text:
Alicia Sky's Whirlwind Ride
0 0 Urban Craft magazine Tuesday, 9 October 2018 Edit this post
Independent US pop singer/songwriter, Alicia Sky is determined to touch as many lives as she possibly can. Speaking to Urban Craft in...
Independent US pop singer/songwriter, Alicia Sky is determined to touch as many lives as she possibly can. Speaking to Urban Craft in a recent interview, the LA based musician said that she hopes to "add some light and inspiration to this world and encourage friends and fans to follow their dreams and never give up".
Alicia, who herself is originally from Kingston, Pennsylvania, looks back at the year 2018 as her most successful one so far.
"This year has been my most successful year with the MTV placement and string of LA shows at the Hotel Cafe, Whisky a GoGo & Breaking Sound. I'm super grateful for the opportunities. I wouldn't say there has been a turning point, but more of a series of small stepping stones that lead to another. My music video "Mr. Fancypants" caught the attention of some major record labels, so that whole journey was a whirlwind and I know I'm going in the right direction. I don't have a major label deal, but that's ok. I get to make all of my own creative decisions and keep all my earnings. This industry isn't exactly a fairytale, but something you have to work really hard at or opportunities don't fall in your lap. You have to create them.
"My song "Hottie" was played on MTV Siesta Key. It was so crazy to see my name and hear my music on a channel I always dreamed of being on. I opened for Ryan Cabrera this year at the iconic Whisky a GoGo. I own his album from 10 years ago and knew all of his songs, so it was so cool to open for him and hang out after the show", she said.
What an exciting period it has been for the artist over the last number of years and she is enjoying every minute of her journey in the music industry so far!
"I've been making music videos the last 3 years and wrote and recorded 40 original songs in the past 2 years. This year I signed with AWAL, and my song "Hottie" was featured on MTV's Siesta Key. I also just started to direct, produce and style my own music videos. I love everything about being an artist and trying new things. I also do my own makeup for much of my projects. I'm a bit of a makeup junkie! I've also been a vegan/vegetarian for the last 10 years. You can see all my music videos on my youtube channel: Alicia Sky. You can stream my music on Spotify, Apple Music and everywhere else where you can find music", she said.
The singer/songwriter who has been writing since she was just 7 years old relocated to LA when she was 19 to pursue music. Her song "Turn the Sky Blue" was just remixed by 3 different producers and they're all out now on Spotify & Apple Music. The remix by DJ Bander was recently featured on a music blog on Youtube - Cassiopeia, and it's now at 300,000 +plus views.
Aside from recording new material, Alicia has also been just as active in terms of her visual work and her 'hands on' approach on each and every one of her videos can be felt, something of which adds an exciting edge to her videos.
"I just filmed my last 3 covers for my YouTube cover video series. I produced, designed the set, and my filmmaker friends shot the visuals. The videos will be out soon on my YouTube channel! I love that I'm friends with so many creative people and we can shoot videos pretty much whenever we want. That's the plus of living in LA where everyone is creating content.
"My official music video for "Turn the Sky Blue" will be out soon. I directed this one too. We worked so hard on it, had a few setbacks along the way with editing, and now it's finally ready for the world to see. It's about living in a blah world of neutral when all of a sudden a new love comes into your life and turns your world upside down and you're living in vivid color again. I wanted the video to feel like you're in a rave in nature with colors exploding everywhere", said the singer/songwriter.
Alicia, who has been recording/writing new material the past couple of years believes that she has enough songs to put together at least 4 EPs or 2 albums and is thus currently in the process of setting up an album release in the near future.
www.aliciasky.com
http://instagram.com/aliciaskymusic
http://facebook.com/aliciaskymusic
http://youtube.com/aliciaskymusic
Albums News Profile USA
Urban Craft Magazine: Alicia Sky's Whirlwind Ride
https://4.bp.blogspot.com/-MTZYJqXiW-k/W72bkG5TBJI/AAAAAAAAC0g/jmXlJNQ88ZM4JqdqZwqE-NcXG2Io9BW6ACLcBGAs/s320/IMG_5808.JPG
https://4.bp.blogspot.com/-MTZYJqXiW-k/W72bkG5TBJI/AAAAAAAAC0g/jmXlJNQ88ZM4JqdqZwqE-NcXG2Io9BW6ACLcBGAs/s72-c/IMG_5808.JPG
http://www.urbancraftmagazine.co.zw/2018/10/alicia-skys-whirlwind-ride.html


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I retired two months ago at age 55 after 32 years with the same company. I was nervous about retiring, but was very stressed in my job, and so I retired.
I have a medium pension and a 401k savings. The day I retired I had an uneasy feeling, and it has gotten worse each day. I thought I was comfortable with what I saved, but now I also am terrified to spend money. I have such anxiety that I can hardly think straight. I feel I didn't build a big enough cushion into my savings plan.
I regret now that I retired but no going back now. If I can get my anxiety controlled so I can think straight, I feel I need to get another job, but am afraid I will never find a decent job being 55.
When I was 62, I was in a job in Annapolis at which I was not happy. A "friend" told me I was too old to find another job. HOWEVER, I did find another job in northern VA (DC area) at a 30% increase in pay.
I worked in my new job until I was 71 and received 2 promotions - the last one to Director of Contracts. So, in my opinion, if you want another job, go look for a good one and don't let anyone tell you you're too old.
can get back on part time (without benefits). That way if they agree you can slowly adjust to how you will spend your spare time.
If they say no, get any job even making pizza or giving customers fast food. It will organize your day, get you to meet people and get out of your anxiety and give you a tiny bit of $ you will feel free to spend.
It is very likely there is a job out there waiting for you and people who would be lucky to hire you. You are still young and can be valuable in work that you are comfortable doing....especially if you are at ease with a computer.
Keep in touch and enjoy your search.
I was not ready to retire 3 years ago but when I was laid off from my job I had to rethink my plan for retirement.
My only income is Social Security so I really had to carefully plan my finances to match my income.
Most people do the opposite. They feel like they have to have an income high enough to meet their current expenses. It is a reality that most middle class people never seem to have enough money.
Challenge yourself to live your best life with the income you have and let go of your fears. Trust yourself that you made the right decision.
I was in a similar situation except my company moved to another state and I was out of a job at 53. I too felt lost and worried about what I would do and who would hire me. That was many years ago but the same anxiety as you are feeling.
I saw an advertisement for an Expo for Seniors in New York City. At that time I lived in Brooklyn, New York. So I took the train into the city and wandered around the Expo.
An idea crossed my mind. Maybe the woman who ran the Expo might have some work I could do at home. I really didn't feel like fighting the subway any more. So I took a chance and called her.
She said that the only thing she could offer me was selling space at the Expo and I would get a commission for each booth I sold. I also asked her about typing. I did her mailing lists, typed the labels, put them on the cards, stamped them, sorted them and mailed them at the Post Office.
The pay was not excellent and it was hard selling space, but I enjoyed the freedom of working from home whenever I wanted to. I was an administrative secretary for 19 years and was very organized. I attended the shows and catered to the people I brought in if there were any glitches along the way.
So now is a good time for you to evaluate what you like to do and maybe start a new career. We usually wind up taking a job to pay the bills but in our second "go round" we can do what we really like to do.
Give yourself some space to get used to not having to get up at a certain time and follow a set routine. Then sit down and think back to what you have a passion for or what you always wanted to do. It may take a little time, but good things are worth waiting for.
Good luck and stay positive. Remember, the glass is half full -- not half empty!


