicious officials of the (U.S.) government accuse Iran and insult it. The Iranian nation will not give in and retreat in the face of such insults."
"The Iranian people have been wronged [by the US economic sanctions], but they are not weak. The nation will attain all its goals.
"For the past 40 years, they [the US] have failed to defeat the Iranian nation."
—June 26, 2019, in a meeting with senior Judiciary officials
When U.S. failed to achieve their goals by pressuring, they said: negotiate with us in order to progress. Yes! We progress but without you. During Pahlavis you controlled everything & Iran moved backwards every day. You're the reason behind Iranian nation's backwardness [then].
— Khamenei.ir (@khamenei_ir) June 26, 2019
The graceful Iranian nation has been accused & insulted by world's most vicious regime, the U.S., which is a source of wars, conflicts & plunder. Iranian nation won't give up over such insults. Iranians have been wronged by oppressive sanctions but not weakened & remain powerful.
The Iranian nation seeks dignity, independence, & progress; that's why pressures by cruel enemies do not affect Iranians. Look at election & rallies turnout. The enemies make so many sabotaging efforts but the people continue to participate with a strong willpower.
President Hassan Rouhani
The sanctions are "outrageous and idiotic" and mean "closing the doors of diplomacy" between Tehran and Washington.
"You sanction the foreign minister simultaneously with a request for talks."
"The White House has become stricken with mental disability. They don't know what to do."
—June 25, 2019, in a televised address according to the Associated Press and BBC Monitoring
Foreign Minister Mohammad Javad Zarif
.@realDonaldTrump is 100% right that the US military has no business in the Persian Gulf. Removal of its forces is fully in line with interests of US and the world. But it's now clear that the #B_Team is not concerned with US interests—they despise diplomacy, and thirst for war.
— Javad Zarif (@JZarif) June 24, 2019
Ambassador to the United Nations Majid Takht Ravanchi
"To ease tensions in the broader Persian Gulf region, the U.S. must stop its military adventurism in our region, as well as its economic war and terrorism against the Iranian people."
"We are not in the business in succumbing to pressure. The U.S. has been applying pressure against Iran and today we witnessed that they have added more sanctions, so nobody in a clear mind can accept to have a dialogue with somebody that is threatening you with more sanctions. So as long as this threat is there, there is no way that Iran and the US can start a dialogue."
—June 24, 2019, in an interview with reporters before a U.N. Security Council meeting
Ebtekar Newspaper
"Sanctioning Diplomacy"
New U.S Sanctions Means Permanent Closure of Path to Diplomacy with Desperate U.S. Administration: Iran
President Donald Trump's Response
Iran leadership doesn't understand the words "nice" or "compassion," they never have. Sadly, the thing they do understand is Strength and Power, and the USA is by far the most powerful Military Force in the world, with 1.5 Trillion Dollars invested over the last two years alone..
....The wonderful Iranian people are suffering, and for no reason at all. Their leadership spends all of its money on Terror, and little on anything else. The U.S. has not forgotten Iran's use of IED's & EFP's (bombs), which killed 2000 Americans, and wounded many more...
Interview with Zarif in New York
U.S. Sanctions Iranian Nuclear Procurement Network
Zarif in New York: On War and U.S. Talks
Democratic Candidates on Iran
Khamenei at 80: In His Own Words
The Impact: Iran Breaches Nuclear Deal
Iran's Military Might
Joint Commission on Preserving Nuclear Deal
Congress Divided on Authorizing War with Iran
Watchdog Reimposes Financial Restrictions on Iran
Abbas Milani
Afshin Molavi
Alireza Nader
Annika Folkeson
Anthony Cordesman
Ayesha Chugh
Bruce O. Riedel
Daniel Brumberg
David Albright
Ellen Laipson
Emile Hokayem
Fareed Mohamedi
Farideh Farhi
Garrett Nada
Geneive Abdo
Geoffrey Kemp
Hadi Ghaemi
Haleh Esfandiari
Helia Ighani
Henri J. Barkey
John Limbert
Jubin Goodarzi
Karim Sadjadpour
Kevan Harris
Kourosh Rahimkhani
Mark N. Katz
Matthew Levitt
Mehdi Khalaji
Mehrzad Boroujerdi
Michael Connell
Michael Eisenstadt
Michael Elleman
Mohsen Milani
Omid Memarian
Patrick Clawson
Semira N. Nikou
Shahram Chubin
Shaul Bakhash
Steven Heydemann


text:
Yeasayer at Coachella 2010
Coachella 2010 Day One Report - Yeasayer, Grizzly Bear, Fever Ray, LCD Soundsystem, and more
Plus Sleigh Bells, Echo & the Bunnymen, Vampire Weekend, She & Him, and others
Apr 17, 2010 By Mark Redfern Photography by Wendy Lynch Redfern
Coachella 2010 began under the cloud of an erupting volcano. Several of the European artists playing this year had to cancel their Coachella appearances due to the Icelandic volcano eruption grounding all flights from the U.K. and other parts of Europe. So day one of Coachella was greeted with the news that we wouldn't be seeing Frightened Rabbit, Delphic, The Cribs (with Johnny Marr), or Gary Numan after all. And only a few days earlier Mew had already cancelled due to illness. So this year's festival was already starting with some losses, Mew and Delphic probably being the most unfortunate ones. But while there were few artists playing Coachella 2010 who I both hadn't seen before and was dying to see (Pavement being one of them), the lineup was still rigged with enough great artists so that I had little time to eat and take breaks between bands. Here's what I saw during day one.
