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Style Luke Winkie December 29, 2020
The Death of the Ron Swanson Guy
In the Obama era, a generation of white guys donned a hipster lumberjack uniform, growing beards to fill a hypermasculine void in their souls. Have they given up the ghost?
In 2017, the Austin Facial Hair Club hosted the ongoing Beard and Moustache World Championship. Per usual, men trotted in exploring the eldritch extremes of what is possible in the space below your nose. Some brutalized their mane into tight curls in order to look like a low-rent Jack Sparrow facsimile; others shaved them in deeply irresponsible ways, leaving up unruly mutton chops and a bare chin. But my favorite entries, by far, were those who competed for the "Natural Goatee" title. It's a designation that asks for no gimmicks or grooming curveballs — none of the fun, profane stuff that would motivate a man to enter a facial hair tournament. Instead, it seeks out the competitor who is, quite simply, most committed to the bit.
And so, in the images uploaded to the Facial Hair Club's website, you can find a man named Patrick Dawson dressed in a blue blazer as a fluffy, off-white bush droops deep below his immaculately waxed long-on-top haircut. (He took second place.) Michael Burnett chugs a Lone Star and tips his cap over a jagged Shenandoah. (He came in third.) And Aaron Johnston — with his mile-wide whiskers and opaque, burgundy beard — waves to the camera like Princess Diana. He has miniature studs in each ear and thick, rectangular glasses carefully balanced on his nose; nothing about him is remotely rugged, save for the mountain of hair flowing down his chest. Johnston was the winner, however, beating out a field of 30.
The aesthetic at play here is familiar to anyone who has experienced the sour pangs of aimless masculinity: Some young men, in search of a unifying selfhood after cycling through countless other purposes, eventually settle on being a Beard Guy. Long before quarantine, where American citizens rediscovered their facial hair out of survivalist necessity, these men elected a Paul Bunyan aesthetic by choice. They flourished in the late 2000s and early 2010s, right alongside the rest of the hipster renaissance, and their defining stylistic aspiration was a more intimate connection with masculinity and Americana — at least compared to the other fashion movements of the time. Throw out the skinny jeans and argyle sweater vests, embrace the checkerboard flannel, semi-ironic bolo ties and elaborate pomades embossed with saloon-style fonts. Most of them could be found in dense urban centers, and almost none could camp to save their lives.
But for a brief moment, American men unanimously concluded that they could only identify with a comically hyper-macho, but still reflexively liberal, interpretation of themselves.
The culture heaved. In came Edward Sharpe, Marcus Mumford and Devendra Banhart. There was a countrywide reappraisal of shrimp and grits; a boom time for cured meats. Men everywhere were gripped with a renewed fascination for the mythic, character-building attributes of blue-collar handiwork. Nick Offerman, who played Ron Swanson on Parks and Recreation and truly became the It Man of this perplexing period of machismo, took multiple books to the top of the New York Times bestsellers list. The latest, Good Clean Fun, features a collection of woodworking instructionals. Gumption, from 2015, offers an extended meditation on Teddy Roosevelt's passion for the outdoors. All of these signifiers — this off-kilter tandem of proud, cisgender virility and Obama-voting bourgeois wokeness — was centralized on the pièce de résistance: a big bushy beard. You could call it a reclamation of sorts — sprinkling a little bit of metropolitan wokeness on good, old-fashioned rural chicness.
"Hipsterdom," as a movement, was tamed over the last 10 years. When Phoebe Bridgers is a pop star, clearly the firewall has been sundered. No longer can you spot the subtle gradations of hipster subtypes on the streets. The bookish wimps in skinny ties are extinct, same with the Pabst Blue-crushing dirtbags or the alt-bros in vintage Gary Payton jerseys. Beard Guys are mostly gone, too, expelled from the culture by the undefeated forces of cringe.
But 18 years after the first Iron & Wine album, I'm still fascinated by their legacy. Everything about the Beard Guy ran against the hipster grain. Why was it that in the midst of the decadent 2000s, some men decided that happiness could only be found in a converted farmhouse? What sparked these fraught, trad-husband shivers? This strange period of straight male identity politics? How could someone be so personally invested in the integrity of their beard, that they'd enter a tournament to empirically prove its superiority?
