text:
Q: tbb matrix mulitiplication stack overflow error c++ I'm trying to a matrix multiplication using task in intel tbb, the algorithm that I'm using is Strassen's algorithm...
Here is my code for main():
#include "Matrix.h"
#include "tbb/tick_count.h"

using namespace tbb;
using namespace std;

//Here is how I call MatTask class
Matrica callParallel(Matrx& A, Matrix& B, Matrix& C, int n){

    MatTask& t = *new (task::allocate_root ()) MatTask (A, B, &C, n);

    task::spawn_root_and_wait (t);

    return C;
}

int main(){
    int rows, columns;
    Matrix serialC;

    cout << "*******************\n" << "If rows and columns are < 6 you will enter the matric manualy\n" << "********************\n" <<endl;

    cout << "Enter rows for matrix A: ";
    cin >> rows;
    cout << "Enter columns for matrix A: ";
    cin >> columns;

    Matrix A(rows, columns);

    if(rows > 5 && columns > 5){
        A.createMatrixAutomatic();
    }else {
        A.createMatricManualy();
    }

    cout << "Enter rows for matrix B: ";
    cin >> rows;
    cout << "Enter columns for matrix B: ";
    cin >> columns;

    Matrix B(rows, columns);
    if(rows > 5 && columns > 5){
        B.createMatrixAutomatic();
    }else {
        B.createMatricManualy();
    }

    cout << "Matrix A: " << endl;
    A.printMatrix();
    cout << "Matrix B: " << endl;
    B.printMatrix();

    cout << "Matrix C: " << endl;

    tick_count start_time = tick_count::now();
    serialC.MultSerial(A, B);
    tick_count end_time = tick_count::now();

    cout << "\nTime for serial: " << (end_time - start_time).seconds() * 1000 << " ms" << endl;

    serialC.printMatrix();

    //Creating matrix for result and calling the parallel algorithm
    Matrix parallelC(rows, columns);
    parallelC = callParallel(A, B, parallelC, rows);

    //This here prints the result matrix
    parallelC.printMatrix();

    system("PAUSE");
}

Here is my Matrix.cpp code:
#include "Matrix.h"

Matrix::Matrix(){}

Matrix::Matrix(int rows, int columns){
    vr = rows;
    kol = columns;
}

void Matrix::createMatrixAutomatic(){
    for(int i = 0; i < vr; i++){
        for (int j = 0; j < kol; j++){
            int number = rand() % 5 + 1;
            matr[i][j] = number;
        }
    }
}

void Matrix::createMatricManualy(){
    cout << "Enter the elements: " << endl;
    for(int i = 0; i < vr; i++){
        for (int j = 0; j < kol; j++){
            cout << "Enter [" << i << "]" << "[" << j << "] element: ";
            cin >> matr[i][j];
        }
    }
}

void Matrix::printMatrix(){
    for (int i = 0; i < vr; i++){
        for (int j = 0; j < kol; j++){
            cout << matr[i][j] << "  ";
        }
        cout << endl << endl;
    }
}

void Matrix::MultSerial(Matrix& A, Matrix& B){
    for(int i = 0; i < A.vr; i++){
        for(int j = 0; j < B.kol; j++){
            matr[i][j] = 0;
            for(int k = 0; k < B.vr; k++){
                matr[i][j] += (A.matr[i][k] * B.matr[k][j]);
                vr = A.vr;
                kol = B.kol;
            }
        }
    }
}

void Matrix::substract(Matrix& A, Matrix& B, int dim){
    for (int i = 0; i < dim; i++) {
        for (int j = 0; j < dim; j++) {
            matr[i][j] = A.matr[i][j] - B.matr[i][j];
        }
    }
}

void Matrix::Add(Matrix& A, Matrix& B, int dim){
    for (int i = 0; i < dim; i++) {
        for (int j = 0; j < dim; j++) {
            matr[i][j] = A.matr[i][j] + B.matr[i][j];
        }
    }
}

And here is my MatTask class and Matrica.h class
    #pragma once

    #include <iostream>
    #include <tbb/task.h>

    using namespace tbb;
    using namespace std;

    class Matrix{

public:

    int vr, kol;

    int matr[100][100];
    Matrix();
    Matrix(int rows, int columns);

    void createMatrixAutomatic();
    void createMatricManualy();
    void printMatrix();

    void MultSerial(Matrix&, Matrix&);

    void Add(Matrix& A, Matrix& B, int dim);

    void substract(Matrix& A, Matrix& B, int dim);
};

class MatTask: public task{
public:
    Matrix A, B;
    Matrix* C;
    int dimension;

    MatTask(Matrix& _A, Matrix& _B, Matrix* _C, int dim):
    A(_A), B(_B), C(_C), dimension(dim){}

    task* execute(){
        if(dimension == 1){
            C->MultSerial(A, B);
        } else {

            int newDimension = dimension/2;

            task_list list;

            int count = 1;
            Matrica a11(newDimension, newDimension), a12(newDimension, newDimension), a21(newDimension, newDimension), a22(newDimension, newDimension),
                    b11(newDimension, newDimension), b12(newDimension, newDimension), b21(newDimension, newDimension), b22(newDimension, newDimension),
                    *c11, *c12, *c21, *c22,
                    p1(newDimension, newDimension), *p2, *p3, *p4, *p5, *p6, *p7,
                    aResult(newDimension, newDimension), bResult(newDimension, newDimension);

            //Delimo matrice u 4 podmatrice
            for(int i = 0; i < newDimension; i++){
                for(int j = 0; j < newDimension; j++){
                    (a11).matr[i][j] = A.matr[i][j];
                    (a12).matr[i][j] = A.matr[i][j + newDimension];
                    (a21).matr[i][j] = A.matr[i + newDimension][j];
                    (a22).matr[i][j] = A.matr[i + newDimension][j + newDimension];

                    (b11).matr[i][j] = B.matr[i][j];
                    (b12).matr[i][j] = B.matr[i][j + newDimension];
                    (b21).matr[i][j] = B.matr[i + newDimension][j];
                    (b22).matr[i][j] = B.matr[i + newDimension][j + newDimension];
                }
            }

            //RACUNAMO p1...p7

            //p1 = (a11 + a22) * (b11 + b22)
            aResult.Add(a11, a22, newDimension); //a11 + a22
            bResult.Add(b11, b22, newDimension); //b11 + b22
            count++;
            //MatTask& a = *new( allocate_child() ) MatTask(aResult, bResult, &p1, newDimension);
            //lista.push_back(a);
            lista.push_back(*new (allocate_child()) MatTask(aResult, bResult, &p1, newDimension));

            //p2 = (a21 + a22) * b11
            //aResult.Add(a21, a22, newDimension); //a21 + a22
            //count++;
            ////lista.push_back(*new (allocate_child()) MatTask(aResult, b11, p2, newDimension));

            ////p3 = a11 * (b12 - b22)
            //bResult.substract(b12, b22, newDimension); // b12 - b22
            //count++;
            ////lista.push_back(*new (allocate_child()) MatTask(a11, bResult, p3, newDimension));

            ////p4 = a22 * (b21 - b11)
            //bResult.substract(b21, b11, newDimension); // b21 - b11
            //count++;
            ////lista.push_back(*new (allocate_child()) MatTask(a22, bResult, p4, newDimension));

            ////p5 = (a11 + a12) * b22
            //aResult.Add(a11, a12, newDimension); // a11 + a12
            //count++;
            ////lista.push_back(*new (allocate_child()) MatTask(aResult, b22, p5, newDimension));

            ////p6 = (a21 - a11) * (b11 + b12)
            //bResult.Add(b11, b12, newDimension); //b11 + b12
            //aResult.substract(a21, a11, newDimension); //a21 - a11
            //count++;
            ////lista.push_back(*new (allocate_child()) MatTask(aResult, bResult, p6, newDimension));

            ////p7 = (a12 - a22) * (b21 + b22)
            //bResult.Add(b21, b22, newDimension); //b21 + b22
            //aResult.substract(a12, a22, newDimension); //a12 - a22
            //count++;
            ////lista.push_back(*new (allocate_child()) MatTask(aResult, bResult, p7, newDimension));

            set_ref_count(count);
            //spawn(a);
            spawn_and_wait_for_all(list);
            //spawn_and_wait_for_all(a);

