text:
Bebetta
She's selling elephants and DJing in her pyjamas.
Driven by telling stories, passionate about DJing in bed; no one is doing techno quite like Bebetta.
Be better: the clue is in the name. None of us are perfect, there are always things we can improve, develop or reconsider. There are always new ideas to try. Like sampling old 1930s Bavarian oompah records, DJing in bed or…er… Selling animals on well known internet auction sites.
"I'm not actually selling any elephants!" laughs Bebetta from her Berlin studio. Quite right, too. It would take up too much time in an already stacked schedule for a start. Right now she's in the middle of another festival-squeezed summer taking in all of Europe, Canada and beyond. Three weeks ago she and fellow rising techno talent Cioz dropped a warm and subtly warped Elephant On eBay three-tracker on Monaberry and this week she's dropping a new remix of Paul Hazendonk on 90Watts. Busy. And that's before we get to her recent Bebetta In Bed concept in which she broadcasts mix sessions – occasionally with DJ mates such as Super Flu and Cioz – from bed. Earlier this year she even took a bed to a club to DJ from.
Like we said, no one does techno quite like Bebetta who's been on the steady rise since she began DJing in 2008 and entered the production game with one of the most bizarre and refreshingly fun records to come out of Berlin this decade. Which is where our story begins…
You came into the game old school vinyl DJ style, right?
Yes. To be honest I didn't think it would actually get this far. I just love records and really enjoyed playing music I love. Not even in the club, just at home for myself or friends. Production certainly wasn't on my mind but friends kept telling I should. As I was DJing I had a lot of friends producing and would spend time in their studios, watching what they were doing. I knew I had a lot to learn but also realised it was possible for me to do it too.
Then Herr Kapellmeister came along. What an entrance tune!
t was a cool little project! I had a lot of help from friends with the track and the video and had so much fun. The sample is from this 1930s record. I loved it when I heard it and knew you could do something maybe a bit silly with it. It got a lot of attention. For a first release I think it was a funny thing to do.
You did the artwork too, right? Was design your original career plan?
Yes it was. I've always been drawing and painting and designing things. I did a lot of friend's flyers and artwork for example. So to be able to combine my art and my music has always been a big love for me. Any opportunity to do the artwork for my music is amazing.
Did you do the Elephant On eBay artwork?
No unfortunately not. Monaberry do their own artwork but I would have loved to!
Why elephants? Why eBay?
There are a lot of sounds on that record that remind me of elephants and I'm always painting them on my Instagram stories. I like combining a little fantasy with the reality and Instagram has been a fun way to do that. I'm not sure how eBay came into it now but we thought it was a fun idea. There's even more of a story coming on a video very soon.
Stories are very important to you, right?
Stories are very important! Especially in a DJ set with different kinds of music, making waves and highs and lows and drama like a story. It's the same with music, too. The elephant has a story. The man in Herr Kapellmeister is this little guy who came to life for me while I worked on the track and I needed to tell his story in the video. The same for Upper Cut with the little Bebetta character who runs and fights through parts of Berlin and Fusion Festival before meeting an end boss who you might recognise?
It was a lot of work to do, though. A lot more than we thought it would be so it took more time and came out a long time after the release. But it worked out very cool because it means not everything comes out at once. Again, there's a story to unfold over time. Everything is too rushed and fast and we risk quality and appreciation when that happens. People the music, they play it for a month and then ciao, they don't want to play that any more. So this is why it's good to do things gradually. Put the music out. A few weeks later maybe a remix. A few weeks maybe a video. You keep the energy and the story going. This is why the Elephant On eBay video came a lot later than the music too.
How did you hook up with Cioz?
I was playing tracks of his and sending feedback to the labels so he got in touch to say thank you and hello. We spoke a while online and his friends were running a party in Bergamo (Italy) and they booked me so we became friends in real life. We approach production in a very similar way so we thought we'd do a session together. It worked super well so he comes over more regularly and wants to move to Berlin. He's a very good DJ, too.
Yes I saw him DJing in bed with you. Mad concept if you don't mind me saying? Beds are the best place ever. Mixing is one of life's finest pleasures. But together?
It works! But maybe not in a club. We tried this on Bebetta In Bed #5 and the whole concept was so cool – the crowd all came in their pyjamas and it was very funny. But I played eight hours like this and it wasn't very comfortable. It also gave a different energy to the crowd. It's funny and cool to watch on video online but in the club it was strange.
Taking a bed to a club is quite strange.
Yes and I learnt that if the DJ's sitting down, the crowd aren't quite so energetic. I would get up and jump on the bed many times and the crowd would be a lot more energetic. DJs need to move with the people and give back that energy. I don't know if I would do it again, but I thought it would be fun to try at an annual party I do in Bremen, my hometown. Decoration and themes were always a very big part of this for me with every party. It's another way of creating a sense of fantasy and something special. So the bed and the pyjama theme was this year's party and we did a lottery for someone to win the Bebetta bed afterwards.
I'm sure you've been asked this before but how did your name come about?
I'm always thinking I need to be better. Especially when I started DJing I was just playing records for myself at home. I didn't think I could play on a stage in front of people. But a friend eventually persuaded me to play at her party so I called myself Bebetta Beta. Then after a year I felt okay I need to stop with the beta and just always Bebetta.
How can dance music be better?
We can always be better in so many ways! What I love about some techno parties are when you see everyone together. All races, colours, genders, ages, nationalities. Everybody together. I see it at a lot of parties now, a lot more than other scenes I've been involved in. No discrimination and openness. We are already doing this. We are already being better in this way.
How can we be even better though?
Be more honest maybe? There are weird things happening in the techno world. People getting records made and saying that they've made them. They are sitting in interviews telling the world how they made these records and you know they didn't. It's very fake and dishonest. When I'm not able to do something I collaborate with people who can and I hope people do this with me too. This is how we should work together and be better together.
Be Better: Facebook / Soundcloud / Twitter / Instagram
Words: Dave Jenkins
Tags: Bebetta, Cioz, Monaberry
Bugged Out! 25th line-ups revealed
Starring Mella Dee, Green Velvet, Heidi and more


(Washington, DC) – The decision by the World Bank's internal watchdog not to investigate the link between the bank's loans and Uzbek government-organized forced labor is alarming, the Cotton Campaign said today.
The Cotton Campaign said it supports the message from independent Uzbek groups that have represented forced labor victims to the bank president criticizing the decision. The Cotton Campaign is a global coalition of labor, human rights, investor, and business organizations working to end forced labor in Uzbekistan's cotton sector.
In 2014, the Uzbek government, as it has in previous years, forced farmers to produce cotton and required millions of its citizens to pick the crop. Tashkent continues to deny that it has a forced labor problem and represses citizens' attempts to report such human rights violations.
The World Bank Inspection Panel decided that World Bank management and the Uzbek government are doing enough to address the problem since the government promised to respect labor standards in its loan agreements. The Bank has committed to suspend any loans if it finds child or forced labor in project areas.
To avoid having to pull its loans, the Bank needs to help persuade the Uzbek authorities to address the root causes of forced labor, the Cotton Campaign said.
The bank has also committed to create a complaint mechanism and to contract with the International Labour Organization (ILO) to monitor bank projects for forced and child labor. But the government has not taken any measures to dismantle its forced labor system and neither the complaint mechanism nor monitoring are up and running.
Recent reporting by a former official documented the Uzbek government's control of the entire cotton production system, from production quotas and procurement prices to the monopoly management of input markets and all sales. While income disappears into a secret fund in the Finance Ministry, the system impoverishes cotton farmers and violates fundamental rights of farmers and others forced to work in it.


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Steven Andrew Soderbergh (Atlanta, Geòrgia, 14 de gener de 1963) és un productor cinematogràfic, guionista, director de fotografia, editor i director de cinema estatunidenc. Va guanyar l'Oscar al millor director el 2000 per la pel·lícula Traffic.

Biografia

Primers anys i inicis
Soderbergh va néixer de pares d'ascendència sueca (el nom original de la família, Söderberg, va ser canviat quan la família va emigrar als Estats Units. De nen, la família es va mudar d'Atlanta a Baton Rouge (Louisiana), on el seu pare va esdevenir degà d'ensenyament a la Universitat Estatal de Louisiana (LSU). Allí va descobrir la filmació com un adolescent, dirigint curtmetratges amb pel·lícula de Super 8 mm i equip prestat per estudiants de la Universitat. Soderbergh va anar a l'escola secundària Louisiana State University Laboratory School, una institució dirigida per la universitat. Mentre encara estava en la secundària, Soderbergh va prendre una classe d'animació de cinema a la universitat i va començar a realitzar curtmetratges de 16 mm amb equip de segona mà.