Christopher Oldstone-Moore, a scholar at Wright State University, has some of the answers. He literally wrote the book on the subconscious decisions dudes make when they grow facial hair, and he explains that there's an immortal sense of rebellion associated with beards. That reputation was instituted in the Western hemisphere by the European revolutionaries in the 19th century, the rakish, debonair movie stars of the 1930s and the newly radicalized hippies in the 1960s. "[Today's bearded hipsters] fall into a long and well-established tradition of seeing beards as symbols of nonconformity and autonomy," he tells me. In fact, Oldstone-Moore goes as far as to say that any man — adrift and inclined to rediscover their relationship with authenticity and the natural world — will end up with some scruff to demonstrate that worldview. It's practically innate.
"The hipster beard isn't so much a choice for them, but a virtual requirement. They have to choose a beard to be on the side of independence, because that's what it's meant for a long time," he says. "It's almost like you can't not do it, because the shaved face is simply the wrong look for those moving away from the normative bourgeois code, which, though more tolerant of facial hair than in years past, still prioritizes the clean-shaved look."
Of course, this opens the question to what, exactly, the Offerman-bred hipsters of the 2010s were rebelling against. It's true that Friedrich Engels sported a forest of snowy facial hair, but he was simultaneously destabilizing the bondage of classes. Yes, there are a lot of wooly faces in the crowds at Woodstock, but antiwar agitation was fundamental to the hippie identity. The Modern Beard Man carried none of those consolidated axioms; in fact, I'd argue that the hipsterdom of the 2010s was one of the most politically inert cultural factions in history. Sure, there might be some vague tendrils connected to Occupy Wall Street and the precarity handed down by the housing crisis — certainly, that sort of economic destabilization would make anyone consider ditching the population centers for a hermetic lifestyle in the Carolina wilds — but the bearded men we speak of aren't activists. By and large, they're here for the vibes and a quiet life.
Oldstone-Moore believes that the core dissent represented by the modern Beard Men is a desire to be perceived as something other than "conventional middle-class professionals." Or more directly, to demonstrate to the rest of the country that their lives are more profound than the average American yuppie. So, not necessarily a political ideology, but certainly a social one.
I've seen what Oldstone-Moore is describing firsthand. I lived in Austin in the early 2010s, and I watched beleaguered urbanites pour into that city, and every other non-coastal Democratic bastion, by the thousands during that time. They were in search of a haven closer to the earth; the millennial version of the John Wayne fantasy. The dream was to leave an unfulfilling junior advertising career behind and get a job sourcing hops for a craft brewery or some such thing. The newfound provincial freedom for these settlers encourages a corporeal rebirth, and soon enough, a scraggly new veneer sprouts from their pores. The beard thrives out of a curdled defiance for parents, former bosses and the therapists who recommended graduate school — anyone who discouraged the idea that absolution couldn't be found in the hazy, debauched inertia of bucolic living with a liberal arts degree. Together, these men created a class of furry bachelors donned in overalls, septum piercings and sailor tattoos, with none of the hardscrabble bona fides of the true agrarians a few miles outside of downtown.
To me, that's the true contrarian spirit of all the ancestral Beard Guys. They weren't chasing a political objective or a justice mission, but they were cracking under the manifold pressures of what it meant to be a man. As the job market narrowed and real-estate prices spiked, it was only natural for some confused twentysomethings to adopt a brand new pastoral personality with the help of a few semantic poses. No longer condemned to a life of hustle, these boys were now hundreds of miles from Brooklyn, playing bass in a folk band and whittling wooden spoons in the muscular Offerman tradition. It's hard to blame them — that lifestyle is no less counterfeit and dehumanizing than coding all day for a vicious startup. Obviously, growing a gigantic beard to feel something is hilariously deranged, but if I'm honest with myself, I do see where they were coming from.
Annie Fichtner, a lifelong Austin resident, tells me that she was one of the casualties of the Beard Men era, in the sense that she was seduced by them constantly. In high school, she was infatuated with the sort of dudes that headlined Warped Tour — eyeliner, spiky haircuts and maybe 120 pounds soaking wet. But by the time she arrived in college, she found herself surrounded by a generation of bachelors reaching deep within themselves to dredge up a dormant uber-masculinity — a masculinity that was suddenly in vogue, as the Magnetic Zeros' "Home" went platinum.