            //RACUNAMO d11, d12, d21, d22

             //c11 = p1 + p4 - p5 + p7
            //aResult.Add(p1, p4, newDimension); // p1 + p4
            //bResult.Add(aResult, p7, newDimension); // p1 + p4 + p7

            //c11.oduzmi(bResult, p5, newDimension); // c11 = p1 + p4 + p7 - p5

            //// c12 = p3 + p5
            //c12.Add(p3, p5, newDimension);
            //
            //// c21 = p2 + p4
            //c21.Add(p2, p4, newDimension);

            //// c22 = p1 + p3 - p2 + p6
            //aResult.Add(p1, p3, newDimension); //p1 + p3
            //bResult.Add(aResult, p6, newDimension); //p1 + p3 + p6
            //c22.substract(bResult, p2, newDimension); // c22 = p1 + p3 + p6 - p2

            //Grouping the results obtained in a single matrix:
            //for (int i = 0; i < novaDimenzija ; i++) {
            //  for (int j = 0 ; j < novaDimenzija ; j++) {
            //      C.matr[i][j] = c11.matr[i][j];
            //      C.matr[i][j + newDimension] = c12.matr[i][j];
            //      C.matr[i + newDimension][j] = c21.matr[i][j];
            //      C.matr[i + newDimension][j + newDimension] = c22.matr[i][j];
            //  }
            //}
        }
        return NULL;
    }
};

As you see the names of functions and classes are not in English, but i don't think the will be a problem, because the code is really straightforward.
I get the error:

Unhandled exception at 0x01193787 in MnozenjeMatrica.exe: 0xC00000FD:
  Stack overflow.

I think that the error occurres in the line spawn_and_wait_for_all(lista), nut I'm not sure.
Can you please take a look at my code and help me to solve the problem. Maybe I'm not calling correctly the functions, I do not know realy, please help. Thank you

A: It is blocking-style parallelism plus heavy use of stack for matrices which result in the stack overflow. So, each your task reserve some stack for its data and then calls spawn_root_and_wait_for_all which in turn executes another instance of the same task which recursively keeps growing the stack.
Use continuation-style programming and avoid allocating huge data on stack (and inside the task if possible - it reduces task allocator efficiency).