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How the Integrated Cockpit Approach Is Redefining Infotainment Architecture
With the upsurge in smartphones and tablets and the fast Time to Market (TTM) cycle of their technologies, customers have become more demanding concerning their infotainment expectations. Drivers now expect their vehicles to deliver the same User Interface (UI) experiences their smartphones, smart TVs, smart speakers, and other Internet of Things (IoT) devices do. As a consequence, most trends in the infotainment segment derive from efforts to implement consumer device technologies in vehicles. However, the implementation of these functionalities increases hardware complexity, posing challenges to the legacy architecture of vehicles. The separated instrument cluster and center stack Electronic Control Units (ECUs) architecture are no longer suitable for modern cars due to the increasing interconnectivity of functions, information, and services. Moreover, proprietary, closed systems are declining in interest and giving place to open standards-based systems with connectivity and downloadable apps.
The Need for Centralized Domains
Hardware Architecture Implications
Integrated Cockpit: Traditionally, each new vehicle functionality or application would be added into an individual ECU that would become a new component of the vehicle architecture. The duplications of subsystems inside each ECU are not only costly, but also power inefficient. Moreover, due to the various interconnections among them, the upgrade of individual ECUs is time consuming and challenging, as a change in an ECU can affect another ECU. There is a desire to move from discrete ECUs for the head unit and the cluster to a cockpit ECU that integrates not only both systems but possibly also Advaned Driver-Assistance Systems (ADAS) ECUs, such as driver monitoring systems. This simplifies development and reduces Bill of Material (BOM) costs by combining parameters in a single chip and paves the way to streamline the communication channel between driver and passenger features. However, cross-domain cockpit solutions require all displays and operating components to be merged in a holistic UI in a single piece of hardware that can be updated on an ongoing basis, demanding powerful computing.
High Computing Performance: The focal point of innovation in vehicles has shifted toward the enhancement of the drivers' experience via the use of multiple interconnected high-resolution displays, digital dashboards, and Heads-Up Displays (HUD) with turn-by-turn navigation, voice assistants, and Artificial Intelligence (AI)-enabled personalization, among other functionalities. The substantial amount of information to process and reproduce in useful ways requires robust and flexible hardware solutions with high-performance graphics capabilities and a broad range of interfaces. A cost-optimized manner of running this range of functionalities is by using Systems-on-Chips (SoCs) that can efficiently support various computational elements in a heterogeneous architecture that combines multiple Microprocessing Units (MPUs), accelerators, and cores to process computational elements efficiently.
Hardware-Level Virtualization: The automotive industry is approaching the consolidation of increasingly complex and heterogeneous hardware subsystems—e.g., the In-Vehicle Infotainment (IVI) system, instrument cluster, and heads-up display—onto a single SoC with mixed-criticality (safety-critical and non-critical) requirements, which threatens the operability of the entire system. Additionally, open architecture approaches pose challenges to safety, such as a hacked Android application communicating to safety-critical subsystems. This creates a need for isolating different applications, so safety-related functionalities always have priority in accessing the system's Central Processing Unit (CPU). While these issues can be addressed with software-level virtualization, it considerably affects the system performance due to high resource overhead. Therefore, virtualization has become a requirement to guarantee safety.
Implications to the Ecosystem
Today, Original Equipment Manufacturers (OEMs) are still cost-driven and often tend to select low-cost hardware and lower range processors, a strategy that will have to change if they are to deploy integrated cockpit with applications that can be upgraded Over-the-Air (OTA). Moreover, OEMs, as well as Tier 1s, have traditionally engineered IVI and instrument cluster applications separately, so the consolidation of both ECUs demands the merge of different departments with distinct engineering and safety requirements.
The merge of domains has been challenging for OEM suppliers, as they suddenly became responsible for offering a consolidated cockpit system with different criticality and software requirements. Therefore, Tier 1s and Tier 2s are having to partner with ane another to achieve synergies to keep up with the electronic needs (e.g., Continental and Pioneer). These unprecedented collaborations between competitors will become more common. However, companies will continue to commercialize their offerings separately, allowing OEMs to select a Tier 1 as lead developer.
Silicon vendors must provide high-performance, heterogeneous SoCs to power all in-vehicle displays, and their pixels requirements, and the subsystems from consolidated ECUs while meeting temperature resistance requirements, safety criteria, and regulatory mandates.

redpajama_set_name: RedPajamaCommonCrawl


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Christian "umbrella" organizations in the U.S.
Christianity remains seriously fragmented in the North America and elsewhere. There are over 1,000 Christian organizations in the United States alone. The religion is sometimes viewed as being divided into three wings: conservative, mainline and liberal. Some view Christianity as being composed of two or more quite different religions, each sharing the same name and each being based on a different interpretation of the Bible.
This division is reflected in the multiplicity of Christian associations at the national level. The main ones are:
The National Council of Churches of Christ in the USA (NCC) is the largest ecumenical organization of Christians in the U.S. It includes mainline and liberal Protestant, Orthodox, and black Protestant denominations. It is commonly referred to as the NCC or National Council of Churches. Its member communications/denominations "include more than 50 million adherents in nearly 140,000 congregations nationwide." 1
The National Association of Evangelicals (NAE) is the largest conservative Protestant group in the U.S. It " is a voluntary association of individuals, denominations, churches, schools and organizations comprised of approximately 43,000 congregations nationwide from 50 member denominations and individual congregations from an additional 27 denominations, as well as several hundred independent churches. The membership of the association includes 250 parachurch ministries and educational institutions." 2 It was founded in 1942. Their motto is "cooperation without compromise."
One important group that had been affiliated with the NAE since 1944 was the National Religious Broadcasters. This is an organization of conservative Christian broadcasters. They voted unanimously on 2001-FEB-9 to sever their connection with the NAE, after the NAE decided to stop vetoing memberships of denominations which held dual memberships with the NAE and NCC. 6
The National Conference of Catholic Bishops (NCCB), and its committees, are composed entirely of Roman Catholic bishops. Their prime task is to prepare proposals for the consideration of the church hierarchy. 3
The United States Catholic Conference (USCC) is the Roman Catholic's decision-making organization in the U.S. It is also composed of Roman Catholic Bishops. However, members of its committees include "lay people, clergy and religious, as well as bishops." USCC committees recommend policy to the body of bishops. 3
The Pentecostal/Charismatic Churches of North America (PCCNA) provides a "framework for fellowship, dialogue, and cooperation between the various Pentecostal and charismatic denominations, churches, and ministries in North America..." The Pentecostal movement started in Kansas in 1901 with "the experience known as the baptism in the Holy Spirit evidenced by tongues and other gifts of the Spirit." 4
The North American Presbyterian and Reformed Council (NAPARC) has six member denominations: Associate Reformed Presbyterian Church, Korean American Presbyterian Church, Orthodox Presbyterian Church, Presbyterian Church in America, Reformed Church in the United States, and Reformed Presbyterian Church in North America. Prior to 1998-NOV, the Christian Reformed Church was also a member. They were suspended by NAPARC because they had voted in 1995 to accept women as ministers, elders, and evangelists. The vote was 6 to 1. 5
Christian Churches Together is a new cooperative effort involving faith groups from five families within Christianity: Evangelical/Pentecostal, Historic Protestant, Orthodox, Racial/Ethnic, and Roman Catholic." In 2003, 45 church leaders representing a wide range of Christian religious groups produced a proposal which "...calls for a fellowship that is committed 'to grow closer together in Christ' in order to strengthen its 'Christian witness in the world'." This proposal will be "placed before the top decision-making bodies of many denominations (or communions as some bodies are called) and other Christian organizations, as their regularly scheduled assemblies take place." 7More details.
The NCC has a website at: http://www.ncccusa.org.
The NAE has a website at: http://www.nae.net/
The joint NCCB and USCC website is at: http://www.nccbuscc.org/
Pentecostal/Charismatic Churches of North America (PCCNA) has a website at: http://www.iphc.org/pccna/
NAPARC apparently does not have a web page. The decision whether to create one is in the hands of a three person committee.
"Religious broadcasters cut ties with Evangelical group," Baptist Press, at: http://www.mcjonline.com/news/01a/20010216b.shtml
"Plans for 'Christian Churches Together in the U.S.A.' Move from Vision Toward Reality," National Council of Churches, 2003-JAN-29, at: http://www.usaccb.org/
Home page > Christianity > Christian groups > here
or Home page > Religious info. > Basic info. > here
Latest update: 2007-OCT-15
Go to the previous page, or to the Christian menu, or to the "Basic religious information menu, or choose:
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Q: Initialize log4net without xml file I need to create a little wrapper for log4net package.
I also need to initialize the logger without using a xml config file (it's a requirement, there are already a lot of configuration files in this project).
I've written the MyLogger class, but when I run the program I don't see anything in the console.
I've tried to shrink the code in order to have a minimum example (I've removed my configuration file loading and some other thing).
At first I create the logger instance, I set the level to Trace, and then I add a AnsiColorTerminalAppender. Obviously there's something wrong or missing, but I can't understand what.
How can I fix my class in order to print the log message?
using log4net;

