text:
Mary Tabor's absorbing new collection of short stories
Blurring the line between fiction and real life is one of the intrigues of good writing. Much of Saul Bellow's wild antics in "Humboldt's Gift" actually happened to him, but how much? Did Philip Roth's "Portnoy's Complaint" originate in his personal life? Intriguing, perhaps, but none of this really matters if the story is credible and the writing holds up. Any reader with an analytical bent will wonder, however, where the truth is located in a good story. I certainly did, reading Mary L. Tabor's new collection of twelve short stories, "The Woman Who Never Cooked."
Roadside wildflower meadows are springing up across the UK – and they're helping wildlife in a big way
by Olivia Norfolk
The eight-mile 'river of flowers' that grows alongside a motorway nea
Four steps to make your lawn a wildlife haven – from green desert to miniature rainforest
"........since World War II, 97% of unimproved grassland habitats have vanished from the UK. This has contributed to the loss of pollinating insects – and the distribution of one third of species has shrunk since 1980."
Would you eat meat grown from cells in a laboratory? Here's how it works
by Leigh Ackland
"For many of us, eating a meal containing meat is a normal part of daily life. But if we dig deeper, some sobering issues emerge. Every year, 66 billion terrestrial animals are slaughtered for food. Predictions are that meat consumption will rise, with increasing demand for meat from China and other Asian countries as their standards of living increase. The impact of grazing animals on the environment is devastating. They produce 18% of the world's greenhouse gases, and livestock farming is a major contributor to species extinctions."
Narcissists and psychopaths: how some societies ensure these dangerous people never wield power
by Steve Taylor
"Throughout history, people who have gained positions of power tend to be precisely the kind of people who should not be entrusted with it. A desire for power often correlates with negative personality traits: selfishness, greed and a lack of empathy. And the people who have the strongest desire for power tend to be the most ruthless and lacking in compassion."
The Art Market: Historical Perspective
by David Galenson
"In this era of Trump, it should perhaps come as no surprise to find supposed experts lacking in historical perspective. Yet it is still disappointing to find this deficit in the New York Times, which prides itself on clinging to a pursuit of the truth. So it is a bit sad to read the plaintive cry of Allison Schrager's op-ed of May 17, lamenting that the domination of art markets by the super-rich will somehow force smaller galleries to go out of business, and imperil the careers of young artists."
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Politics of automation: Factory workers and robots
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Tour de France: Caleb Ewan edges thrilling sprint finish to win stage 11
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Email address info@factsandarts.com. Twitter: …
The Idea of America is at Risk
Extract: "ust as an earlier generation resisted the limiting post-War era "white middle class" definition of being American by giving birth to an awakening of cultural pluralism and ethnic pride, it falls to our generation to fight for an expanded view of the idea of being American that rejects the narrow view projected by Trump and white nationalists. The idea of America isn't theirs. It's bigger than they are and unless our national cohesion is to unravel, this challenge must be met by projecting an inclusive vision of America that celebrates our inclusive national identity in an increasingly globalized world."
Climate change: 'We've created a civilisation hell bent on destroying itself – I'm terrified', writes Earth scientist
by James Dyke
Whatever other attributes Homo sapiens may have – and much is made of our opposable thumbs, upright walking and big brains – our capacity to impact the environment far and wide is perhaps unprecedented in all of life's history. If nothing else, we humans can make an almighty mess.
Bringing Light to the Darkness
A century ago, unspeakable horrors took place on every continent that were known only to the victims and the perpetrators. Not so today. As a result of advances in communications – from the telegraph and radio to satellite television and the internet – the pain and loss of global tragedies are brought home to us in real time. Because of this expanding consciousness, the post-World War II era has witnessed the rise of visionary leaders and the birth of countless organizations dedicated to alleviating suffering and elevating the causes of peace, human rights, and tolerance among peoples. Individually and collectively, they have championed the rights of peoples in far-flung corners of the world, some of which had been previously unknown to those who became their advocates. These same leaders and groups have also fought for civil rights and for economic, social, political, and environmental justice in their own countries.
What is Ethical Interanimality?
by Sam Ben-Meir
"Cursed be that mortal inter-indebtedness which will not do away with ledgers. I would be free as air; and I'm down in the whole world's books. I am so rich… and yet I owe for the flesh in the tongue I brag with" (Moby Dick, chapter cviii).
Why the world is due a revolution in economics education
by Joris Tieleman
Economists speak in numbers only, clinging to statistical data and quantitative models. We do so in the hope of looking objective. But this is counter-productive – "data" cannot tell us everything. Other social sciences such as sociology and anthropology use a broader range of methods, and consequently have a broader perspective on society. If we take our societal role of adviser on economic matters seriously, we will need to open up and adopt the insights that these other disciplines bring us about how the economy works.Politics and economics are inextricably intertwined, as Adam Smith, David Ricardo, Karl Marx knew all too well. Somehow this has been forgotten. This does not mean economists need to get political or choose sides. But it does mean that we ignore politics at our own peril – by blindsiding ourselves or dismissing it as "external stuff", we hamper our understanding of the very system we study.
Giacometti at the Prado
Although it is not likely that many visitors who pass by the Giacometti sculptures on their way to Las Meninas will ponder it, the contrast between these works underscores the single greatest transformation in the history of western art, from a regime in which artists tailored their works to the aims of individual patrons, to one in which artists choose their techniques and motifs according to their own concerns, and only then present the products to an anonymous competitive market
I Remember Danny Ben-Israel
On March eleventh, the world lost someone who was very special, who made a mark and touched people with his voice, as a singer, a humorist and writer..........I had the great good fortune to know him and spend time with him, playing music, talking with him – he was a man of immense culture, fluent in Hebrew, German, English, and Romanian. He loved New York City and Vienna and we would often swap apartments so that he could stay in New York while I lived at his place in Vienna.
Bureaucracy and Power in American Higher Education
by Alexander J. Motyl
The ongoing controversy over admissions to American universities has overlooked the one of the most telling aspects of the scandal—that it took place with the connivance and active participation of administrative bureaucracies able to act with impunity in the pursuit of their interests. Neither the professoriate, often the target of opprobrium from the left and the right, nor the student body, also the target of criticism from both sides of the political spectrum, bore any of the responsibility. Current debates over "what ails" U.S. colleges and universities consistently ignore the single most important dynamic of all institutions—their structure of power. I suggest that the way in which power is allocated within American universities is strikingly similar to that of Soviet-type regimes. Presidents, chancellors, provosts, deans, and their bureaucratic apparatuses preside over vast real-estate and financial holdings, engage in the economic equivalent of central planning, have inordinate influence over personnel, and are structured hierarchically, thereby forming an enormously powerful "new class" like that described by the renowned Yugoslav dissident, Milovan Djilas, in the mid-1950s.
Big gods came after the rise of civilisations, not before, finds study using huge historical database
by Harvey Whitehouse, Patrick E. Savage, Peter Turchin and Pieter Francois
When you think of religion, you probably think of a god who rewards the good and punishes the wicked. But the idea of morally concerned gods is by no means universal. Social scientists have long known that small-scale traditional societies – the kind missionaries used to dismiss as "pagan" – envisaged a spirit world that cared little about the morality of human behaviour. Their concern was less about whether humans behaved nicely towards one another and more about whether they carried out their obligations to the spirits and displayed suitable deference to them. Nevertheless, the world religions we know today, and their myriad variants, either demand belief in all-seeing punitive deities or at least postulate some kind of broader mechanism – such as karma – for rewarding the virtuous and punishing the wicked. In recent years, researchers have debated how and why these moralising religions came into being.
Brexit: Europe has changed UK food culture for the better – leaving could turn back the clock
by Richard Tresidder
European food and ingredients have become staple food choices for the British. The use of ingredients such as garlic, peppers, avocados, Parmesan cheese and all those other European ingredients that are now taken for granted are relatively new and were still rare in the 1990s. When I was growing up in rural Devon in the 1970s, olive oil was only really readily available in chemists as a cure for earache – now it is found in most food cupboards. And wine drinking has permeated through all social classes.
Painting as Metaphysics: Hilma af Klint and the Birth of Abstract Art
The Guggenheim's strange and wonderful exhibition of Hilma af Klint's groundbreaking, yet largely unknown body of abstract art is an important event – one that challenges us to not only rethink the early history of twentieth century abstract art, but to recognize her vision of art and reality as unique, authentic, and deliciously puzzling.
A Challenge to the West
Looking at the world today, it's clear that the consequences of this imperial legacy are still with us. If anything has changed it is that we are now beyond just viewing the former "natives" as far-away oddities. They are now living within our borders, having come to find the opportunities they were denied at home. So when I hear the reactions in the West to the influx of South Asians going to the UK, or North Africans going to France, or Central Americans migrating to the US, I can only say "Guys, these are the fruits of your conquest – your chickens coming home to roost."
Houellebecq is back with another dark tale
Extracts: "The new novel Sérotonine by Michel Houellebecq, the bad boy of French literature, is a saga of depression and death told with such irony and wit that readers seem to love it despite the unsettling themes. Maybe it's just me but I found myself laughing out loud.......True to form, the French don't agree on Houellebecq – or anything else, for that matter. The impact of his new novel has divided the readers into opposite love-hate camps with hardly any middle ground. Houellebecq cannot leave you indifferent, notes a literary friend of mine"........Picture: Michel Houellebecq, by the reviewer Michael Johnson.
'Smiling depression': it's possible to be depressed while appearing happy – here's why that's particularly dangerous
by Olivia Remes
The term "smiling depression" – appearing happy to others while internally suffering depressive symptoms – has become increasingly popular. Articles on the topic have crept up in the popular literature, and the number of Google searches for the condition has increased dramatically this year. Some may question, however, whether this is actually a real, pathological condition. While smiling depression is not a technical term that psychologists use, it is certainly possible to be depressed and manage to successfully mask the symptoms. The closest technical term for this condition is "atypical depression". In fact, a significant proportion of people who experience a low mood and a loss of pleasure in activities manage to hide their condition in this way. And these people might be particularly vulnerable to suicide.
Musicians in word and art: Portraiture and caricatures: Conductors, pianists, composers by Michael Johnson
by Mary L. Tabor
Outstanding, experienced journalist Michael Johnson, whose articles, often accompanied by his striking portraits, has now brought his love of music and of pen, ink, gouache and watercolor to create a study of remarkable insight, strong opinions and beauty in this gorgeous book. Written in both French and English the brief descriptions of musicians he has met, studied, interviewed are accompanied by distinctive portraits that, as his title suggests, some may be caricatures. I argue that the author/artist has created insightful studies of the human face engaged in the pursuit of music. The only caricature is his own self-deprecating, slyly wry self-portrait that opens the book—and it is worth the book's purchase on its own.
Go to Essays
Russia's imperial mindset dates back centuries – and it is here to stay
by Kevork Oskanian
Postcolonial scholarship has overwhelmingly focused on the legacy of Western empires – but despite a long history of foreign expansionism and domination, Russia, in its various incarnations, has never received the same amount of critical scrutiny. The Tsarist empire's position outside the West proper, the Soviet Union's stated opposition to imperialism, and the fact that Russia's empire was a contiguous land empire rather than an overseas one all helped shield it from postcolonial critique. The result is a strange oversight – especially considering the fact that the heir to the largest continental empire in modern history clearly remains uncomfortable with the independence of many of its former subordinates.
Impossible Dreams: Henry James and Philip Roth
At the age of 50, Henry James created a detailed portrait of an experimental novelist in old age, in his story "The Middle Years." Terminally ill, the novelist Dencombe receives in the mail the published version of what he realizes will be his final work, a novel titled The Middle Years.
A Transcendentalist's Love Story
by Jack Kohl
I would like to share a love story – framed by two solitary moments (separated by fourteen years, two months, three days, and sixteen hours) before the same telephone in the same hotel room in Boston, Massachusetts. But, to begin with, let me go back to the first meeting I had with the young woman. I met Julie in a museum, in Ralph Waldo Emerson's house, in Concord, Massachusetts, on May 22, 2003, a few minutes after 10:30 AM – just three days before the bicentennial of Mr. Emerson's birth, and three days after my own thirty-third birthday. But I hope no one will think that I believe I can parallel Mr. Emerson on any greater terms than that small coincidence.
Literary One-Hit Wonders
Ever since I first began listening to popular music on a transistor radio, I have been fascinated by one-hit wonders. Today, oldies stations can devote entire weekends to singers and groups who had one hit and were never heard from again, including such classics as the Penguins' "Earth Angel," the Teddy Bears' "To Know Him Is to Love Him," and the Murmaids' "Popsicles and Icicles." When I began studying creativity, I discovered that one-hit wonders were not unique to pop. Grant Wood's American Gothic and Maya Lin's Vietnam Veterans Memorial are celebrated instances in which the name of an artist instantly calls to mind a single work, and vice versa....
A wry, sly look at the Russian classics
Serious readers like to see a review or two about big, complicated novels before deciding whether to devote their life to them. The thousand-page Russian classics all seem to carry this warning flag.
On Founding a Running Club
For two years I was president of a member group of the Road Runners Club of America. I enjoyed my service, but I did not seek a second term.
The Literary Magic of Harry Potter
by William A. Gleason