Sleigh Bells kicked things off in the Gobi tent. They had a simple formula: beats + distorted guitars + yell-singing = Sleigh Bells. Their set started promisingly. Derek E. Miller, glad in a red hoodie, took the stage first, playing his loud guitar. Then singer Alexis Krauss emerged, first saying "Shut," then pausing before yelling, "Up"; which is something some audience members may have been tempted to yell back at her after a few songs. Sporting big earrings, lots of bracelets, tattoos up her right arm, and one lace glove, Krauss flailed around the stage more yelling than singing. At one point she took off her t-shirt and tried to throw it to the audience, but it didn't make it too far. Sleigh Bells' greatest strengths were the dirty-sounding loud guitar and their deep beats. Alas, there wasn't a sleigh bell in sight. Sleigh Bells are a thoroughly modern band, in that they have yet to release their debut album and yet they still packed a tent at Coachella at 3:30 in the afternoon, with many of them fans singing along, all based on a few songs posted on MySpace and music blogs. Unfortunately, Sleigh Bells were kind of a one trick pony. All their songs sounded the same and became increasingly grating. At one point Krauss literally screamed and I decided it was time to move on. As I was leaving she was screaming as if she was a fireworks display.
Yeasayer was in fine form at the adjacent Mojave tent. "Very excited to be here," said singer Chris Keating. "It's my first time here, it's beautiful." "O.N.E." and "Ambling Alp" were not surprisingly both the highlights and the songs best received by the crowd. The girl standing next to me had the set times of all the bands she wanted to see written in black marker on her arm. As I walked by the main stage Street Sweeper Social Club (Rage Against the Machine's Tom Morello and The Coup's Boots Riley) were making a racket. Riley said the banal statement, "We're Street Sweeper Social Club. We're more than a band, we're a social club." Why does Coachella even bother booking bands like that? I don't know anyone who was eager to see them.
While walking to She & Him I witnessed a guy propose to his girlfriend in the middle of the field. She said yes! "Sorry that the band before us missed their plane," said She & Him's Zooey Deschanel, referencing The Cribs, one of the volcano casualties. Deschanel was as endearing as ever. "Happy birthday to all of you whose birthdays are today," she said. And later she beamed, "I love you all," and even later said, "You're so wonderful and very attractive." She hopped around the stage with a smile on her face, often playing the tambourine, but also proved that She & Him was no vanity project by playing ukulele and electric piano. Meanwhile, M. Ward stood by her side, looking cool dressed in black and sporting hip facial hair. "We're playing the greatest Coachella ever," he promised. "We're very excited to be here. I know you can all feel the excrement in the air," he joked, referencing the smell form the adjacent toilets. Ward rocked a cover of Chuck Berry's "Roll Over Beethoven," singing with conviction and attacking his guitar, while Deschanel played keys. Their set appeared to end with "Sweet Darlin'," in which both Ward and Deschanel played the same electric piano together, but after leaving the stage the band realized they had more time and returned for a cover of Screamin' Jay Hawkins' "I Put a Spell on You." They sounded much better than their recent SXSW performance I witnessed.
Just before Grizzly Bear I spotted a couple literally having sex just outside the tent. Hopefully they at least conceived a baby, maybe a musician to play the 2030 Coachella! The NYC-based quartet really deserved to be playing a bigger stage than the Mojave tent, although that was a step from the Gobi tent, where they last played. "It's been three years since we've been to Coachella. It's our favorite festival in the States," said Ed Droste. The band's harmonies were as gorgeous as ever, but their music felt a little sleepy for a festival set. "Two Weeks" predictably got the best response. "Fever Ray, Jay Z, LCD Soundsystem...my mind is spinning," enthused Droste about the rest of the evening's lineup. "Is it too much? Never!"
"It's nice to finally be invited to play Coachella," boasted Echo & the Bunnymen vocalist Ian McCulloch. "Once we're finished you'll obviously all go home," he half-joked, adding that maybe MGMT were worth sticking around for, even though they were playing the next day. The '80s band played such favorites as "Lips Like Sugar" and "Bedbugs and Ballyhoo." "Nothing Lasts Forever" morphed into a cover of Lou Reed's "Walk on the Wild Side." McCulloch called Reed "America's greatest living songwriter" and said that "the most expensive meal I've ever paid for" was when he took Reed out for dinner. The song then morphed into a cover of Wilson Pickett's "In the Midnight Hour," but don't fans want to hear classic Echo songs, not covers? McCulloch's voice has still held up over the years, but the band as a whole lacked that fire they once had.
LCD Soundsystem performed under a giant 360-pound disco ball at the main stage. James Murphy and co.'s beats got a little too repetitive after awhile and Murphy had an annoying tendency to have too many of spoken word parts that drowned out the great music his backing band was making, sometimes coming off a little too much like Art Brut's Eddie Argos. "We're going to do a faux pas, which is two new songs in a row. Sorry," Murphy apologized. Vampire Weekend were over at the Outdoor Theatre, but could have easily commanded the main stage, since their second album Contra did debut at #1 on the Billboard album charts. They were a nice breath of fresh air.
Jay-Z went on 25 minutes late. The set was already running 15 minutes late when a 10-minute countdown began on the video screens. So I headed over to Fever Ray, who delivered the most unique and bizarre set of the day. Her set was all smoke machines and lasers, and she was hidden in the back for most of it, refusing to take center stage or to even reveal her face at first. Her band was also clad in weird outfits and masks. One member wore an incredibly tall hat, as if he was a religious figure from another dimension. The music was dark and ominous, with foreboding beats. I caught half a song of P.I.L., and let's just say that some old punks should just stay at home and not even bother. Jay-Z was going finally getting going as I was leaving, but I couldn't have cared less.
Old punk
wow. you think p.i.l. should stay home. i'm gonna hafta de-twit you. you obviously don't know crap.
Mark Redfern
Well, admittedly I didn't see a ton of their set, but what I saw didn't impress me. I'm sure a diehard fan (which I'm not) was more taken by their set. De-twit if you must.