En lloc d'anar a estudiar a la LSU, Soderbergh va provar sort a Hollywood després de graduar-se a l'ensenyament secundari. Va començar treballant com un anotador d'un programa de jocs i finalment va trobar un treball com a editor de cinema [[freelance]]. La gran oportunitat va arribar quan va dirigir el vídeo del concert 9012 Live del grup Yes el 1985, pel qual va ser nominat als Premis Grammy.

Sexe, mentides i cintes de vídeo
No va ser fins que Soderbergh va tornar a Baton Rouge quan va concebre la idea de Sexe, mentides i cintes de vídeo, que va escriure en vuit dies. La pel·lícula va guanyar la Palma d'Or al Festival Internacional de Cinema de Canes i va ser un èxit comercial a nivell mundial. Va contribuir enormement a la revolució de cinema independent dels anys 1990. El crític de cinema Roger Ebert va considerar Soderbergh «el noi de pòster» de la generació Sundance.

Treball de 1993 a 1998
Sexe, mentides i cintes de vídeo va ser seguida per una sèrie pel·lícules de baix cost que van tenir poc èxit en la taquilla: Kafka, una pel·lícula biogràfica que barreja fets reals i la ficció de l'escriptor txec (principalment El castell i El procés), escrita per Lem Dobbs i protagonitzada per Jeremy Irons com a Franz Kafka; King of the Hill, un drama de l'era de la Gran Depressió amb poc èxit comercial però aclamat per la crítica; Underneath, una nova versió de la pel·lícula de 1949 de Robert Siodmak, Criss Cross; i Schizopolis, una comèdia que ell va protagonitzar, escriure, compondre, rodar i dirigir. El seu fracàs comercial va acabar el 1998 amb Un embolic molt perillós, una adaptació d'una novel·la d'Elmore Leonard, amb guió de Scott Frank i protagonitzada per George Clooney i Jennifer López. El film va ser elogiat per la crítica, encara que solament va tenir un èxit moderat en la taquilla. Va servir per a reafirmar el potencial de Soderbergh, a més d'iniciar una associació lucrativa artística entre Clooney i Soderbergh.

Més èxit: 1999 i 2000
Soderbergh va continuar l'èxit dUn embolic molt perillós fent altra comèdia de crim, The Limey, d'un guió original de Lem Dobbs i protagonitzada per actors veterans com ara Terence Stamp i Peter Fonda. El film va ser ben rebut, però no tant com Erin Brockovich (2000), escrita per Susannah Grant i protagonitzada per Julia Roberts en el paper d'una mare soltera enfrontant-se a la indústria en un litigi. Per aquest paper Julia Roberts va guanyar l'Oscar a la millor actriu el 2000. Més tard, aquest mateix any, Soderbergh va llançar el seu projecte més ambiciós fins a la data, Traffic (amb un metratge de 147 minuts, el film tenia 135 diàlegs fets en vuit ciutats diferents), un drama social escrit per Stephen Gaghan. Traffic va ser la seua més aclamada pel·lícula des de Sexe, mentides i cintes de vídeo i li va valer l'Oscar al millor director també el 2000. Va estar nominat aquest mateix any per Erin Brockovich. És l'únic director que ha estat nominat en el mateix any per Millor Director per dues pel·lícules diferents als Oscar, els Globus d'Or i els premis del Sindicat de Directors d'Amèrica. Va ser la primera vegada que això va ocórrer en els Oscars en seixanta anys.

Treball de 2000 a 2006
 Ocean's Eleven, amb un elenc d'estrelles i una estètica cridanera, és la pel·lícula de major recaptació per a Soderbergh fins a la data, ha cobrat més de 183 milions de dòlars. El protagonista, George Clooney, també va aparèixer en la pel·lícula de 2002 Solaris, la tercera vegada que Clooney i Soderbergh treballen junts. El mateix any, Soderbergh va fer Full Frontal, filmat per major part en vídeo digital en un estil improvisat que elimina la barrera entre les actuacions dels actors com personatges i com a versions fictícies d'ells mateixos. El títol és una referència a quan un actor o actriu apareix totalment nu en la pantalla, en anglès full frontal nudity.

El següent projecte de Soderbergh va ser K Street (2003), amb el mateix estil de Full Frontal, una sèrie de televisió de deu capítols sobre polítics que va coproduir al costat de Clooney. La sèrie va ser notable per ser parcialment improvisada, així com per ser produïda en els cinc dies abans de la transmissió de cada episodi per tal d'aprofitar els esdeveniments recents en la narrativa fictícia. Polítics veritables van aparèixer tant en cameos així com versions fictícies de si mateixos, igual que els protagonistes, Mary Matalin i el seu espós James Carville. El programa va causar controvèrsia en les eleccions primàries demòcrates de 2004 quan Carville va atribuir al candidat Howard Dean una frase durant una filmació que Dean després va usar en un debat.

Ocean's Twelve, la seqüela de Ocean's Eleven, va ser estrenada el 2004. The good German (El bon alemany), un drama romàntic protagonitzat per Cate Blanchett i George Clooney, va ser llançat el 15 de desembre de 2006. Ocean's Thirteen, la sisena col·laboració de Clooney i Soderbergh, va ser llançada el juny de 2007.

2006-2008
El 2006, Soderbergh va sorprendre amb Bubble, un film amb un pressupost d'1,6 milions de dòlars protagonitzat per un repartiment d'actors no professionals. Va aparèixer simultàniament la cadena de cinemes Landmark Theatres i a la Televisió per cable AXS TV, i quatre dies després va ser llançat en DVD. Els caps de la indústria van observar-ho amb atenció, a causa de les implicacions que aquest programa d'estrena insòlit podria tenir amb pel·lícules futures. Els propietaris dels cinemes, i el president de la National Association of Theatre Owners, John Fithian, va dir indirectament que el model d'estrena del film era «la major amenaça per a la viabilitat de la indústria del cinema d'avui dia». Soderbergh va respondre a aquestes crítiques: «No crec que això vagi a destruir l'experiència d'anar al cinema més que l'opció de demanar el menjar a domicili hagi destruït el negoci dels restaurants». No obstant això, la pel·lícula va tenir poc èxit tant en taquilla com en el mercat del video casolà. El 2007, Soderbergh i Tony Gilroy van contribuir en un comentari per la reestrena del DVD de El tercer home per Criterion Collection. El 2008 va dirigir dues pel·lícules sobre Ernesto "Che" Guevara: The Argentine i Escamot, ambdues protagonitzades per Benicio del Toro.

2009-2017
En 2010 va dirigir Contagi, i després de dirigir The Knick va començar a treballar en una gran varietat de projectes personals, començant per dirigir una obra de teatre Off-Broadway titulada The Library el 2014. El 21 d'abril de 2014, Soderbergh va llançar al seu lloc web un muntatge alternatiu de la controvertida La porta del cel de 1980 de Michael Cimino, i el 22 de setembre de 2014, va penjar una versió muda en blanc i negre dA la recerca de l'arca perduda, amb música de The Social Network de Trent Reznor i Atticus Ross. En 2016 va produir la sèrie The Girlfriend Experience i en 2018, Mosaic.

Experimentació amb telèfons mòbils i treball per a plataformes de streaming
L'any 2017 Soderbergh va estrenar Unsane, un thriller psicològic rodat en 10 dies amb l'iPhone 7 Plus, seguint el precedent establert per Sean Baker amb Tangerine. El director va aprofitar la mida del dispositiu per gravar des d'angles i posicions poc habituals, que provoquen un efecte d'inquietud i paranòia. L'èxit d'aquesta producció va permetre que la seva pel·lícula següent, High Flying Bird, que incorporava els avenços tècnics de l'iPhone 8, fos finançada per Netflix i comptés amb un pressupost superior.

Aquell mateix any va estrenar The Laundromat, també a Netflix, el següent va presentar Let Them All Talk a HBO Max i, a principis de 2021, No sudden Move en la mateixa plataforma. Tot i que aquests films no contenen plans gravats amb smartphones, també tenen un important component d'experimentació visual, a través de la il·luminació o l'ús d'objectius gran angular.

Estil de direcció i col·laboracions amb actors
«Sempre m'he dut bé amb ells», diu Soderbergh sobre els actors, «sempre intento estar segur que estiguin bé, i quan estan en el plató els deixo tot sol. No em fico en el seu camí». El seu estil de dirigir no intrusiu ha fet que grans estrelles hagin interpretat diverses pel·lícules dirigides per ell. Julia Roberts va tenir papers secundaris a Ocean's Elevin, Ocean's Twelve i Full Frontal i a més va guanyar un Oscar a la millor actriu pel seu paper protagonista a Erin Brokovich. Benicio del Toro, qui també va guanyar un Oscar al millor actor secundari pel seu treball a Traffic, va protagonitzaà Escamot. Altres actors habituals en la filmografia de Soderbergh són Luis Guzmán (Un embolic molt perillós, The Limey i Traffic) i Don Cheadle (Un embolic molt perillós, Traffic, Ocean's Elevin, Ocean's Twelve i Ocean's Thirteen). No obstant això, l'actor que ha protagonitzat no menys de sis de les pel·lícules de Soderbergh és George Clooney, amb qui és copropietari de la companyia de producció Section Eight Productions. La companyia va produir els èxits Lluny del cel, Insomnia i Syriana, així com les pel·lícules dirigides per Clooney Confessions of a Dangerous Mind i Bona nit i bona sort.