PRINCETON – This summer, at literary festivals and bookstores around the world, readers celebrated the 20-year anniversary of the debut of the first book in J.K.
I Love Dick: The novel and the Amazon series in brief
'Wrong Notes' – the skeleton key to free thinking
As a pianist, I have spent a lifetime reading interviews with other pianists. But I would know, above all, what it is precisely that others think about when they play. People often ask me that question.
ESCAPE VELOCITY: An author's battle to conquer an Emersonian orbit
During all of my adult life as an author and pianist, Ralph Waldo Emerson has been for me the supreme and unremitting guide to the Western canon.
Author Jack Kohl just 'stole it from life'
Feb 1st 2017
Rarely does a musician with a Juilliard background and a Ph.D. in piano performance find the energy, much less the time, to conceive, plot, write and publish a series of well-constructed novels.
Fact-Checking the WSJ [Editor's note: re Mark Twain]
The Wall Street Journal has made an egregious error. I'm not talking about their coverage of Donald Trump, Russian hacking, or any other such ephemera. This concerns something much more serious: classic literature.
Elie Wiesel's Early Work: Four Novels
A Talmudic question has much intrigued me: Two men are stranded in the desert. Only one has water. If he shares it, they both die; if he keeps it, he lives and his companion dies. What should he do? Rabbi Akiva taught that the man has the right to drink it.
Why Bob Dylan deserves his Nobel prize in literature
by Richard Brown
To the surprise of many, Bob Dylan has become the first singer-songwriter to win the Nobel prize in literature.
The man behind Matilda – what Roald Dahl was really like
by Pojana Maneeyingsakul
It is 100 years since the birth of Roald Dahl – considered by many to be the world's number one storyteller. His books have received enthusiastic responses from millions of children all around the world.
Three alternative romantic fiction authors that will heat up any beach trip
by Zoe Strimpel
What grammar pedants and fashion victims have in common
by Rob Drummond
Language pedants who take pleasure in policing other people's use of grammar often have an air of respectability about them, but it's usually a sheen hiding something more pernici
War and Peace: a user's guide
by Sarah Hudspith
How does autobiography work in fiction?
Go to Literary Essays
Junior Cliburn winners take a bow in Texas
Australian pianist Shaun Hern Lee, 16, took first prize on Saturday in the final round of the Cliburn International Junior Piano Competition following 12 days of eliminations and associated activities in Dallas, Texas.
Jack Kohl's striking new collection on music and literature
In a rare combination of artistic talents, pianist Jack Kohl offers seven erudite essays on great classical music compositions and his favorite readings, merging both to make an exciting volume of fresh ideas. Bone over Ivory: Essays from a Standing Pianist (Pauktaug Press, New York) puts on display Kohl's background as a classical pianist and his lifelong obsession with Ralph Waldo Emerson. Along the way, we encounter Gershwin, Fitzgerald, Thoreau, Dickens, Beeethoven and Master Yoda of Star Wars fame, among others.
Interview with Rudolf Buchbinder, star performer at Aix music festival
"On the day before he was to play his marathon concerts, Maestro Buchbinder sat down with me in the 'Teddy Bar' of the Grand Théâtre de Provence to discuss his love for Beethoven. He was relaxed and cheerful and spoke freely......An edited transcript of our conversation follows."
One of the more exciting piano experiences of recent years is the development of a 108-key grand piano in Australia, built by Stuart and Sons and expanded with additional octaves at bass and treble extremes. The sound is new and audiences who have witnessed it tend to erupt in standing ovations. If you don't live in southern Australia, you probably will not hear it in all its glory but it's worth a detour. I have recently had the privilege of listening to a high-definition recording, at 96 KHz, to be exact, of the inaugural concert performed a few months ago. The effect of the expanded keyboard, known as the Big Beleura, is stunning to mind and body. I sat with a friend in his music room in Bordeaux, listening for an hour, flabbergasted.
New Coppola CD and interview: Celebrating miniatures
It's heresy to say this, I know, but the great masterpieces of the 19th century piano composed by Liszt, Schumann, Schubert and Beethoven sometimes leave me exhausted. The complex structure and concentrated emotion, the moods, the arpeggios and stunning fingerwork demand an effort to reach true appreciation. And so when I first heard the new CD "Musiques de Silence" -- interwoven selections of Frederico Mompou, matched with Maurice Ravel, Erik Satie, Henri Dutilleux, Frederic Chopin, Toru Takemitsu, Claude Debussy, Enrique Granados and early Alexander Scriabin – I felt a surge of relief. (Eloquentia EL1857). The repertoire is selected and beautifully braided together by the rising young French pianist Guillaume Coppola.
Mar 1st 2019
The lingering resonances and extreme bass and treble notes are new to the piano world and the premiere audience knew it, rising at the end for a standing ovation. This was the recent premiere of Big Beleura, a 108-key grand piano built by the prestigious Stuart and Sons firm, the only practicing piano maker left in Australia. Some say the piano world will never be the same. "It's important," explains the designer-developer of the instrument, Wayne Stuart of Tumut, not far from Canberra, "to realize that we perceive sound not only through our ears but all of our body." That's how Big Beleura gets to you.
Brace yourself -- the Chinese are coming
The work ethic among young piano students in China shows no sign of abating as their tiny fingers fly up and down the keyboard ten or twelve hours a day. Competitions are welcoming the new Asian talent and European concert halls are filled with admiring fans. Some of us don't quite know what to make of it. It's not all about Lang Lang, Yuja Wang or Yundi Li. Potential new superstars are emerging every year. Brace yourself for more in the years ahead. Some 20 million young Chinese are said to be practicing madly as our European and American kids diddle mindlessly with their smart phones and iPads.
Chamayou interview: Next focus contemporary music
French pianist Bertrand Chamayou [in the drawing by the author, Michael Johnson] plunges into major composers one by one, reading works by and about them, traveling to their favorite haunts, and absorbing their art almost into his blood. As he told me in an interview, he tries to immerse himself in the era of the composition, and to think of it as "new" for its time. In the past ten years he has done this with Liszt, Ravel and Saint-Saëns.
The Labèque sisters revive haunting melodies from the Basque country
The rich culture of the proud and ancient Basque people is sadly underexposed outside their homeland, a remote bi-national region where Southwest France meets northern Spain. Their language, Euskara, is a world in a bubble with no relationship to other living languages. Most outside interest in recent decades has sprung from the sometimes-violent Basque independence movement. Basque music, however, does travel well across cultures, and is worth a detour. The French sisters Katia and Marielle Labèque, born in Bayonne, grew up with Basque melodies and lyrics in their ears. Now an established two-piano duo, their new CD (KML Recordings) Amoria" groups14 disparate pieces of Basque music they researched over several years. It is a departure from their usual classical repertoire.
Desperate musicians who are driven to paint
I know several professional pianists who will admit under pressure that they find their work ultimately unsatisfying. Not because of the crowded marketplace, the dreary practice rooms, the clapped-out pianos or too many exhausting tours. No, they are tired of something more basic — the endless repetition of notes penned by someone else. True artists seek self-expression, artistic adventure. They feel the urge to "own" their work. But written music places strict limits on all but the most marginal departures from notation. Some musicians eventually realize they are mere messengers whose teachers steer them relentlessly back to the page. This may explain why so many pianists and other professional musicians also paint.
Review of Seattle Opera's "Porgy and Bess"
by James Bash
With a large cast, full orchestra, and incredible jazz-inflected music, "Porgy and Bess" stands alone as the one American opera that is recognized around the world. Written by George Gershwin and premiered in 1935 on Broadway, it had to wait until mid-1980s to become a standard of the operatic repertoire. The jazz idiom that Gershwin used was surely one of the reasons that "Porgy and Bess" was adopted slowly by the operatic world. But another roadblock was the story, which told about the love between a crippled beggar, Porgy, and a drug-addicted woman, Bess, who live in an impoverished African-American community in the South.
Finding the true essence of the modern Chopin
Frederic Chopin left detailed markings of tempo, dynamics, phrasing, pedaling, even some fingerings, for his 21 Nocturnes to guide interpreters. Yet no two versions – and there are dozens of them -- are anything like the same. The essence of playing Chopin today is deciding how far to veer, how sharply to swerve, from the master's ideas today without losing sight of his artistic intentions. The player must ask, "When does Chopin cease to be Chopin?" Now comes the rising French pianist François Dumont with a stunning new version that sets him apart (Aevea Classics). PICTURE: Dumont by Johnson.
Princeton invests in monster Steinway purchase
Princeton University in the United States is best known for its big thinkers, top scientists and heavyweight historians but now is embarking on a determined effort to make a splash in the arts. Princeton's new Lewis Center of the Arts is going about it in the most American manner, with millions of dollars upfront investment and a business plan to attract young talent into its music program. Nothing is left to chance. This fall, a new crop of music students have full access to 48 freshly minted Steinway pianos, a large enough stock to attract global attention among pianophiles.
San Francisco Opera - Rheingold, Die Walküre, Siegfried and Götterdämmerung
San Francisco Opera's revival of its Ring Cycle got off to a rousing start with a top notch performance of "Das Rheingold" at the War Memorial Opera House on June12. The production featured outstanding performances from top to bottom by an exceptional cast and new video projections that were even better than the ones used back in 2011.......
The passion and the beauty: why Easter music will send a shiver up your spine
by Thomas Breeze
Bach's B Minor Mass draws cheers on Sunday
Johann Sebastian Bach's B Minor Mass, performed at Symphony Hall on Friday (March 23) and again on Sunday (March 25), was delivered in impressive Baroque style by the Handel+Haydn Society orchestra and chorus.
Naboré does Brahms: 'Landscapes of the heart and soul'
The Brahms Scherzo Op. 4 opens with a delicate and playful theme, then carries us along on waves of emotion swinging from the filigree, to the lyrical, the thunderous, and back to the delicate.
Nadia Boulanger: 'between intimidating and terrifying'
Perhaps enough time has passed since the death of the famous French pedagogue Nadia Boulanger to step back and question her musical sainthood. After all, she was only human.
'Heresy': an Irish opera that celebrates a martyr to the truth - An interview with director and composer
Feb 21st 2018
A new "electronic opera" from Ireland, "Heresy", broke new ground in contemporary opera a couple of years ago, bringing together Irish vocal talent and the synthesized music of much-decorated composer Roger Doyle.
Pianist Ran Jia: The next superstar rising out of China?
Elegant, poised and deeply musical Ran Jia has brought a new freshness to the Franz Schubert piano sonatas, a phenomenal achievement considering how often they have been performed by the greatest pianists of the past 75 years.
Go to Music Reviews
Crazy Rich Asia
........one hopes, Asia will become a bigger part of Hollywood culture, with more films featuring Asian locales and actors. Produced for just $30 million (compared to over $300 million for Disney's "Avengers: Infinity War"), "Crazy Rich Asians" has already grossed over $200 million worldwide.
"Life Itself" - Coming to theaters September 21, 2018
Yes, life is unreliable. Yes, life sometimes is unbelievable. Yes, life will bring us to our knees. And, yes, this much-criticized film will get you in the heart, but not through the manipulation it is being criticized for, but through its narrative insight that shows us how, despite all that brings us down, a story can get us to see that we must get up off our knees.
Steven Spielberg's The Post is a timely reminder of the constitutional importance of a free press
by Emma Long
The press was protected so that it could bare the secrets of government and inform the people. Only a free and unrestrained press can effectively expose deception in government
You must remember this: Casablanca at 75 – still a classic of WWII propaganda
by Stephen McVeigh
Casablanca, which brought together the combined star-power of Humphrey Bogart and Ingrid Bergman, remains one of the best-loved movies ever produced in Hollywood. But the film, which hit the silver screen on November 26 1942, is more than just a love story set in Morocco.
Chicago International Film Festival
The 53rd Chicago International Film festival ran 150 films from October 12-27, 2017. Directors, screenplay writers and actors attended many of the films from fifty countries.
Old-school painting meets cutting-edge animation: Loving Vincent is a rich visual feast
by Stuart Messinger
The cinematic experience continues to be dominated by digitally led projects and audiences who increasingly expect more and more technical innovation. So it is refreshing when a mainstream cinema release consciously chooses to place traditional, artist-led techniques at its very heart.
Sofia Coppola emerges from her father's shadow with Cannes triumph for The Beguiled
by Fiona Handyside
Sofia Coppola's triumphant win at Cannes as best director for The Beguiled is the latest in a series of notable successes for a director quietly but forcefully blazing her own tr
La La Land deserves its 14 Oscar nominations for asking us, quite simply, to feel
by Rebecca Harrison
Having won five BAFTAs, including coveted awards for Best Film, Best Director (Damien Chazelle) and Best Actress (Emma Stone), La La Land is likely to
Scorsese's Silence is admirably faithful to the original Japanese novel
by Mark Williams
The blogosphere has been awash this month with reviews of Martin Scorsese's latest movie, Silence.
The Crown may be inaccurate but it's a cracking period drama
by Gabriele Neher
The Crown, Netflix's most ambitious and expensive original drama, had a reported budget of over US$100 million.
How the rise in TV 'crime porn' normalises violence against women
by Ruth Penfold-Mounce
Violence against women in television drama has always been high.
Five films that Donald Trump should watch
by Andrew Dix
Strange to say, but Donald Trump might have been a filmmaker rather than real estate magnate.
When life imitates art, and believable fiction inspires national politics
by Simon Willmetts
Versailles, a new ten-part drama serial about Louis XIV by Canal Plus on the BBC
by Guy Rowlands
SPOTLIGHT illuminates the unique power of journalism to uncover societal scandals
by David Pilgrim
The Danish Girl: all skirt and no substance
by Clare Tebbutt
Spectre review: James Bond makes his mark in an age of cybersecurity
by Joseph Oldham
Daniel Craig's entry into the Bond world was more than a change of face: he also brought in an abrupt about turn in style, from the fantastical to the gritty.
Life, James Dean and the limits of nostalgia
by J E Smyth
Life offers a brief "outtake" from one of the most famous lives to be profiled in the magazine of the same name's history. James Dean starred in only three major Hollywood films before his death in a car crash on September 30 1955.
Rough sex gives way to romance in the latest Lady Chatterley
by Andrew Harrison
The latest adaptation of D H Lawrence's Lady Chatterley's Lover has predictably prompted significant media interest. Strong and contradictory reactions appeared in the newspapers weeks before it aired (on September 6).
Dear White People ponders post-racism – but we need to talk about that
by Victoria Anderson
Is there such a thing as post-racism?
That's what Justin Simien's film Dear White People asks us to consider. And it's just about to hit the UK.
Go to Movie Reviews