namespace MyProgram
{
  static class MyLogger
  {
    static ILog logger = null;

    public static void SetConfiguration()
    {
      logger = LogManager.GetLogger(typeof(MyLogger));
      var l = (log4net.Repository.Hierarchy.Logger)logger.Logger;
      l.Level = log4net.Core.Level.Trace;
      AddConsoleAppender();
    }

    public static void Debug(string message)
    {
      logger.Debug(message);
    }

    public static void Info(string message)
    {
      logger.Info(message);
    }

    // Others here

    static private void AddConsoleAppender()
    {
      var appender = new log4net.Appender.AnsiColorTerminalAppender
      {
        Threshold = log4net.Core.Level.Info
      };
      var l = (log4net.Repository.Hierarchy.Logger)logger.Logger;
      log4net.Layout.PatternLayout layout = new log4net.Layout.PatternLayout
      {
        ConversionPattern = "%d [%t] %-5p %c [%x] - %m%n"
      };
      layout.ActivateOptions();
      appender.Name = "Console";
      appender.Layout = layout;
      appender.ActivateOptions();
      l.AddAppender(appender);
    }
  }

  class Program
  {
    static void Main(string[] args)
    {
      MyLogger.SetConfiguration();
      MyLogger.Info("Logger configuration loaded");
    }
  }
}

A: If you are adding appenders without using of BasicConfigurator, you should manually set Configured property of Logger repository to true. Just add following line to the bottom of AddConsoleAppender() method:
static private void AddConsoleAppender()
{
    // ...
    var l = (log4net.Repository.Hierarchy.Logger)logger.Logger;
    // ...
    l.Repository.Configured = true;
}