Candyce Chrystina Moore
Wow. Your review of Sleigh Bells was bull shit. I was at the Sleigh Bells show, on the gate, in the front, on the left. To say Sleigh Bells was a one trick pony with all their songs sounding the same, would be just like saying Thom Yorke is a one trick pony with all of HIS songs sounding the same. Whether that be from, Eraser or from Radiohead.
Maybe you should have stayed to the end? The crowd never stopped dancing, but during Crown on the Ground [the last song] the crowd went postiively nuts
Well, to be fair, maybe you're too young/I'm too old? And music is about personal preferences. I've seen some of the dinosaurs and sometimes it's not pretty. Even still, while p.i.l. wasn't the Sex Pistols, I'd much rather catch a piece of history than have to see people you mentioned above (nameless) continue to rely on a genre instead of hitting a note properly.
Nilüfer Yanya Shares Video for "Day 7.5093" (News) — Nilüfer Yanya


Forums » Off-Topic Discussion » Does this mean I get a discount?
That postage stamp size picture indicating the model of vehicle is my car. An old one, but obviously taken from my photobucket or something.
sue 'em for every spare part they have!!! They used your vehicle's image without proper permission!!!
Just like we do with the hotlinks thread.
Haha. tell them you want a lifetime supply of oil filters and condoms. Or pasta.
Lifetime supply of fiat 850 oil filters! I think they might actually go for that.
850's use a non replaceable centrifugal filter.
ditchdigger wrote: 850's use a non replaceable centrifugal filter.
What the.. that's probably the coolest thing I've ever read.
Can you separate radioactive isotopes with it?


text:
","datePublished":"2020-01-13T13:57:40+00:00","dateModified":"2020-01-13T13:57:44+00:00","commentCount":0,"mainEntityOfPage":{"@id":"https://mendovoice.com/2020/01/usfs-seeking-public-comment-on-veg-management-herbicide-application-in-ranch-fire-scar-till-january-21/#webpage"},"publisher":{"@id":"https://mendovoice.com/#organization"},"image":{"@id":"https://mendovoice.com/2020/01/usfs-seeking-public-comment-on-veg-management-herbicide-application-in-ranch-fire-scar-till-january-21/#primaryimage"},"keywords":"Calendar & Announcements,Mendocino National Forest,USFS","articleSection":"Environment & Natural Resources,Fire & Emergency"},{"@type":["Person"],"@id":"https://mendovoice.com/#/schema/person/c22c9e659c974e8c1380a98608c59fa7","name":"Kate B. Maxwell","description":"Kate Maxwell is the publisher and a founder of The Mendocino Voice. She lives inland but goes to the ocean as much as possible.","sameAs":["https://twitter.com/themendovoice"]}]}
The Mendocino Voice (https://mendovoice.com/2020/01/usfs-seeking-public-comment-on-veg-management-herbicide-application-in-ranch-fire-scar-till-january-21/)
USFS seeking public comment on veg. management & herbicide application in Ranch Fire scar till January 21
By Kate B. Maxwell, Publisher | January 13, 2020
More on Calendar & Announcements
Subscribe to Calendar & Announcements
The Mendocino Voice > Environment & Natural Resources > USFS seeking public comment on veg. management & herbicide application in Ranch Fire scar till January 21
United States Forest Service flag.
MENDOCINO Co., 1/13/20 — The United States Forest Service is planning a vegetation management project within the burn scar of the Ranch Fire in the Mendocino National Forest, including some herbicide applications along with mechanical removal of invasive species, and the agency is currently seeking public comments on the project until January 21.
The project does not include portions of the forest within Mendocino County, but will cover 54 acres at 15 different sites within Glenn, Colusa, and Lake counties. The target species include Scotch Broom, Spanish Broom, and French Broom, which are non-native invasive species that can increase fire hazard, and the Forest Service Is planning to remove them with both herbicide applications and mechanical removal. The public comment period will be open until January 21, and regulators are required to consider public comments in drafting their final plan.
The entirety of the plan can be found on this Forest Service project webpage, and public comment can be submitted to: Japhia Huhndorf, Mendocino National Forest All Units, 825 N. Humboldt Ave., Willows, CA, 95988 or emailed to jshuhndorf@fs.fed.us. Here's the full announcement from the Forest Service:
WILLOWS, Calif. – Jan. 2, 2020 – The Mendocino National Forest is seeking public input on the proposed Ranch Fire Broom treatment project. Forest resource specialists are planning the project to remove and control non-native invasive broom species within the area of the 2018 Ranch Fire. Infestations are known from 15 sites covering 54 acres in various areas of Glenn, Colusa and Lake counties.
Most of this treatment work will involve herbicide application on young plants, though mechanical removal of larger adult plants will also occur. Foliar applications of herbicide to brooms are most effective during late spring and early summer when the plants are actively growing and there is sufficient soil moisture; treatments would generally occur April to July, depending on weather conditions. No herbicide will be applied within Snow Mountain Wilderness and no aerial application of herbicide is proposed.
There are three species of brooms that will be targeted: Scotch broom (Cytisus scoparius), Spanish broom (Spartium junceum), and French broom (Genista monspessulana). Brooms were commonly planted both as ornamentals and for erosion control as early as the late 1800s, but Scotch broom was recognized as a problem in California in the 1930s. Broom species can form impenetrable thickets that contribute to fire hazard, are not palatable to wildlife, and have long-lived seed banks.
The Forest recognizes public participation as a valuable part of the planning process to help refine and further develop the proposed action. To best assist the Forest in this project, please provide comments by January 21, 2020. For more information about the proposal, see the project webpage at https://www.fs.usda.gov/project/?project=57273 or contact District Botanist, Japhia Huhndorf, at japhia.huhndorf@usda.gov or 707-275-1426.