Soderbergh sovint actua com el seu propi director de fotografia sota el pseudònim de Peter Andrews i ocasionalment com el seu propi editor sota l'àlies de Mary Ann Bernard. Mentre rodava Traffic, Soderbergh volia ser acreditat com a «editor de fotografia i director». No obstant això, el Sindicat de Guionistes d'Amèrica no permetria un altre crèdit a part del de guionista. Com que Soderbergh no volia que el seu nom fos usat més d'una vegada, va adoptar el pseudònim Peter Andrews, el primer i segon nom del seu pare.

El 2009, una pel·lícula de Warner Bros va tenir Soderbergh treballant al costat de Matt Damon de nou. The Informant, una història veritable, protagonitzada per Damon en el paper de Mark Whitacre, un informant corporatiu. Whitacre va usar equip d'enregistrament per dos anys i mig per al FBI en la companyia Archer Daniels Midland, en un dels casos més grans de fixació de preus en la història. El guió va ser escrit per Scott Z. Burns basat en el llibre de Kurt Eichenwald, The Informant.

Filmografia

Director
{{llista de columnes|3|
 Sexe, mentides i cintes de vídeo (Sex, lies, and videotape) (1989)
 Kafka (1991)
 King of the Hill (1993)
 Underneath (1995)
 Gray's Anatomy (1996)
 Schizopolis (1996)
 Un embolic molt perillós (Out of Sight) (1998)
 The Limey (1999)
 Erin Brockovich (2000)
 Traffic (2000)
 Ocean's Eleven (2001)
 Full Frontal (2002)
 Solaris (2002)
 Eros (2004)
 Ocean's Twelve (2004)
 Bubble (2005)
 The Good German (2006)
 Ocean's Thirteen (2007)
 Life Interrupted (2007)
 The Argentine (2008)
 Guerrilla (2008)
 The Informant (2009)
 The Girlfriend Experience (2009)
 And Everything Is Going Fine (2010, documental)
 Contagion (2011)
 Haywire (2012)
 Magic Mike (2012)
 Side Effects (2013)
 Behind the Candelabra (2013)
 Ocean's 8 (2018)
 The Laundromat (2019)
}}

 Guionista
 1989: Sexe, mentides i cintes de vídeo (Sex, lies, and videotape) 1993: King of the Hill 1995: Underneath com Sam Lowry
 1996: Schizopolis 1997: Nightwatch 2002: Solaris 2004: Eros Director de fotografia
 1996: Schizopolis 2000: Traffic - com Peter Andrews
 2001: Ocean's Eleven - com Peter Andrews
 2002: Full Frontal - com Peter Andrews
 2002: Solaris - com Peter Andrews
 2004: Ocean's Twelve - com Peter Andrews
 2004: Eros
 2006: Bubble - com Peter Andrews
 2006: The Good German - com Peter Andrews
 2007: Ocean's Thirteen - com Peter Andrews

 Editor
 1989: Sexe, mentides i cintes de vídeo (Sex, lies, and videotape) 1991: Kafka 1993: King of the Hill 2002: Solaris - com Mary Ann Bernard
 2004: Eros
 2006: Bubble - com Mary Ann Bernard
 2006: The Good German - com Mary Ann Bernard

 Productor

 Referències

 Enllaços externs

 Steven Soderbergh Bibliography (via UC Berkeley)
 Steven Soderbergh: Interviews
 'The Believer' interview
 NPR: Bubble (01/2006)
 Wired interview (12/2005)
 French New Wave Influences in Steven Soderbergh Films (05/2003)
 Guardian interview (02/2003)
 Village Voice: Soderbergh on Soderbergh (01/2001)
 Film Comment interview (01/2001)
 Steven Soderbergh Fansite
 'Che': Soderbergh's Own Revolution?  by Lisa Collins, New York Post, October 31 2008
 "Soderbergh Takes A Revolutionary Approach to 'Che'" by Mark Olsen, LA Times'', October 31 2008

Directors de cinema georgians dels Estats Units
Guionistes de cinema de Geòrgia (Estats Units)
Directors de fotografia estatunidencs
Guanyadors del premi Oscar al millor director
Persones d'Atlanta
Persones d'ascendència sueca