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In last week's blog, The Most Important Question We Ask Ourselves, I shared my initial processing of the challenge I and twenty-three other men received at our annual retreat to consider how we think about ourselves and our purpose using Stephen De Silva's Purpose Train model.
As a follower of Jesus, I know who I am in Him and how He defines the purpose of my life. But, as I wrote last time, all followers of Jesus share those same identities and purposes.
Yet God imagined me. And you.
We share our essential humanity, yet we're unique. Stephen challenged us to discover our unique, individual identity and the life purpose that flows from it.
Stephen taught me that identity isn't found in what I do. It's something greater—fountational, personal, specific to me. And that's what's been hardest to unpack. Purpose—why I exist, why I'm here, now—seems to be about function, doing. Identity, on the other hand, seems to be about a state of being, an intrinsic self. And the more I dig in, the more it seems like purpose is the precursor of identity.
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Today, I want to share a highlight of my processing over the last week—an excerpt from my journal entry on Tuesday. Caveat: it's raw, unfiltered dialogue with God. I'm confident I hear Him well but I don't claim to hear perfectly.
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Japanese film fest kicks off in HCM City
October, 20/2022 - 08:35
The Japanese Film Festival 2022, the most anticipated special film event of the year, will take place in HCM City from October 21-30.
JAPANESE CINEMA - The Japanese Film Festival 2022 will open in HCM City on October 21 with the screening of animated children's fantasy film Poupelle of Chimney Town directed by Yusuke Hirota. Photo courtesy of the Japan Foundation
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WWE Wants to Replace John Cena With Japan's Shinsuke Nakamura, And It Might Actually Work
David Bixenspan
Filed to:shinsuke nakamura
GIF via WWE/Youtube
This Sunday night's Backlash show marks the beginning of a new era in WWE, one that would have been shocking even two years ago. For the first time in its history, the world's largest professional wrestling promotion is attempting to turn a Japanese wrestler into one of its top stars—the top star, in fact, of one of its TV shows. Shinsuke Nakamura, a 37-year-old from Kyoto, has the daunting task of stepping in for far and away the biggest attraction in the business, John Cena, now a part-time wrestler between shooting movies and TV shows.
If not necessarily obvious, this certainly seems like the right move: Nakamura is the most innately charismatic wrestler in the world, with a completely unique persona to which fans gravitate. Hell, they even "sing along" to his instrumental entrance music. While other Japanese stars have been fan favorites in the United States, like Tajiri and Taka Michinoku in WWE, or The Great Muta, Jushin "Thunder" Liger, and Ultimo Dragon in WCW, they were rarely main eventers, much less "the guy." In the early 1970s, a rookie former college basketball player and Olympic wrestler named Tommy Tsuruta was pushed as a top babyface in west Texas before becoming a legend at home as Jumbo Tsuruta, but that's about it.
For decades, Japanese wrestlers were generally heels performing the stereotypical salt-throwing act you may have seen guys like Mr. Fuji do. Even Tsuruta's fellow badass Olympian, Masa Saito, played into the stereotype. It was so common that in 2005, when Japanese legend Kenta Kobashi made his American debut, he feared the worst.
"Kobashi, coming into America … he really thought that nobody knew who the hell he was," recalled Samoa Joe, his opponent for his first and only match in New York, on Steve Austin's podcast. "He thought that he wasn't gonna get a reaction. He thought he was gonna be booed like Mr. Fuji or something. That was really his perception of what would happen." It took Joe having to explain that the crowd had seen him on bootlegged videotapes for years to get the message across, but Kobashi wasn't sure until he walked through the curtain. On the video, he's clearly shocked by the reaction.
As for Nakamura, I think back to his first American appearance of note, three years ago at the inaugural ROH/New Japan Pro Wrestling War of the Worlds event, against Kevin Owens. At the time, the concept was what sold out midtown Manhattan's Hammerstein Ballroom more than the actual talent: The crowd at large was not familiar with many of the Japanese wrestlers, and that noticeably hurt the atmosphere for several matches. Nakamura, however, who was no more well-known than most of the other foreign talent, instantly won over the fans. That was no easy task against ROH's most popular star, appearing in what was known to be one of his last matches before leaving for WWE.
The really amazing part, though, is that if you had predicted any of this worldwide success for Nakamura just a few years ago, you would have been looked at as if you had two heads.
For decades, scouting in NJPW was not unlike what WWE is attempting to do now in recruiting high-level athletes, especially amateur wrestlers, into the company. Shinsuke Nakamura was one such amateur, but where his story differs from most centers on when he came into the company. In 2002, when Nakamura made his debut five months after starting his training, NJPW was at a crossroads. Popularity was going down while mixed martial arts was peaking in Japan. Pride Fighting Championship did its biggest event ever the same month he had his first match, drawing approximately 71,000 fans to Tokyo National Stadium.
Complicating matters further was a direct link between the two companies. NJPW founder/owner/former top star Antonio Inoki was Pride's figurehead and hype man, appearing on every card. At the Tokyo National Stadium event, for example, his entrance was one of the most memorable moments of the night, as he parachuted into the stadium.
Inoki, going back to the 1970s, had always been enamored with the idea of professional wrestlers as the world's strongest fighters. Wrestlers who went through NJPW's training program at the company dojo—which supplied the vast majority of the native Japanese talent in the company—were taught to train like professional athletes and learned legitimate fighting techniques, like catch wrestling. They could easily beat up most athletes, and even legitimate combat-sports practitioners could be sitting ducks if they didn't know how to grapple. Inoki became a legend thanks in large part to beating legitimate fighters and martial artists in regular pro wrestling matches, as well as a going to a famously boring draw with Muhammad Ali in a legitimate fight when "the greatest" balked at losing. In the intervening decades, the proto-MMA strain would crop up at times in NJPW's promoting, but it was never overdone and it led to box-office success. That was changing, though, in 2002.
In Shinsuke Nakamura, Inoki had found the "super rookie," someone who clearly had a ton of natural talent. With his lanky build, he even had some superficial similarities to the NJPW founder himself. According to Inoki's son-in-law, Simon (née Kelly) Inoki, those similarities extended to their personalities. "Nakamura is a type of person who can go on adventures and isn't afraid to explore," Simon said, recalling Nakamura's affinity for surfing and taking long road trips across California as well as how he threw himself into both his real and simulated combat training. "Just no boundaries and adventurous; I think that really got Inoki's attention."
There was never any doubt that Shinsuke Nakamura was physically talented. He was a good wrestler early on, and he also did well enough at MMA to add credibility, seemingly solidifying that he was exactly the type of guy that Antonio Inoki wanted to build around. "The concept of 'Strong Style,'" Simon said, evoking the longtime in-house term for NJPW's in-ring style, "is that the pro wrestlers are the strongest and that it is the ultimate form of fighting." That's why the NJPW's logo is designed the way it is, consisting of the face of a lion emblazoned with the words "king of sports." To the Inokis, this intermingling, which was not limited to Nakamura and the younger wrestlers, was the logical extension of what NJPW had always been.
If this was limited to just a small handful of NJPW dojo products like Nakamura and Kazuyuki Fujita (a legitimately good heavyweight for his era), or fighters-turned-wrestlers like Josh Barnett and Don Frye, it probably would have been fine. The problem was that just about everyone with a legitimate wrestling background started getting thrown into fights, and a lot of them lost. So when Nakamura, the relatively colorless "super rookie," won NJPW's top title after just over a year into his career, it was not taken well by fans, both those in Japan and the tape traders in the West. He was seen as the wrestler who embodied everything that was changing in NJPW, pushed to the main event for little reason other than having had minor MMA success.
Simon Inoki, however, does not have any regrets about the decision.
"No, the company needed a new super rookie and hope for the company," he said. "Everyone knew how hard it is for the fans to accept Nakamura as the NJPW champion but he did his best and I think he did a good job."
NJPW saw a significant downturn in business around this time, most noticeably when they could barely draw a five-figure crowd to the Tokyo Dome. Eventually, in 2005, they were bought out by video game developer Yuke's. At the time, Simon Inoki stated at a media event that the impetus for the deal was protection from a rumored hostile takeover by another promotion.
"Some people may think this is a takeover, but it's actually salvation," he said at the time.
Over the next several years, NJPW was in flux. While Nakamura cemented himself as a main eventer and a highly-skilled wrestler, he definitely didn't have "it," especially compared to contemporaries like Hiroshi Tanahashi. That changed with a 2011 trip to Mexico.
Nakamura got a decidedly unconventional haircut and, seemingly out of nowhere, cut loose, oozing charisma that nobody knew he had in his nine years of pro wrestling up to that point.
"I wanted to change." he said on Chris Jericho's podcast last August. "People loved it. People excited, but company pissed. 'Hey, this isn't Shinsuke Nakamura! This is not strong style!' Also, the Japanese company too: 'Hey Shinsuke, why did you do that?' I wanted to change something."
The new persona, eventually dubbed "Swagsuke" by Western fans, was difficult to get a handle on at first, coming off like he was trying to portray a drugged but still brilliant wrestler. As time went on, Nakamura made some tweaks, and his influences became more readily apparent: The dance moves, the clothes, the swagger. He was the living embodiment of Michael Jackson or Freddie Mercury … as a pro wrestler?
It made a sense to Nakamura.
"If I watch Michael Jackson, I felt, 'Oh, he's a real master martial artist because of his standing is very straight," he told Jericho. "Then, no muscles because dancers have muscles, but his moving is quick. His dancing is the best, better than other dancers." Nakamura also cited Bruce Lee, Jackie Chan, and NJPW legend Jushin "Thunder" Liger as influences that help fuel the persona. Liger, in particular, makes perfect sense as an influence in how Nakamura carries himself in the ring. While wearing a mask that completely hides his face as well as a full body suit, he's still one of the most expressive wrestlers of all time, with better body language and "facial expressions" than most wrestlers whose faces are exposed.
"Watching Nakamura in NJPW the last couple of years, other wrestlers like Tanahashi, Okada, Naito, and others were getting the push but Nakamura was not like the center headline," Simon Inoki said. "So I understand if an opportunity to go above others and surprise everyone came, he would take it." Instead of waiting for that opportunity, he notes, Nakamura created it himself, which not only improved his standing in NJPW, but opened the door for the eventual WWE job.
Before the change, Nakamura's in-ring style was a mix of semi-realistic, MMA-inspired submission grappling, heavy kicks and knees, and suplexes, made special by his smoothness in the ring more than anything else. He was almost like a Japanese version of Brad Armstrong, the late WCW veteran who was, mechanically, as good as any wrestler in the world, but was severely lacking in color. Armstrong also had a reputation for being a charismatic, sharply funny guy in the locker room, but he couldn't turn it on in front of the camera.
Nakamura, in finding that spark in 2011, found the key that unlocked his potential. The loose posture, flowing dance moves, and goofy movements were all things that he could seamlessly integrate with his similarly flowing in-ring style. Nakamura's shtick and his in-ring wrestling mechanics are part of the same whole. His charisma and persona burst out of every pore and were constantly part of everything he did, even when he was doing simple grappling sequences early on in matches.
After his transformation, Nakamura carved out a niche for himself as the man most closely associated with the IWGP Intercontinental Championship, a secondary title NJPW introduced a few years ago. While peers Hiroshi Tanahashi and Kazuchika Okada, with their traditional good looks, great physiques, and more traditionally flashy, athletic in-ring styles made them better choices to anchor NJPW as top star, Nakamura's total package made him the best all-around performer the company, if not the world. In making it "his" belt, he elevated the intercontinental title to the point that NJPW, in a renaissance under new ownership, decided to experiment in unprecedented fashion for the 2014 edition of Wrestle Kingdom at the Tokyo Dome, their WrestleMania. The top two matches on the show saw Nakamura defending against Hiroshi Tanahashi, NJPW's top star during the post-Inoki rebuilding period, and Kazuchika Okada, who held the traditional top title, the IWGP Heavyweight Championship, defending against Tetsuya Naito. NJPW held a legitimate fan poll to determine which match would be the main event and show closer on the biggest card of the year.
Nakamura vs. Tanahashi won the poll.
NJPW had always been prime for a raid. The way that the company had long done business was to give wrestlers one-year contracts, almost all of which expired at the same point in January. Some of the top foreign stars didn't even have contracts. WWE, which was badly in need of depth both on its main roster and on the NXT developmental roster (especially if it was picked clean to replenish the main shows), preyed on that weakness last year. Making the jump were A.J. Styles, Karl Anderson, Luke Gallows, and Nakamura. The timing was right, especially for Nakamura, with Simon Inoki noting that it "seemed there wasn't any more challenges left for him in the company even if he stayed."
Crowds immediately fell in love with Shinsuke, and after a long year that included far too many NXT shows in small gyms in Florida, he was brought up to the main roster in April, two nights after WrestleMania. However, given WWE's history with Japanese talent, even if he was expected to be given a strong push, nobody could foresee what actually happened: A segment that was clearly designed to show that, for the time being, he's replacing John Cena. If Nakamura taking Cena's spot in his feud with The Miz for that night wasn't enough, Nakamura was also the star attraction in the post-show "dark match," the non-televised main event, of which Cena was a staple.
"Now the world is smaller with social networking and fans from around the world were able see him in NJPW," said Simon Inoki of Nakamura breaking down barriers for Japanese wrestlers in WWE. "Japanese animation getting even more popular now than ever, even Japanese musicians and idol groups getting popular around the world more than ever.
"The timing was perfect, no better time than this, and Nakamura was there at the right place at the right time. Just perfect timing."
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The Culture Corner
A Cats Musical Diehard Fan Attempts To Autopsy Cats (2019)
Jan 9, 2020 · 10 min read
Many, many reviews, which I shall not attempt to chronicle here, have panned Cats (2019)'s distressing horniness, the absurd "plot," the incomprehensible human/cat hybrid-ness of it all.
This article is not that.
Taylor Swift in Cats (2019), Universal Pictures — Fair Use
I've been a fan of the musical Cats since I was twelve years old. (…We'll get in to that later.) If you would like me to prove my Cats fandom credentials to you, I absolutely will not be linking to my old fanfiction but rest assured it exists. I was very active in the Cats fan community on our various sites, c. 2002–2004. I even (and this is the one I'm real embarrassed of) cosplayed as Bombalurina (that's Taylor Swift, for those of you who don't know the names of all the cats in Cats.) It involved dyeing a clown wig and painting a leotard and I will NOT be showing you pictures.