redpajama_set_name: RedPajamaStackExchange


text:
Aw, rats
It looks like my original impressions of Ratatouille were right on the money. American animators need to stop, take careful notes on how Pixar makes films and reconsider their own approach to the medium forthwith. Sure, Pixar really isn't doing anything radically different than, say, Dreamworks, but those small differences are what puts Disney's last great hope on the proper side of the divide between inspired and hackneyed.
Pixar | 2007 | Directed by Brad Bird
The Iron Giant was Brad Bird's loving homage to classic sci-fi and '50s Cold War paranoia; The Incredibles was an affectionate tribute to Silver Age comic books by way of Watchmen. Ratatouille is something completely different, and maybe a little bit disappointing in its predictability: Bird crafting a by-the-numbers contemporary animated feature. It's the story of your average talking critter who just isn't like the rest of his kind, who finds himself suddenly thrust into a new situation, who eventually comes into his own and everyone learns to accept him for who he is. Like A Bug's Life. Or Antz. Or Madagascar. Or Happy Feet. Or… ho hum, everything, really. Seems like a trite premise for a Bird film, so good thing it's absolutely the most beautiful CG animated movie ever, right?
Or at least, that's what I'd say if I were a complete moron. I mean, yes, Ratatouille is the most beautiful CG animated movie ever, and yeah, the premise is a bit trite — but it's the results that matter rather than the concept, and the results are incredible. Of course, this is the Internet, so I'm sure we'll see raging screeds from horrible people who set out to hate the movie sight unseen (and presumably a lengthy diabtribe by John Kricfalusi about how horrible its animation was — not enough pea green!!). But normal people, the ones who aren't socially retarded and can appreciate beauty when they see it, will rightly love Ratatouille.
It's a great movie because of all the things it doesn't do. It's full of fuzzy little mammals, and they're animated gorgeously and have distinct designs… but they're not especially cute or marketable. The main character, Remy, is scrawny; his brother is obese; his father is lumpy and gnarled. When the rat colony moves together, it's revoltingly realistic, sickening in the way that only a swarm of rodents or insects can be. I'm sure there are Ratatouille plushes on sale at the Disney store, but I rather suspect the manufacturers were forced to take some liberties with the designs. This movie, unlike, say, Cars, was not created to sell toys. (I would, however, be more than happy to buy a copy of Anyone Can Cook, the book that provides so much of the film's impetus.)
It's a movie about rats, living in sewers, foraging for garbage, but there's not a single fart joke to be found. No scatological humor anywhere, in fact. And even though the setting — modern-day Paris — and the topic — fine cuisine — are ripe for pop culture parodies, the film never rises to the bait. No Iron Chef, no Julia Child, no Emeril references, nothing. Even the one dig at the French is given equal time by a dig at Americans. The humor is classy, and it's internally consistent; where most animation has degenerated into the likes of Family Guy and Shrek, which can't actually be enjoyed unless you're familiar with 40 years worth of TV, movies and music, Ratatouille lets its jokes be about the characters, about the situations. It's never laugh-out-loud hilarious, employing instead a quieter sort of humor. And while a few celebrities lend their voices to the production, none are cast as animated versions as themselves. There are no fish with Will Smith's face, no bees that look alarmingly like Jerry Seinfeld. This is a movie that dares to pay Jeneane Garofolo and Sir Ian Holm for their talents, then makes their voices unrecognizable with thick French accents — because it's their talent that counts, not their celebrity cachet.
It's almost… it's almost as though Brad Bird actually respects his audience. Like he remembers that animation doesn't have to be an uneasy mix of dumbed-down base-level comedy (to keep kids alert) and "witty" quips (to keep their parents from slipping into a coma) and celebrity pandering (to justify those celebrity paychecks). Like he remembers that every part of a good story can be appreciated by anyone, because good storytelling is universal.
In that post from a year ago linked above, I compared the comedy and motion in the Ratatouille trailer to the bygone days of animation, and that's what makes the final movie so good. It upholds those ideas, the standards of an era before Robin Williams' big blue Genie sent animation down the path of shallow parody, before the convenience of CG art made animation studios forget that craft and care are more important than technical prowess and toy-ready character designs. Take away the beautiful, luminous 3D visuals and you have a movie that could have been made in Disney's 1940s heyday, a film that could be one of Hayao Miyazaki's less crotchety creations.
I can't help but think that food critic Anton Ego's story arc is supposed to be representative of the movie at large, that his reaction to Remy's cooking was intended by Bird as a statement of intent for what he wants this movie to provoke in its viewers. Which is actually pretty cocky of him, when it comes down to it — but acceptable, because he pulled it off. This is a beautiful movie, and in more ways than just its romantic visual depiction of Paris. They don't make 'em like this anymore, but Ratatouille proves that they could. If only they had the integrity.
So run, little guy, run. Your kind is all but extinct these days. We need you to live, to be an inspiration to the rest of the world.
37 thoughts on "Aw, rats"
Mudron says:
I actually found the storytelling to be a bit burpy and slapdash (that's probably due to the presence of both inconsistent voice-over narration *and* a dead guy who seems a little tacked-on to the story), but all that aside even I have to admit that the flick is an instant classic,
And all matters of story and caharcetrs aside, the thing is a technical and creative marvel, in both the animation driving the film's performances )especially Colette/Linguini/Remy) and the brain-breaking cornacopia of detail on display: Remy's beating heart, the burns and cuts on the cooking staff's hands, the light that practically radiants from *within* the food, even down to the unnervingly-realistic way the light reflects off of Remy's eyes when he skulks about the darkened tunnel next to the Sienne.
(That said, have you ever heard about Bird's idea for an "Iron Giant" sequel? Hogarth Hughes in Vietnam, and all kinds of other nastiness. Gotta love that guy.)
I thought that was a joke that one of the Iron Giant storyboard dudes rattled off. But anyway, "storytelling" to me doesn't mean "narration," it has to do with the flow of the story, and how true the motives and actions of the characters ring, and how effective the dialogue is. Narration is always kind of annoying to me, but it can't break a great movie — see also Blade Runner.
When I started reading the first paragraph and "disappointingly in its predictability" part I was getting ready to write a nasty note, but that was immediately deflated when I continued on to the next paragraph =)
That said, I think you are cheating the film out of some credit by saying that it is great for what it doesn't do. The film can easily stand on the merits of what it DOES do as well, including exploring the conflict between familial responsibility and the desire to create/individual artistic expression, and French cultural references from Proust (I shed tears of joy at the involuntary memory! How many people who watch the movie will pick up on that? Amazing) to Tati (bit looser, but still there).
And more than just a statement of intent for the movie, I think it can be applied to what Pixar tries to do on the whole. Sure, they have some failings (I do think Cars has some merits, but it certainly didn't rise to the level of some of their others- that Disney is forcing a Toy Story 3 only makes me sad, though I am holding out hope), but on the whole they do a damn good job of innovating and constantly challenging themselves. The question is, what will happen now that Disney bought them? I can't wait to see what Brad Bird has in store for us next.
Oh yeah, narration is just a device in service of storytelling, and I don't mind it so much myself as long as its relatively consistent throughout a film. It just bugged me a bit in Ratatouille because the narration would drop out completely for 40 minutes at a time and then pop back up unexpectedly, which, yeah, *did* remind me a bit of Blade Runner, amusingly enough.
I'd really like to see what Jan Pinkava's version of the flick looked lie, though, if only just to see what Bird had to work with when he rook over the project back in 2005. There's a stupendously interesting DVD just begging to be made outta Ratatouille, but somehow I doubt there's gonna be much talk about the behind-the-scenes shenanigans when the movie lands on disc, which makes me a little sad. There's supposed to be a decent wealth of pre-Jinkava material in the "Art of Ratatouille" book that's on store shelves now, so I'll have to check that out sometime soon.
Nemo Incognito says:
Actually rewatching the original Shrek after the sequel(s) is a pleasant surprise. The first film has moments of real intelligence and sincerity inbetween the low blows at Disney and subversions of fairy-tale tropes. It took the sequels to lose this and become a torrent of slapstick wackiness, pop-culture and tie-in merchandising.
On a happier note Pixar get two thumbs up by default from me for making a rat movie. Rats are awesome and deserve more respect.
And while we're on the topic, a bunch of the guys from Pixar have a pretty swell blog over here:
http://www.splinedoctors.blogspot.com
It's updated in burps and starts, but there's some great nugget of info there, along with a bunch of podcasts hosted/starring various members of the Pixar crew (they posted a great hour-long interview with Brad Bird back on Valentine's Day wherein he reminisces about being tutored by Ward Kimball on the Disney lot back when he was only 14 goddamned years old.)
Okay, I shaddup now.
The original Shrek was good, but it's always bothered me for spending its first two acts demonizing Disney tradition and its third act falling right into lockstep with that same parade of clichés.
I've already seen people crowing over the fact that Ratouille's opening weekend will probably only be about 2/3 what Finding Nemo and The Incredibles brought in. Because clearly that will mean Pixar no longer makes great movies and ha ha their time is past. Revenue uber alles!
LilSpriteX says:
Did anyone else burst into a huge smile when Wall E said his name in the trailer? Or laugh during the whole alien abduction short? I wish I could pack so much personality and simple humor into such small spaces.
Hi Gatsu. You're still a retard. And Kricfalusi has ranted about how garish and boring Pixar's visuals are, so please die and never post here again.
cartman414 says:
Pixar has always had an edge when it comes to how they go about voice casting, as opposed to Dreamworks. The latter has indeed almost always relied on cheap celebrity gimmickry to the point of likening the characters they play to themselves. Pixar on the other hand uses the old tried and true method, based on whoever is best for the job. (Props for casting Sarah Vowell as Violet in the Incredibles.)
Merus says:
Would have been nice if we could have seen the moron comments so that we know that it's an actual moron rather than someone who has a differing opinion. I'm no relativist, but I'm somewhat convinced that someone here thinks that 'opinion differs from mine' and 'is a moron' is one and the same, and I'd like not to be chewed out for not liking an obscure SNES game that was only released in the US and only game reviewers have heard about. Again.
Along a similar vein, I guess I'll just twiddle my thumbs until Ratatouille comes out here.
There need to be more movies like Ratatouille. I can't remember the last time I walked out of a theatre smiling like that.
No, the moron in question has a long history of being a complete jackass and doesn't seem to get that he's not welcome here, no matter how many times I ban him. But thanks for the insulting assumptions.
omar says:
Yep Ratatoille tanked it made 40 mil short of Cars 60 mil opening and with Transformers on the way there is now way it will make money.
Closer to 50 million, actually. Not too shabby, really.
Just noticed that Will Arnett is part of the cast, which, by definition, makes this movie twice as awesome.
Sarcasmorator says:
Omar, no. Ratatouille has made 47 million or so already, and the final weekend take has not bee calculated. Plus, the audience for Ratatouille and Transformers is NOT THE SAME. I bet Ratatouille outlasts Transformers in the theaters by a couple weeks at least.
There's also the word-of-mouth factor — everyone has positive things to say about Ratatouille, but I bet that's not gonna be the case for Transformers….
tungwene says:
I just came back from seeing this movie this evening. The animation was absolutely amazing. You could see how detailed the textures on the pots and pans and the fur on the rats and how the hairs were different from rat to rat looked or how you could make out individual hairs when they got wet, etc. What took my breath away the first time was seeing the Gustau illustration in the cook book move for the first time because its motions were as fluid and natural as all the 3D characters shown in the movie so far. The story was very touching at certain moments though I won't say whu for the sake of not spoiling them for people who read the comments.
My boyfriend and I had been afraid the theater would be sold out and we were surprised to see how few people were in the room. However, people did applaud when the movie ended. The last time that happened to me at a movie theater was, regrettably, at the end of Fahrenheit 9/11.
"But thanks for the insulting assumptions."
No worries! I live only to serve, and to provide opportunities for last-minute potshots. I was thinking more along the lines of the other commenters being obnoxious, though.
I hear that Transformers is actually kind of okay; more early Michael Bay than late Michael Bay. I suspect it's that Bay wasn't so keen on the robots that did it: he can't rely on 'what people want to see' (which is almost certainly going to be wrong at some point, because it's so easy to ascribe the success of an idea to the idea itself instead of its context) so he has to make an uneasy compromise between what he thinks needs to be there and the premise. So the premise takes the place of some of the oversimplified bullshit and then there's that Bay blockbuster magic to fill in the rest.
This is sight unseen, mind, and I'm sure there's a fair bit of Bay bullshit there, but not nearly as much as in Bad Boys II.
The reason the book illustration of Gusteau animated as fluidly as the 3D art is because it was 3D art, beautifully and carefully crafted to look hand-illustrated. So much genius in the detail, all the way down the fact that Ego's typewriter looked like a mechanical skull.
Sheana says:
That was a fun Friday night seeing that movie, sitting through the atrocious trailers beforehand aside. I can't wait for Wall-E now.
I loved the tiny details, and how they stuck in things like cel-shaded 3D and even a snatch of 2D. Beautiful movie, some of those visuals just made my eyes throb. I feel sorry for whoever animated the rat swarms, haha. I also like how Brad Garrett and John Ratzenberger keep appearing in every single movie and it never seems gratuitous or lame. I loved Garrett in this movie.
I think Anton Ego's reaction to Remy's cooking and the long sequence after it was the best part of the whole movie, or one of the best at least. You don't see stuff like that in a rated-G animated family film these days, I was surprised by how cerebral it all was. Kudos to Bird for realizing people have brains and keepin' it smart.
The 2D end-credits of The Incredibles and now Ratatouille make me think Pixar's got a big animation itch to scratch, and that's why they're retooling things at Disney now.
One of the many insights I got from this book I read called Disneywar was that Pixar was responsible for some of the animation technology that Disney used in their animated features. In addition, John Lassetter was one of Disney's 2D animators, who was fired after butting heads with management over an earlier version of the technology.
Argue says:
The Philippines got Transformers a week early; why are we getting Ratatouille a month late goddammit?
Sanagi says:
During the thirty minutes of ads for rock-bottom kids' entertainment that preceded the film, I had my doubts that my money had been well-spent. But Pixar topped themselves on this one, which I guess means that the theaters can raise the crappiness of the moviegoing experience another few levels before they'll stop me from paying my annual Pixar tax to them.
Also, I want to point out how good the soundtrack was. This is one aspect of Pixar's movies that hasn't impressed me in the past, but last night I was still jamming to the samba beat of the end credits during the drive home.
Jeneane Garofalo? Talent? Oh my god. Yeah, "The Truth about Cats and Dogs" was such a masterpiece about romantic relationships in the 90's hardly anyone has forgotten about it.
Oh, also Air America? Chapter 11. So, no, Mrs. Garofalo has no talent at all.
Kirin says:
"Plus, the audience for Ratatouille and Transformers is NOT THE SAME."
Well, they're both at the top of *my* "need to go see" list right at the moment.
Ok, fine, so I'm not exactly the typical American target audience.
I didn't mean to say that no one who sees one won't see the other. What I should have said is the TARGET audience is not the same.
Oh, and just for the record, the Disney store does have big plush rat dolls for sale, so they managed it somehow. The dolls were kinda cute and not very inaccurate, though.
bjoe says:
When I first saw the Ratatouille trailer I thought Brad Bird had gone insane. It really didn't appeal to me because it seemed as though Pixar was moving along the same lines as Dreamworks and giving us Over the Hedge en francais or something, but I guess since I gave Cars a chance, and liked it, Ratatouille deserves one too. (I really don't like the title though, I feel like I'm at the butt end of a bad pun whenever I see it, which I suppose I am…) Anyway, I read up there that someone was asking about when the 2d nostalgia will kick in and I think it may have already. Apparently Disney is working on a computer animated Rapunzel tale, made to look 2d. I think there's like a 12 second clip up on Youtube… and I'm too lazy to link it.
Thad says:
What about talking?
One of my biggest gripes with modern animation is that nobody ever shuts the hell up. You look at the classics, and they weren't so dialogue-heavy; they knew when to tone down the talking and let the visuals and music carry the day. Sorcerer's Apprentice doesn't have a single spoken word in it; neither do Coyote and Roadrunner, Pink Panther, or Tom and Jerry, with a very few exceptions. One Froggy Evening, of course, has the singing frog, but nobody actually speaks, and the other week I watched The Rabbit of Seville again and they don't even sing for about the last half of it.
Anyway. All this to say — any quiet moments like that in Ratatouille? Pixar can obviously bring gorgeous visuals to the table; is there any point where the characters shut up and just let those visuals carry the audience for awhile?
Yeah, there's a few bits like that. Plus the rat's dialogue sounds like regular squeaking to humans, so there's no strange back-and-forth witty banter or anything between the two sides. There's quiet when needed.
As always, the short that precedes the film has no dialogue whatsoever. Other than that, I guess we could hope for another Triplets of Belleville.
Isn't the upcoming Wall-E supposed to be completely devoid of dialogue?
Red Hedgehog says:
I was very surprised at how much this movie relied on subtlety to get its point across. There were several moments where the audience was expected to take from the character's reactions and/or how the scene was shot in order to determine what was going on. For a movie intended for kids, I thought that was pretty impressive (though I did wonder if kids would get it).
It wasn't quite as good as some of Pixar's other greats. Two of the women I saw it with commented that it was a bit slow in parts – that it seemed to just be going through the typical kids movie motions. And I felt that too, even if the visuals were great. Still, not being as good as Finding Nemo, the Toy Stories, and Incredibles isn't much of an insult. It was definitely a pleasure to watch, and significantly moreso than the diverting entertainment of Bug's Life or Monsters Inc.
I'm still sad that 2D animated films have largely disappeared and the blame for this could be placed on Pixar. But if they keep producing such entertaining films, it is hard to blame them. Plus the French-style 2D animation in the credits was great.
I'd also like to bitch about the previews, but this post is long enough. But seriously: Bratz the movie? It's like Mean Girls, but take away the brilliant writing and add in teen movie cliches.
I really doubt Ratatoille is going to make money people, it's too sophisticated, no garish colors, set pieces or penguins. So yeah it did well for normal movie standards but horrible for PIXAR standards. Which worries me for Brad Bird's future. It might make a killing on DVD though (Cars did way better on DVD too).
crithon says:
what's amazing is this is a film that got fired several times for fighting against making horrible redundant animated films in the past. And he's also known for being vocally against CG and John K hates Brad Bird's guts, he's the perfect man to make the most amazing film.