USFS press release
King tides hit the coast this weekend, and will return February 8 - 9 — share your photos
Pine Mountain Lookout in Mendocino National Forest re-opening in April after Ranch Fire closure


Vassana 2015 is the Annual Spiritual Rains Three Months Retreat held in any temple. This year inauguration ceremony was held on Esala Full Moon Sunday 26th July 2015 by Mr Sujeewa & Mrs Sujeewa Lokuwaduge and children Harindi and Hasidu as main sponsors; in collaboration with all the devotees and friends. This marks the annual retreat period as 26th July till 15th November. All are kindly invited to attend Meditation, Blessings Chanting, Daily Pooja and Dana offering activities during this Highest Blessed Season!
An Auspicious Invitation was offered by Mr Sujeewa & Mrs Sujeewa Lokuwaduge and children Harindi and Hasindu to Venerable Monks at Letchworth Dhamma Nikethanaya to observe the Annual Vassana Spiritual Rains Three Months Retreat on Esala Full Moon Sunday 26th July 2015.
The Annual Vassana (Rainy) Retreat is regarded as the most important period and the highest auspicious season (punnya kalaya) of The Buddhist Community. Historically, the beginning of this typical ceremony coincides with the Easala Full Moon Day in the month of July. The Noble Three Jewels (Buddha, Dhamma & Sangha) reached a completion on Esala (July) Full Moon Day as the Lord Buddha delivered The First Discourse "Dhammacakkapavattana Sutta", setting the wheel of Dhamma in motion and ordaining five ascetics as the first disciples. Followed by this historical incident, The Blessed One (Buddha) instructed Bhikkhus (Sangha Community) to observe a retreat for three months during the rainy season (vassana). Abiding to this custom, Buddhist Community across the globe maintained this observance of retreat annually over 2600 years to-date.
The Community of Letchworth Dhamma Nikethanaya Buddhist Cultural Centre hosted the Invitation Ceremony of This Year Vassana (Rainy) Retreat on Sunday 26th July 2015. Venerable Monks (Bhikkhus), headed by Venerable Akurala Samitha observed this year treat. Venerable Bhikkhu Assaji delivered a talk on Significances of the Vassana Retreat by attending to the Ceremony.
Sri Lankan and Indian are the two major communities in management of Letchworth Dhamma Nikethanaya Buddhist Cultural Centre. One community leads the hosting of the ceremony by taking turns every year. Hence, the Sri Lanka Community took the turn to host the Vassana Retreat Invitation Ceremony of this year. Mr Sujeewa & Mrs Sujeewa Lokuwaduge family together with their children, Harindi & Hasidu are the principal sponsors of this year ceremony.
Mr & Mrs Sujeewa Lokuwaduge Family and friend in collaboration with the devotees conduced the invitation ceremony on Sunday 26th July 2015 by inviting the monks to observe the holy three months retreat for this year.
Whole Three Months ceremony is maintained with the full participation and support of all the community of Letchworth Dhamma Nikethanaya Buddhist Centre. Therefore, all are compassionately invited to take part into the meritorious activities and meditation programmes organized by the vihara, during this highest blessed season (26th July – 15th November).
This year Vassana (Rainy) Retreat Season falls from 26th July till 15th November. Annual Kathina Ceremony will be held on Sunday 15th November 2015. Centre will conduct blessings chanting bodhi pooja, sutta dhamma discussion, weekly talks, monthly full moon day observances, Full Day Silent Retreat Meditation Sessions & daily poojas. If you wish to be part of the activities during the retreat season, please see our website, www.buddhistacademy.com for up-to-date programmes or please join our email database on dhammanikethanaya@gmail.com or buddhistacademy@gmail.com.
We wish Buddhist Community a very happy, peaceful and successful Vassana Retreat 2015 with all the good health & protection. May the Light of the Noble Triple Gem continue to shine in your hearts! With blessings of the merits accrued from this highest Blessed Season, May you all progress in prosperity, leading an eventful spiritual life!


20×50 Plot House Map image above is part of the post in 20×50 Plot House Map gallery. Related with House Design category.
For House Design, You can find many ideas on the topic house map for 20*50 plot, plot size 20 50 house map, plot size 20 x 50 house map, and many more on the internet, but in the post of 20×50 Plot House Map we have tried to select the best visual idea about House Design You also can look for more ideas on House Design category apart from the topic 20×50 Plot House Map.
This post published on Friday, March 8th, 2019 . Read Best Nigerian House Designs or find other post and pictures about House Design.


text:
Home / Africa/International / World's bankers agree on bank capital surcharge plan
World's bankers agree on bank capital surcharge plan
June 26, 2011	Africa/International Comments Off on World's bankers agree on bank capital surcharge plan
Global banking regulators have agreed on a proposal to slap an extra capital charge on the world's biggest banks to make them safer by 2019.
The surcharge is part of a series of regulatory reforms launched in response to the financial crisis, which forced countries worldwide into costly bailouts of their banking sectors to prevent systemic collapses.
The Group of Governors and Heads of Supervision (GHOS) said after a meeting in Basel on Saturday the proposal would be put out to public consultation next month.
"The additional loss absorbency requirements are to be met with progressive common equity tier 1 capital requirement ranging from 1 percent to 2.5 percent, depending on a bank's systemic importance," the group said in a statement.
An additional 1 percent surcharge would also be imposed if a bank becomes significantly bigger, pushing the total to 3.5 percent.
The plans, which need approval from world leaders (G20) in November, would be phased in between January 1 2016 and end of 2018.
The capital surcharge will come on top of the new 7 percent minimum core capital all banks across the world will have to hold under new Basel III rules being phased in over six years from 2013.