So, yeah, I'm on board for Cats. It's absolutely ridiculous and I love it, and that's not just teenage me saying so: I saw the stage show when it was on tour in Los Angeles last year. I went half-ironically, like "ha, guess I'll see if this thing I was obsessed with in 2002 holds up?" and ended up having a great time. It's a fun show that embraces its complete inanity. The dancing is legitimately awesome, the songs are catchy (for the most part), it's a fun few hours that's not trying to be something life-changing.
The weird fetish cats, the two hours or so of cats introducing themselves — I understand why people not familiar with the stage show are latching on to this in their reviews, but this is all in the stage show, and it works. So why is the movie so awful?
You have questions, and I (maybe) have answers. Let's go.
It's the digital fur technology, right? Hands-that-should-be-paws down, this is the worst thing about this movie?
Honestly, I don't think the human/cat hybrid technology, ON ITS OWN, is that bad. HEAR ME OUT.
Maybe I'm too much of a theater kid, but I think you would adjust to watching human hands and feet on otherwise furry cat bodies. The problem is Tom Hooper keeps calling your attention to it, by doing things like having Jennyanydots (Rebel Wilson) UNZIP HER OWN SKIN.
In the stage show, Jennyanydots does enter in kind of a schlubby coat that she then sheds for her tap number (given to Skimbleshanks in the movie, because: Rebel Wilson.) But the costuming in the stage show isn't hyper-literal cat fur. In a way that works on stage, it's more suggestive of a cat than an actual depiction of one, which is why it isn't weird when some of the cats wear clothing on top of it. Nobody is meant to look like an actual cat, so you see a furry coat or a tuxedo jacket as suggesting a shaggy or a black and white cat.
I don't disagree with what I assume Tom Hooper's thinking was here: that theatrical representation doesn't translate to the screen. Which, fine, have realistic cat fur. But you can't have it both ways: you can't have literal, realistic cats who also take off their outer layer of fur to reveal a second outfit underneath. It's horrifying.
I suspect Tom Hooper's reasoning was that this was a movie for children, and kids are dumb, and we don't need to think about the logic of this because I am Tom Hooper and I made The King's Speech, dammit.
Digital Fur Technology in Cats (2019), Universal Pictures — Fair Use
As an aside, I definitely thought this movie was an improvement from The King's Speech.
Okay, so you don't think the CGI is actually that bad, but those tails look horrible, huh?
Yes. The tails are stupid, and they ruin the dancing.
Dancing? I don't remember seeing any dancing?
Yeah, that's probably because Tom Hooper is bad at filming dance sequences. He is more interested in using choreography like the actors doing it are decorations— just backdrops to his artistic shot framing (close ups on an actor's face.) In Victoria's first solo, in the cemetery, she's doing an incredible leg-lift thing (that's the technical term, I took ballet for twelve years) and Tom Hooper just… cuts to a close-up of her face, weirdly from above, so we can get a good look at… Victoria's inner thoughts, I guess…? The emotional state of a cat…?
(In my breakdown of the Cats trailer, I posted my theory of Victoria Watergate: Tom Hooper Got His First Boner To The White Cat in Cats and the movie… bears this out.)
Here It Is: The Exhaustive Breakdown of Every Shot In The CATS Trailer
Thanks, I… love it.
And while I don't want to suggest the inner thoughts and emotional of your main character aren't important, the dancing is at least 85% of what makes Cats work onstage. It's an incredibly physical show, and it's genuinely exciting to watch these athletic, graceful dance numbers performed by talented people who are giving it their all.
Obviously some of that is already going to be lost in translation to film, which lacks that immediacy, that holy shit this is happening right now and I'm watching it that makes theater "my drug of choice" (kill me!)
But the CGI-ness, specifically the animated tails and the choice to use wires to achieve various cat jumps and leaps, makes it even less exciting. It makes entire dance numbers look like they are computer-generated. An athletic ballet becomes no more interesting to watch than the CGI background armies battling in the wide shots of Lord of the Rings.
And that doesn't even begin to address what they did to Mistoffelees.
What did they do to Mistoffelees?
"Magical Mr. Mistoffelees" is the last big dance number in the stage show Cats, and it's on one soloist, basically, to cap off this whole evening of dance. The number before has Skimbleshanks making an actual train out of junk onstage, and Mistoffelees has to outshine both that and the earlier ten-minute-long Jellicle Ball sequence that includes an actual onstage orgy! That's not relevant to the point I'm making but I just want to remind people it's a thing, and it happens! (It's not in the movie, so sorry if I don't buy your 'disturbingly horny' takes! It could be MUCH HORNIER.)
In the stage show, Mistoffelees descends from the ceiling in a light-up jacket and almost immediately starts blowing things up with his magical powers. It maybe takes him a try or two to get Old Deuteronomy back (spoiler alert!) but he does it pretty quickly, and the rest of the number is some seriously ridiculous jumping and spinning (again, technical ballet term) around the stage.
It's a highlight of the show, it's fun, it's a celebration! Mistoffelees says "Presto!" a bunch and that's hilarious! So of course this movie ruins it!
In Cats (2019) we get… four minutes of "let's build up the confidence of a mediocre man, giving him opportunity after opportunity to succeed, even though it's clear we should have long ago given up on him." Gee, I wonder why Tom Hooper would be interested in a scene like that?
Interesting. Are there any other characters they ruined by turning their upbeat songs into dry, dull slogs?
WARNING: What follows is some history of Cats the stage show, that I just happen to have in my brain because I didn't have a lot of friends growing up!
Mungojerrie and Rumpel/le teaz/ser (spelling often disputed) have plagued Cats since its opening. The original London production had a slow, sultry "cat burglary" ditty for them, but it was super bad and boring. For the original Broadway production, it was re-arranged into a much more up-beat and catchier tune, and given to Mr. Mistoffelees who is singing about two dolls which he brings to life through the power of magic.
But the planting of Mr. Mistoffelees's magical abilities which would then later pay off in his own song in Act Two was apparently too much plot for Old ALW, so a few years into the Broadway run the song was re-tooled again, keeping the upbeat Mistoffelees arrangement but having Mungojerrie & Rumpelteazer sing the song themselves while performing a highly acrobatic number involving a lot of gymnastics. This version was finally successful, and has stuck around to this day.
Until Tom Hooper decided to go back to the boring original arrangement, the one that was re-written within a year.
Mungojerrie and Rumpelteazer and Victoria in Cats (2019), Universal Pictures — Fair Use
I must confess, of all the baffling decisions made in the production of this movie, this is the one that I understand the least. I know. I know! Can't change who I am, though.
Are Mungojerrie and Rumpelteazer also working for Macavity in the stage show?
Nope! Although there was some debate among the fandom, because Mungojerrie is name-checked as an agent of Macavity in "Macavity." (The movie also throws Rumpelteazer in there. Feminism!)
I guess the movie has them be bad guys in an attempt to inject more "plot" into the movie. But in the stage show they are part of the tribe, there for all the action.
Hmm. Are there any other cats that are more present in the stage show as members of the tribe but are cut back for the movie?
Yup. Pretty much all of them.
This is, I think, the biggest thing that is lost from stage to movie.
What follows is going to sound like some theater kid bullshit, but hell, you wouldn't be 1500 words into this thing if you weren't down for some theater kid bullshit. So here goes.
In the stage show, pretty much everyone is on stage all the time… and you start to get to know these characters. There's always little interactions happening either in the songs (During "Rum Tum Tugger," Bombalurina tries to hit on Tugger and he drops her to the ground) or in the background, off to the side. It's fun to watch! This is what got me hooked on the show in the first place, what made me want to write fanfiction about it. You see just a hint of an interaction between two characters and you're like "oh, there's a story there." And I wanted to write that story!
By the way, this is why movie audiences are baffled by something that never was a debate in the Cats fan community (which had plenty of debates): what is a Jellicle cat? Jellicle is just the name for this group of cats. Like how me and my high school friends called ourselves "The Posse" (oof.) It's not anything deeper than that! But when cats seem to wander in and out and around with abandon and half of them appear to be solely CGI, it gets confusing.
On stage, some of the song cats are only on for their song, but often their song is not actually sung by them, so you are still seeing members of the tribe interact. The movie changes this… and is probably right to do so. You don't cast Ian McKellen and then just have him sit there not saying anything while someone sings about how great Ian McKellen is.
But the result is to make the movie even more disjointed and episodic than the stage show is already prone to be. You don't see the characters throughout each other's songs, you don't latch in to any sense that this a tribe or a group. The shots where it does happen are so jarring (Rum Tug DeRulo popping up to hit that high note in Magical Mr. Mistoffelees, Ian McKellen flipping his scarf when Old Deuteronomy arrives) that it almost calls more attention to the fact that we haven't seen these characters for an hour.
Speaking of Ian McKellen's scarf, is Ian McKellen wearing his own scarf as Gus the theater cat?
Yes. He is.
Left: Ian McKellen in "Ian McKellen On Stage," Frederic Aranda — Fair Use, Right: Ian McKellen in Cats, Universal Pictures — Fair Use
I hear what you're saying about the disjointed-ness, but was there really any other way? Taylor Swift isn't going to be on set for every song just so you can see Bombalurina's reaction to James Corden landing a nice fart. She's Taylor Swift!
And the promise of stunt-casting celebrities in those one-off cat roles was surely one of the only reasons this movie got green-lit in the first place, right?
Probably, yeah.
So what are you saying? That Cats simply can't be made as a movie, that it only works as a stage show, that it was foolish to try?
Well, let's downgrade that to "possibly, maybe." Because there are parts of this movie, that — stupidly and against all odds — work. I think the Skimbleshanks number is legitimately great. Ian McKellen makes what is by far the most skippable song on the soundtrack charming. I'm here for the Jason DeRulo pivot to musical theater.
But it needs a director who can actually film a dance sequence, and also someone who can resist the urge to take every song super literally.
Like, when Grizabella sings "the withered leaves collect at my feet," that's about atmosphere. She feels alone, stuck, surrounded by only cold and decay. She doesn't need to be literally lying in a pile of withered leaves.
If I could boil this 2,000 words down to one sentence, it would probably be that Tom Hooper lacked both the imagination and the technical capability to pull this film off.
There's so much else. I could see this movie five thousand more times. I could write a book on this movie. But I have an Actual book to write, so I have to wrap this up.
Before we go, you mentioned you wrote Cats fanfic. What was the ship?
Mistoffelees/Tugger. Genre: Angst.
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sarah is an editor at slackjaw. her writing has appeared in reductress, splitsider, the toast, and more. thesarahjames.com
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Miami Mother Helps Open Fla's First Breast Milk Depot
Filed Under:Ana Rodriguez, Babies, Breast Feeding, Breast Milk, Breast Milk Depot, Florencia Martinez, Human Milk, Milk Bank, Milk Depot, Mothers' Milk Bank of North Texas, Summer Knowles, Tamara Taitt, The Gathering Place
A baby drinks breast milk from a bottle during a newborn care class on February 23, 2010. (Photo by John Moore/Getty Images)
MIAMI (CBSMiami) – Breastfeeding advocates have long touted the benefits of a mother's milk. It provides antibodies that formula doesn't and can even ward off illnesses down the road. But, producing or passing that milk onto a baby is not possible for all mothers. Now there's a solution in Miami. It is Florida's first nonprofit milk depot.
The facility, which had its official ribbon cutting Tuesday morning, is located at The Gathering Place, a pregnancy, childbirth and parenting resource center at 5810 Biscayne Boulevard in Miami.
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The milk depot is a place where prescreened and approved donor moms can drop off their donated breast milk instead of shipping it themselves.
A Miami mom who attends classes at The Gathering Place helped create the depot here in South Florida after encountering breast feeding problems.
"For many reasons I tried to breast feed, I really did but I couldn't," said Florencia Martinez. For Martinez, feeding her son breast milk wasn't just something she wanted to do, it was a necessity because her son couldn't digest formula.
"I needed breast milk for him and it was even harder because had a milk protein allergy," explained Martinez.
The Gathering Place in Miami is the first nonprofit milk bank in Florida.(Source: CBS4)
Martinez called a few of the nonprofit milk banks that are part of the Human Milk Banking Association of North America. The Mothers' Milk Bank of North Texas, which provides donor human milk to hospitals in 10 states, was willing to open Florida's first collection site at The Gathering Place.
"We are the first collection site in the state of Florida for a nonprofit milk collection organization," said Michelle Fonte, Co-owner of The Gathering Place.
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The milk collected is screened, pasteurized, and used for babies who need it but aren't able to receive it from their own mothers which is the ideal situation.
"Human milk used exclusively in the hospital, especially for fragile infants, drastically reduces long term problems such as cognition and brain function but also some of the short term problems that often kill our premature infants before they even get out of the hospital," said board certified lactation consultant Marine Dye.
Tuesday's ribbon-cutting symbolically opened the deep freezer unit which will store breast milk donations from women in South Florida.
The Mothers' Milk Bank of North Texas fills prescriptions written by physicians for premature and medically fragile babies who need the life-giving and sustaining nutrition of donor human milk to thrive.
There are more than 35,000 babies born each year in Miami-Dade County, and although hospitals in the region prescribe donor human milk to NICU babies, a milk collection depot did not exist until now.
Martinez now serves as the volunteer milk depot coordinator, accepting donations from Miami donor moms such as Ana Rodriguez. With a goal to breastfeed her baby for at least one year, Rodriguez pumps her breast milk three times a day in her employer's pump room." She also pumps once at night. Emma is nearly a year old and Ana is very close to reaching her goal. With extra breast milk in her freezer, Rodriguez wanted to put it to good use. She already donated more than 1,200 ounces.
"It feels awesome. My baby was healthy and it's so valuable to me that I can do that for them and I don't have to throw it away, which I thought before is what I was going to have to do," said Ana.
More than 85-percent of The Gathering Place moms breastfeed and more than 50 percent of those moms work outside the home and already pump their breast milk.
MORE NEWS: Miami Beach Commission To Discuss Fate Of Historic Deauville Beach Resort
Nonprofit milk banks ensure donor human milk is safe and available to the infants who need it most. The pasteurized breast milk dispensed is specifically processed to meet the specific needs of fragile and sick babies, serving babies with the greatest medical needs, regardless of family's ability to pay.
45 Years Ago: Snow In Miami
Sunrise Police Sergeant Caught On Video Putting Hands Around Throat Of Female Officer
5 Shot, 1 Died In Shooting Outside NW Miami-Dade Bar