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text:
Listen, It's The Offseason Now So We're Going To Talk About This Dumb Basketball Idea
Filed to: this is so stupidFiled to: this is so stupid
this is so stupid
very good ideas
thinkfluence
Photo: Jason Miller (Getty)
A galaxy-brained NBA Reddit user posed a reasonable question this morning: Why can't four Golden State Warriors link arms in a circle around Steph Curry, so that no defenders can get near him to contest his shot?
These are the types of visionary ideas that will revolutionize the sport of basketball. Unfortunately, I can see some problems with what I am calling the Ring of Protection technique.
First of all, the Ring of Protection can't move with Steph, or it's rather clearly not just one moving screen, which is an offensive foul, but four moving screens, which is four offensive fouls. Now, the Warriors do a lot of moving-screening as it is (this is both annoying and smart, like how the Seattle Seahawks, during their peak defensive years, figured out how to weaponize NFL referees' preference for not calling pass interference and illegal use of hands penalties on literally every down), but I don't think even they can get away with having four-fifths of their lineup performing a coordinated group offensive foul all at the same time in the same place.
So the Ring of Protection can't move. Which probably is fine: Just set it up at the top of the key and let Steph bomb away from there, right? Well, hm, maybe not. The next challenge is how to separate Steph from his defender so that he can get inside the Ring of Protection without bringing an opposing player in there with him. Like you can't just have the other four dudes stand in a ring and open a door for Steph to enter, or his defender will be right on his hip and the effort to slam the door on the defender will be... an offensive foul. But if you don't slam the door behind Steph, then he will just be trapped in a very small space with a pesky opponent, like a cockfight. That's no good.
Deadspin Math Friend Kyle Wagner, with whom I discussed this idea this morning because we are insane dumbasses whose brains dissolved to mush the moment the 2017-18 NBA season ended (so, like, in July of 2016), proposed that the Warriors would have to disguise the action as a double-screen at whatever spot on the floor they wanted the Ring of Protection to form. Steph would cut toward the double-screen from one side of the floor, and then just as he curled around the pair of screeners—scraping his defender off on those two stationary bodies—his other two teammates would have to arrive with perfect timing from the weak side, to quickly circle around him and lock arms with the first two screeners. Voilà: a Ring of Protection around Steph Curry, who can now bomb away.
The problem here isn't whether this would work or not. (Although you can imagine that after no more than a couple repetitions of this, an opposing defense would figure out to have a defender hedge the double-screen and wait to claim squatter's rights to the nascent Ring of Protection.) The problem is, well, if the double-screen works—if it provides Steph with the space he'd need in order for the rest of the Ring of Protection to snap shut around him without committing any offensive fouls—then he's already open, and doesn't need the rest of the Ring of Protection to arrive before he can fire off an open shot. In that case you'd probably rather have those other two Warriors, like, waiting down by the basket to fight for offensive rebounds, or something.
So yeah, the Ring of Protection probably isn't the disruptive basketball innovation that will maximize various Warriors' abilities and revolutionize the sport. But what is? One possibility is to have Steph ride around on somebody's shoulders, piggyback style. Assuming that the rules will not treat Steph and his mount as one extremely tall basketball player, but rather as two basketball players (the rulebook is unclear on this point), a drawback to this plan is that it will eliminate the tactical cost of double-teaming Steph, since the theoretical unguarded fifth Warrior will be directly beneath Steph and not, say, cutting toward the hoop. Also you could imagine dribbling being a problem, if the double-man is permitted the use only of his upper set of arms.
On the other hand, good luck contesting the shot of a dude who's releasing the ball from like 11 feet above the floor, buddy! Plus, it's very unlikely Steph would ever twist his ankles with them dangling way up there in JaVale McGee's armpits. He could even do sick dunks this way.
Part of what makes Steph a good candidate for this move is that he is relatively slight for an NBA player, whereas there are other NBA players, some of them his teammates, who are very large and not good at shooting. This opens up an even more intriguing possibility than having Steph ride around on the shoulders of one of them, though. A way to leverage Steph's slightness and delicate shooting touch, and the tremendous upper body strength of, say, David West. What I am getting at is, throw Steph toward the basket from beyond the three-point line, like a human javelin, and then he can just drop the ball into the hoop from above, real easy-like.
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The main limitation to a better knowledge of Autoinflammatory diseases is related to the fragmentation of the diagnosed cases in different centers.
To evaluate the number of patients enrolled in the Eurofever Registry in the first 15 months of enrolment.
A web-based registry collecting baseline and clinical information on Autoinflammatory diseases is available on the PRINTO web-site (www.printo.it). The registry is open to all Pediatric Rheumatology centers and adult centers with a specific interest in Autoinflammatory diseases. The following monogenic autoinflammatory diseases were considered: FMF, CAPS, TRAPS, MKD, Blau's syndrome, PAPA, DIRA, NLRP12-mediated periodic fever. Information on CRMO, Behcet's disease, PFAPA and undefined periodic fevers were also collected.
During the first `15 months 1360 (M:F=652:708) patient data from 64 centers in 28 countries have been entered in the registry. So far clinical and genetic information on the following patients has been collected: 376 FMF pts; 156 TRAPS pts, 128 CAPS pts, 87 MKD pts; 13 Blau's syndrome pts; 7 PAPA pts, 3 pts with NLRP-12 mediated periodic fever and 2 DIRA pts. In total 17 new mutations have been reported. Data on 257 PFAPA patients, 135 CRMO, 55 Behcet's disease and 141 patients with undefined periodic fever are also available.
A common registry for collection of patients with Autoinflammatory disease is available and the enrolment is ongoing. Data will be available for analysis of the clinical presentation, outcome and response to treatment of Autoinflammatory diseases and for comparative studies among different Autoinflammatory conditions.