However, many of the world's biggest banks already hold core tier 1 capital ratios of 10 percent or more and therefore easily meet or exceed the top end of the surcharge band.
The central bankers have opted for a smaller surcharge than forseen but, in return, the surcharge will have to be in the form of top quality capital — retained earnings or common equity.
This marks a victory for hardline countries such as Britain and the United States but will disappoint some banks that have been hoping to use hybrid debt such as contingent capital (CoCos) to pad out the surcharge band.
Dirk Jaeger, Managing Director for supervision matters at Germany's banks association BdB said the decision was not much of a surprise: "But we regret that bank levies and CoCo bonds do not count for the additional capital buffer."
COCOS REVIEWED
The proposal, which was due to be finalized by last November but faced opposition from banks and some countries, will apply initially to so-called globally systemically important banks (G-SIBs).
"These measures will strengthen the resilience of G-SIBs and create strong incentives for them to reduce their systemic importance over time," the statement said.
The consultation paper in July will indicate how many banks face a capital surcharge but it is not clear yet if their names will be published.
The number of banks affected is likely to change over time as lenders grow or shrink and the consultation will spell out how often a snapshot of the sector will be taken.
Banks will face a surcharge according to an indicator that draws on five elements — size, interconnectedness, lack of substitutability, global (cross-jurisdictional) activity, and complexity.
The group of central bankers and the Basel Committee it oversees said they will continue to review the use of contingent capital.
The central bankers said they would support the use of contingent capital to meet higher national requirements than the global minimum surcharge.
However, even then, there would have to be a high-trigger for converting the debt into equity to help absorb losses on a going concern basis, the central bankers said.
Previous British gov't to open talks over pension reforms
Next NDC will unite and retain power in 2012 – NAFBEG
Governments, businesses to converge in Abidjan for Intra-African Trade Fair
Global growth to slow through 2023, due to COVID-19, inflation, debt and inequality – World Bank
IMF reposes confidence in Africa's capacity to produce vaccines
ECOWAS imposes harsher sanctions on Mali, activates Standby Force
The Economic Community of West African States (ECOWAS) will close its land and air borders …
GAEC appoints Prof SB Dampare as new Director-General
Businessman in court for stealing GH¢111,458
Tullow signs $23m MoU with Ghana Navy


text:
Live Streaming 04 Oct 4858
Despite what the title of this article says, it's not going to be about ripping off the existing app, in our case — Netflix video-on-demand services platform. Vice versa, we're here to analyze the ways Netflix transformed the industry, explore its diverse functionality, and try to learn from Netflix's practices of content distribution. In case you are interested in media streaming field as it is today, keep on reading.
Closer Look at Netflix
As in 2018, Netflix positions itself as the world's leading internet entertainment service. Considering the numbers of over 130 million subscribers and services availability in more than 190 countries, that statement doesn't even seem to be an exaggeration though. However, this level of public recognition did not happen overnight — it actually took more than 10 years for Netflix to become what it is today (not counting all the updates and new features that are continuing to be introduced to users on a regular basis). So what is standing behind the rise of Netflix? Is there a room for anyone else in the industry of TV streaming services? Let's rewind to the Netflix's early days to find out.
Initially founders of Netflix — Reed Hastings and Marc Randolph — wanted to start an e-commerce company and sell items over the internet like Amazon does. However, the complexity of full-cycle online sales made them settle down with dvd rent company at first. Later on, they decided to transform it into the media streaming platform, as they already had the community of people who love watching movies as their disposal. The transformation from dvd rentals to streaming took 10 years. A fascinating fact: Netflix dvd business is still alive, but it is continuously losing thousands of subscribers monthly, which hold us back from taking it seriously in 2018. Initially, the founders did not want to give up the option of a movie for rent, so they tried to support two separate platforms — one for watching movies online and another one for ordering the delivery by mail. But the fact users had to have two separate accounts to use different services started annoying them quickly, so the chiefs decided to dedicate the Netflix website to video-on-demand sector exclusively.
That's when Netflix we know today was born — the media streaming project started its life in 2007. Back then, it had only a thousand movies and TV shows available to watch online, but the rapidly growing popularity of streamed content helped Hastings and Randolph to expand the number of featured videos. In less than two years the platform had as many as 12,000 TV shows and feature films available, and this number continues to grow daily. Nowadays, Netflix is one giant union of technical processes built in microservice architectural style. Meaning, this app is basically a suite of small services that run in their own process and fulfill customer's requests through APIs.
Nevertheless, the diverse variety of content on the platform is not the only thing that keep attracting users to Netflix. Let's dive deeper into the feature set of this media streaming giant to distinguish the components of user experience Netflix's subscribers get.
Netflix Key Features
Registration. To start using Netflix, user has to create an account first. The registration process is simple and straightforward, yet it includes the obligatory submission of your payment details.
Up to 5 personal profiles with a single subscription. Not only users can switch from one profile to another without actually logging out, he also can apply a few filters on profile when creating it — language, kid/adult, and the maturity levels of content.
Various subscription plans. There are Basic, Standard, and Premium plans available (although the Basic one does not include HD video streaming, which sounds like a joke in 2018). Prices are $7.99, $10.99, and $13.99 per months correspondingly. Free trial period is one month.
Diversified streaming functionality. Netflix distributes content to smartphones, tablets, and TVs via the in-app media player.
Browsing through home page. Not everyone opens up the Netflix up having a particular movie in mind. More often people spend some time browsing first and then choose a movie or show to watch, so properly organized browsing is a must for apps like Netflix.
Content library. Filters and categories makes the choice of a movie easier adding to the overall positive user experience.