While watching the Golden Globes this past Sunday night, I was reminded of a beautiful song that the singer/songwriter Jewel performed in 2010 during the "In Memorium" section of the program. Jewel said she wrote the song, titled "A Hole In My Heart," about a friend who had recently passed away.
There's a hole in my heart in the shape of you.


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A collaboration of manzi art space with Galerie Quynh (HCMC), 'One Planet' is a solo exhibiton by visual artist Nguyễn Mạnh Hùng - one of the most important young artists in Vietnam.
'One Planet' features Hùng's new sculptural installations which was on show in Ho Chi Minh City early this year and a series of his paintings that the artist himself refers to as 'Mauvais Gout' ('bad taste') entitled 'We've been here'.
Drawing from his own personal history growing up in a cramped Soviet style apartment block in Hanoi, Hùng reflects on the idea of community, the conflicts that exist within and without constructed societies, and the complexities of civic development and individual responsibility. How is a community defined? Is the traditional idea of community just hollow rhetoric or an ideal that can evolve and adapt to modern day Vietnam? Nguyễn Mạnh Hùng confronts these issues with his trademark irony and humor highlighting the oftentimes absurdity of human behavior and endeavor.
'One Planet' in Hanoi is supported by the Prince Claus Fund for Culture & Development
https://www.facebook.com/notes/1734658223368105/


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Q: Phase release appstoreconnect iOS I have few queries if I choose phase release option on App Store Connect:

*

*What happen if I pause the current release and submit the new version? Are remaining users which haven't received the current update due to the pause of the release will directly get new version update or current one?

*if i remove the application from the sale, what will happen to old users which already received the update and what will happen of i resubmit the application?

*Consider we pause the release on day 1(1% user targeted) and due to critical issue i have resubmitted the new version with phase release again so apple target same 1% or it will be random selection?