Gradually, Fichtner noticed a change within herself. Suddenly she found herself embracing a "super feminine" silhouette — red lipstick, cowboy boots and white dresses — aligning with the fraudulent cowboy pastiche of the men she wanted to date. "I wanted to appeal to those dudes. I thought if any ounce of me seemed masculine, they were so masculine that it would be too much for the relationship," she says. "I matched them in order to be seen as attractive. There were a lot of beard competitions. I went to lumberjack festivals. It was just everywhere. Pop culture dictated what I liked."
Fichtner, of course, would eventually see through the facade. After enough dates with a variety of different Beard Men, she concluded that the vast majority of them were hopeless charlatans with a troubling absence of tact and no interiority to speak of. No matter how committed a man might be to his newfound rustic character, artifice can only take them so far. After a while, Fichtner considered how phony her own obsessive commitment to femininity was, and today she enjoys indulging in her masculine qualities when she feels like it. Since graduating college, Fichtner has sworn off dating anyone with a beard, though that changed briefly in 2020. "My current boyfriend grew a beard during quarantine, but he also paints his nails and watches trash TV with me," she says. "He's very cool with embracing both sides of his sexuality, and that's what is attractive to me at this point."
I hope that is the conclusion that every former Beard Guy eventually reached. You can buy up all the beard oil in the country; you can carve a thousand finely hewn ladles; you can worship day and night at the Church of Offerman and indulge in your favored rules of liberal machismo; but no beard is big enough to cover up the yawning void in the depths of your soul. I like to imagine them giving up the ghost, shaving down to a light layer of salt-and-pepper stubble and tossing their Lumineers records out the window. Finally, they can be as masculine as they want, in whatever shape that may be.
Luke Winkie
Luke Winkie is a writer and former pizza maker from San Diego. In addition to MEL, he's written for Rolling Stone, Vice, the New York Times, Gizmodo, Vox and anywhere else good content can be found.


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The 'World Saving' Rhetoric of Technology Companies
Ideas, thoughts and other curiosities about business and the economy.
Issue Nº2 - Economy / Business
Now that everything is 'smart,' the temptation to enlist technology companies in Silicon Valley to solve all of the world's greatest problems is on the rise—and many technology companies don't exactly shy away from the challenge.
From their cool headquarters and gorgeous campuses, the likes of Google, Apple and Facebook seem to have developed a knack for building their brands on a robust 'world-saving' intellectual foundation. In light of the toxic debacle of 2008, we now know what bankers stand for—but what does Silicon Valley stand for? While many of us are unfazed by Czars of the Valley wanting to own the world, there is a growing public malaise towards them as they self-proclaim themselves as the 'good guys,' helping humanity. Surely, the technology industry bears the seeds of something progressive, but the beginning of a backlash against the conflict between their beliefs and reality is starting to show. Here we present three writers who have started what promises to be an epic story on the trials and tribulations of an industry faced with the realities of growing-up.
George Packer
"One question for technology boosters—maybe the crucial one—is why, during the decades of the personal computer and the Internet, the American economy has grown so slowly, average wages have stagnated, the middle class has been hollowed out, and inequality has surged. Why has a revolution that is supposed to be as historically important as the industrial revolution coincided with a period of broader economic decline?" — George Packer
In his 10 000 word essay aptly named "Change the World," Packer makes the argument that while Silicon Valley produces great products and incredible wealth at the top, it remains, with respect to social progress, "just another special interest, as intent as the oil and pharmaceutical sectors on maximizing profits and minimizing its obligation to pay taxes." In a follow-up blog entry, Packer said: "My analysis of the Valley's politics isn't about left-right in the usual sense. It's about a particular brand of utopianism that sees solutions for social and political problems in the industry's products and attitudes [...] I am skeptical that Kickstarter and Airbnb provide models for solving more than superficial problems [...] Life inside Silicon Valley can be a paradise (for its winners) of opportunity and reward. Meanwhile, life outside falls further and further behind [...] their success isn't extending very far into the rest of the economy."