text:
Brescia je grad i općina u Lombardiji u sjevernoj Italiji.

Grad leži u podnožju Alpa, ima 191.000 stanovnika, i po tome je drugi po veličini grad u Lombardiji, nakon Milana. Bresciu zovu Lavica Italije, zbog desetodnevnog ustanka koji se održao u gradu u proljeće 1849. protiv austrijske vlasti.

Grad je upravno središte pokrajine Brescia, jedne od najvećih u Italiji, s oko 1.200.000 stanovnika. Za antike zvao se Brixia, i bio je važno regionalno središte još od pred-rimskog doba. Brescia ima brojne rimske i srednjovjekovne spomenike koji su dobro očuvani, među njima se ističe gradski kaštel. Brescia s okolicom je treća po veličina talijanska industrijska zona, u kojoj je osobito koncentrirana automobilska i strojarska industrija, tu je i sjedište velike tvrtke za proizvodnju oružja Beretta. Grad je i značajan turistički centar zbog obližnjih jezera Lago di Garda i Lago Iseo te Alpi.

Brescia je izgrađena planski još za Rima, s ulicama koje se sijeku pod pravim kutom, tako se nastavilo graditi i kasnije.

Povijest

Brescia za antike

Postoje različite mitološke priče o osnutku Bresce, jedna od njih pripisuje osnutak grada Herkulu, dok druga priča osnutak grada vezuje uz Altiliju ( "drugi Ilij") koji su osnovali bjegunci razorene Troje. Postoji i priča da je grad osnovao ligurski kralj Cidnus, koji je provalio u Padsku dolinu za kasnog brončanog doba. Znanstvenici pak misle da su grad osnovali Etruščani.

Nakon provale galskog plemena Cenomani, u 4. stoljeću prije Krista - Brixia je postala njihov glavni grad. Grad su zauzeli Rimljani 225. pr. Kr., tijekom punskih ratova Brixia je obično bila u savezu s Rimljanima. Ali je 202. pr. Kr. je stupila u keltsku konfederaciju protiv Rima, no istovremeno je sklopila tajni ugovor s Rimom, i iznenadno napala svoje keltske saveznike pleme Insubres i uništala ih. Nakon toga Brixia je postala sastavni dio Rima, zadržavši određenu samoupravu. Postala je civitas ( "grad") 89. pr. Kr. a 41. pr. Kr. stanovnici Brixie dobili su rimsko državljanstvo. Car August je u Brixiji osnovao rimsku civilnu koloniju 27. pr. Kr., za potrebe kolonije August je dao izgraditi i akvedukt koji je dovršio Tiberije. Rimska Brixia bila je solidno opremljen grad, imala je najmanje tri hrama, akvedukt, amfiteatar, kupališta te forum s još jednim hramom koji je sagrađen za Vespazijana.

Brixia je 402. godine opustošena za provale Vizigota predvođenih Alarikom I. Tijekom invazije hunske inavazije pod Atilom, grad je ponovno orobljen 452., četrdesetak godina nakon toga, bila je prvi grad koji je zauzeo gotski general Teodorik Veliki u ratu protiv Odoakara.

Srednji vijek
Negdje oko 568. ili 569. Bresciu su preoteli Langobardi od Bizanta, ona je bila jedno od njihovih središta poluneovisnog vojvodstva. Prvi vojvoda bio je Alachis, koji je umro u 573. Posljednji kralj Langobarda - Erazmo, bio je također vladar Brescie. Karlo Veliki zauzeo je grad 774. godine i uništio Langobardsko Kraljevstvo u sjevernoj Italiji. Nakon njega vlast u gradu preuzima biskup 844. Notingus koji postaje i prvi knez, njegovi sljedbenici nose titulu grof. Od 855. do 875., za vrijeme vladavine Ludovik II. Brescia je de facto, bila glavni grad Svetog Rimskog Carstva. U vremenu nakon toga postupno slabi moć biskupa kao carskih zastupnika, njima su vlast osporavali i žitelji ali i lokalno plemstvo, tako da Brescia postaje slobodna komuna negdje oko početka 12. stoljeća. Vrijeme nakon toga obilježile su stalne borbe za proširenje teritorija komune, prvo na račun bliže okolice a kasnije protiv susjednih gradova komuna, posebice Bergama i Cremone.

U uzastopnim borbama između lombardijskih gradova i vojvodstava, Brescia je bila vrlo upletena pristupivši nekim savezima, ali i svim ustancima protiv njih. Mirom iz Konstanza (1183. ) okončan je rat s Fridrikom Barbarossom njime je također Bresci priznat status slobodne komune. Podesta Brescie Rambertino Buvalelli 1201. sklopio je mir i ušao u savez s gradovima komunama Cremonom, Bergamom i Mantovom. Nakon pada njemačkih vladara Svetog Rimskog Carstva iz kuće Hohenstaufen, poljuljala se je i vlast republikanskih institucija u gradu, a vlast u gradu postala je predmet borbe između moćnih plemićkih obitelji, posebice Maggi i Brusati (potonji su bili Gibelini) kako to uobičajeno biva vlast je prigrabio treći - Ezzelino da Romano 1258. godine.

Car Svetog Rimskog Carstva Henrik VII. opsjedao je Bresciu 1311. punih šest mjeseci, te izgubio tri četvrtine svoje vojske. Kasnije je veronski dužd Scaliger, pokušao uz pomoć prognanih brescianskih Gibelina osvojiti vlast u Bresci. Građani Brescie obratili su se za pomoć caru Svetog Rimskog Carstva - Ivanu Slijepom, ali je veronski dužd Mastino II. della Scala protjerao carskog podestu. Njega su s vlasti ubrzo skinuli milanski plemići Viscontiji, ali ni nisu dugo vladali. Vlast u Bresci preuzeo je kondotjer Pandolfo III. Malatesta 1406., ali je on vlast nad Bresciom 1416. prodao Filippu Mariu Viscontiju, koji je pak tu istu vlast 1426. prodao Mlečanima. Milanski plemići prisilili su Filippa Viscontia da nastavi borbu protiv Mlečana,  i da tako pokuša povratiti vlast nad gradom, ali je on poražen u Bitci kod Maclodia (1427.), u blizini Brescie.  Bresciu je potom opsjedao Francesco Sforza, mletački kapetan 1439., on je uspio pobijediti Filippovog kondotijera Niccolu Piccinina. Na kraju Bresci nije preostalo ništa drugo nego da prizna vlast Venecije. Mletačka republika je otada vladala Bresciom s izuzetkom 1512. i 1520. godina, kada je bila okupirana od strane francuske vojske vojvode od Nemoursa.