A: *

*When you start a new release, the selection of users starts from 1% again and the selection will be random. But if their account is not selected for the new update, they will get the latest version available (the paused one).

*Users with the application downloaded will be able to use the last one published

*Same as 1), the selection is random
Keep in mind that any user updating manually from the AppStore will get the latest version, staged rollout only works for automatic updates


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ADB approves $ 3 m grant to assist Sri Lanka's response to COVID-19
The Asian Development Bank (ADB) said on Wednesday (10) that it has approved a $ 3 million (over Rs. 500 million) grant from its Asia Pacific Disaster Response Fund (APDRF) to further assist Sri Lanka in its response to the novel coronavirus disease (COVID-19) pandemic.
The grant, which is financed by the Government of Japan and was approved on 2 June, will fund the purchase of test kits, diagnostic reagents, personal protective equipment, and other essential medical supplies.
"ADB is strongly committed in supporting Sri Lanka at this crucial time. This grant will help the Government continue its detection and containment measures in hospitals designated for treating COVID-19 patients," said ADB Country Director for Sri Lanka Chen Chen.
"The COVID-19 pandemic continues to be a serious public health issue and will significantly impact not only Sri Lanka's overall social well-being but also its economic development if not contained, managed, and treated in an effective and timely manner."
In addition to this APDRF grant, ADB has supported Sri Lanka through a $ 1 million regional technical assistance grant and support to the private sector to purchase emergency medical supplies and complement the country's efforts in containing the spread of COVID-19.
"We are grateful to the Asian Development Bank for stepping in at a timely manner to provide assistance to Sri Lanka to meet the immediate expenses necessary in managing this COVID-19 emergency. This grant assistance will help provide life-saving services to the affected population," said Treasury and Ministry of Finance, Economy, and Policy Development Secretary S.R. Attygalle.
Since February, ADB's emergency assistance grants to its developing members have helped ensure the supply of essential medicines and personal protective equipment. In April, ADB announced a $ 20 billion comprehensive response package to help its developing member countries address the immediate and long-term macroeconomic and health impacts of COVID-19 in the region. Visit ADB's website to learn more about its ongoing response.
ADB is committed to achieving a prosperous, inclusive, resilient, and sustainable Asia and the Pacific, while sustaining its efforts to eradicate extreme poverty. Established in 1966, it is owned by 68 members – 49 from the region.
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A thousand small everyday jobs and decisions take up our time and distract us from our goals. I'm always looking for a better way to accomplish daily tasks and big projects. Hard to believe I've been an Amazon customer since 1998 but it's been a game-changer from the beginning.
By far, my favorite thing about Amazon is Subscribe and Save. Every month, a box or two arrives with toilet paper, shampoo, dog treats, eye drops, and anything else I need regularly. We don't run out and I don't have to make a special trip to the store because I forgot it last time. I add items to the list all the time and it makes me happy when my order arrives on the 14th every month.
I've been using the Smart Funnel for 3 years. I wash my hands a lot and go through a lot of soap, so I'm constantly refilling my soap dispensers. You can walk away from this (depending on drip speed) and let everything empty out of the bottle. Less waste!
Sugru Moldable Glue comes in black and white.
This moldable glue can fix things and prevent future problems. Apple computer power cords are very expensive. We have this protecting our cords that have yet to break.
We spend so much time looking for things and it's a definite stress trigger. You've probably seen this item but if you don't have one, I recommend it.
This tray makes it safer to carry meals, especially up and down stairs. We tried a flat tray and basket but inevitably, the drink spills. This is a party tray so it has other applications.
This might seem silly but when you are bagging and sealing sauces, purees, chili, or soup, this handy gadget helps. The Jokari Hands-Free Baggy Rack Clip Food Storage Bag Holder does work and folds up compactly.
We have had this swing in the backyard for 3 years and it's holding up to the elements really well. Not only is swinging relaxing, it's an exercise for your legs.
I can't deny it, I love labels. I got this Brother P-touch label maker on a Black Friday deal last year. I had another label maker but this one is so much better. Love it! I label everything. My new policy is to label every power cord and connector we get. This label is going on the power cord to the photo scanner.
Why did I wait so long to get a luggage rack? I wanted one for years but just got it last year. When you have a small guest room, this is great because the suitcase goes on top and the shoes can go underneath. It's also useful when packing your own suitcase.


Assuming you might be younger and have 20 years till retirement shopping for stock every year versus as soon as a month will lead to significantly different retirement accounts. There are pattern business proposals for actual property property growth, property administration, property sales, commercial real property sales, real property investment proposals, real estate occupancy, and even a sample government grant proposal for the Division of Housing.
Prime 10 largest equity holdings for this fund embrace Gold Bullion (14.5%), Newcrest Mining Ltd, Lihir Gold Ltd, AngloGold Ashanti Ltd ADR, Goldcorp Inc, Randgold Sources, ltd ADR, Kinross Gold Corp, IAMGOLD Corp, Newmont Mining Corp, Barrick Gold Corp, and Gold Fields Ltd ADR.
This site is an effective place to begin, with all one of the best dividend stocks, and recommendations for good stocks to spend money on. The shares will keep the same until you complete Meltdown, after which they'll return to their regular state. Preferred shares could have options of both shares and bonds, however they behave extra like bonds. Successfully choosing particular person stocks does not just come down to whether a person possesses the required background technical talents, it simply as typically comes all the way down to psychological components. That is now beginning to alter as I see more young people investing in mutual funds, UITFs, and equity stocks. When investing in an organization, examine to see if they are currently paying a dividend.
It all sounds very fancy and a high range shoulder rig that does just the enterprise may be over a $1000, which should you're on a shoestring finances is some huge cash; however for about $200 you should buy good substitutes that work just as effectively, although they might need a bit a tweaking.
Should you want extra data, learn Richdad poordad, Cashflow Quadrant, Enhance your financial IQ and Richdad information to investing books by him. Nonetheless, traders have not yet figure out what to do with their money; they have not made notable inflows into any main asset class throughout the second half of 2016. They must lower the worth of their bond in order to promote it to a different investor, which implies they could lose cash on the bond. Is important to understand the ways shares can make you cash Generally shares pay a dividend to investor which is share of the businesses profits. All it's good to do to earn more money is to easily give attention to becoming a better investor. It is usually really helpful that we have at least 25% of our portfolio in US stocks.


The Hotel Caprice provides a comfortable and reliable airport transfer service for its guests, from both Fiumicino and Ciampino airports and from the port of Civitavecchia. Book the service online or directly at he hotel reception. Alternatively, you can book our private pick-up service with the same procedure.
Book your tickets for museums, exhibitions or art galleries through this service. For information or reservations contact the Ticket Booking service at the Reception.
Getting lost in Rome is a truly pleasant experience when you know you can expect interesting boutiques or traditional antique shops round every corner.
The Hotel Caprice is at a stone's throw from one of the most famous shopping streets of the city: Via Veneto. Moreover, nearby Via del Corso, Via Condotti, Via del Babuino and Via Frattini are just a few of the main streets offering some of the most glamorous shopping in the capital.
Rome is a unique city, with a new story to tell every day, tirelessly offering always new cityscapes and amazing cultural opportunities. Hotel Caprice's Sightseeing service will make visiting the marvels of Rome a truly unforgettable experience. Our qualified guides offer a professional high quality service and guests can choose between either traditional guided tours or innovatory tours off the more beaten track.
Fun Moving: a rental service for electric cars (golf cars), free to circulate in all restricted traffic zones in the territory of Rome.
The Funmoving services run throughout the year: in fact, the vehicles are equipped with a roof covering to protect against the rain and the cold. The golf cars can be delivered to any spot requested by the customer. Tourist itineraries with the aid of specialized guides, who speak the main foreign languages. Services from Monday to Sunday. Fun Moving Bike: rental of bicycles equipped with three-speed gears, for moving around the centre of Rome. After booking, the bikes are delivered directly to the spot requested by the customer.