Watch list. A very useful one — you can add content that grabbed your interest when you were scrolling the library to a list, so that you wouldn't miss the chance to watch it when have time.
Ratings. Viewers can like or dislike the piece of content they watched. Earlier, Netflix had a five-star rating system, but then changed it to the thumb up/down scheme, which a lot of users do not like by this day.
"More like this" button. Similar shows and movies are linked to each other, which eases the search and allows cinematography fans to discover new pieces that will most likely enjoy. Instead of re-watching Friends for the hundredth time, users now can check out similar options without leaving the platform.
"Continue watching" list. The home page gets personalized as the subscribers uses the platform and stores useful information for every separate person, including the list of TV shows and movies that weren't watched till the very end.
Benefits for Users
The vast majority of Netflix features described above look quite basic, so the reasons behind high appreciation of Netflix amongst users might not be obvious (except for being a pioneer in the field, of course). However, if you would use Netflix services for several months or even weeks and then try to switch for another streaming app, the uniqueness of this platform would reveal itself immediately. Here are the core traits that make Netflix stand out after all these years:
Shockingly detailed content classification system. How many movie genres can you name? We bet you'd struggle to name more than a dozen. Well, thanks to the Netflix Quantum Theory algorithm, this platform has about 76,897 unique cinematography genres and subgenres. Examples of those are Emotional Fight-the-System Documentaries, Movies for Ages 11 to 12 (what an age gap!), Music & Concert Documentaries, Courtroom Dramas, Kids Faith & Spirituality (separately from Adult Faith), Deep Sea Horror Movies, and so on. This classification is used to give recommendations to subscribers based on their watched (and liked) pieces which is Netflix is known for. To analyze this amount of information, Netflix teams up with Amazon Web Services and uses their big data platform.
Extremely simple and intuitive design. Netflix platform's design does not seem like anything special or artistic, but this is actually its main benefit. The app and website look very simple, screens contain minimal amount of text so you don't need to spend minutes to scroll down to the end of the page (except for library, of course). This makes the app easy to use for people of different age groups and technical skills levels.
Ability to get a better deal by sharing one subscription between five people. As we already mentioned, Netflix allows subscribers to have five accounts using one paid plan, so you don't have to sneak around or share your personal login details with anyone in order to save some cash — just start five separate profiles and pay together.
Why should anyone even try to create a website like netflix?
Even though when it comes to media streaming, Netflix still continues to top the market, this doesn't mean Netflix alternatives are dismissed. In reality, there are a lot of fish in the sea (by fish we mean users), and believe it or not, not all the people on Earth find Netflix convenient. Key reasons for that are subscription posts, specific library (it is diverse, yet still there are movies and shows Netflix doesn't store), and its recent target to the production of original content which is not always good. Add to this the limited list of countries this media streaming provider is working in, and you'll realize what makes people wonder what is like Netflix out there but local? If your region isn't covered by their services — you know what to do.
Another aspect Netflix gets criticized on is rather controversial, but it still has to be taken into account by anyone who wants to create a website like netflix. We are talking about user behavior and its correlation with habit-forming mechanisms integrated in apps and websites. Netflix definitely uses a few, including its recommendations system we already mentioned earlier. Having started as a joke, today Netflix addiction is admitted to be the real thing by such influencing platforms as The Guardian. Beyond question, user engagement is necessary if you want your app to be viable, but there is a line between entertaining and overwhelming your users. The most loyal Netflix subscribers tend to prefer watching their favorite series over any other social activity or even sleep — Reed Hastings, Netflix's Co-founder and CEO, admits they are trying to make the subscribers stay up as late as possible watching films and shows. The accessibility of this platform and its always on-point recommendation can turn a regular person into a hardcore movie fan.
If you gather all the flaws Netflix has at the moment and properly analyze them, you'll get why becoming a Netflix alternative is more than a promising idea. Amazon Prime TV, Hulu, YouTube Live, etc. — each of the Netflix's competitors enjoy a fair share of the billion-worth media streaming market and have their unique audience appreciating their services. That being said, let's proceed with the actual Netflix-like app development process.
How To Create Netflix Step-by-step
Before we dive into the instructions on how to develop apps like netflix, we'd like to stress on the fact that applications and websites with video streaming functionality are quite complex and expensive to develop. High investment rates directly correlate with the technical complexity and duration of the project: it takes time and expertise to develop all the components of the program and then compile them together into one piece of software that performs smoothly. However, if divided into smaller steps, streaming app development stops looking so scary and unmanageable. Basically, creation of such an application can be divided into the following stages:
Research & Planning. We won't turn this article into a user guide manual on business planning, let's just say if you have not figured out your business goals, ways to achieve them, financial matters, and competitors in the field — then it's too early for getting to the next stage.
Finding the development team. Human resources are the core of any enterprise, so be picky when searching for the team to collaborate with. Hiring the wrong squad can turn a promising project into a disaster, and vice versa — getting in touch with true professionals eliminates all the possible risks.
Estimating the project. To work in the timely manner and be honest to yourself and your colleagues are two sub-steps to take at this point. Although to work in the media streaming industry basically means to master the chaos, all the time frames and the expected project dynamics have to be written down and visualized. Mind that no one can tell exactly how long does it take to develop an app and then release it, so take into account time margin as well.
Designing process. The importance of an appealing app design is impossible to overestimate. Forrester Research has proved that high-quality UI/UX design can increase conversion rates from 200% to 400%, so if you think spending extra time and/or money on designing process is unnecessary, think again.
Media processing platform. Integrated in the app platform that provides media encoding, re-formats the data into stream-ready files, and distributes these files to viewers is what defines the streaming performance of the application. Great news is that there are a lot of options to choose from, and some of them even have default media player and other useful features included.