redpajama_set_name: RedPajamaWikipedia


text:
NTU Named Asia's Top University – Here Are Some Students Of Its Past And Present Who Made It Proud
Melissa Chan
Update, 17 Oct: Nanyang Technological University (NTU) has been named Asia's top university in the Quacquarelli Symonds (QS) Asia University Rankings.
After years of lagging behind the National University of Singapore (NUS), Nanyang Technological University (NTU) has successfully bucked the trend, overtaking the former in the Quacquarelli Symonds (QS) World University Rankings this year.
NTU moved up two places from its 13th position last year to clinch the 11th place, while NUS fell three places from 12th to 15th.
The ranking, which gauges universities on six metrics – academic reputation, citations per facility, employer reputation, faculty student, international faculty, and international students – revealed that NTU made improvements in four of the metrics, rising the most in employer reputation and citations per faculty.
Screenshot of NUS and NTU's scores
Said NTU President Prof. Bertil Andersson, "To climb up to the 11th spot, just one place shy of the Top 10, is remarkable progress. Even though NTU is now the highest ranked Singapore university, I maintain what I have always said – Singaporeans should be very proud that a small nation like Singapore has two world-class universities."
Both NUS and NTU remain the only two Asian universities in the global top 20. The next in line is China's Tsinghua University at the 25th position.
But before the rankings, NTU undergrads and alumni have long been making their alma mater proud – here's a look at who they are.
Mohamed Abbas, Onelyst
Mohamed Abbas (far right) and the Onelyst team
Founded by 26-year-old NTU alumni Mohamed Abbas and his army mate Hizam Ismail, Onelyst is an app borne out of wish motivated by Abbas' humble background.
The son of a roti prata man and a hawker lady, Abbas lived with his parents in a one-room rental flat, and fully understood the difficulties that blue-collar workers face in making ends meet.
Thus, Hizam and him decided to do something to help these groups – by creating a solution that could help them find personalised loan offers in under 5 minutes – a process that usually takes a few hours.
In 2014, while pursuing his business degree with a major in banking and finance at NTU, Abbas took the leap of faith, taking on a two-year leave of absence to build Onelyst. In the same year, the duo emerged as the top 10 winners at NTU's Ideasinc, receiving an undisclosed sum of money from Spaze Ventures.
As a recognition of his efforts, Abbas was even featured on last year's prestigious Forbes 30 Under 30 list!
The Telepod Team
Telepod's project exhibition at Suntec City/ Image credit: Telepod Facebook
Recently, the startup has been in the news for their introduction of e-scooters into the thriving sharing economy in Singapore.
Founded by 5 NTU alumni, the team created Telepod as a multi-purpose e-scooter sharing platform to accommodate to three different groups of consumers – tourists, local commuters, and businesses.
While not as widely available as the bicycles from ofo, oBike and Mobike, the startup has plans to eventually increase the number of e-scooters available for rental if there's healthy demand for it.
Currently, the e-scooters are currently available for trial at Suntec City, and from next month, will be available at 3 locations at their alma mater.
More notably, due to a collaboration between NTU, SMRT, and JTC to develop solutions for multiple modes of transport, 50 more of these e-scooters would be added to the fleet by October.
Ernest Ng, Airmocks
Feature Fridays on @ch8sg ! Thank you @artbox_singapore for the support! #华语cool #空中吊床 🎥🎬✨
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Ernest Ng, founder of local hammock startup Airmocks, began his entrepreneurial journey in 2014 when he was a final year business marketing student at NTU.
Inspired by his travels overseas during his internships and exchanges while in university, he realised how untapped the hammock market in Singapore was, and decided to bring them, along with the culture, over.
However, he noted that due to the many restrictions that public housing has, especially when it comes to drilling holes in walls and ceilings, he needed to find another way to make his hammocks actually usable by Singapore dwellers.
Thus, he started creating free-standing hammocks – with the first one turning out to be a huge hit.
After 3 years and new iterations of his special brand of hammocks, his products are now found at cool millennial offices all over Singapore and large-scale events with high footfall!
Syarafina Halim, The Buku Bookstore
Syarafina Halim
For Sociology graduate Syarafina Halim, her inspiration to start up The Buku Bookstore actually stemmed from the days when she was helping her father implement a point-of-sale system for her family's 95-year-old bookshop.
Realising that the inventory of books was simply too massive and intimidating for the regular customer to browse through, and how brick-and-mortar was slowly losing its appeal, she knew she needed to do something.
Quitting her full-time job in 2014, she dived straight into the world of e-commerce, picking up skills like website designing and hosting along the way.
At just a few months old, the bookstore is still young, but Syarafina already has plans to expand the range and depth of books she has on offer, and also start catering to schools and madrasahs (Islamic schools).
Her story is a perfect example of injecting new life into an older business, and she has since been featured on mainstream media as well.
The Average Joe Team
Ricky Quak (middle) and The Average Joe team
Founded by 2 business undergraduates from NTU, The Average Joe is a subscription services that aims to give the average Singaporean dude his supply of wax and/or pomade for a reasonable price each month.
Ricky Quak and his co-founder (who prefers not to be named) met while staying in the same hall of residence, and decided to embark on their entrepreneurship journey after realising how overpriced grooming products for men are due to middlemen fees.
Admitting that they were highly inspired by US-based Dollar Shave Club, they chose the subscription service model over the more common e-commerce route because they felt that given how men are creatures of habit, the former provided even more convenience to their customers.
Formed early this year, Ricky reveals that he hopes to soon expand the list of offerings that the service provides, but still reiterates the importance of taking things one step at a time – a given, seeing that they're still undergraduates with academic obligations to fulfil.
Jeremy Lim, Workwander (and many more)
Jeremy Lim / Image Credit: wkwscialumnimagazine.com
A serial entrepreneur, 25-year-old Jeremy Lim is the co-founder of not just 1, but 4 startups.
A communications graduate from NTU with specialising in public relations and minor in entrepreneurship, his first entrepreneurial venture was Zest+, an e-commerce platform for BlackBerry users in Singapore. A student in Singapore Polytechnic then, the startup was incubated by the school's entrepreneurship department, and he achieved an impressive total sales revenue of $30k from it.
In 2014, he co-founded Picccolo+, a digital marketing agency specialised in startup marketing strategies, and the startup was acquired a year later by Hong Kong-based ed-tech startup Snapask, which was expanding to Singapore.
After a stint at Snapask as its COO, he went on to become the co-founder of Makerscut, a platform connecting independent designers with skilled craftmen in SE Asia, and Workwander, a mobile app for on-demand booking of workspaces.
In January this year, he also created Coworking Singapore, a directory of workspaces in Singapore for freelancers, startups and professionals who want flexibility in where they work.
The NTU Bus Arrival Chatbot Team
An NTU alumni myself, I understand the pain that comes from the very ulu location of the campus – especially when it comes to getting around.
Thus, hopping onto the trend of chatbots, 2 NTU undergrads decided to create an NTU Bus Arrival bot, which works exactly like how its name suggests – it tells students when their bus would arrive, and more importantly, it also gives users a map of the bus stops in the sprawling campus.
Created by Yap Deep and Marcus Tee, the duo got inspired while waiting for their shuttle bus, and agreed that a solution should be available without the need to download an extra app.
They concluded that a chatbot was the way to go, and were so excited that they got started the very next day.
Even with the coding knowledge they picked up during their years of education, they still needed to employ the wisdom of the Internet, as they searched for solutions to tackle the issues they faced along the way.
With graduation on the horizon, both of them plan to discuss with the Student Union (or even NTU itself) on ways to improve the internal shuttle buses system, and hopefully, be able to transfer their knowledge and the bot to the relevant department after.
Chomel Yang, Fratini La Trattoria
Chomel Yang / Image Credit: pinkypiggu
A business student from NTU, 25-year-old Chomel Yang realised her love for the F&B industry when she was paying off her university tuition fees via the sale of her homemade desserts.
Not giving up on her passion, she then pursued a diploma course at Le Cordon Bleu in London, eventually becoming the owner and head chef of popular omakase Italian restaurant Fratini La Trattoria in January 2016.
Located at Greenwood Avenue, the restaurant has been getting rave reviews from food bloggers – no surprise, given the care that Chomel takes in personally picking out the ingredients used herself from wet markets, and importing them from overseas.
A shining example of following your passion even if it doesn't coincide with your degree, there is definitely much to look forward to from this promising young chef and restauranteur.
The HouseTrac Team
4 out of 5 of the HouseTrac team
Addressing the accommodation issues that migrant workers in Singapore face is the team from HouseTrac.
Managed by 5 NTU undergrads Hang Zhi Cheng, Loo Hong Chai, Chan Jun Yan, Tan Peng Hian, and Han Yi Chou (who are all developers), they got their idea after talking to their NTUitive mentor Mr. David Leong, who introduced the idea of helping the often overlooked migrant worker community in Singapore.
As a means to ensure that these workers are staying in quarters that adhere to the standards set by the Ministry of Manpower, HouseTrac is an app where workers can send photos of their lodging to their employers.
For employers, they would be able save the time from going down physically to inspect the quarters.
The photos would also be saved on the app's portal, allowing the company's HR to judge if living conditions are up to standard.
Launched in June 2016, the app saw its first paying customer in November, and have also linked up with employers from various industries after presenting at the Singapore National Employers Federation last year to further the use of their app.
Lim Jialiang, Demochoco
Lim Jialiang / Image Credit: Kahying Gan for WGS
Another NTU alumni who found a calling in F&B, Lim Jialiang is the founder of Demochoco, a small-batch chocolatier which has garnered a fiercely loyal following since inception.
A Sociology graduate, Jialiang's motivation to become his own boss came after a fateful trip to Paris in 2014. Inspired by the chocolates he tasted there, he decided to make his own creations with the flavours he acquires on his frequent travels.
Starting as a small home business simply selling to friends, he soon realised that in a world of Cadbury bars and M&Ms, there was a market for those who preferred chocolates of better quality, and went into the business full time in 2014.
Not just confined to his online shop, Jialiang's truffles are regularly stocked at Keepers, a local collective with an offline presence at the National Design Centre (and soon, at the revamped Funan mall). He also revealed that in the 3rd/4th quarter, he would be moving more into the offline scene, to "select museums and hopefully one hotel".
Having made over 40 unique flavours to date, Jialiang is now looking to focus more on local and Asian flavours for his upcoming batches.
Kenny Choy, Marcus Ng, Sqkii
The Sqkii team
Founded by Kenny Choy and Marcus Ng from NTU, and Eleazar Lim from Singapore Management University, Sqkii (pronounced 'squeak-ki') is a mobile app that wants to help small companies get their foot into the fight for eyeballs by making prime advertising affordable for them.
Bringing up the idea of how a common folk belief dictates that elephants are afraid of mice, Sqkii thus wants to be the mouse that can pick a fair right with the big elephants (aka large companies).
How their app works is that it doesn't just reward consumers for every second they spend viewing an advertisement, it also helps retailers create a simple ad for their products – something they might not have the money or time to come up with.
Given that they were undergraduates then, running a startup on the sideline was something that required them to balance their time carefully, something that Kenny revealed his competitive nature came in handy for.
"I try to be the best in whatever I do – I wanted to retain my position in the Dean's List, be a good club president and succeed with Sqkii. Fortunately, I was able to perform decently in all three aspects last semester."
Before The QS Ranking Leap, They Have Been Making NTU Proud
While the leap in the QS ranking is something NTU undergrads, faculty, and alumni are raving about, at the end of the day, it's really less about stats, but more of the positive impact that those affiliated with the school have made.
And from this impressive list, it's safe to say that NTU is acing in that as well.
This Singaporean Duo Just Won The Apple Design Awards For Their Brilliant, Yet Simple Currency App
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text:
Ghosting the News
Back to Business & Finance
Local Journalism and the Crisis of American Democracy
by Margaret Sullivan
Narrated by Amanda Carlin
series Columbia Global Reports
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Ghosting the News tells the most troubling media story of our time: How democracy suffers when local news dies. Reporting on news-impoverished areas in the U.S. and around the world, America's premier media critic, Margaret Sullivan, charts the contours of the damage but also surveys some new efforts to keep local news alive -- from non-profit digital sites to an effort modeled on the Peace Corps. No nostalgic paean to the roar of rumbling presses, Ghosting the News instead sounds a loud alarm, alerting citizens to the growing crisis in local news that has already done serious damage. She explains how a lack of local news in communities results in more polarization, less political engagement, and more poorly informed citizens who are less capable of making good decisions about governance. And she does it all through the lens of a journalist who spent most of her career in local news, including nearly thirteen years as the top editor of a regional newspaper, The Buffalo News. If local newspapers are on the brink of extinction, we ought to know the full extent of the losses now, before it's too late.
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South Korean prosecutors are launching a crackdown on websites and users judged to be posting "pro-North Korean" material, according to several local press reports.
The action comes as regulators judge the amount of such material available to South Korean citizens has "mushroomed to a risky level," according to prosecutors quoted by Yonhap News said.
North Korea's state-run media outlets have spent the last year launching several propaganda-filled sites that report on aspects of life in the country and extol the benefits of the country's political system and its leaders. The outlets have also expanded onto social media with Twitter, Facebook and YouTube channels.
The ease with which such information is now available has led to an increase in the amount of North Korean material getting re-posted on blogs and other Internet sites run by South Koreans and those overseas. The government in Seoul has already reacted to some of this with website blocks and, in some cases, arrests.
Now the government feels the content of some sites goes "beyond what can be tolerated within the freedom of expression," reported Yonhap.
The first step will be a November meeting between the National Police Agency and Korea Communications Standards Commission, which is already responsible for a block-list of pro-North websites and other content deemed harmful.
"In the meeting, the authorities will also devise policy measures to limit locals' access to pro-North Internet sites based overseas, the prosecution said.
Last month it emerged the number of websites blocked by North Korea's censors has risen dramatically in the last two years. Police submitted 80,449 requests for the removal of online postings in 2010 compared to 14,430 in 2009. A year earlier in 2009 it was just 1,793.
But sometimes the guidelines used for blocking are less than clear. At the beginning of this year the website of Beijing-based Koryo Tours was among those blacklisted by the South Korean government. The company runs tours to North Korea and its website includes images of the country, but it doesn't promote the nation's ideology, offer tours to South Korean citizens or have pages written in Korean.