Doug Robb, lead vocalist of Hoobastank, formed the band in 1994 along with guitarist Dan Estrin, drummer Chris Hesse, and original bassist Markku Lappalainen. With six studio albums and an EP under their belt, the band has achieved worldwide success. Their hit "The Reason" (2004), rose to number two on the Billboard Hot 100, and has over 140-million YouTube views.
Sean Ritchie: Coming from just outside of Los Angeles with the Malibu Creek State Park in your backyard, describe the scenery of where you're from.
Doug Robb: You kind of nailed it right there. I was like, "Geeze the Malibu Creek State Park, I used to ride my bike there." It's a lot of rolling hills — mostly rolling hills. They get super, super green in the spring, but right now everything is just brown, brown, brown. If you head towards the beach it turns into a canyon-like mountain — it's really pretty. I think you take it for granted a lot. Whenever I have friends or family that come from out of town, we'll drive to the beach, and they'll say, "Oh, this is amazing!" It's really amazing scenery.
SR: I can only imagine. What about the rest of California? Where would you suggest people to travel to if they're visiting?
DR: As far as natural beauty, you can't beat just driving up the coast — take Route 1, the freeway, from LA all the way up to Monterey. It's a long drive; you can break it up into a couple of days. Somewhere around the halfway point, between Hearst Castle and Monterey, the drive [becomes] one of the most amazing drives in the world.
SR: Have you caught a sunset driving along?
SR: Out of all the cities you have performed in, are there any that stand out in terms of crowd atmosphere? Was it inline with the city's nightlife?
DR: I think the bands favorite place to play, as far as crowd reaction, has always been Japan — Tokyo to be more specific. The audience in Japan is crazy; they're nuts. I guess you could probably say the nightlife could be that way too. Tokyo is one of those cities that's so hectic and never turns off. The nightlife can be pretty wild.
SR: What is the first thing you try and do when visiting a new destination?
DR: I guess it all depends. I usually ask somebody who knows what there is to do and interesting to see. Usually they'll talk about some kind of historical or natural thing.
SR: Something that someone that's grown up there would only know?
DR: Yeah exactly. It's a combination of being in a city, stereotypically having to see a touristy place, but then [wanting to be] shown something that the average tourist wouldn't see.
DR: They are kind of one in the same, really. From '95 to 2000 pretty much all of our shows were in southern California, with the exception of a handful. But from 2000 to 2015, 99-percent of our shows became outside of the LA area. We've been able to travel so much and go to places that I've never dreamt of going at all, let alone playing shows there.
SR: When creating music, where does the inspiration come from? Does traveling to new environments play a role?
DR: Yeah, inspiration comes from anything. It could come from passing a piano, running your fingers down the keys and going, "Whoa, whoa, whoa. What just happened there?" It could also be when on a bus watching the Midwest pass you by. It comes from anywhere, but [travel] definitely does inspire you, if you let it.
SR: What does seeing and experiencing different cultures mean to you?
DR: I was fortunate enough to travel a decent amount before we had a record deal, with my family and stuff. Being half Japanese, a lot of my family is in Japan so we've made lots of trips back there. I think traveling was one of those things that my parents made important. They wanted me to see the world, and that it was more than just LA, or the United States for that matter. When you're a kid you don't really appreciate it that much, but when you're older you understand the importance of it.
I think it's extremely important for people to travel and to experience other cultures, countries and ways of life. I think it shrinks the world; it's a pretty obvious answer. You realize that we're all just people. We laugh, we cry, we sing and dance. We're all human beings and the only thing that's different really is the way we interpret our everyday lives. I think music has made that even more obvious to me, because if I'm talking with people in Delhi, who've come to see us play in India, we already have something in common here. It kind of just breaks the ice. I think it does nothing but good for people to travel and see the world. You become a better human being for it.
SR: Yeah, travel's uniting abilities are one of our main motivations at SCP. You mentioned Japan. Do you travel there often? Is there something in particular you like to do out there?
DR: Yeah, well of all the countries that we frequent, it's probably the country that we go to most outside of the states. As a band, I think we've gone there about 15-times in the last 15-years — something like that, maybe more. It's strange for me to go, "You know what? I've actually been to Tokyo, Osaka and cities in between more often in the last 15-years than I have been to San Diego, which is driving distance — or San Francisco." I haven't needed to go to those cities as often as I have Japan. So it's weird, but awesome to go there and be totally familiar — to know that there's a great ramen joint around this ally. When we go to Japan that's kind of the thing we do. Our base player, drummer, and myself we go hunting for good ramen — we know our spots.
SR: Yeah, knowing the local spots is how you have to do it. Lastly, when is the next trip and what for?
DR: We just got back from the United Kingdom, about two weeks ago. The next trip will be in about 10-days and it starts in New York and works it's way back, ending in [Las] Vegas. It's a month-long run of shows.


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Canada overcomes adversity, cruises past Czechs to win Group B at world juniors
Canada 7 Czech Republic 2
OSTRAVA, Czech Republic — Canada was embarrassed by one of its bitter rivals, had its star cut down by injury, its captain embroiled in controversy and a key player suspended.
It was quite a 96-hour stretch at the world junior hockey championship.
And yet, the national team somehow found a way.
The Canadians scored four goals with the man advantage in a dominant first period Tuesday, beating the Czech Republic 7-2 to finish first in Group B and setting up a date with Slovakia in the quarterfinals.
Canada was thumped 6-0 by Russia — the country's worst-ever defeat at the tournament — in its second game on a miserable night where Alexis Lafreniere, the projected No. 1 pick at the 2020 NHL draft, hurt his knee.
If that wasn't bad enough, captain Barrett Hayton had a major brain cramp and forgot to remove his helmet during the anthem ceremony after the final buzzer.
Then centre Joe Veleno, a workhorse in the faceoff circle and on both special teams, was banned one game for a head-butting incident where he barely knocked visors with a Russian defenceman.
There was plenty of adversity.
Canada responded.
"It was definitely tough on the logo," said Nolan Foote, who scored in Tuesday's early barrage. "We bounced back, and that was awesome."
Veleno, in his return from suspension, Foote, Hayton and Connor McMichael scored on the power play in a span of nine minutes 49 seconds, making the hosts pay for a complete lack of discipline at the tightly called under-20 international event.
Head coach Dale Hunter, who was once suspended 21 games during his playing days for an infamous cheap shot on Pierre Turgeon, was proud of how his team, especially Hayton and Veleno, blocked out the noise.
"We forget that they're just kids," Hunter said. "Everybody makes mistakes. It's how you respond after it. Take your punishment, move on.
"I know that personally."
Veleno said the team made a point of ignoring the chatter, panic and criticism back home after the Russia debacle, picking up a 4-1 victory over Germany before thumping the Czechs on New Year's Eve.
"We don't want to be on social media too much," said Veleno, who finally scored in his eighth world junior game. "We know some people will say good stuff, and there's times we're going to have bad stuff said about us. We want to stay with what's in the four walls and be a team."
Canada even faced a difficult stretch against the Czechs, who pushed back with two quick goals in the second from Vojtech Strondala and Libor Zabransky inside a raucous Ostravar Arena before Liam Foudy and Dylan Cozens, on another man advantage, put the game out of reach.
Jared McIsaac rounded out the scoring in the third, while Hayton and Cozens each added three assists for the 17-time gold medallists.
"There's so much character on this team," said Foote, whose father Adam won two Stanley Cups and Olympic gold. "We're confident in our group."
Joel Hofer made 17 saves in his second consecutive start for the Canadians, who will face Slovakia on Thursday.
"It's going to be a tough game," Cozens said. "We know they're not going to go down easy."
The other quarterfinal matchups will see Sweden meet the Czechs, the United States take on Finland and Switzerland tangle with Russia.
Lukas Parik found himself in a shooting gallery early Tuesday, stopping just 5 of the 9 shots he faced before leaving with a lower-body injury after McMichael scored Canada's fourth. Nick Malik, the No. 3 netminder with starter Lukas Dostal already hurt, came on and finished with 19 stops.
Veleno got things started on Canada's first man advantage before Foote blasted a one-timer upstairs for his third on another power play. Czech forward Otakar Sik was then assessed a five-minute major and a game misconduct for spearing Canadian defenceman Bowen Byram in the groin.
Another penalty made in a two-man advantage, and Hayton scored his third just 20 seconds later — a goal that just crossed the line despite Parik's best efforts and needed a video review of more than seven minutes.
McMichael got in on the action just 61 seconds after that to tie a tournament record with four power-play goals in one period as the large pockets of Canadian support among the sellout crowd of 8,693 celebrated.
"First period decided the game," Zabransky said.
Canada was once again without Lafreniere, the reigning CHL Player of the Year, but there's still a chance he returns for the medal round.
Coached by former NHLer Vaclav Varada and minus injured star forwards Jan Jenik and Jan Sir, the Czechs made it 4-1 when Strondala, who was only just added to the roster, jumped on a rebound.
"It was unbelievable," Hayton said of the atmosphere. "Nothing I've ever experienced before. The Czech fans were unreal.
"The energy in the building was electric."
Zabransky added his fourth of the world juniors 14 seconds later when Canada couldn't get the puck deep, but Foudy took advantage of a strange bounce off a dump-in to score his second just 10 seconds after that.
A challenge for offside by the Czechs failed and Cozens scored a fifth goal on the man advantage 56 seconds later to make it 6-2.
McIsaac added a seventh midway through the third to complete a rout that didn't seem all that likely just a few days ago with all the distractions swirling around this group of talented teenagers shouldering huge expectations.
"We've got a good leadership group," Hunter said. "We battled through."
Canada's Alexis Lafreniere to return from knee injury at world juniors
Reaction to the death of former NBA Commissioner David Stern