Copyright and License Issue. Have you ever wondered why Netflix is focusing on its exclusive production so hard these days? Or why does it continue to release the projects of mediocre quality? Rumor has it that Netflix experience some trouble getting licenses for streaming certain content pieces, so eventually they are forced to produce more content on their own. To avoid similar problems, you'll have to seal the deal with a few organizations like The National Association of Television Program Executives (NATPE).
Full feature set. To stand out from all the other video on demand providers copy the basic functionality of Netflix and paste it to your app will not work. You have to introduce at least one unique feature to your potential users, they will not give up the platform they are used to (or even if they are not subscribed to Netflix, brand awareness is obviously at market giant's side) for the same thing but newer. Brainstorm on how your application can improve the whole industry and do not be afraid to take some risks with unusual features. How about notifying users in advance if a TV show they're watching will be removed from the platform soon? Or creating a detailed system for rating movies instead of primitive like/dislike? FYI, Netflix does not do this.
The reasons behind the popularity of video-on-demand (VOD) platforms with Netflix being the leader for years are straightforward — easy-to-use software that delivers high-quality video content on the immediate user request does not need to prove its usefulness. Beyond question, Netflix acted as an ultimate game changer in the entertainment and content distribution industry. The invention of this platform has released limitless opportunities for video-on-demand streaming and conquered such an undestroyable leviathan as cable television. Do not let the Netflix's influence and its stable position prevent you from starting your own product that you have faith in — users appreciate the sincere effort regardless of the field of investment of size of an enterprise at its start. A team of true professionals in software engineering and UI/UX design can turn your ideas into a unique application, so if you are ready to switch from dreaming to actually creating, contact IDAP to start.
Anastasia Anisimova
Writer at IDAP
Android App Development iOS App Development Live Streaming App Mobile Application Development
How To Build A Transportation Management System
Who said likes and comments can't pay the bills? They totally can. How? The answer: live streaming apps. You can earn money...
13 Jan 2022 39948


It's coming up this Sunday, so, on this episode of Friends Talking Faith with The Three Wise Guys we'll discuss faith and Father's Day. Father's Day was founded in Spokane, Washington in 1910 by Sonora Smart Dodd. Her father was a Civil War veteran and a single parent of six children. After hearing a Mother's Day sermon in 1909, Dodd insisted to her pastor that there should be a similar holiday celebrating father's. However, the holiday was largely resisted and ignored in the U.S. until 1966, when President Johnson issued the first presidential proclamation honoring fathers, designating the third Sunday in June as Father's Day. We'll talk about both fatherhood, and also what it means to be a man. Is faith at odds with culture regarding this question of manhood in America? We'll talk about it from our differing faith perspectives with best selling author, Rabbi Harold Kushner (pictured right). "Walk like a man, talk like man…" but what does it really mean to be a man? Listen now to Friends Talking Faith.


text:
The Groper Train: Search for the Black Pearl
The Groper Train: Search for the Black Pearl (1984)
Om The Groper Train: Search for the Black Pearl
The world's largest black pearl has vanished without a trace, and it's up to Detective Ippei to track it down. His only clue is the mysterious words of a dying man, who managed to mutter "Pussy Print!" before slipping away forever. Teaming with the man's younger widow Matsuko, Detective Ippei boards a local train and begins taking prints of the female passenger's vulvas in hopes of matching one to the print that Matsuka's husband had in his possession at the time of his death.
Hvor kan du se The Groper Train: Search for the Black Pearl på nettet?


Clostridium tetani is the bacteria responsible for the often fatal disease tetanus. The word tetanus comes from the Greek word tetanos which means to 'stretch'. Tetanus is characterized by rigidity and convulsive spasms of skeletal muscle. It wasn't until 1884 that the cause of the disease was discovered by Carle and Rattone. In 1889, Kitasato (one of Koch's pupil) isolated the organism and showed that it produced disease when injected into animals.
Spores of C. tetani are everywhere and are found in soil, dust, animal intestines, and animal feces (including humans). Its occurrence is worldwide but is most commonly found in dense populated regions in hot, damp climates with soil rich in organic matter.
Transmission is primarily by contaminated wounds. The typical example is stepping on a rusty nail. Tetanus is not contagious from person to person but is infectious as acquired through environmental exposure. Only vaccine-preventable disease that is infectious but not contagious.
C. tetani is an anaerobic gram-positive bacillus that forms spores. The bacteria have been described to look like a drumstick, racket or club. This organism is sensitive to heat and cannot survive in the presence of oxygen. However, the spores are very resistant to heat and usual antiseptics.
C. tetani causes tetanus and there are 4 clinical types. Incubation period ranges from 3-21 days, with an average of about a week. It has a fatality rate of 30%.
Generalized – (80%) Most common type. Toxins get distributed via lymphatic and vascular system and spread more widely and affect more nerves. First symptom is the characteristic lock jaw. It spreads and begins to affect the rest of your muscle, starting with the neck and moving to your back. This generalized muscle rigidity comes with reflex spasms as your body tries to respond to various stimuli. These spasms can cause fractures, tendon rupture and respiratory failure. Death from tetanus results from respiratory failure and cardiovascular instability. Other symptoms caused by autonomic dysfunction may include fever, sweating and high blood pressure. Recovery can take months but is usually complete unless complications occur.
Localized – Very uncommon. Patients with this clinical type experience muscle rigidity close to the site of injury. These contractions can persist for many weeks before disappearing. 1% fatality rate.
Cephalic – Form of localized disease that affects cranial nerves. It can happen after ear infections or head injuries. It affects cranial nerves so it can affect the muscles in your face (eyelid, tongue, lips, etc).
Neonatal – Form of generalized tetanus that occurs in newborn infants. Usually happens when the umbilical cord is cut with an unsterile instrument. There are some cultures where it is ritualistic to apply cow dung to the already cut umbilical cords of newborn infants. 90% fatality rate. Very common in developing countries.