Brescia za novog doba

Brescia je imala zapaženu ulogu u povijesti razvoja violine. Mnogi arhivski dokumenti svjedoče da između 1585. – 1595. Brescia bila kolijevka veličanstvenih škola gudača i graditelja gudaćih instrumenata. Već od 1530. pojavljuje se riječ violina u dokumentima iz Brescie te se iz nje širi po gradovima sjeverne Italije.

Cijelo 16. st. i 17. stoljeće Brescia dijeli sudbinu Mletačke Republike sve do 1796., kada je potpala pod vlast Austrije.

Veliku štetu grad je pretrpio 1769. godine kada je grom udario crkvu San Nazaro i zapalio 90.000 kg baruta koji je tamo biopohranjen, snažna eksplozija uništila je šestinu grada i ubila 3.000 ljudi.

Nakon završetka Napoleonove vlasti po Italiji, Brescia je pripojena austrijskoj marionetskoj državi pod nazivom Lombardsko-venetsko Kraljevstvo. Građani Brescie pobunili su se 1848. Njihova desetdnevna pobuna iz ožujka 1849., ima u Italiji veliku slavu, rodoljubni pjesnik Giosuè Carducci nazvao je Bresciu "Leonessa d'Italia" (Talijanska lavica).

Brescia je izašla u svim svjetskim novinama 28. svibnja 1974., poslije eksplozije podmetnute bombe na Piazza della Loggia.

Gradske znamenitosti

Piazza della Loggia, lijepi primjer renesansnog trga s loggiom (današnja Gradska vijećnica) izgrađenom 1492. od arhitekta Filippina de Grassija.
Stara katedrala (Vecchio Duomo), također poznata i kao La Rotonda. To je rustična romanička crkva kružnog tlocrta. Veći dio sagrađen je 11. st. na ostacima ranije bazilike. Odmah pored ulaza nalazi se mramorni sarkofag Berarda Maggija. U katedrali se nalaze vrijedne slike Alessandra Bonvicina (poznatog kao il Moretto), dva platna Girolama Romanina, slike Palma Mlađeg, Francesca Maffeja, Bonvicina, i drugih manje poznatih slikara.
Nova katedrala (Duomo Nuovo) Izgradnja nove katedrale započeta je 1604. i tekla je sve do 1825. Isprva je projekt i gradnju vodio Palladio ali kako je počelo nedostajati novaca gradnju je dovršio mladi brescianski arhitekt Giovanni Battista Lantana, s dekoracijama koje je izveo većinom Pietro Maria Bagnadore. Pročelje je izvedeno po nacrtima Giovannija Battiste i Antonija Marchettija, kupola je djelo Luigija Cagnole. Freske u unutrašnjosti izveo je Bonvicino.
 Broletto, nekoć zgrada pokrajinske uprave, to je masivna zgrada iz 12. st. i 13. stoljeća s dva visoka tornja.
Na Piazza del Foro nalazi se niz najvrijednijih rimskih spomenika u Lombardiji. Među njima ističe se Hram na Kapitolu, kojeg je sagradio car Vespazijan 73. godine.
Bazilika San Salvatore (ili Santa Giulia), podignuta još za vrijeme Langobarda, ali je tijekom stoljeća više puta renovirana. To je jedan od najboljih primjera srednjovjekovne arhitekture u sjevernoj Italiji.
crkva Santa Maria dei Miracoli (1488–1523), s lijepim pročeljem, rad Giovannija Antonija Amadea
Gradski kaštel, na brijegu u sjevero-istočnom dijelu grada, s njega se pruža sjajan pogled na grad i okolicu.
Galerija slika Pinacoteca Tosio Martinengo, posjeduje brojna vrijedna djela brescianske slikarske škole; Romanino, Bonvicino i Bonvicinovog učenika Giovannija Battiste Moronija.

Godine 2011. UNESCO je na popis mjesta svjetske baštine u Europi upisao sedam mjesta moći koja svjedoče o glavnoj ulozi Langobarda u duhovnom i kulturnom razvoju srednjovjekovnog europskog kršćanstva, pogotovo potičući razvoj monaštva. U Bresciji to je kompleks crkve Svetog Spasitelja (San Salvatore, slika desno), osnovane 753. god. kao crkva samostana i kasnije posvećenog sv. Juliji (Santa Giulia'') koji je dovršen tek 1599. god.

Brescia je grad brojnih javnih fontana i ima ih sedamdeset dvije. Pored grada nalazi se kamenolom Mazzano (20 km istočno od Bresci), mramorom iz Mazzana podignut je Spomenik Vittoriju Emanuelu II. u Rimu.

Poznati sugrađani

 Rotari - Langobardski kralj (636. – 652.)
 Rodoald -  Langobardski kralj (652. – 653.)
 Ludovik II., car Svetog Rimskog Carstva (825. – 1875.) - Franački car i kralj Italije
 sv. Angela Merici, osnivačica Uršulinki ženskog redovničkog reda u Bresci 1535.
 Niccolo Fontana Tartaglia- mletački matematičar iz 16. st.
 Gasparo da Salò (1540. – 1609.) - graditelj violina
 Benedetto Castelli - matematičar i pionir hidraulike, s početka 17. st.
 Francesco Lana de Terzi (1631. – 1687.) - talijanski fizičar, isusovac pionir ideje o zračnoj lađi, koja bi plivala po zraku pomoću balona, izrađenih od tankih bakarnih listova.
 Camillo Golgi (1843. – 1926.) - talijanski liječnik i znanstvenik, patolog, dobitnik Nobeleove nagrade za fiziologiju ili medicinu 1906.
 Giuseppe Zanardelli, (1826. – 1903.) - pravnik i političar, premijer Kraljevine Italije (1901. – 1903.)
 Giovanni Battista Montini (1897. – 1978.) Papa Pavao VI. (1963. – 1978.).
 Giacomo Agostini (1942.-) višestruki svjetski prvak u motociklizmu (1964. – 1977.)
 Andrea Pirlo (1979.-) - nogometaš
 Daniela Merighetti - alpska skijašica

Gradovi prijatelji

  Darmstadt, Njemačka
  Logroño, Španjolska
  Toluca, Meksiko
  Šenžen, Kina

Sport
 Basket Brescia Leonessa je košarkaški klub iz Brescije.
Brescia Calcio je nogometni klub iz Brescije.

Izvori

Vanjske poveznice
Sveučilište Brescia Službene stranice
Katoličko sveučilište Brescia
Novosti iz Brescie