Tech sociologist and author of To Save Everything, Click Here, furthered his thinking at a recent Royal Society for the Encouragement of Arts, Manufactures and Commerce (RSA) conference in London: "You would listen to the executives and they would very explicitly state that they are not just in this business for making money, they are in this business of saving the world and helping to solve the world's greatest problems. You would listen to Eric Schmidt or Mark Zuckerberg and they would very explicitly say "we do not wake up to make money. We do not necessarily respond to what shareholders expect of us, in the short term, we are essentially, almost a quasi-humanitarian sector with its own socio-economic and political aspirations." It is much harder to regulate companies like Google and Facebook if they present themselves as essentially helping us deal with social and political problems. They're not the likes of ExxonMobil or Halliburton, they are the likes of Transparency International or Human Rights Watch, this is how they would like us to see their activities. And it does make sense for them to want to play up this revolutionary rhetoric when they speak in public."
Kentaro Toyama
In a series of guest blog posts that this University of California, Berkeley researcher wrote for James Fallows at The Atlantic back in 2011, he started developing his core thesis stating that when it comes to technology and human intent, the latter matters more: "We fetishize technocratic devices and forget that it's our finger on the 'on' switch and our hands at the controls." Recently he decided to take on the gist of a new book on technology's promise by Google's Eric Schmidt and Jared Cohen. Toyama concluded that "Unfortunately, the book is only the latest in what seems to be a growing strain of punditry: technology proponents conceding technology's dark side so that they can disarm readers into accepting their worldview, one in which the advance of technology is still the key to a better future." Interestingly, Toyama also jumped in the Packer/Johnson debate with a follow-up text called "Dear Silicon Valley: Meritocracy Is an Ideology Too," highlighting that "tech companies—as corporations, not as aggregates of employed individuals—are just as politically promiscuous as other corporations." We are looking forward to Toyama's upcoming book, tentatively titled A Different Kind of Growth: Wisdom in Global Development.
On the whole, Toyama et al. are not against technology, but they seem to be joining a league of minds who see its promise to cure the world's ills as being grossly exaggerated and believe that we might be neglecting the downside of these new tools. No doubt, technology will have to start thinking about larger issues of justice and fairness.
Startups: the Production Studio Model
An Enterprise Transformation
Simone Cicero
Snap and It's Done

redpajama_set_name: RedPajamaCommonCrawl


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Edinburgh named best city in Europe to start a tech business
Scotland's capital has been named the best city in Europe to locate a tech business by readers of European Business Magazine.
It's one of Edinburgh's fastest growing industries – a cutting-edge money-spinner with the potential to make its investors overnight millionaires.
Edinburgh's technology sector has been going from strength to strength in recent years, buoyed by the phenomenal success of companies such as Skyscanner and FanDuel.
The questions is, how can this growth be nourished and developed in the future? Tech guru Nick Freer, who runs the Freer Consultancy and advises many of the leading lights in Scotland's tech scene, said the key was attracting more investment and top international talent.
Mr Freer also highlighted another factor in Edinburgh's success as a tech hub – its relatively high quality of life - "The lifestyle factor in Edinburgh is really important, It's this beautiful city that's small and also a capital. There's lots going on here – it's got amazing cultural events like the festival."
Skilled in Tech?
Are you looking for a new tech career opportunity? Scotland has a lot to offer, with a growing technology sector and a range of major international companies and ambitious homegrown companies that you can work for.
Find out how you can grow your tech career in Scotland.
For the full article visit the Edinburgh news website
Discover Edinburgh and the East of Scotland


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Ray Emordi
Belinda Effah set to make a debut as producer with "Miracle"!
November 8, 2018 0 Comment
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#NTA: Uche Jombo releases poster for "Heaven on my Mind", a directorial debut!
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You are at:Home»English»Columnists»CROSSROADS TO SOMEWHERE: Trayvon Martin Could (Not) Have Been Me
CROSSROADS TO SOMEWHERE: Trayvon Martin Could (Not) Have Been Me
Posted On July 24, 2013 Columnists
By W.T. WIMPY HIROTO
Have another confession to make, meaning the mea culpas are coming at an alarming rate lately. Let it be known CR2S is no longer left or right, more like (self)centered. Being unaffiliated is the best way to go these days. With no binding alliances or convictions, I can become a human pretzel and bend to my own whim and will(iam).