text:
A basic understanding of the following:
* [Feature Modules](guide/feature-modules).
* [JavaScript Modules vs. NgModules](guide/ngmodule-vs-jsmodule).
* [Frequently Used Modules](guide/frequent-ngmodules).
* [Types of Modules](guide/module-types).
* [Routing and Navigation](guide/router).

For the final sample app with two lazy loaded modules that this page describes, see the <live-example></live-example>.

## High level view

There are three main steps to setting up a lazy loaded feature module:

1. Create the feature module.
1. Create the feature module's routing module.
1. Configure the routes.

## Set up an app

If you don't already have an app, you can follow the steps below to
create one with the CLI. If you do already have an app, skip to
[Configure the routes](#config-routes). Enter the following command
where `customer-app` is the name of your app:

```sh
ng new customer-app --routing
```

This creates an app called `customer-app` and the `--routing` flag
generates a file called `app-routing.module.ts`, which is one of
the files you need for setting up lazy loading for your feature module.
Navigate into the project by issuing the command `cd customer-app`.

## Create a feature module with routing

Next, you'll need a feature module to route to. To make one, enter
the following command at the terminal window prompt where `customers` is the name of the module:

```sh
ng generate module customers --routing
```

This creates a customers folder with two files inside; `CustomersModule`
and `CustomersRoutingModule`. `CustomersModule` will act as the gatekeeper
for anything that concerns customers. `CustomersRoutingModule` will handle
any customer-related routing. This keeps the app's structure organized as
the app grows and allows you to reuse this module while easily keeping its routing intact.

The CLI imports the `CustomersRoutingModule` into the `CustomersModule` by
adding a JavaScript import statement at the top of the file and adding
`CustomersRoutingModule` to the `@NgModule` `imports` array.