Gradovi u Lombardiji
Langobardska središta u Italiji

redpajama_set_name: RedPajamaWikipedia


text:
DOJ Issues Antitrust Merger Remedies Guide
On October 21, 2004, the U.S. Department of Justice (DOJ) issued the "Antitrust Division Policy Guide to Merger Remedies," which is designed to provide "the business community, antitrust bar, and economists with an understanding of the Division's analytical framework for crafting and implementing relief in merger cases." See www.usdoj.gov
This Update provides a short summary of the major elements and themes of the DOJ Remedies Guide, and discusses the key differences between the DOJ and Federal Trade Commission approaches to merger remedies. See "Statement of the Federal Trade Commission's Bureau of Competition on Negotiating Merger Remedies," (released April 2, 2003).
While the DOJ Remedies Guide provides some additional insight into DOJ's analysis of merger remedies, it is fundamentally a recitation of DOJ's established practice in this area.
The DOJ Remedies Guide is based on six "Guiding Principles":
Remedies must address identified violations; DOJ will not accept a remedy unless it has conducted a sufficient investigation to conclude that a proposed merger will violate the antitrust laws.
Remedies must be case-specific; they must be based upon an application of sound legal and economic principles to the particular facts of the case at hand.
Remedies must restore lost competition; there is no requirement that they enhance competition.
Remedies must promote competition, not individual competitors.
Remedies must be enforceable.
DOJ will commit the time and effort necessary to ensure full compliance with its remedies.
Key Remedies Issues
The DOJ Remedies Guide discusses DOJ's policy with respect to specific types of remedial provisions. The key points are:
Structural remedies are strongly preferred over conduct remedies. Structural remedies typically involve divestitures or licensing, while conduct remedies restrict the conduct of the merged firm's business. DOJ believes that conduct remedies are more difficult and costly to enforce, and will approve a pure conduct remedy only in "limited" circumstances, such as when significant merger-related efficiencies cannot be achieved through a structural remedy.
Divestiture must include all the assets necessary to ensure that the purchaser possesses both the "means and incentive" to preserve competition. DOJ thus prefers the divestiture of an existing business entity, which has already demonstrated its ability to compete, although it generally has no preference as to which of the merging parties' business units is divested. DOJ will consider exceptions to this general rule in the following circumstances: (a) there is no existing business entity smaller than either of the merging firms, and a set of acceptable assets may be assembled from both of the merging firms; (b) certain of the entity's assets are already in the possession of, or are readily available to, the potential purchaser; (c) more than an existing business entity must be divested to restore competition.
Where the critical asset for competition is an intangible one e.g., a patent the merging firms must provide one or more parties with rights to that asset. The nature and scope of the rights that must be granted will depend on the facts of the particular industry. For example, a license to a single party may suffice in some cases, while other cases may require a license to multiple parties. Likewise, the merging firms may retain the right to use the asset in some cases (e.g., where it is necessary in order to realize merger-related efficiencies), while in other cases the merging firms may be required to surrender their rights to the asset.
Key Differences Between DOJ and FTC
The DOJ Remedies Guide also highlights certain differences between the DOJ and FTC approaches to merger remedies. The key differences are:
"Fix-it-first" Remedies. DOJ explicitly endorses the use of the so-called "fix-it-first" approach; these are structural remedies, typically divestitures, that are proposed by the merging parties as a means of resolving a competitive problem without the need for a formal consent decree. The Division notes that "a fix-it-first remedy . . . removes the need for litigation, and saves society from incurring real costs." The FTC, in contrast, has no formal "fix-it-first" policy, and the Commission generally requires parties to enter into a consent order.
"Up-front" Buyers. The FTC typically requires the specific buyer of the to-be-divested assets to be identified before the Commission will approve a consent decree and allow the deal to close. It justifies this "buyer up-front" requirement on the ground that it minimizes the risk that (a) there will not be a purchaser for the assets proposed to be divested, (b) the buyer will not be able to restore competition, and (c) the competitive value of the assets, and competition itself, will diminish while the merging parties search for a buyer. DOJ, in contrast, "focuses on specifying in the decree the appropriate set of assets to be divested quickly rather than on the identification of an acceptable buyer . . . before entering into a consent decree." Unlike the FTC, DOJ generally does not require that a specific buyer be selected and named in the consent decree before the decree is filed. DOJ, however, must approve the purchaser of the assets to be divested before the assets are sold pursuant to the decree. The Assistant Attorney General for Antitrust has previously noted that "permitting the parties to close prior to the identification of a buyer means that any procompetitive efficiencies of a deal are realized on a relatively faster basis than might otherwise occur if the parties could not close until a buyer had been approved."[fn1] DOJ typically provides the merging firms with 60 to 90 days to reach an agreement to sell the assets, but will grant extensions so long as the parties are making "good faith efforts" to locate a purchaser.
"Crown Jewel" Provisions. DOJ "strongly disfavor[s]" the use of "crown jewel" provisions i.e., provisions that require the merging parties to add specific, more valuable assets to the divestiture package if they are unable to sell the assets to a viable purchaser within a pre-determined period of time. This is because such provisions "generally . . . represent acceptance of either less than effective relief at the outset or more than is necessary to remedy the competitive harm," and can encourage gamesmanship in the divestiture process. In contrast, the FTC embraces the use of crown jewel provisions in certain circumstances as a means of ensuring that a proposed remedy will be ultimately effectuated.
1:Address by R. Hewitt Pate before the Association of the Bar of the City of New York, Milton Handler Annual Antitrust Review, New York City, December 10, 2002.
Jeff Jaeckel
Co-chair Global Antitrust Law Practice Group
Mergers + Acquisitions


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text:
More Celebrating Photography in Atlanta
The first night I arrived to town, after all the galleries and the High Museum, we were invited to dinner at the house of two Atlanta collectors. We drove out of the city into a landscape of woods and gigantic mansions of dubious design, until we came across a modernist house and knew we had arrived at the right place. Their house was full of Tina Barney, Andreas Serrano, Annie Leibovitz, Larry Sultan, Jenny Holzer and many others. What a treat! And what a fantastic finish to our day.
We looked at their collection and ate and had a splendid time. Then it was back to the hotel to prepare for a full day of portfolio reviews.
In all I reviewed thirteen photographers the next day. It was great to see regional work and get a sense of what people are doing outside of New York. Besides, everyone was so gracious and personable that I couldn't have had a better time. Even though it is a lot of work.
There were several personal projects of a very emotional nature that were striking, like Sara Keith (above) who uses a pinhole camera in an attempt to document the small, familiar features that make her grandfather( who suffers from Alzheimer's) come alive and remember who he was talking to.
Vicki Hunt moved back to her family farm in a poor, rural district in Alabama and befriended her neighbors who she photographed on their porches. Even more impressive, Vicki began talking with people about their daily lives and discovered so much need in terms of food, books, blankets and the like, that she is now working to bring these and other necessary things to the people of her community.
Jimmy Williams has been photographing Southern musicians over the years for his Music Makers Series. These strong, expressive portraits capture years of deep felt emotions and reflect Williams' love for the people and the music.
For John May, it's all about small town wrestling bouts, and the people who frequent them. He has a great eye for emotions and the strange juxtapositions of a scene that sometimes teeters on the edge of chaos.
Susan Barnett says, "By photographing from the back these pictures try to challenge the time-honored tradition of a portrait being of the face and tests whether body type, dress and demeanor can tell us just as much as a facial expression might."
My trip to Atlanta ended with an exquisite dinner with my fellow reviewers and Amy Miller and Michael David Murphy of ACP. I think all of us will agree we had a wonderful time and hope to do it again next year.
Labels: Atlanta Celebrates Photography, jimmy williams, john may, michael david murphy, sara keith, stella kramer, stellazine, susan barnett, vicki hunt
Arriving in Atlanta and Celebrating Photography
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Valhalla hosting Helix in a Grossmont League match up; both teams enter the game 9-4.
This game went back and forth, but the Scotties had a two goal advantage in the fourth period.
A late goal by Norseman Harry Albers cuts the lead down to one.
His teammate Luke Pillsbury ties it up with the assist coming from Tyler Poniktera.
But with 1:49 left on the clock, JR Hurdsman of Helix nets the game winning goal.
The Highlanders improve to 10-4 on the season as the Norseman fall to 9-5.


text:
Justin Madders MP Labour MP for Ellesmere Port & Neston
Need my help?
Leasehold Reform Bill published
The full text of the Bill has now been published and can be found at: https://services.parliament.uk/Bills/2017-19/leaseholdreform.html…
Justin pledges to back a law to end unsafe pavement parking
Justin Madders, MP for Ellesmere Port and Neston, helped raise awareness of the dangers of…
Justin backs campaign for free period products
Justin Madders, MP for Ellesmere Port and Neston, has joined the call by the Communications…
Justin backs campaign to 'Make Blood Cancer Visible'
Justin Madders, MP for Ellesmere Port and Neston, has backed a campaign, organised by the…
Local MP 'wears it pink' for charity fundraiser
Justin Madders, MP for Ellesmere Port and Neston, added a splash of pink to his…
MP attacks proposed closure of Eastham walk-in centre
Ellesmere Port & Neston MP, Justin Madders has condemned a proposal by Wirral Clinical Commissioning…
MP backs emergency plan to save high streets
Ellesmere Port & Neston MP, Justin Madders has backed a new plan to save the…
Local MP signs Epilepsy PIP pledge, fighting for fairer benefits assessments for people with epilepsy
Justin Madders, MP for Ellesmere Port and Neston has promised to fight for fairer benefits…
Justin joins leasehold campaigners in Westminster and vows to continue the fight for reform
Ellesmere Port & Neston MP, Justin Madders was pleased to lend his support when leasehold…
Justin backs greater awareness of baby killing infection
Justin Madders, MP for Ellesmere Port and Neston, is supporting calls from UK charity Group…
23 Whitby Road, Ellesmere Port, UK View on Google Maps
Email: justin.madders.mp@parliament.uk
Promoted by Sue Pugh on behalf of Justin Madders, both at 23 Whitby Road, Ellesmere Port, CH65 0AA