Robert Galbraith writes a mystery novel that sells several hundred covers. It is later revealed the book was authored under a pseudonym and was written by J.K. Rowling. The revelation makes it a bestseller and bookshelves are emptied. Maybe not exactly Rupert Murdock-like intrigue, but why am I the only one frowning? Should Oprah not be unhappy?
Fright 214 is piloted by Captain Sum Ting Wong and co-pilot Wi Tu Lo; reported by a San Francisco television station with a straight unsaved face. We're talking San Fran, people, which has a Chinese mayor and a Chinatown nonpareil. Someone has the sophomoric gall to write that material for a (white) news anchor and no one catches it before being read on air? As an aftermath, Asiana Air was preparing to sue the station until someone in legal wisely advises, "Ah, no." [CR2S can play the game, too. And let's be real, amigo, who among us has never laughed at a Chinese name joke?]
But it's the Trayvon Martin/George Zimmerman brouhaha that sticks in my craw, whatever and wherever that may be. We should be aware by now there is justice and there is the law; often never the twain shall meet. And following questionable verdicts, there are the inevitable protests. [When South Los Angeles burst into flames in the '60s, youthful exuberance (no brains) led CR2S to seek a first-hand view of the city burning; actually to see if B&B Stylists for Men had survived. B&B, owned and operated by three Ishihara brothers, had two outlets in the middle of the rioting. Local residents guarded both establishments while everything around them burned to the ground. It would later become Penthouse Clothes in Crenshaw Square, Gardena, Monterey Park and Santa Ana.]
At USC School of Journalism, there were no blacks or Mexicans. Among all the look-alike whites, there was a single Jappo. It never dawned on me that a new major in business, architecture or English probably made a whole lot of cents.
As a newly minted college grad, fearless, unemployed and somewhat homeless, I found myself trying to dig a floundering newspaper out from under a pile of debt. Dr. James M. Goto was the bamboozled publisher of The Crossroads, a Japanese American weekly that was truly at a crossroads. Dr. G was a well-known Li'l Tokio physician [married to an equally prominent Dr. Masako Kusuyanagi]who never intended to be a philanthropist. But he played the role quite well, if inadvertently.
He had a pleasure boat, the Lucky Doc, when fishing meant work for most; he sponsored talented Nisei basketball and bowling teams; Robert Watanabe, who would become a renowned sports orthopedist, on occasion would sleep in Doc's South San Pedro Street office. The benevolent doctor was bankrolling the all-English tabloid in the wake of three vernacular dailies, two other established weeklies and numerous newsletters. It was an ambitious dream turning into a nightmare. In lieu of salary, he offered this fledgling dreamer use of his private hideaway home in the exclusive hills of South Pasadena.
A narrow winding road was a nightly challenge for my '40s Ford heap. Voila! A South Pas patrol car would magically appear as soon as I headed up the incline. The frustrated tail ended after a week of watching me park where I didn't belong. But not once did they high-beam or venture to stop me. Instead of a "stand your ground" law back then, it was a matter of knowing where you were supposed to belong.
Future wife M worked as a housegirl in a Holmby Hills mansion during a courting year. It may sound demeaning but it was the only way a student living in Compton could attend UCLA; maid work in exchange for board and room. I would borrow my best pal's cranky Chevy [who conveniently worked graveyard]; which meant putting a piece of cardboard beneath the crankshaft when parked because it leaked oil; Beverly Hills driveways were not allowed grease splotches.
After leaving at 10 p.m., guest curfew hour, again like clockwork [and South Pasadena]I would be followed by a squad car until reaching the L.A. city limits; where the hoi polloi and unwashed could cruise the streets sans a Bev Hills cop escort. But again, never a trumped-up excuse to ever stop me. Of course, I didn't wear no hoodie.
Those bygone memories revived and roiled after the Zimmerman verdict. But no, there is no wish to compare intimidation or profiling. [But I would like to know if the Trayvon photo we see in the media is of a 12-year-old, rather than 17.]
A drunken Marine orders three of us off a Utah sidewalk one long-ago night. That moment was scary, but nervously laughed about later. I thought about that evening when reading about the movie "Fruitvale Station." I marvel at the fact we collectively experienced so very few tragic confrontations. I can't help but wonder why.