C. tetani spores germinate in proper anaerobic conditions, and one ideal medium are wounds with dead cells. When the conditions are right, they will germinate and produce two toxins: tetanolysin and tatanospasmin. Tetanolysin is a hemolysin with no recognized pathogenic ability while tetanospasmin is the peptide responsible for tetanus.
Tetanospasmin is a 150kD peptide made out of a heavy chain (B) and a light chain (A) joined by a disulfide bond. The heavy chain specifically binds to neuronal cells (disialogangliosides). The light chain , a zinc endopeptidase, attacks the vessicle associated membrane protein and blocks the release of inhibitory neurotransmitters (GABA & Glycine).
Inhibitory nerutransmitter produce inhibitors that bind to receptors on excited neurons. The binding of the inhibitor blocks the neuron from releasing the acetylcholine that is responsible for muscle contraction. As a result, the muscle relaxes. If these neurotransmitter are blocked (as the case when these toxins are present), there is nothing stopping the release of acetycholine from the excited neuron. As a result, the muscle will stay contracted.
Tetanospasmin is used to create the toxoid used in immunization vaccine. Tetanus toxoid was first produced in 1924 and consists of a formaldehyde-treated toxin.


>> problem.. I'm unable to attend the meet cuz of college..
> reach place when compared to current IIT's TeNet Hall in my opinion..
> reason it got discontinued..
> Can you people come forward organize a monthly meet up at Meenakshi College?
> has to be done continuously..
best OS" during an OS lab session..


text:
Republican senator Roy Blunt calls MAGA riot 'one of the great stains on the history of the country' but stops short of saying whether he will vote to convict Donald Trump
Wearing face masks DOES stop the spread of Covid-19 and TRIPLES the chance of keeping the coronavirus R rate below 1, study finds
White is a state of mind: NYU professor is slammed for claiming black and Latino voters who supported Trump have 'multiracial whiteness' and that it was 'unsettling' so many voted for him
Trump's 1776 Commission slams schools for trying to paint the US as 'evil' with 'distorted histories' on slavery, defends the Founding Fathers and urges teachers to reject 'activist propaganda' in MLK Day report
Johnny Depp's fans launch Twitter war on Amber Heard saying 'I hope you burn in hell' after Pirates of the Caribbean star lost his High Court libel battle
Amber Heard has faced attacks from online trolls after Johnny Depp's court fight
Fans targeted her after judge ruled Depp was violent during their relationship
They have bombarded Ms Heard with messages telling her they wish her dead
By Katie Hind Showbusiness Editor For The Mail On Sunday
Published: 20:12 EST, 7 November 2020 | Updated: 16:45 EST, 9 November 2020
Amber Heard has faced savage attacks from online trolls after Johnny Depp lost his High Court libel battle
Amber Heard has faced savage attacks from online trolls after Johnny Depp lost his High Court libel battle.
Fans of the Hollywood star targeted his ex-wife after a judge ruled that Depp was violent during their relationship.
They have bombarded Ms Heard with messages telling her that they wish her dead.
One tweet said: '#AmberHeardisAnAbuser you big b**** I hope you burn in hell for everything you've done... #JusticeForJohnnyDepp Johnny is an amazing guy that deserves more. AMBER HEARD YOU'RE GONNA PAY FOR THIS!'
Another of the Pirates Of The Caribbean star's fans, who describe themselves as 'Depp Heads', wrote: 'I hope Amber Heard gets f***ing hit by a bus and dies because what the F***.' In one particularly callous attack, an online troll wrote about Ms Heard's later mother Paige Parsons, who died earlier this year: 'If your mother could see what you do she'd be glad to die.'
Ms Heard, 34, has been inundated with online abuse since she first made her claims about Depp, 57, beating her during their time together.
Those close to the Aquaman actress say that she has struggled to deal with the abuse over the past two years, with one telling The Mail on Sunday: 'It is just so gross and it has taken its toll in a way you wouldn't believe.'
In August, Ms Heard filed court papers where she says her ex-husband 'spearheaded' a professional trolling campaign against her and allegedly arranged for her to be 'drowned with online attacks' during their domestic abuse case at London's High Court.
She also claimed – in US legal documents, which are part of a counter claim filed in Virginia where Depp is suing her for defamation – that the star and his former lawyer Adam Waldman tried to 'harass and damage' her during the three-week libel trial.
In August, Ms Heard filed court papers where she says her ex-husband 'spearheaded' a professional trolling campaign against her and allegedly arranged for her to be 'drowned with online attacks' during their domestic abuse case at London's High Court
Last Monday, judge Mr Justice Nicol ruled that The Sun newspaper's report that he was violent towards Miss Heard was 'substantially true'.
And on Friday he was forced to quit his role in Fantastic Beasts 3, a Harry Potter spin-off written by his friend J. K. Rowling.
In a statement, Depp confirmed that he plans to appeal against the ruling.
In You magazine today, Little Mix star Jesy Nelson says trolling has put her off being a mother.
'He'll never work in Hollywood again': Top lawyer says... Johnny Depp exits 'Fantastic Beasts' franchise
The 29-year-old, who attempted to take her own life in 2013 after attacks on social media, said: 'It makes me not want to have a kid. Those insecurities that we all have now because of social media – imagine having that embedded in you as a child?'
She said the band never worried about weight until they found fame on The X Factor in 2011 and were hit by online attacks.
Miss Nelson last night pulled out of the finale of BBC show Little Mix The Search due to an unknown illness and will miss hosting MTV's Europe Music Awards tonight.
Johnny Depp fans attack Amber Heard on Twitter after libel case loss