## Add a component to the feature module

In order to see the module being lazy loaded in the browser, create a component to render some HTML when the app loads `CustomersModule`. At the command line, enter the following:

```sh
ng generate component customers/customer-list
```

This creates a folder inside of `customers` called `customer-list`
with the four files that make up the component.

Just like with the routing module, the CLI imports the
`CustomerListComponent` into the `CustomersModule`.

## Add another feature module

For another place to route to, create a second feature module with routing:

```sh
ng generate module orders --routing
```

This makes a new folder called `orders` containing an `OrdersModule` and an `OrdersRoutingModule`.

Now, just like with the `CustomersModule`, give it some content:

```sh
ng generate component orders/order-list
```

## Set up the UI

Though you can type the URL into the address bar, a nav
is easier for the user and more common. Replace the default
placeholder markup in `app.component.html` with a custom nav
so you can easily navigate to your modules in the browser:

To see your app in the browser so far, enter the following command in the terminal window:

```sh
ng serve
```

Then go to `localhost:4200` where you should see "app works!" and three buttons.

To make the buttons work, you need to configure the routing modules.

{@a config-routes}

## Configure the routes

The two feature modules, `OrdersModule` and `CustomersModule`, have to be
wired up to the `AppRoutingModule` so the router knows about them. The structure is as follows:

Each feature module acts as a doorway via the router. In the `AppRoutingModule`, you configure the routes to the feature modules, in this case `OrdersModule` and `CustomersModule`. This way, the router knows to go to the feature module. The feature module then connects the `AppRoutingModule` to the `CustomersRoutingModule` or the `OrdersRoutingModule`. Those routing modules tell the router where to go to load relevant components.

### Routes at the app level

In `AppRoutingModule`, update the `routes` array with the following:

The import statements stay the same. The first two paths are the routes to the `CustomersModule` and the `OrdersModule` respectively. Notice that the lazy loading syntax uses `loadChildren` followed by a string that is the path to the module, a hash mark or `#`, and the module's class name.

### Inside the feature module

Next, take a look at `customers.module.ts`. If you're using the CLI and following the steps outlined in this page, you don't have to do anything here. The feature module is like a connector between the `AppRoutingModule` and the feature routing module. The `AppRoutingModule` imports the feature module, `CustomersModule`, and `CustomersModule` in turn imports the `CustomersRoutingModule`.

The `customers.module.ts` file imports the `CustomersRoutingModule` and `CustomerListComponent` so the `CustomersModule` class can have access to them. `CustomersRoutingModule` is then listed in the `@NgModule` `imports` array giving `CustomersModule` access to its own routing module, and `CustomerListComponent` is in the `declarations` array, which means `CustomerListComponent` belongs to the `CustomersModule`.

### Configure the feature module's routes

The next step is in `customers-routing.module.ts`. First, import the component at the top of the file with the other JavaScript import statements. Then, add the route to `CustomerListComponent`.

Notice that the `path` is set to an empty string. This is because the path in `AppRoutingModule` is already set to `customers`, so this route in the `CustomersRoutingModule`, is already within the `customers` context. Every route in this routing module is a child route.

Repeat this last step of importing the `OrdersListComponent` and configuring the Routes array for the `orders-routing.module.ts`:

Now, if you view the app in the browser, the three buttons take you to each module.

## Confirm it's working

You can check to see that a module is indeed being lazy loaded with the Chrome developer tools. In Chrome, open the dev tools by pressing `Cmd+Option+i` on a Mac or `Ctrl+Alt+i` on a PC and go to the Network Tab.

Click on the Orders or Customers button. If you see a chunk appear, you've wired everything up properly and the feature module is being lazy loaded. A chunk should appear for Orders and for Customers but will only appear once for each.

To see it again, or to test after working in the project, clear everything out by clicking the circle with a line through it in the upper left of the Network Tab:

Then reload with `Cmd+r` or `Ctrl+r`, depending on your platform.

## `forRoot()` and `forChild()`

You might have noticed that the CLI adds `RouterModule.forRoot(routes)` to the `app-routing.module.ts` `imports` array. This lets Angular know that this module,
`AppRoutingModule`, is a routing module and `forRoot()` specifies that this is the root
routing module. It configures all the
routes you pass to it, gives you access to the router directives, and registers the `RouterService`.
Use `forRoot()` in the `AppRoutingModule`—that is, one time in the app at the root level.

The CLI also adds `RouterModule.forChild(routes)` to feature routing modules. This way, Angular
knows that the route list is only responsible for providing additional routes and is intended for feature modules. You can use `forChild()` in multiple modules.

`forRoot()` contains injector configuration which is global; such as configuring the Router. `forChild()` has no injector configuration, only directives such as `RouterOutlet` and `RouterLink`.

## More on NgModules and routing

You may also be interested in the following:
* [Routing and Navigation](guide/router).
* [Providers](guide/providers).
* [Types of NgModules](guide/module-types).

redpajama_set_name: RedPajamaGithub


text:
Please Support The National Nurse Act of 2017
Nurses were once again voted the Most Trusted Professionals in the 2016 Gallup Poll. This marked the 15th year in a row that nurses have topped the list. It's indeed an honor to call ourselves nurses and to be able to impart our knowledge on our patients to improve their quality of life and health status. Today we face uncertainties with the new administration who promises to "repeal and replace" the Affordable Care Act as soon as possible. We need to stand strong together in a bipartisan effort to ensure Americans continue to receive the very best health care. This starts with prevention and nurses are in a unique position…
Make a Difference for Nurses During Nurses Week
On Nurses Day, Monday, May 6, we begin the week long celebration of Nurses Week 2013. There are many ways to honor nurses. One way would be to support legislation that would help elevate the nursing profession by establishing an office of the National Nurse for Public Health which would bring attention to the nursing profession and provide national leadership in the health care community to meet the needs of the public. " There is overwhelming evidence supporting the critical need to boost health promotion and prevention efforts as well as answer the public demand for increased leadership in nursing. HR 485 will bring forth the significant and trusted voice…
An Open Letter to Mrs. Michelle Obama
Dear Mrs. Obama, As nurses, we were thrilled when the President announced during his State of the Union speech that you will be spearheading a comprehensive program to reduce childhood obesity. As you well know this is one of the fastest rising epidemics in our country. If we are indeed to make a difference and truly reform health care, then one of the most important steps we can take is to be proactive and prevent illness and complications. A large portion of skyrocketing health care costs can be attributed to paying for complications of preventable diseases such as diabetes and heart disease. Obesity plays a huge role in these diseases…
The National Nurse & Health Care Reform
Recently, Alisa Schneider MS, RN and Teri Mills MS, RN, ANP, CNE spoke at the Democracy Fest in Burlington, VT on the subject of Health Care Reform. Alisa and Teri both spoke about the need for health care reform. Teri explained the need for an Office of the National Nurse and "quality health care that is affordable and available to everyone." At the end of her speech, Teri had the honor to introduce Gov. Howard Dean who spoke about President Obama's plan for health care reform and why we need this kind of reform now. The Center for Media and Democracy has video of these 3 effective speeches on their…
Nursing News…
Time got away from me last week so here's some news to catch up on… Teri Mills MS, RN, ANP, CNE announced in the National Nurse Blog last Thursday that the Oregon State Legislature has passed a resolution in support of the Office of a National Nurse. The resolution calls on the U.S. Congress to pass legislation creating this office. Oregon now joins Vermont, Massachusetts, and New York in supporting this cause. Don't forget to sign the Office of a National Nurse Petition if you haven't already done so. Ask your friends and family who are registered voters to sign too. Mother Jones at Nurse Ratched's Place wrote a terrific…

redpajama_set_name: RedPajamaCommonCrawl


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We all share the responsibility to dispose of our wastes legally and with respect for our neighbours. Unfortunately, some of us don't. From throwing out a hamburger wrapper on the highway to dumping large amounts of waste in the bush, illegal dumping is wrong and should be stopped.