W.T. Wimpy Hiroto can be reached at [email protected] Opinions expressed in this column are not necessarily those of The Rafu Shimpo.
VOX POPULI: Muratsuchi's Bill Sorely Needed, Adds Another Tool to Save Our Seniors
THROUGH THE FIRE: Another Year, Another Column
RAMBLINGS FROM THE SON OF A PAPER SON: Understanding and Forgiving


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Musician | Curator
Dee Sada
Category: Cafe Oto
Everywhere is Haunted – Sunday 8th January, Cafe OTO
Featured by Dee Sada, posted in Cafe Oto, Curation, Upcoming Projects
'Everywhere is Haunted' provides a discourse on the themes of race, gender, queer identity and natural hostile spaces in horror through talks, screenings, live performances and a horror disco. Curated by Dee Sada.
Rewilding by Ric Rawlins
Dee Sada is a London-based musician and curator. She currently performs in Paper Birch with Fergus Lawrie of Urusei Yatsura. The duo released their debut album, 'morninghairwater' via TAKUROKU and Reckless Yes records in 2021. Dee has created an eclectic and diverse collection of work over the last 12 years through projects such as percussive noise band, An Experiment On A Bird In The Air Pump, electronic duo Blue On Blue and improv performance bands The Noise Bodies and ORAL ORAL.
Dee is currently studying the MFA Curating course at Goldsmiths, University of London and was awarded the inaugural Cultural Institute of Radical Contemporary Art (CIRCA) scholarship. She was also awarded a 2022-2023 culture seed grant from Culture Mile London. Her curatorial practice is based on inclusion, diversity, sustainability and community-based engagement. She has recently worked on projects with artists Carolee Schneemann and Laure Prouvost.
In Conversation:
Ric Rawlins is the writer and director of the UK's first folk horror anthology feature film, Rewilding, a trio of tales which take place in the fields, forests and caves of the UK's wildest haunts. As a writer he's published Rise of the Super Furry Animals (2015) about the seminal Welsh band, and he's currently writing a new film about a river-dwelling vampire.
Ric Rawlins
Emma Merkling is an art historian based at the Courtauld Institute of Art and Durham University, specialising in the intersections between art, science, and spiritualism in the long nineteenth century.
She is co-host of Drawing Blood, a podcast about visual culture, the history of science and medicine, and the macabre. Emma received her PhD from the Courtauld in 2021 for a thesis on spiritualist artist Evelyn De Morgan and science, and has held postdoctoral fellowships at the Courtauld's Centre for American Art, University of Stirling, and the Science Museum (London).
She has just completed a grant project on the scientific photographs of the medium 'Margery' Crandon, and is currently working on a book project, with Dr Thomas Hughes, on The Victorian Idyll in Art and Literature: Ecology, Matter, Form, where her contribution focuses on queer/more-than-human desire, ecology, and horror in the photography of Julia Margaret Cameron.
Emma Merkling
Live performance:
The Noise Bodies formed in April 2022 at Cafe OTO and performed an improvised piece inspired by James Tenney's 'Saxony' and a recreation of 'Noise Bodies' originally performed by Schneemann and Tenney. The Noise Bodies are Frederick Fuller, Dee Sada, Noel Anderson and Mark Abbott.
The Noise Bodies
There will also be a zine available on the night and the incredible Burning Witches Records on-site with their vast array of horror vinyl and cassette tapes.
Burning Witches Records is a UK-based record label specialising in forward-thinking electronic and heavy synth music. Born from a love of horror films and electronic music, Burning Witches presents artists that are pushing the boundaries of electronic music and music as a whole package. Opening track to album art to vinyl and cassette colour variants, Burning Witches Records makes every release count.
Tagged burning witches records, Cafe Oto, dee sada, drawing blood, Emma merkling, rewilding, ric rawlins, the noise bodiesLeave a comment
Performance of 'Noise Bodies' by Carolee Schneemann at Cafe OTO
May 3, 2022 May 3, 2022 by Dee Sada, posted in Cafe Oto, Carolee Schneemann
A short clip of the performance of 'Noise Bodies'. Based on Schneemann's instructions, I recorded myself relaying the instructions which played through the PA at OTO.