This assay is useful in the diagnosis and management of various pituitary, placental, pancreatic and hCG-producing tumors. The assay can also be useful for investigations where alpha subunit is increased under various physiological stimuli, e.g., GnRH stimulation and TRH stimulation tests.
Specimen 2 mL (1 mL min.) serum from 1 Red Top (No Additive) tube. Ship refrigerated or frozen.


← It's Friday and I'm bagged. Week 23. Literally bagged.
During the summer months, flip flops are a staple in many wardrobes. As fun and cute as flip flops can be, they become dirty easily and expose our feet to a variety of harmful bacteria.
Now we all know that we should clean our sandals and flip flops but it's often a task that gets put off. We recommend giving your sandals and flip flops a soak regularly to remove the dirt and oils and wash off some of the harmful bacteria.
Chris gave her flip flops a quick and easy wash last week and photo documented it for us.
Collect all your flip flops. I know you have more than one pair.
Fill up a sink or basin. Add Soak. Add flip flops.
Leave to soak for at least 15 mins. For extra dirty flip flops, put a little soak right on the shoe and scrub with a brush.
Drain. You can leave them outside to dry or in Chris's case leave them in a drying rack.
It's too bad she can't actually wear any of them because of her cast.


Kijabe sits on the outskirts of Nairobi overlooking the great Rift Valley. The views from the hospital compound are magnificent! Just up the hill, is the famous Rift Valley Academy, a boarding school where most missionaries in Africa send their kids. The winding road down from the top, or up from the valley make you wonder how there ER (which they call "casualty" unit) is so busy! While Kenya has only about 10% Muslim population, Kijabe serves many Muslim patients, some from as far away as Somalia.
Kijabe had a full time American ENT there for about two years. The equipment there is probably as good as you'll find at any mission hospital. One of the full time general surgeons on faculty, Rich Davis, is very interested in head and neck cases. There is actually an ENT guest house, built by the cleft teams that have made annual trips to Kijabe for many years.


It's easy to book an inspection with us. Simply call my cell phone 352-573-7210 or office 352-588-2184 and we'll be happy to set an appointment that fits your schedule. Our office is open from 8 a.m. to 5 p.m., Monday - Friday. If you're calling after hours, please leave a message and we'll get back to you as soon as possible. Please let us know the urgency of your inspection.
Thank you for contacting 360 Home Inspections.


text:
Q: Makefile object files not created Have you ever experienced a situation when an object file was not present after successful compilation?
Running on windows using gnumake-4.2.1 and gcc-arm-none-eabi-5_4-2016q3 toolchain
I have a makefile which I am not full author of
this is interesting part
DEPFLAGS =  -MT $@ -MMD -MP -MF $@.d

$(OBJS_OUTPUT_FOLDER)/%.o : %.cpp
    @$(CXX) -c $< -o $@ $(CFLAGS) $(DEPFLAGS) $(INC_FOLDERS_INT) $(LANGUAGE_STANDARD_CPP) \
    && echo $@ OK && $(CP) $@ C:/build/

and this is the console output
build/bar.o OK
build/baz.o OK
build/foo.o OK
cp: can't stat 'build/foo.o': No such file or directory
make[1]: *** [Makefile:223: build/foo.o] Error 1
make[1]: *** Waiting for unfinished jobs....

Checking the file system shows that the foo.o really is not present, sometimes other files are missing as well (for example baz.o.d).
I don't really think its fault of the makefile because it gets done eventually (usually on the second to third try without cleaning).
When all of the objects are done I usually get linker error
aaa.hh:183: undefined reference to `MyNamespace::MyFun(short, short, short)'

MyFun is not in bar, baz neither in foo. The object file that should contain  MyFun is present, but the size of it is total nonsense (556B), but if I manually delete it (as suggested elsewhere on SO when dealing with undefined references (as a corrupted one)) and make all again it gets done (now the size is around 1.5MB) and creates the binary.
Edit:
As the incorrect files have stable size (well, for the time being it seems so) I have added
 @test `wc -c <$@` -ne 556;

to the rule(Checking file size in makefile, stopping if file is too short), this catches the wrong objects (I know specific case) and together with .DELETE_ON_ERROR: I don't have to manually delete the bad ones I find after linking the output of the console in this case is
[ CXX ] build/bar.o
make[1]: *** [Makefile:219: build/bar.o] Error 1
make[1]: *** Deleting file 'build/bar.o'

while in the other case
[ CXX ] build/foo.o
/spt/resources/sh: can't open build/foo.o: no such file
sh: 556: unknown operand
make[1]: *** [Makefile:220: build/foo.o] Error 2

so it probably is not makefile deleting it (I believe it would announce it as in the first case)
Edit2:
After setting a virtual machine (Windows 7) and making the project again (same makefile, same toolchain, same make) it goes smoothly. I guess there really is something on the host computer, maybe an antivirus or some other corporate security software...
Thanks in advance

redpajama_set_name: RedPajamaStackExchange


text:
Senný trh (Rynek Sienny, původně německy Heumarkt) je jedno z hlavních náměstí na Starém Městě ve Štětíně (Szczecin).

Dějiny
Trh vznikl ve středověku. Ve 13. století byla postavena budova staré radnice v gotickém slohu. V 17. století byla radnice přestavěna v barokním stylu. V letech 1833–1835 byla na západním průčelí postavena budova burzy. Kolem náměstí byly postaveny činžovní domy v barokním stylu, poté přestavěný do eklektického stylu. Během druhé světové války bylo náměstí zničeno bombardováním. Radnice, burza a nedaleké budovy shořely. Po válce byly zbořeny ruiny činžovních domů a burza. Radnice byla rekonstruovaná v gotickém (tři zdi) a barokním stylu (jižní štít). Na západní straně trhu v 60. letech 20. století byly postaveny tři čtyřpatrové panelové domy. Ve druhé polovině 90. let byla zahájena rekonstrukce činžovních domů na jižním a západním průčelí. Některé nové budovy mají podobný vzhled jako před válkou, například Dům Moninů.