text:
Death and magic are close companions in the dark Mexican fairy tale Tigers Are Not Afraid
Photo: Shudder
Tigers Are Not Afraid (Vuelven)
Issa López
Paola Lara, Juan Ramón López, Ianis Guerrero,Tenoch Huerta
Select theaters August 21 and 23
In her native Mexico, Issa López is an established—and celebrated!—novelist, director, and screenwriter. It's those of us north of the border that have been slow to catch up. López's third feature film, Tigers Are Not Afraid, seems poised to serve as her breakthrough in the U.S., riding praise from the likes of Stephen King and Guillermo del Toro into American movie theaters before making its streaming debut on Shudder. There's much about this horror-fantasy that's uniquely Latin American: Its magical realist sensibility, for example, as well as its cozy relationship with death. But there's also a lot about it that will appeal to broader U.S. audiences, given that López's approach to kids-in-peril adventure combines wonder and danger in a distinctly Spielbergian way.
The story takes place in an unnamed border city plagued by drug violence, where—as a title card at the beginning of the film states—hundreds of thousands of people have gone missing in the past 10 years, and "there are no numbers for the children the dead and the missing have left behind." Estrella (Paola Lara) is one of these children, a 10-year-old schoolgirl whose mother suddenly and mysteriously disappears at the beginning of the film. Sent home after a gang shooting at her school by a teacher who gives her three pieces of chalk—each one good for a wish—Estrella sits overnight in an empty apartment waiting for her mom to return. Instead, at first light she's greeted by a mournful, sighing ghost, the first of many that will appear to her throughout the film. The arrival of the spirit signals two devastating truths: Estrella's mother is dead, and she will be too if she doesn't flee.
Wandering the streets with nowhere to go, Estrella joins an impromptu family of orphaned street children led by the moody El Shine (Juan Ramón López), a little boy who acts like a macho gangster. Shine stole a gun and a cellphone from a cartel member named Caco (Ianis Guerrero) shortly before Estrella joined their little gang, and now Caco and his boss, El Chino (Tenoch Huerta), have come to get them back. Tigers Are Not Afraid pulls no punches when it comes to violence against children as young as 4 years old, and El Chino and his gang have no compunction about offing little kids with the same indifference with which they take adult lives. So while the film is told from a child's perspective, with a firm belief in wishes and a love of playing pretend, the stakes of the kids' adventure as they try to stay one step ahead of Chino and his gang are literally life-and-death.
This same blend of whimsy and destruction informs the film's visuals, as Estrella, Shine, and their young companions duck between bombed-out buildings trying to stay out of sight. An abandoned theater becomes a zoo when the kids find colorful koi swimming in a filthy puddle. A dingy warehouse is lit by orange flames from a burning piano. The rooftop clubhouse where the boys are living when Estrella first arrives is draped in sheets of plastic and scavenged junk, a gritty urban counterpart to the Lost Boys' hideout from Spielberg's Hook. The graffiti that covers nearly every outdoor surface periodically comes to life, dancing and swaying in joy and in grief. All the while, Estrella is tailed by a snaking stream of blood that bends and twists around every corner, a reminder of what awaits them if the cartel ever finds her and her friends.
The film's English title (in Spanish, it's called Vuelven, meaning "they come back") comes from an affecting but underdeveloped thematic through-line about fairy-tale characters—which, for these kids, might as well include tigers, an animal they've never seen and will probably never see in real life. But Tigers Are Not Afraid is at its most effective when it uses its fertile imagination to terrify. Estrella's ghosts, which increase in number and intensity as El Chino draws closer, are both chilling and deeply sad, and the scene where she's confronted by dozens of spirits in a room full of furniture draped in white sheets is positively nightmare-inducing. With that in mind, it's too bad that the camerawork becomes distractingly shaky in several key sequences, throwing off the composition and cheapening the look of this otherwise well-staged and well-executed film. Along with a few frustrating character beats, these small technical hiccups keep Tigers Are Not Afraid from rising quite to the level of a masterpiece. But as López's career continues to ascend, there's no doubt that she'll meet that challenge sooner rather than later.