Myself and the performers wore a head lamp each and created our own wearable objects – a mix of discarded objects and personal items. We 'played' the objects through interactions, movement, using cable wire as 'wands' as instructed by Carolee.
Tagged Cafe Oto, Carolee Schneemann, noise bodiesLeave a comment
Noise Bodies
April 21, 2022 by Dee Sada, posted in Cafe Oto
Tagged Cafe Oto, Carolee SchneemannLeave a comment
THEIM
April 19, 2022 April 27, 2022 by Dee Sada, posted in Cafe Oto
The Enemy Is Human Misery
A co-curated event with Death Knell featuring a diverse group of poets and musicians.
Tagged Cafe OtoLeave a comment
Teenage Superstars
April 30, 2020 April 30, 2020 by Dee Sada, posted in Cafe Oto, Teenage Superstars, Upcoming Projects
The plans were inacted; Saturday August 15th at Cafe OTO – an evening dedicated to Grant McPhee's documentary, Teenage Superstars, conversations with Grant, live performances…it was all happening.
In light of the universe coming to a painful standstill, there will be an online screening and live chat with Grant and musicians such as Duglas T Stewart from BMX Bandits and Eugene Kelly from The Vaselines which I will host via my humble Twitter account: @deesada1 at 6pm GMT on Saturday May 2nd.
The film will be available to stream via the Raindance Film Festival website.
And the chat will start on Twitter.
More musicians will be announced…See you there x
A Life Between Two Islands, Cafe Oto, October 6th and 7th
July 3, 2018 July 3, 2018 by Dee Sada, posted in Cafe Oto, Stuart Hall, Upcoming Projects
A still from Peter Davis' 1965 insightful documentary, Immigrants. The film is a fascinating examination of post-war migrant communities in Britain. Through a series of interviews with immigrants who had recently moved to the UK, we're given insights into the role race and immigration played in mid-1960s British society.
I have worked with Peter on a few events at Café OTO as he has made a number of documentaries on RD Laing and he was a speaker at our Dialectics of Liberation Reconvened event in 2016.
We will be screening the film at our Stuart Hall event at Café OTO in October.
More details and a full line-up soon!
Tagged Cafe Oto, Peter Davis, RD Laing, Stuart HallLeave a comment
Out of the Shadows: Penny Slinger
March 29, 2018 March 29, 2018 by Dee Sada, posted in Cafe Oto, Penny Slinger
Cafe Oto: 25th March 2018
Photo by @mikemodular
Grimm Grimm & Dee Sada
Tagged adam hamish haggerty, dee sada, Grimm Grimm, mike modular, Penny Slinger, psychological strategy board, richard kovitchLeave a comment


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Beyonce and the Occult
Super Bowl Rituals
Wake Up Chosen People: When They See Us
Michael Erevna
Netflix, recently released "When They See Us" a story about the controversial Central Park Five who were Black and Hispanic teenagers. They were wrongfully convicted in the jogger case that involved the assault and rape of Trisha Meili, a white female jogger, and attacks on others in the North Woods of Manhattan's Central Park on the night of April 19, 1989. The teenagers were denied the Constitutional basics like Miranda rights, due process, and Civil Rights. The teenagers were emotionally abused, assaulted and battered while in police custody. There parents were not allowed in the room during complete interrogations nor were they afforded legal counsel.
After hours of this unorthodox treatment the police emerged with signed confessions for the rape that did not add up. In fact the prosecution could not try them all together because they knew the stories would not add up under cross examination. Instead of conducting real police work the prosecutor, Linda Fairstein was only interested in a conviction and any Black face would do. This was the faux pa of the detective work and speaks to the spirit of all involved.
Linda Fairstein prosecutor for the Central Park Jogging Case's wrongful convictions of minority teenagers.
In the Bible John stated in 1 John 4:1, Beloved, do not believe every spirit, but test the spirits to see whether they are of God. Each time Linda Fairstein had the opportunity to act in conformance with justice she continued to sacrifice her integrity to feed her racist desire for a conviction. Fairstein convinced herself that any Black will be guilty and she allowed the police force to brutalize children in order to get a coerced confession. The confessions were all Fairstein had because the physical evidence did not point to any of the teenagers.