RedCab LLC is a fast growing company with futuristic business models in the transportation space.
From the technical aspect to the business model, a dedicated research team spends a full year studying needs, assessing market gaps and exploring potentials with a focus on the driver's experience and driver's needs.
The first beta version of our Mobile App was aired in 2017 on both the App Store and Google Play, and the soft launch took place at a small tourist spot by the Red Sea for more hand operations and to test the car calling service, consuming most of our business models. We see great potential in the industry and growing demand in all metropolitan cities in the hope of future growth for the industry reaching $ 285 Billion by 2030.
The purpose of RedCab token sales is to transform our business model from centralized application into a decentralized ecosystem that enables access to global reach and reduce transport costs for users. Saving over $ 60 billion annually through intermediaries, raising funds to expand our infrastructure and address the growing international demand for transportation services worldwide through the development of powerful scalable tools.
RedCab LLC team have seen a clear opportunity in the Peer 2 Peer transportation industry for a unique business model to balance business goals and customer needs, supported by a powerful technical platform.
Blockchain technology is considered the backbone of our business model from providing secured transactions and fast contracting; it perfectly blends with our business model to deliver to the world a decentralized and community managed transportation solution ready to serve individuals and support businesses.
An existing company since 2016 with tangible on-ground operations. Bringing a globally innovative solution through the Blockchain to an existing market need with $230 Billion annual demand.
We move people from Point A to Point B by cars and spent 1 year of research in the transportation industry to understand potentials and technologies.
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Developing a technical platform with a solid eye on the future. Introducing advanced technologies to the transportation industry to enhance customer experience and achieve better business results.
Redcab is committed to a transparent token sale process.


From my perspective, class was a little .. wonky today. We had sideways snow, and after finally upgrading my Pandora account, it wouldn't work, then iTunes on the computer wouldn't work and finally, the speakers subtly went in and out with use of the cd player - I abandoned music about half way through. I was distracted, but determined and dear student friends - you were all amazing - focused, present, and flexible in response to my somewhat distracted requests. We continued exploring the theme dharma. What is your purpose?
The root of the worddharma is dri which means "to support" or "to hold up." In it's largest context, dharma is the unseen and limitless web of intelligence that sustains and supports both the universe as a whole and each individual creation within it ... Dharma supports you, as an individual, in your role as an essential part of the whole ... We each have a unique role to play in the service of sustaining and advancing the whole of which we are a part ... Dharma is the compelling force in each of us that longs to thrive, to become who we were meant to be.


From the moment I first get in and adjust the driver's seat in the 2020 Mercedes-Benz GLE450, I know this SUV is something special. The large center screen prompts me to enter my height, and after doing so, the seat, steering wheel and pedals move on their own, putting me in the perfect seating position. That's one heck of a first impression.
The GLE-Class — formerly known as the M-Class — is the vehicle that arguably started the luxury SUV craze, more than 20 years ago. This fourth-generation model promises to be a big leap forward in terms of both onboard tech and driving dynamics, making it better poised to take on a growing crop of premium SUVs.
The 2020 GLE-Class starts with the GLE350, powered by a 2.0-liter, turbocharged I4 engine. But I'm rocking the GLE450, which uses a 3.0-liter, turbocharged I6, putting out 362 horsepower and 369 pound-feet of torque. While the GLE350 can be had with a choice of rear- or all-wheel drive, the GLE450 only comes with Mercedes' excellent 4Matic AWD system, as well as a nine-speed automatic transmission.
This power plant has an ace up its sleeve: Mercedes' EQ Boost electric assist. It's a mild-hybrid system, kind of like the eTorque tech in the new Jeep Wrangler and Ram 1500, with a 48-volt onboard motor-generator that can add 21 horsepower for short bursts.
The 48-volt system also supplies juice to the GLE450's E-Active Body Control system, which is a combination of air suspension and hydraulic dampers that can control each wheel independently. It really comes into play when I turn the drive mode to Curve — instead of leaning to the right while taking a left-hand sweeper, the car actually leans into the turn. That makes for nearly flat cornering, which honestly is a little strange at first, but easy to get used to.
The EABC tech is certainly cool, but be aware, it's a costly add-on. On this GLE450, it adds $8,100 to the bottom line.
In Sport and Sport+ modes, the GLE450's throttle snaps to attention and the nine-speed transmission downshifts under braking so I have lots of power coming out of a turn. The transmission is so nicely tuned I don't even bother with the paddle shifters.
Of course, if you want to achieve maximum fuel economy, it's best to stay out of the Sport modes, and here, you'll find a plush ride with light, accurate steering. The EPA estimates fuel economy ratings of 19 miles per gallon city, 24 mpg highway and 21 mpg combined for the GLE450, which isn't too bad, though during my week of testing, I saw numbers lower than that.
The GLE450 has a huge list of driving aids, making my commutes around San Francisco a breeze. Adaptive cruise control is nothing new, nor is stop-and-go functionality, but the Benz will do you one better. Using GPS, the GLE450's system can read the road ahead and slow down automatically for curves, toll booth plazas and so on.
There's a ton more tech inside, by way of Mercedes' new MBUX infotainment system. The biggest upgrade here is the addition of advanced voice control — just say, "Hey, Mercedes," and use natural speech to control the climate functions, media, navigation and more. All I have to say is, "Mercedes, turn on the massaging seats," and before I know it I'm receiving a rolling pressure point massage that does wonders while I slog through Bay Area traffic.
Other Roadshow editors have had moderate to great success with the MBUX system, and I'll admit, it's hit or miss here, too. It has no problem telling me the weather and giving me information when I ask, "Who is Steph Curry?" But when I ask it to switch over to Apple CarPlay, nothing happens.
Though I'm usually in favor of using smartphone mirroring for navigation functions, the GLE450's system really has it going on. The forward-facing camera offers augmented-reality overlay to show me exactly where to turn, and the addresses of nearby buildings pop up on the screen so I never miss my destination. This is a huge step forward for navigation tech.
If you still prefer to rely on your phone's capabilities, both Android Auto and Apple CarPlay are standard, as is a Wi-Fi hotspot and wireless charging. It's also worth noting that while there are a number of USB charging ports, they're all the new Type-C design. Have an adapter handy.
The cabin looks and feels top-notch, with great leathers and a number of different wood and metal inlay options. Luxury features are in great supply, though many of them are optional extras. My personal favorite is the seat kinetics program, which, if you don't have the massaging seats activated, can make minor adjustments to my driving position so I don't get stiff and tense. Combine that with heated and cooled chairs, as well as a heated center console and heated door panel, and heated and cooled cupholders, and I'm in the lap of warmth and luxury.
Mercedes' new Interior Assistant is built into the MBUX tech, which can recognize hand and arm movements to, say, turn on the map lights or bring up preprogrammed favorites in the infotainment screen.
You can spec the GLE class with a third row of seats, but my tester has the five-passenger configuration. Head- and legroom are about average for the class — taller folks won't have trouble stretching out in the GLE. Cargo space is equally average and adequate.
So yes, it's expensive. But with its absolute onslaught of driver assistance and infotainment tech, not to mention great driving dynamics and top-tier luxury, it feels worth every penny.