text:
Instructional Case:
Main Line vs. Basinger:
A Case in Relevant Costs and Incremental Analysis
Thomas L. Barton, William G. Shenkir and Brian C. Marinas
ABSTRACT: Important management accounting techniques, such as contribution analysis and relevant costing, are integral to the widely publicized case of Main Line Pictures vs. Basinger. Main Line sued actress Kim Basinger in 1991, alleging that she caused the company to lose profits of $5 to $10 million by withdrawing from a controversial film project in breach of contract. Main Line argued that it would have earned a pretax profit on the film in the range of $3 million to $8 million if Basinger had remained. The profit figures were calculated from pre-sale contract amounts and the film's budgeted cost. Main Line also argued that it expected to lose $2 million on the film as it was eventually made primarily because Basinger's replacement was of much lower box office appeal.
Basinger argued that only a handful of very successful films could generate profits toMain Line in the dollar amounts cited because of the many contractual claims against those profits by others. In addition, her presence in the film was no guarantee that the film would be successful.
At issue here are the reliability and reasonableness of the numbers used inMain Line's lost profit computation. The case relies heavily on the identification of relevant costs and the performance of sensitivity analysis as the reader is asked to consider alternative cost and revenue assumptions to ascertain the impact on the lost profit amount. Finally, the reader is asked to prepare his or her own alternative lost profit calculation.
In 1991, Main Line Pictures, Inc. sued actress Kim Basinger (and others) for breach of contract. Basinger had been in negotiation withMain Line to star in the film, "Boxing Helena" but had withdrawn from the project. The suit was heard in early 1993 in the Superior Court of the State of California, for the County of Los Angeles with the Honorable Judith C. Chirlin presiding.
For the Plantiff (Main Line), Patricia L. Glaser, Attorney at Law:
Nobody is saying Miss Basinger has to act in this movie. Nobody ever said that. What we said was when she committed to do the project, when her agents negotiated the terms of the contract, and when she agreed to do this deal, if she wants to walk away because she changed her mind, she's got to pay the piper. She's got to pay for that. And all I'm saying is we're entitled {to} our damages between 5.1 and 9.7 million dollars. We're entitled to that, Ladies and Gentlemen, because there was an oral agreement, and I'm going to show you there is also a written agreement.
For the Defendant (Kim Basinger), Howard L. Weitzman, Attorney at Law:
First of all, you are being asked to, in effect, order Kin Basinger to pay 5.1 or 9 something or 10, whatever, multiple millions of dollars for a picture that was not made because Mr. Mazzocone [Main Line President] was angry and wanted to make the movie. She's not responsible for that.
No way in the world would I suggest to you Carl Mazzocone {or} Main Line Pictures is entitled to $5 or $8 or $10 million because he has a duty under the law to minimize his loss, and it does not include going out and making a picture knowing you are $2 million short, and that's what happened here.
In the Basinger case, the primary issue for jurists and other legal enthusiasts was whether Basinger breached an actual contractual agreement or simply engaged in the usual caprice ofHollywood deal making. The press was awash with stories declaiming the lack of integrity inHollywood deals and discussing the possible adverse implications for actors and production companies in general.
The film "Boxing Helena" was no less controversial than the legal issue. It involves a woman who is injured in a car accident. The doctor who "rescures" her amputates her injured legs and unhurt arms and keeps her hostage in a box, hoping she will eventually fall in love with him. Basinger testified that she withdrew from the starring role, after ongoing negotiations, because of concerns about her character's personality and graphic scenes of an adult nature.
Main Line, however, had $3 million in potential domestic and $7.6 million in foreign pre-sale agreements based on Basinger's participation in the film. After her withdrawal, a lesser known actress, Sherily Fenn (a star of the television series, "Twin Peaks") was engaged, resulting in only $2.7 million inforeign pre-sale agreements and no domestic distributor as of the time of the trial. Main Line contended that it incurred significant financial damages from Basinger's withdrawal from the project.
Of concern here is how to value the actual damages incurred byMain Line if there were a breach of contract. Any value is particularly tenuous given the fact that (1) a film with Basinger was never made, and (2) a reliable revenue prediction for a specific film is very difficult, and frequently impossible, to obtain before the film is released. BothMain Line and Basinger presented expert witnesses to deal with the problem.
REVENUES AND COSTS FOR A FILM PRODUCTION:
A film project generates revenue to its producer through rentals based on box office receipts and ancillary sources such, as home video, cable and network television. Independent producers (i.e., those not affiliated with major studios) typically attempt to raise the capital to produce their films through pre-sale contracts. In a pre-sale contract, a film distributor will agree to distribute a film to theaters in a certain geographic area in return for a fee guarantee. For example, a distributor in Europe contracts to distribute a film and agrees to pay the producer $5 million against an amount calculated as the revenue to the distributor (based on box office receipts or "gross") less a 40 percent distribution fee and less the costs of advertising, making the copies of the movie (prints), and other distribution elements such as freight. The producer can then borrow against that contract from a bank to help finance the film's production cost, or the distributor can advance production funds to the producer against its own contract.
If the film generates revenue to the distributor in Europe of , say, $15 million (based on total tickets sold), the distributor will calculate the payment to the producer as $15 million less the 40 percent distribution fee less the cost of prints, advertising and other miscellaneous distribution costs. Suppose the cost of prints, advertising and other distribution elements is $3 million. Then the producer would be paid: $15 million – (40 percent x $15 million) – $3 million = $6 million. But regardless of the film's actual success at the box office, the payment could not be less than the guarantee of $5 million.
The producer's costs of a film production are the outlays for acquiring the rights to the script, fees to the actors, director and production personnel, film stock and processing, camera rentals, sets, costumes, special effects, and post-production costs of editing, sound and music. The producer will deliver a master copy of the film from which prints can be made but the actual cost of the prints, advertising and other distribution elements are borne by the distributor until they are recouped from the producer's share of the box office receipts.
Often there will be contractual arrangements that will call for the producer to share net profits, and in some cases revenues, with key actor, the director and others. While direct costs are charged to the individual film projects as incurred (job order costing), there can be common overhead costs that will require allocation to individual films. This allocation, of course, will affect the payments made to net profit participants and has been a longstanding source of controversy–and litigation–in the industry. But overhead allocation is more of an issue with major studios who produce 15 to 20 films a year than with independent producers who may produce only one or two films a year.
TESTIMONY BY MAIN LINE'S EXPERT:
Louis L. Wilde, professor of economics and consultant, appeared as an expert witness for the plaintiff. Wilde testified that the minimum profit differential ( and therefore financial loss toMain Line) was $5.1 million. This analysis is presented in table 1.
Wilde worked form the definition that damages were "a measure of the compensation that would be required to put the person [ who was breached] in the position [he] would gave been in had there not been a breach in terms of the economic losses to [him]…" Wilde simply compared whatMain Line expected to make with Basinger to whatMain Line actually was able to make on the same package without Basinger — the difference (presumably a loss) was the damage toMain Line.
Wilde emphasized that a focus on "net profit differential" was especially appropriate because a differential, or incremental value, is independent of the specific values for revenue or expenses. For example, suppose the film without Basinger eventually performed better than the $2.7 million pre-sale amount, generating ultimate revenues of $12.7 million. Wilde claimed that his profit differential of $5.1 million would still hold even at the higher revenue amount. Revenues of $12.7 million for the film without Basinger equate to a profit of $7.9 million ($12.7 in revenue less $4.8 in costs). So, according to Wilde, the Basinger film would have earned a profit of #13 million ($7.9 plus $5.1).
Minimum Damages, Plaintiff Expert
With BasingerWithout BasingerDifference
Foreign Pre-Sales
Films$6.8$2.7$4.1
Probable 0.8 NA 0.8
Total Foreign 7.6 2.7 4.9
Domestic Pre-Sale 3.0 0.0 3.0
Total Revenue10.6 2.7 7.9
Production Budget (7.6)a(4.8)b (2.8)
Net Profit/ (Loss)$3.0($2.1)$5.1
aPer testimony of producer that film would be made for amount of foreign pre-sale.
bActual budget for film as produced.
Wilde also calculated a maximum profit differential (table 2). He argued that the private negotiations for the price of domestic distribution lacked market efficiency and, therefore, did not fully reflect the eventual market price of the film if it were released. This flaw in the domestic revenue estimate did not apply to the foreign pre-sales, according to Wilde, because "the foreign pre-sale markets are very well organized. They meet in well-defined places. ….Buyers and sellers come together. The products are there. The transactions take place. Not down in the pit the way the stock market works, but in a relatively short period of time. Information is very good." Therefore, the foreign pre-sale markets (e.g., Cannes Film Festival, American Film Market, MIFED-International Film, TV Film and Documentary Market, etc.) possess greater market efficiency.
Maximum Damages, Plaintiff Expert
Firm$6.8$2.7$4.1
Domestic Pre-Sales 7.6a 0.0 7.6
Total Revenue15.2 2.712.5
Production Budget(7.6)b(4.8)c(2.8)
Net Profit/ (Loss)$7.6($2.1) 9.7
aDomestic pre-sale adjusted for market inefficiency. Put into 1 to 1 ratio with foreign pre-sales.
bPer testimony of producer that film would be made for amount of foreign pre-sales.
cActual budget for film as produced.
To adjust the privately negotiated domestic price to what would be expected in the public market (i.e., box office), Wilde studied the average ratios of domestic to foreign sales for movies of the same genre. Wilde concluded that the ratio of domestic to foreign for this type of film was one to one. Therefore, the potential domestic revenue amount should be revised so that it equals the foreign pre-sales amount. This means an upward adjustment of $4.6 million in the domestic revenue to $7.6 million. With this change, the maximum profit differential is $9.7 million.
As a "gut level check" of his analysis and the revenue differentials, Wilde also compared the average revenue of Basinger films (excluding "Batman") with the average revenue of Fenn films, an average revenue of $1.6 million.
TESTIMONY BY BASINGER'S EXPERT:
Bruce St. J Lilliston, an attorney and specialist in independent film finance and production contracts, appeared as an expert witness for Basinger. Lilliston took the position that in order for an independently produced film to yield a net profit of $5.1 million toMain Line ( the minimum profit differential ofMain Line's expert), it would have to generate worldwide distribution revenues of $82million. This would come primarily from theaters, video and television (table 3). The analysis assumes the film without Basinger exactly breaks even. If total revenue this large was generated by "Boxing Helean," it would place it number 4 on the list of top performing independent films released between 1985 and 1991, following "Dirty Dancing" and above "Nightmare onElm Street, Part IV."
Lilliston also presented evidence that to yield the maximum profit differential of $9.6 million, " Boxing Helena" would have to generate worldwide distribution revenues of $144 million, placing it number 3 on the list of top performing independent films, following "Teenage Mutant Ninja Turtles" and above "Dirty Dancing".
Lilliston then testified that "big stars in a movie" do not necessarily equate to big revenues. He displayed a char showing a list of films with well-known stars that had underperformed at the box office. Included in the list was "Homer and Eddie" starring Whoopi Goldberg, which had a box office gross or $14 thousand against a cost of $14 million. Also appearing in the list was "Hudson Hawk" starring Bruce Willis, which generated a box office gross of $17 million versus a cost of $54 million.
Revenue Needed for Profit Differentials, Defense Expert
MaximumMinimum
Total Revenue$144,207,655$82,288,150
Avg. Worldwide Distribution Fees(40%) (57,683,062)(32,915,260)
Prints and Advertising (12,000,000)(12,000,000)
Amount Payable to Producer 74,524,593 37,372,890
Production Budget (assumed) (7,600,000) (7,600,000)
Gross Profit 66,924,593 29,772,890
Deferment Payment toMain Line (250,000) (250,000)
Deferment Payable to Calanda (250,000) (250,000)
Net Profit 66,424,593 29,272,890
Participation Payment (20.5%)b(13,617,042) (6,000,943)
Net Profit after Participation 52,807,551 23,271,947
Level 1Split:
50% toMain Line to $2 Million(2,000,000)(2,000,000)
50% to Caland to $2 Million(2,000,000)(2,000,000)
Net Profit for Level 2 Split48,807,55119,271,947
15% toMain Line(7,321,132)(2,890,792)
85% to Caland (41,486,419) (16,381,155)
Summary of Payment toMain Line:
Deferment$250,000$250,000
Level 1 2,000,000 2,000,000
Total Payments toMain Line $9,571,132 $5,140,792
aPhilipee Caland is identified in court documents as a partner withMain Line in the project but is not a plaintiff in the lawsuit.
bProfit participation to actors Kim Basinger and Ed Harris, and writer/director Jennifer Lynch.
NOTE:"Amount Payable to Producer" in this table is called "Total Revenue" in tables 1 and 2.
Basinger was to be paid $600,000 in guaranteed compensation to appear in " Boxing Helena" with another $400,000 to be paid out of producer revenues "before the bank" was paid on the production loan to finance the film. She received $3 million to appear in "Final Analysis" following her withdrawal from "Boxing Helena".
As mentioned previously, foreign pre-sales are typically used by independent producers to secure production loans from banks that provide financing for the production costs. This was the case with "Boxing Helena."
The domestic distribution deal cited in Wilde's testimony had not been finalized before Basinger withdrew from the project.
One of the partners inMain Line advanced $1.7 million against domestic revenues to help cover production costs on the Fenn film. In other words, the advance would be repaid from domestic revenues.
Main Line president Carl Mazzocone testified about the $2.8 million difference between the two production budgets (with and without Basinger): "Well, Miss Fenn and [co-star] Julian
Sands both received $100,000. The difference is Kim Basinger would have received $1 million. I had to bank $1 million even though I was paying $600,000 up front, and Mr. Harris [co-star] would have made $500,000. So there is a difference there. I also would have had increased producer's fees and would have made more money. And lastly; the other increase was that I wanted to build a set of this[on a soundstage] instead of using a real house, you have so many limitations and drawbacks [with a real house]. It takes longer. So when you build a set, even though it costs more money to build a set, you will actually save money because it's faster.
Neither expert witness used Statement of Financial Accounting Standards (SFAS 1981) No. 53 in his analysis. SFAS No. 53 requires film companies to amortize film production costs using actual revenues for the period as a percentage of total estimated ultimate revenues for the film. For example, suppose a film cost $5 million to produce and is expected to generate revenues of $7 million over its economic life. During year 1, actual revenues are $3 million. The film company would "expense" 3/7 of the $5 million production cost in year 1, or $2.1 million.
The jury (in a 9-3 vote) awardedMain Line $7,421,694 in damages for breach of contract and unanimously added $1,500,000 for bad faith denial of the contract. A request for punitive damages of $1 million to $2 million was denied. Basinger appealed the decision and later filed for bankruptcy protection. In 1994, the judgement was reversed on appeal and remanded to the lower court. TheAppeals Court concluded that jury instructions failed to draw a sufficient distinction between the liability of Basinger and the liability of her production company, Mighty Wind Productions.
1.Should Main Lines maximum and minimum lost profit amounts be revised downward for the following? Why?
a.The domestic distribution revenues of $3 million because the deal had not been finalized.
b.The $800,000 of foreign pre-sales because they were "probable" not actual.
c.The loss of $2.1 million on the "Without Basinger" film.
2.Are the following relevant to the determination of lost profits toMain Line? Why?
a.Basinger's $3 million salary for "Final Analysis."
b.SFAS No. 53.
c.The comparison of revenues for Basinger films with revenues for Fenn films.
3.Is plaintiff's expert correct in not attempting to estimate revenues for "Boxing Helena" beyond
pre-sale amounts? Why?
4.ShouldMain Line's lost profits be adjusted downward to include an estimate of domestic
revenues for "Without Basinger" film? Would it have been valid to use the $1.7 million
advance against domestic revenues as the estimate? Explain.
5.Suppose Basinger had remained with the film and assume the $3 million profit shown in the
plaintiff expert's minimum damage calculation was correct. Is it reasonable to assume thatMain Line's pretax cash position would have increased by $3 million or would some part of this have
been paid to others? Why?
6.If you disagree with the jury's lost profit assessment, briefly prepare one of your own.
Zoom OutZoom InFit to Width /6View as Text