Významné budovy a objekty
 Stará radnice
 Dům Moninů (zbořen ve 40. letech 20. století, rekonstruovaný v letech 2002–2009)
 Dům Linsinga (Sienna 7) (zbořen ve 40. letech 20. století, rekonstruovaný v letech 1995–1998)
 Dům Linsinga (Sienna 8) (zbořen ve 40. letech 20. století, rekonstruovaný v letech 1995–1998)

Neexistující
 Burza

Galerie

Plán

Odkazy

Reference

Externí odkazy

Náměstí na Starém Městě (Štětín)
Vzniklo ve 14. století


Verizon started the 4G LTE ball rolling in the United States when the 4G LTE network was designed and still hoping to be the first in the United States to roll out the 5G Network. Yesterday, Verizon said it has completed its 5G radio specs; these specs will be used by manufacturers of Smartphones, suppliers of parts used to build out the 5G network, and others helping Verizon roll out and maintain 5G service. If you don't know before, data speeds for 5G are supposed to be approximately 100 times faster than that of 4G LTE.
Verizon Companies working with Verizon on the 5G radio specs includes - Cisco, Ericsson, Intel LG, Nokia, Qualcomm, Samsung Now with this latest improvement, you might be wondering how soon the 5G network will be rolled out by Verizon? Well, according to most analysts, be expecting that to take place in 2020. Not so soon!
What do you think about the new 5G network? Don't you think we're really far behind in Nigeria, where 4G LTE has not been properly established yet? Let's hear from you!
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In my home state of Massachusetts,voters will decide in November whether to expand the number of charter schools — now capped at 120 statewide but limited to, in chronically struggling districts, 18 percent of total spending. The propaganda wars have begun, and the lies are flying as fast and thick as they do from Donald Trump's mouth.
Charters are public schools operated independently of district bureaucracies, with more freedom to design their schools and choose their teachers but also subject to greater accountability. If they fail — if their students fall too far behind — they are closed.
Led by the teachers unions, critics of the current ballot proposition to lift the state's charter cap use several lines of argument — the same arguments they use to oppose charter schools in every other state.
Front and center in their television ads is the charge that charters drain $400 million a year from our public schools. Beyond that, they label charters "corporate reform" — a Republican effort to privatize our schools.
Both arguments are nonsense. More accurately, they are lies designed to protect the jobs of mostly white, middle-class teachers and union officials at the expense of mostly poor, minority kids. You see, most charters are not unionized, so when they expand, school districts hire fewer teachers and the union shrinks.
Too many liberals buy the lies, because they assume organized labor must be in the right. The other day, Senator Elizabeth Warren even joined their ranks. Imagine: Elizabeth Warren standing in the schoolhouse door, blocking opportunity for poor, minority children.
Do charters drain funding from our public schools? How could they? Charters are public schools. They do drain funding from traditional school districts, but that's because parents have proactively pulled their children out of district schools and placed them in charter schools. Do the district and union leaders believe the money belongs to them?
We taxpayers think it's our money, which we spend to provide a quality education for every child. When a school no longer educates a child — because the child has moved away, or chosen to attend a school in another district, or left for a charter school — the money leaves as well.
Actually, the districts in Massachusetts have a sweet deal, created by the state legislature to keep them from killing charters in their infancy. Traditional public schools get to keep some of the money for several years after the child departs for a charter. Thanks to this bribe, the existence of charters actually gives districts more money per child, not less.
The districts and unions complain that they have fixed costs, like heating and electricity, and when a child departs, their fixed costs remain the same. Welcome to the real world! That's true of every business and nonprofit in America, but we don't subsidize them or limit their competition. We expect them to figure out how to cut their costs or attract more customers.
When you switch doctors, does your old doctor expect you to keep paying them for a few years? When you move, does your old city or town get to keep some of your property tax revenue for a few years? The very idea demonstrates the absurdity of the opposition's position.
It brings to mind the American automakers of the early 1980s, when the Japanese took so many customers away because Ford, Chrysler and General Motors made lousy cars. The auto companies wanted the government to limit their competition by capping the number of imported cars, which would have saddled us with low quality for decades to come. What forced Ford and the rest to improve was competition — and competition from charters has had exactly the same effect on our school districts.
How about the idea that charters are a Republican plot to privatize public schools? Any truth there?
The idea of charter schools originated in 1974 with Ray Budde, a professor at the University of Massachusetts. But it only got national attention in 1988, when American Federation of Teachers President Al Shanker gave a speech and wrote a column advocating charters. Needless to say, Shanker was no Republican.
Bill Clinton was a big charter supporter; he pushed through a federal bill that has since provided $3 billion to start charter schools. The Democratic Leadership Council, which Clinton chaired before he ran for president, helped spread charters through its state chapters. Its first victory came in California, where Democratic State Senator Gary Hart (not to be confused with Colorado's Gary Hart) got the nation's second charter law passed in 1992.
In Massachusetts, Democratic State Rep. Mark Roosevelt, who chaired the House Education Committee, put charters in the 1993 education reform bill. A year later, Roosevelt was the Democratic nominee for governor.
I know Roosevelt deserves the credit because I brought him the idea. In the fall of 1991, as he was developing the broader bill, a colleague urged him to talk with me. I knew the activists who had shaped the nation's first charter law, which passed in Minnesota in May 1991 — because Democratic state legislators pushed it through. Intrigued, Roosevelt asked for more information.
Soon afterward the key Minnesota activist, Ted Kolderie, called and said he was coming to Boston to visit his son. Was there anyone he should talk with about education reform? I put him in touch with Roosevelt, and he helped shape the bill.
Kolderie did the same in Colorado, another early adopter. On a trip to Denver he sold Democratic State Rep. Barbara O'Brien on the idea, and she pushed a bill through. Later she was elected lieutenant governor.
And have charter critics noticed that Barack Obama is a big supporter?
When charters were born, most Republicans were enamored of raising academic standards and enacting vouchers, so people could take public money to private schools. Most "New Democrats," as we called ourselves in those days, agreed that standards needed to be raised, but we had doubts about vouchers. Though they made sense for poor kids trapped in failing urban schools, we worried that if they became widespread, equal opportunity would go out the window. Middle-class parents would take the voucher, add their own money, and buy more expensive education than poor parents could access. Schools would stratify even more by income levels, and the wide gaps between the rich, the middle class and the poor would become yawning chasms.
Charters are operated largely by nonprofit organizations, not public organizations. But if a road is built by a private company, as our roads are, does that make it a private road? If a school is built by a private company, does that make it a private school?
Of course not. Schools are public because they are funded by taxpayers, they are open to all students and they are accountable to public bodies. All three are true of charter schools.
Massachusetts has some of the highest-performing charter schools in the country. According to a reputable study by the Center for Research on Education Outcomes (CREDO) at Stanford University — a source warmly embraced by charter critics after its first national study in 2009 — students at Boston's charter schools learn the equivalent of a year extra in math and reading every year, compared with demographically similar students at Boston's traditional public schools. These are among the largest test score gains ever recorded by an education reform that has affected thousands of children.
Charter students are also much more likely to graduate from high school and go on to four-year colleges than their Boston Public Schools counterparts. Many charters routinely send all their graduates to college.
The difference is not the students. Boston's charters educate just as high a percentage of poor and minority students as the traditional school district does, and they are closing the gap on English-language learners and kids with special needs.
Nor is parental motivation the key. Boston's charters must use lotteries because they are oversubscribed, and studies show that students whose parents are equally motivated but lose out in the lottery do much worse in their traditional schools than their counterparts who get into charters.
It is the quality of the schools that changes students' lives. By now, charters have changed the lives of tens of thousands. Yet tens of thousands more are denied access to them, thanks to the political power of the teachers unions.
As of last March, the Massachusetts Department of Education reports, almost 33,000 students were on waiting lists for charters. Yet the ballot proposition would allow only a dozen more schools a year — hardly an onslaught of competition for thousands of traditional public schools.
Senator Warren and her liberal allies need to wake up. For 25 years, charter schools have been a progressive initiative, brought to us by reform-minded Democrats. The teachers unions are reactionary, protecting their self-interest against the interests of poor children.
Surely most liberals would agree that low-income children deserve the opportunity to get a good education and go to college. When they do, we will all benefit.
Correction: A previous version of this article misstated how Massachusetts caps charter schools. The state caps charters at 120 schools statewide. There is a spending cap, as well: for this year, funding for charters in the lowest-performing 10 percent of school districts cannot exceed 18 percent of the district's total net spending. Charters in other districts cannot receive more than 9 percent of the district's net spending.
David Osborne is the author or co-author of Reinventing Government, Laboratories of Democracy and other books on public-sector reform. He is currently director of a project on reinventing America's schools at the Progressive Policy Institute; his book on the subject will be published next year by Bloomsbury Publishing.


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La butxaca és una petita cavitat amb folre incorporada a una peça de vestir, a una cartera, etc., que serveix per a desar-hi objectes personals, com les claus, els diners o papers; també compleix una funció decorativa. Pot estar oberta per la part superior; o tancada amb un botó o una cremallera; o coberta per una tapeta de manera que no en caigui el contingut (i llavors tancar amb botó). La butxaca de pantaló, de jaqueta, etc., acostuma de ser prop del maluc, per poder arribar-hi còmodament amb les mans; però modernament també és habitual de dur butxaques al pit i a la part posterior dels pantalons.

La butxaca procedeix de la bossa que es duia penjant i que tenia finalitat anàloga; en incorporar-se a la roba sorgí la butxaca pròpiament dita.