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Luggage storage CataniaStore your bags with Stasher and make the most of your day
Luggage storage - Catania
Are you searching for luggage storage in Catania?
Travelers will find a diverse range of activities in Catania, Sicily. Whether you choose to take in all the local sites, enjoy the sublime natural beauty, hike up the volcano, relish the traditional "Pasta alla Norma," or sip cocktails on the beach, you'll never run out of things to do when you visit Sicily's second largest city.
Here's our complete guide to luggage storage in Catania.
Luggage Storage in Catania with Stasher
With over 6000 locations in nearly 400 international cities, Stasher makes an ideal option for safe, convenient, inexpensive luggage storage in Catania. We've partnered with some of the city's most respected businesses to give you access to fully insured alternatives to left luggage lockers and traditional luggage storage facilities in Catania.
Why choose Stasher for luggage storage in Catania?
Outstanding service and an impeccable reputation make Stasher the obvious choice for luggage storage among an ocean of copycat brands. Here's just a glimpse of some of our customer perks and proud accomplishments:
Stasher automatically applies a €1000 insurance policy to every item you store with us.
We never place limits on the weight and size of your items.
Over 20,000 satisfied customer reviews rank 4.8/5 stars, and if that isn't enough to convince you, check out our recommendations from Lonely Planet, TechCrunch, theguardian, and the BBC.
Feefo, Expedia, and Visit England have all graciously awarded Stasher with highly-coveted awards for our customer service. Most recently, we earned Phocuswright Europe's People's Choice Award at the annual conference in Amsterdam.
Stasher's extensive partnership network makes it even easier to make your travel plans. Some of our partners include Eurail, Klook, Seatfrog, Holiday Swap, Accor Hotels, Premier Inn, Free Tours by Foot, and Marriott International.
Store luggage in Catania with Stasher is just €6 per day and €5 for each additional day.
Luggage Storage in Catania with Stasher?
Stasher provides more than 6000 secure luggage StashPoints for your luggage in nearly 400 major cities worldwide, including Catania.
Here's a map of all of our luggage storage locations in Catania.
Traveling inevitably includes hours of gap-time between hotel schedules and arrival/departure times. Now, you can take advantage of that extra time to enjoy the city instead of sitting around guarding your bags.
Stasher's luggage storage StashPoints in Catania open early and remain accessible late into the evening. You'll even find Catania luggage storage partners stay open 24 hours. With Stasher's convenient StashPoints, you can turn that boring gap-time into a fun time!
How to store your luggage in Catania with Stasher
Reserving Stasher's luggage storage in Catania is as simple as 1, 2, 3:
Use your browser to navigate to Stasher.com or download our cellphone app to search for your destination. You can click the "Near Me Now" button to find the closest StashPoint if you've already arrived in Catania.
Pick your preferred location and choose the most convenient times to drop off and collect your luggage.
Click to book your luggage, and you'll instantly receive a confirmation message with directions to your StashPoint.
That's it! Just drop off your bags, enjoy Catania, and pick up your luggage when you're ready.
Luggage Storage Near Catania's Train Stations
Sicily's breathtakingly beautiful countryside and ocean view make traveling by train or bus a delightful way to get to Catania. If you would like to know more about train travel in Italy, check out our complete guide to trains and luggage storage at Italian railway stations.
Let's investigate luggage storage options near Catania's transportation hubs.
Catania Centrale
Most train travelers enter the city via Catania Centrale, located in the city center.
You'll find baggage storage at Catania Centrale near Platform 1. Catania's central train station left-luggage facility remains accessible from 8 am to 8 pm and costs €3/item for 24 hours. However, keep in mind that storage space could be limited, and you may have to pay extra fees for oversized items.
Find luggage storage at the Catania Centrale for only €6 for 24 hours!
Stazione di Catania Acquicella
The Stazione di Catania Acquitella makes an exellent hub for heading to the city's port and beaches or exploring the Castello Ursino, and the Galleria dell'Acquicella. Unfortunately, you won't find any official luggage lockers or left-luggage facilities at the port or the museums.
Stasher offers luggage storage at the Catania Acquicella station for only €6/day!
Catania Porto
Heading to Catania Porto station of the city's metro system offers one of the cheapest ways to get to Catania Centrale from the airport. However, the metro is designed for local travel, and you'll be unlikely to find any official lockers or staffed facilities at Catalina Porto.
Find luggage storage at the Catania Porto with no size restrictions for only €6/day!
Luggage Storage Near Catania Airport
Fontanarossa Airport
The Fontanarossa International Airport is the primary flight hub of this part of Sicily. While you'll find restaurants, shops, and free wifi in the VIP Lounge, Catania's international airport doesn't provide left luggage facilities or self-service lockers.
Stasher offers luggage storage at the Catania Airport for only €6/day!
Luggage Storage Near Catania's Galleries and Museums
You can still see the remnants of Catania's original Greek founders throughout the city. But Catania's museums offer the most valuable insights into ancient Greco-Roman Culture.
Here's our guide to Catania's best museums and galleries:
Museo Storico dello Sbarco in Sicilia 1943
The Museo Storico dello Sbarco tells Sicily's story during World War II. The exhibits concentrate specifically on the events that took place between July 10 and September 8, 1943. If you're a history buff or would like to understand WWII's end from a different perspective, you won't want to skip over this museum.
Find luggage storage near the Museo dello Sbarco for only €6/day!
Museo Cicicio Belliniani
Inaugurated in 1930, the Museo Cicicio Belliniano celebrates the life of Sicily's most celebrated composer, Vicenzo Bellini (1801-1835). The museum offers visitors an intimate look at the musician's personal belongings, manuscripts, and instruments.
Find luggage storage near the Museo Cicicio Bellinianio for only €6/day!
Castello Ursino (Bear Castle)
The Castello Ursino headquartered the 13th century Royal Kingdom of Sicily before becoming home to the Sicilian Parliament. The castello also houses Catania's official Museo Civico, showcasing Biscari's archeological treasures, coins from Catania's early days, and an impressive collection of paintings from the 15th through the 19th centuries.
Find luggage storage near the Castello Ursino for only €6/day!
Palazzo Biscari
Palazzo Biscari epitomizes Catania Baroque style. The original building fell during the 1693 earthquake, but the polymath Prince Ignazio Paternò Castello III resurrected the palace in grand fashion. The Palazzo Biscari became Catania's first public museum, immortalized by legendary writer Goethe in 1787.
Find luggage storage near Palazzo Biscari for just €6/day.
Aci Castello
A short day trip from Catania, Aci Castello is a Norman Castle from the 11th century. Silicly's best architects constructed Castello in 1076, and the castle offers panoramic views of the Mediterranean Sea. The on-site Civic Museum showcases artifacts from prehistoric through the Medieval period.
Find luggage storage near Aci Castello for only €6/day.
Luggage Storage Near Catania's Top Attractions
Piazza dei Duomo
The Piazza del Duomo is one of Catania's highlights, and it makes up the center of the city. Here you'll find a basalt elephant fountain, The Cathedral of Saint Agatha, and the Plazzo degli Elefanti, which hails back to the 17th century.
Stasher offers affordable luggage storage near Piazza dei Duomo for only €6/day!
Cattedrale Sant'Agata
While you're at the Piazzo dei Doumo, pop into the Cattadrale Sant'Agata to pay your repescts to Catania's patron saint. The Baroque facade features an entrance door with over 32 bas-relief sculptures telling Agatha's story. You'll also find the Diocesana Museum and the Greco-Roman baths underneath the cathedral.
Stasher offers insured luggage storage near Basilica Cattedrale Sant'Agata for only €6/day!
Monastero dei Benedettini San Nicolo l'Arena
The Baroque complex is a UNESCO World Heritage site and one of Europe's largest monasteries. Catania uses the building to house the university's Department of Humanities.
Find luggage storage near San Nicolo l'Arena for only €6/day.
Villa Bellini Gardens
Inaugurated in 1883, Giardino Bellini offers a peaceful respite from the city. Formerly a cultivated labyrinth owned by the Prince of Biscari, the area was bought by city officials who converted it into a public park.
Stasher offers luggage storage near the Villa Bellini Gardens for only €6/day!
Dating from the Roman Imperial Age, Catania's Teatro Romano consists of two open-air amphitheaters, the Romano and the Odean. Combined, they can hold up to 7000 people, and Catania still uses the Odean ruins for summer festivals.
Find luggage storage near the Catania Teatro Romano for only €6/day!
Teatro Massimo Bellini
Classical music lovers can't miss a performance at Catania's Teatro Massimo Bellini. The lavishly decorated building hosts the city opera, symphony, choir, and theater groups.
If you're going to a performance, we suggest that you wear your swankiest duds to fit in with Italian audiences. You can also attend a more informal guided tour. Either way, you'll have to leave your luggage elsewhere.
Find luggage storage near the Teatro Massimo Bellini for only €6/day!
Porta Garibaldi
The Porta Garibaldi is a triumphal arch created in 1768 to celebrate King Fernando I's marriage to Austrian Princess Maria, Carolina d'Asburgo-Lorena. The Porta still attracts visitors with its contrasting blocks of imported white stone and local black lava blocks.
Stasher provides luggage storage near the Porta Garibaldi for just €6/day!
La Pescheria
Catania's Fish Market makes for one of the easiest ways to encounter the local culture. Every morning, fishmongers take to the streets behind Catania's Piazzo del Duomo to peddle their wares. If you don't feel like cooking, you can have a fresh seafood meal in one of several restaurants surrounding the market.
Find luggage storage near the Pescheria for only €6/day!
Via Crociferi
All over the country, Italians gather at around dusk at the local square to walk around, have a snack or drink, or just sit on benches and people-watch. One of Catania's most popular evening promenade spots is the Via Crociferi. On your stroll, you'll see the Roman Theater, the Bellini Gardens, and four of Catania's most beloved churches.
Find luggage storage near Via Crociferi for only €6/day!
San Giovanni Li Cutti
Seated on Catania's eastern coast, San Giovanni Li Cutti attracts visitors for its black rocks formed by Mount Etna's lava flows. Although San Giovanni remains a fishing village, the area is also one of the most popular beaches. For better or for worse, the local beach clubs have turned the sleepy town into a popular nightlife spot.
Although the beach provides bathrooms and other basic services, there are no formal luggage lockers for beachgoers.
Find luggage storage near San Giovanni Li Cutti for only €6/day!
Piazza Carlo Alberto Flea Market
Named after a 19th-century KIng, the Baroque-style Piazza Carlo Alberto lies right in the historical center of Catania. Local merchants hold a popular market called "Fero o 'Luni" because, in the past, the booths were only set up on Mondays. Now, you can find mouth-watering local produce, handicrafts, and used clothing in the square every day of the week.
Find luggage storage near the Piazza Carlo Alberto for only €6/day!
Luggage Storage - Visiting Catania Attractions
At over 3000 meters high, the active volcano Mount Etna was included in UNESCO's World Heritage list in 2013. Whether you choose to hike close to the summit or explore the lower regions of the volcano, you'll need to find a secure place to leave your luggage.
Find luggage storage near Mount Etna for only €6/day!
Taormina Village
Ocean waters, ancient Greek ruins, and magnificent views of Mount Etna converge at UNESCO-recognized Taormina village, located on Isola Bella. Taormina has its own train station, so many travelers stop here on the way into or out of Catania.
The Taormina station has no left luggage services. However, you can store your baggage at the B&B Sottocoperta at via Nazionale 70 across the street. Contact the B&B for details.
Find luggage storage in Taormina Village for only €6/day!
Is Stasher's luggage storage in Catania safe?
Stasher puts you in touch with a network of local hotels and businesses that offer affordable luggage storage in Catania. Book online, drop your bags off, and continue exploring the city!
Where can I store my luggage in Catania?
Stasher offers award-winning, safe, and convenient luggage storage near key Catania attractions and main transportation hubs. Over 21,000 verified customer reviews have earned us a ranking of 4.8/5 stars on Feefo, which awarded Stasher with its Platinum Trusted Service Award.
How much does it cost to store my luggage in Catania?
Luggage storage in Catania costs from €4.95 for the first day and €4.95 for any additional day.
How long can I store my luggage in Catania for?
How long can I store my luggage in Catania?
You can store your baggage at one of our Catania luggage storage locations for a few hours, days, or even months. We offer discounts for extended storage. It's up to you.