Tipus
Per forma i construcció, les butxaques poden ser, bàsicament:
 butxaca de trau o de folre: consisteix en un trau fet a la superfície de la peça de roba, complementat amb un folre cosit per la banda interior. Sobre la peça de roba tan sols es veu el trau, si no va acompanyada d'altres elements (com ara tapeta, cremallera, etc.). Només es deixa així en roba de treball; per regla general es protegeix amb tapeta o s'ornamenta amb rivet o amb tapeta cosida (vegeu més avall).
 butxaca enrivetada: butxaca de trau ornada o reforçada amb rivet. Per exemple, es dona molt en butxaques posteriors de pantalons de vestir.
 butxaca de tapeta cosida: butxaca de trau amb la boca envoltada per tapeta ornamental cosida. És la butxaca típica de les armilles, per exemple.
 butxaca ràglan: butxaca de tapeta cosida col·locada de biaix; és força habitual en caçadores i gavardines, per exemple.
 butxaca aplicada o de plastró: consisteix en una peça superposada a la peça de roba. Sobre aquesta es veu la totalitat de la forma de la butxaca. Per exemple, és la típica butxaca pectoral de les camises.
 butxaca de manxa o de bossa: butxaca aplicada, força ampla, i plegada sobre si mateixa per tal d'augmentar-ne la capacitat; la superfície pot dur plecs (butxaca de plecs) o bé ésser llisa.
 butxaca de plecs: butxaca aplicada amb la superfície confeccionada en plecs; generalment és una forma de butxaca de manxa. Procedeix dels uniformes tropicals; d'ací que a voltes s'anomeni butxaca sahariana.
 butxaca de costura: butxaca incorporada a la peça tot aprofitant una costura; quan alhora hi resta dissimulada també se'n diu butxaca invisible. Entre les butxaques de costura d'ús més habitual es compten les butxaques del davant dels pantalons, quan prenen forma de biaix o corba.
 butxaca de tapeta: es diu de qualsevol mena de butxaca dotada de tapeta (la qual és aplicable a la majoria de les tipologies).

En efecte, moltes d'aquestes tipologies de butxaca poden combinar-se amb tapeta protectora i amb diversos sistemes de tancament (botó, botó de pressió, cremallera, veta adherent). Un exemple: hi ha parques amb butxaques aplicades, de manxa, tancades amb tapeta (mitjançant botons de pressió) i que en un extrem presenten butxaca de trau (sota l'aplicada) d'accés per cremallera.

Localització en peces de roba
Segons la localització sobre peces de roba, les butxaques poden ser, bàsicament:
 en les peces superiors (jaquetes, caçadores, etc.):
 butxaca pectoral: situada al pit. En les camises (butxaca de pit) sol ésser aplicada i funcional. En peces formals com l'americana (butxaca de pit) és de tapeta cosida i molt petita, pràcticament ornamental (com a màxim serveix per a lluir un mocador de butxaca). En peces informals, i en les militars, acostuma d'ésser aplicada, de tapeta i funcional.
 mistera: butxaca menuda, situada a la banda dreta, una mica més amunt dels faldons; té les mateixes característiques i funcionalitat que la butxaca de rellotge (vegeu més avall). És pràcticament exclusiva de les jaquetes més formals, i es conserva per tradició.
 butxaca de faldó: situada al faldó, i generalment grossa. Pot ser de trau o aplicada, i amb tapetes o sense.
 butxaca interior: situada a la banda interior de la peça de roba, invisible des de l'exterior, i només accessible des de l'interior. També és coneguda com a infern i sarró.
 butxaca lateral: situada al lateral d'algunes peces com ara les caçadores. Generalment és de biaix (i ràglan) o bé vertical (i de tapeta cosida). Té la mateixa funcionalitat que la butxaca de manegot (vegeu més avall).
 butxaca de màniga: situada a la màniga. Ús provinent del món militar; al món civil només es dona en models informals (per exemple, en parques).
 butxaca posterior: situada al darrere de la peça. Com en el cas anterior, només es dona rarament, i encara en models informals o bé militars.
 butxaca de maniguet o de manegot: butxaca aplicada, oberta verticalment per un extrem o per tots dos, que es col·loca a la zona ventral (per exemple, en dessuadores) i que serveix per a resguardar les mans (com els antics manegots, d'on el nom).
 en les peces inferiors (pantalons, faldilles, etc.):
 butxaca del davant: com indica el nom, és l'habitual que es duu als pantalons a l'altura dels malucs. Pot presentar tres morfologies bàsiques: butxaca vertical, pròpia dels pantalons tradicionals; butxaca de biaix, la més habitual avui dia; i butxaca corba, típica dels texans.
 butxaca de rellotge: butxaca petita, col·locada vora la cintura dels pantalons, sempre a la banda dreta, que originalment servia per a dur-hi el rellotge de butxaca, o bé objectes menuts. Generalment és, o bé aplicada (com als texans), o bé de trau. També és anomenada rellotgera.
 butxaca posterior o del darrere: situada al darrere dels pantalons (i a voltes de les faldilles); pot presentar multitud de configuracions (enrivetada, de manxa, etc.). També se'n diu butxaca revolvera.
 butxaca de càrrega (o, més tècnicament, butxaca lateral de manxa): butxaca de manxa (amb plecs o sense) situada al lateral dels pantalons (més rarament en faldilles); és l'element definitori del pantaló multibutxaca, d'origen militar.

Orientació
Per l'orientació en el marc de la peça de roba o objecte, les butxaques poden ser, bàsicament:
 butxaca recta (per exemple, una d'aplicada sobre una jaqueta);
 butxaca vertical (per exemple, una del davant, en pantalons, i també una de tapeta cosida, al lateral d'una caçadora);
 butxaca oblícua, o de biaix (per exemple, una de pectoral aplicada sobre una jaqueta de campanya).

Llenguatge corporal
Tradicionalment, dur les mans a la butxaca sovint es considera signe de ganduleria. Per exemple, imaginem una oficina, o un taller, on el personal va de bòlit amb una feina urgent: si un dels treballadors s'hi palplantés amb les mans a la butxaca, això provocaria la irritació automàtica dels seus companys ("I tu, què? Que estàs de vacances?").

En contextos d'oci, en canvi, dur les mans a la butxaca denota relaxació i familiaritat.

Objectes de butxaca
Existeixen multitud d'objectes denominats "de butxaca" perquè tenen com a característica unes dimensions i disseny orientats a guardar-los a la butxaca, cabre en el palmell d'una mà o dur a sobre amb facilitat. Entre d'altres hi ha:
 els ordinadors de butxaca
 els llibres de butxaca
 els rellotges de butxaca
 les armes de butxaca

Per extensió, molts objectes massa grossos per a dur a la butxaca, però petits per al que els és habitual, són anomenats "de butxaca". Així, per exemple, s'ha parlat de tancs de butxaca i teatres de butxaca.

Notes

Bibliografia
 Diccionari visual Oxford: català, castellà, anglès, francès. Oxford: Oxford University, cop. 1997.
 Newman, Alex; Shariff, Zake. Moda A-Z: diccionario ilustrado. [Traducción: Teresa Jarrín Rodríguez] Barcelona: Blume, cop. 2010.
 Travers-Spencer, Simon; Zaman, Zarida. Directorio de formas y estilos para diseñadores de moda. [Traducción: Teresa Valverde] Barcelona: Acanto, cop. 2008.

Parts d'una peça de vestir


The Vaisakha Maholsavam festival is held every year during the months of May - June. The twenty eight day festival commences with the Neyyattam ritual on the Swati Day in Edavam and concludes with the Thrikkalashaattu.
The Vaisakha Maholsavam celebrations begin with the ritual of bringing a sword from Muthirerikavu from Wayanad. On the following day, on Visakham star Bhandaram Ezhunnallath ritual is held. Gold, Silver vessels, heavenly ornaments etc are brought from nearby Manathana village to Kottiyoor.
An important ritual during the festival is the 'Elaneer Vayppu' or submitting tender coconuts before the swayambhu Shiva linga. On this special day, thousands of tender coconuts carried from different parts of Malabar by the devotees are submitted. The following day, the main priest of the temple, pours the collected coconut water on to the idol which is known as 'Elaneeraattam'.
Rohini Aaradhana is a very important ritual which is not seen in any other temple. The priest embraces the swayambhu Shiva linga as part of the ritual. The belief behind this ritual is that Brahma himself worships Lord Shiva to pacify for the loss of Sati.
As a part of the festival, a procession (Ezhunnallippu) is held with two elephants carrying the idols of Lord Shiva and Parvathi. After the procession, the elephants are fed well (Aanayootu) and given a formal farewell.
Elaborate rituals and offerings are open to devotees during the festival. Visit the Kottiyoor Vazhipadu Offerings page for the details and rates.


And for all of my more traditional family members who don't want to think about me kissing a boy til marriage, turn your computer off before it explodes from my sinful nature expressing itself in an unmarried kiss. It happened, and I'm gonna talk about it only because it was one of those defining moments in life that turn out to be a little less than you expected. Well, a lot less. Awkward dissappointment may be the right terminology.
My first kiss happened in 6th grade, I was just a few months shy of 12 years old. I was "dating" a boy named Nick Green. Some of you knew him, know him, dated him… let's just call it like it is. He was my first boyfriend.
Wait, I take that back… I had a boyfriend in 4th grade, too. His name was Craig Engfer. Oh yeah. Engfer. We both liked each other the entire school year and while all my other friends were hopping between boys (in 4th grade, that's crazy!) I was only interested in Craig. [insert dreamy eyes] I wrote in my journal the day he asked me out that he was so cute and adorable and sweet and kind plus about 50 other words to explain my infatuation. Two weeks later the school year was over and I guess we broke up. I wrote again in my journal how mad I was that "HE ASKED ME OUT and WHERE DID HE TAKE ME? NOWHERE!!!!" I don't know what I expecting from a 9 year-old boyfriend but apparently I had high expectations. I also used a lot of capital letters. I think I was just heartbroken that I finally had such a sweet boyfriend and then he dumped me 2 weeks later. I found him on facebook a few years ago, so hopefully he won't find this ranting about his 4th grade girlfriend.
Anyway, back to Nick. I say the terms "boyfriend" and "dating" generally because in the 6th-grade sense of the word, it means we hung out on the weekends with a group of friends, saw each other in school, sat together at lunch, and held hands on our way out to the school bus. We probably also bought balloons for each other on our birthdays because that's what we did in middle school. (Birthday balloons were like a popularity contest and whoever had the most balloons on their birthday was obviously the coolest person ever. I was in Chorus, not soccer. I was more interested in singing opera in a recital than running for SCA President. I never had the most balloons.) Nick and I also went to a couple school dances together, dancing all the awkward slow songs and watching the drama unfold as other couples were breaking up and making up and making out all in a 10-minute period of time.
So onto the first kiss, sorry for wasting your time on all my 11 year-old social nonsense. My introduction to the world of physical intimacy occured next to my school bus, which was in a long line of school buses, while hundreds of kids were looking and gawking and passing by. Cause THAT's not awkward. I had been anticipating this kiss for weeks because it's tradition that the boyfriend and girlfriend meet in the hallway by the main section of lockers before walking out to the buses so they can hold hands on the way out. And you have to hold hands with interlocking fingers, not the way you hold hands with your Mom. That's social suicide. We held hands the right way. And on our way out I was feeling more and more nervous about this kiss. HIs friends had probably been riding him about it since we started dating, so I knew it was coming. He walked me to my bus, like such a gentemen, and in the moments between arriving to the bus and me turning away from him to hop up the steps, he grabbed my body in a really tight and awkward hugh and gave me a quick and kind of hard peck on the lips. It was not sweet. It was not cute. And it was not romantic. But hey, I could say when I got on the bus that I'd had my first kiss and I guess that's what makes it so memorable.


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Trans-Am Champion Jack Baldwin to Race with SVRA at Sebring
February 16, 2016 by SVRA
Latest Legend to Join 50th Anniversary Trans-Am Weekend Will Race in Two Events
Jack Baldwin, who won the 1992 Trans-Am championship and a number of other major titles during a sterling career, is the latest legendary driver to enter races at the March 3-6 SportsCar Vintage Racing Association (SVRA) weekend at Sebring. Baldwin will compete in his 2012 GT Sport Racing #73 Porsche Cayman S in two events, the SVRA Group 12 and the Stuttgart Cup competition of the America's GT Cup series. The SVRA and America's GT Cup announced on December 16 of last year that they had established a strategic agreement to run together during seven weekends in 2016. America's GT Cup will run in a separate group in the larger context of SVRA event weekends.
Baldwin is the latest Trans-Am champion to join a growing list of some of the biggest driving stars of Trans-Am history at the iconic Sebring airport course. Other previously announced legends of earlier eras include event grand marshal Bob Tullius as well as George Follmer, Lyn St. James, Willy T. Ribbs, David Hobbs and Tom Yeager. Ron Fellows was announced last week as an entry in the SVRA's Group 6 classic Trans-Am contest with the Dave Roberts 1969 Camaro Z28. Baldwin and Fellows will compete with vintage racers while the other legends will be on hand to greet fans in planned activities that include autograph sessions and moderated panel discussions.
"I'd like to say I planned all these awesome entries, but the truth is this event has taken on a life of its own," said Tony Parella, SVRA President and CEO. "What the SVRA is doing to salute the Trans-Am series has struck a nerve and a lot of very accomplished racers are gathering with us to be a part of this special occasion."
Baldwin is indisputably one of America's all-time great road racing talents with outstanding accomplishments in SCCA, IMSA, Grand AM, ALMS, NASCAR, HSR and Pirelli World Challenge to go along with his success in Trans-Am. He was twice invited to compete in the prestigious IROC series in 1993 and 1994, edging out Dale Earnhardt in a photo finish for the runner-up spot behind Al Unser Jr. at Talladega in '93. In 1984 Baldwin won the GTU class driving the Malibu Grand Prix Mazda Rx-7 at both the 24 Hours of Daytona and the 12 Hours of Sebring. He picked up a second win at Sebring in 1997 driving the Hot Wheels Oldsmobile Aurora in the GTS-1 class.
Across a career spanning nearly five decades beginning with SCCA regional championships in the early 1970's and the United States Formula Ford crown in 1972, Baldwin has amassed 5 championships, 39 professional race victories and over 250 podiums. Despite his success with sports cars and even finishing fourth in 1999 at Watkins Glen in a NASCAR Busch series race, Baldwin recognizes he is best known as a Trans Am driver, especially the man at the wheel of the famous Hot Wheels Camaro. The distinctive car was not only eye catching but also the inspiration of toy replicas served in McDonald's Happy Meals.
"Those years in Trans-Am defined my career," Baldwin says. "Fans always refer to that. "I believe the Hot Wheels Trans-Am Camaro is arguably one of the most recognized Trans-Am cars of all time. The car had huge broad base appeal in and out of motorsports and was known worldwide."
Baldwin won five races across three successive Trans-Am seasons beginning in 1991. He was series rookie of the year in 1990. More recently he competed in the GTS class of the Pirelli World Challenge series from 2012 through 2015 where he scored eight victories, 30 podium finishes and 16 Pole Positions driving his #73 Porsche Cayman S. He became recognized worldwide as the leading developer of the Cayman S as a racing platform and influenced the marketing and engineering direction of the Porsche Product. For 2016 Baldwin expects to focus on SVRA and Stuttgart Cup events.
In addition to Baldwin and the other legendary Trans-Am drivers the SVRA's hundreds of vintage racers will share the Sebring venue with today's TransAm series. That field is led by current TransAm champion Amy Ruman, a 20-year veteran of American road racing, who is not only the first woman to take the TransAm crown but is also the series' winningest driver the past two seasons with 10 victories.
The Historic Trans-Am group will also bring their show to the SVRA's March 3-6 Sebring weekend. These authentic and historic Trans-Am machines stage their own competition. Among the entries are cars once driven by Parnelli Jones (Boss 302 Mustang), Mark Donohue (Javelin and Camaro), Sam Posey (Dodge Challenger), and a Dan Gurney/Swede Savage Plymouth Barracuda. Thirty-one of these cars are currently entered.


It's so hard to be consistent as an energy analyst and trader – there's truly no other sector with so much of the economy riding on it that seems to undergo more ups and downs.
We'll have months, sometimes years of rising prices like other growth areas in the economy – with rising production, increasing jobs, stronger balance sheets. All seems to be going well and then – BOOM - almost without warning, we'll get a complete market bust.
As an analyst, I'll spend the next months, and more likely years, just waiting for the gluts and overspending to slowly drip out. My days become a constant search for the one or two lone sub-sectors or companies that might have seen a bit ahead, maybe prepared (at least a little?) for the bust cycle and are scrupulously planning longer-term towards the next boom cycle with discipline.
And then – when you think you might have found one, maybe ONE company with a bit of foresight, a plan for the downturn, and an even more disciplined plan for the inevitable turnaround in prices, another, entirely unrelated but massively destructive event will emerge out of the blue.
Frustrated, and likely with some of my own money in this company, I'll now try to figure out whether this event – whatever it is – is fairly re-valuing my investment, and whether I should see this as an opportunity --- or as an omen – to go find another place for my capital.


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Jim Parker, Navy Commander, Astronaut, was on the verge of getting married after his next flight into space. But during his flight his spaceship disappeared, a time warp. And now Jim Parker is destined to experience early history first hand on...THE EXPEDITION.
Running Time: Approx: 1.1 hrs.