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NBC 5 News at 5am
Bears Select Whitehair, Bullard on Draft's Second Day
Published Apr 29, 2016 at 8:10 PM | Updated at 9:03 PM CDT on Apr 29, 2016
The Chicago Bears traded down twice in the second round on Friday night at the NFL Draft, but they finally ended up making a selection as they picked offensive guard Cody Whitehair out of Kansas State.
Whitehair, who was originally projected as a late first round pick, will provide instant competition on the Bears' offensive line, with rumors swirling that the team could be looking to move players like Matt Slauson in a trade.
Whitehair could also conceviably be in play for the left tackle spot, although his game is better suited for the guard position.
The Bears did make their third round pick without making any trades, selecting defensive end Jon Bullard out of the University of Florida. Bullard, who was projected as a second-to-third round player, had six and a half sacks and 63 tackles for the Gators during his final season in Gainesville.
The Bears originally held the 10th pick of the second round on Friday, but they sent it to the Buffalo Bills in a deal that sent the 49th overall pick and two fourth round picks back to Chicago. The Bills ultimately used that pick on Alabama linebacker Reggie Ragland.
The Bears then made another trade with the 49th pick, sending it to the Seattle Seahawks in exchange for the 56th pick and another fourth round pick. The Seahawks used the pick to select nose tackle Jarran Reed out of the University of Alabama.
Several players the Bears could have potentially taken with the pick were swiped off the board before their selection came up. Kevin Dodd, defensive end from Clemson, was selected by the Tennessee Titans, and Hunter Henry, tight end from Arkansas, was scooped up by the San Diego Chargers early in the second round.
A pair of injured, high ceiling linebackers also went off the board quickly, as the Dallas Cowboys snagged Jaylon Smith out of Notre Dame and the Jacksonville Jaguars traded up to draft Myles Jack out of UCLA.


Born in County Wexford, Ireland on 31 January 1830, son of John and Elizabeth Beaubier. The family emigrated to Canada in 1842 and settled in Leeds County, Ontario. He farmed in the area, and also near St. Marys, Ontario, for thirty years and operated a hotel at Park Hill for six years. He came to Manitoba in 1880 and, two years later, opened the Beaubier House at Brandon. He conducted the business until 1891.
On 26 October 1854, he married Eliza Jane Cathcart. They had eleven children: three boys and eight girls, including David Wilson Beaubier. He was father-in-law of William J. Young.
He died at Brandon on 24 March 1915.
Called to the Bar: An Historical Geography of Beverage Rooms in Brandon, 1881-1966 by Doug Ramsey and John Everitt, Manitoba History, Number 56, October 2007.


Ben is an award-winning entrepreneur, author, and executive in Silicon Valley. He is co-author with LinkedIn founder Reid Hoffman of the recent New York Times best-seller The Alliance: Managing Talent in the Networked Age, which has become one of the most sought-after management frameworks on how to recruit, manage, and retain entrepreneurial employees.
He's co-founder of Allied Talent, a consultancy that helps companies better engage their top talent. Human Resources magazine recently named Ben one of the top trend-setters in the talent industry.
Nick is Professor in the Faculty of Philosophy at Oxford University. He is the founding Director of the Future of Humanity Institute, author of New York Times Bestseller "Superintelligence", and was named one of Foreign Policy magazine's Top 100 Global Thinkers.
Bostrom has a background in physics, computational neuroscience, and mathematical logic as well as philosophy. He is best known for his work in five areas: existential risk, the simulation argument, anthropics, impacts of future technology and implications of consequentialism for global strategy.
Julian is author of the book Sound Business and a highly-rated international public speaker on the effective use of sound in business and on personal communication skills – particularly conscious listening and powerful speaking. His five (yes five) TED.com talks have been viewed over 30 million times, and his latest is in the top 20 TED talks of all time.
His company The Sound Agency works with major brands worldwide, proving that good sound is good business and pioneering the use of generative soundscapes in branded spaces like shopping malls and offices.
Venezuelan-British. Researcher, lecturer and international consultant, specialised in the social and economic impact of technical change and in the historically changing conditions for growth, development and competitiveness.
She is Centennial Professor of International Development at the London School of Economics (LSE), U.K.; Prof. of Technology and Socio-Economic Development, Ragnar Nurkse School of Innovation and Governance, Tallinn, Estonia, and Honorary Professor at SPRU, Science and Technology Policy Research, School of Business, Management and Economics, University of Sussex, U.K.


Happy New Year!! – Wasidah's World!
Source hop over to here Wasidah's World!
Home / fabulous / Happy New Year!!
Once again, it's Wasidah here!
2017 has been and will be a big year for me…I'm turning 37, going into two years of marriage, got my company off the ground this year…and this will mark my tenth year in New York! And while the journey through life is an ongoing learning experience, I feel as though I've learned so much in this past year!
One of the most important bits of insight I've gained is the fact that People Will Be People. Yes, indeed. There have been many times a person has presented themselves as 'this way' and turned out to be the complete opposite–or I've expected certain behavior or personalities and been totally surprised. People don't change unless they want to–speaking for myself, I can personally see the difficulty in changing certain aspects of one's self. You can accept the person as they are, or–if the situation is something you really don't want to be a part of–remove yourself from any drama. Life is too short, as we all know, and nothing negative should cut into your personal happiness and peace of mind. This goes for friends, co-workers, even family–my mother has a habit of being late, and knowing this as I do, I just accept it and we move on. No need for any drama, she's a Gemini, and I never know which side I'm going to get!
Realize that you can't please everyone, and as women we tend to overextend ourselves trying to do just that. Take time to make sure YOU are happy and at peace. Establish boundaries with people, or you just might find yourself being someone's never ending fountain of support (some folks will take take take without ever considering how it might feel to GIVE).
How do I take time for myself? It may be meditation, it may be church, it may be something as simple as a glass of wine with the girls. I don't have to do things too 'big', many times it's the simple moments in life that provide all the peace you need. Remember, ladies, before you can provide love and comfort for the next person, you've got to know love and comfort yourself. Inner peace and tranquility. Happiness! Don't burn that positive energy on things or people you can't change!
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Q: how to get data from pragma background service in flutter Today I am facing a strange problem with my flutter project. I define a ListQueue like this:
final ListQueue<Music> fmPlayQueue = ListQueue<Music>();

In the UI I am get the ListQueue size like this:
                AppBar(
                  title: Text("FM(${fmPlayQueue.length})"),
                  elevation: 0,
                  backgroundColor: Colors.transparent,
                ),

in the background service I run a schedule task to fill element into the queue:
 if (!isLegacyMusic) {
        print("songs title:" + recommend[i].title + ",legacy:" + isLegacyMusic.toString() + ",song id:" + recommend[i].id.toString());
        resultMusic.add(recommend[i]);
        if(!fmPlayQueue.contains(recommend[i])) {
          fmPlayQueue.add(recommend[i]);
        }
      }

I want to show the ListQueue size in UI,because the background service have a independent environment, I could not get value from background service directly. how to send the value from pragma background service into the UI? BTW, this is how to run my background service:
@pragma('vm:entry-point')
void playerBackgroundService() {
  CommonUtils.initialApp(ConfigType.PRO).whenComplete(() => {
    loadRepository()
  });
}

void loadRepository() {
  WidgetsFlutterBinding.ensureInitialized();
  GlobalConfig.init(ConfigType.PRO);
  neteaseRepository = NeteaseRepository();
  Timer.periodic(const Duration(seconds: 10), (Timer t) => neteaseRepository!.appendMusic());
  runBackgroundService(
    imageLoadInterceptor: BackgroundInterceptors.loadImageInterceptor,
    playUriInterceptor: BackgroundInterceptors.playUriInterceptor,
    playQueueInterceptor: QuietPlayQueueInterceptor(),
  );
}

A: Communicate from different engine is needed in this situation. Currently I solve this problem by start a http service in the engine like this:
void serviceStart() async {
  HttpServer.bind(InternetAddress.anyIPv4, 4049, shared: true).then((service) {
    print("service  ${service.address}  ${service.port}");
    service.listen((request) async {
      print(request.uri);
      switch (request.method) {
        case "POST":
          var result = await request
              .cast<List<int>>()
              .transform(utf8.decoder)
              .join()
              .then(json.decode);
          print("POST   $request");
          request.response
            ..headers.contentType = ContentType.json
            ..write(json.encode({
              "id": "sssss",
              "title": "response  hello  post",
            }))
            ..close();
          break;
        case "GET":
          request.response
            ..headers.contentType = ContentType.json
            ..write(json.encode({
              "id": "idxxxxxx",
              "title": "GET  response ",
              "count":NeteaseGlobalConfig.fmPlayQueue.length
            }))
            ..close();
          break;
      }
    });
  });
}

then get the variable by send a http request.

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