From watching the choices of Fairstein we easily say she was not filled with the Holy Spirit. The question is what spirit was she filled with? This was a spirit that lied, omitted, and created a false narrative to convict the innocent teenagers. I have noticed many people like to say those teenagers were not angels. My response to that is who exactly is any angel? We all sin and most teenagers make bad choices at some point. Finally, how is that even grounds to convict someone for a crime they did not commit, this is how a racist mind operates.
Leviticus 26:17 And I will set my face against you, and you shall be slain before your enemies: they who hate you shall reign over you; and you shall flee when none pursues you.
This logic is usually prescribed to Black people. There is an intrinsic hate for the Black culture, especially in America. This is part of the curse that was put on the Chosen People from Deuteronomy 28. "They will be hated in a land that is not theirs and the Kingdom of the Eagle will be the worst." Fairstein, the police, and the jury had hate in their heart when judging the Black teenagers. I dare say Fairstein was criminally negligent when working this case.
Even when you break down the title of this movie it is telling. "When They See Us" breaks down as, "They" = White America and "Us" = The Chosen People. It should be understood the Chosen People were cursed long ago and this case is a fine example of that curse. It should be obvious the Whites who made up the police force had no respect for the teenagers nor their parents. These Black and Hispanic parents were ridiculed in their face by the White detectives. This is also part of the curse the Chosen People are under as result of them breaking the covenant with the Most High.
Deuteronomy 28:37 You will become a thing of horror, a byword and an object of ridicule among all the peoples where the LORD will drive you.
Now you see this is a spirit that operates inside the heart of person. It is clear this was the spirit operating inside Fairstein. There is a saying you are never more like the Devil than when you are telling lies. It is obvious from Fairstein's behavior she lied and conflated testimony to get a conviction. Fairstein's attitude reminds me of a recent controversy with Liam Neeson who shared a story of a friend of his who was raped by a Black man.
"I went up and down areas with a cosh (a club), hoping I'd be approached by somebody — I'm ashamed to say that — and I did it for maybe a week, hoping some 'black bastard' would come out of a pub and have a go at me about something, you know? So that I could kill him," — Liam Neeson
His response was, "I wanted to kill some Black bastard." This was the exact same response from Fairstein because any Black or Hispanic face would do. Clinically, this is diagnosed as misdirected hostility. And folks Fairstein was indeed hostile when she tried the 16 year old teenager as an adult and I assume she knew a teenager would be brutalized in prison…and he was. This was a horror story concocted by Fairstein who then parlayed her prosecution experience into a successful writers career. Where she was the noble heroin prosecutor with integrity. I actually just threw up in my mouth writing that.
I would be remiss if I did not mention Donald Trump who took out a full page advertisement in New York publications and demanded the death penalty for the five teenagers. The President who claims he is a "stable genius" could not separate fact from fiction. We now know for sure what spirit operates in his heart and it certainly is not the Holy Spirit. You cannot get anymore racist than how Donald Trump responded and America wonders why it is divided? SMH
Racism is alive and spreading everywhere because it is part of the curse. It is not a mental condition but a spiritual condition. Luckily, there are many Whites who have spiritually elevated themselves over this condition and there are many cases of White people who laid down their lives for their Black and Hispanic brothers. Unfortunately Linda Fairstein is not one of them. Shame on you, Linda Fairsrtein! #karmaiscoming
ancient hebrew symbolsChosen people
Michael is the Editor-in-Chief of RevelationNow.net fulfilling his true passion of researching and writing about Biblical scripture, ancient text, and esoteric mysteries. His book "Thy Sun, Thy Rod, and Thy Staff" is available on Amazon.com. He has appeared on "In Search Of..." with Zachary Quinto and other radio appearances.
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Updated on Mon 17 Jan 03:10:42 (UTC)
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Recently I set out on a fool's errand to gain some insight on building organizational culture in startups. The truth is, this field of research is still in its infancy -- not a lot is known.
Founder background does not link to a particular employment model. The founders' intended business strategy seemed to have the most bearing on the employment model chosen -- marketing, service, and customer based models went more toward a Commitment employee model.


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Q: JSON Error: No value for profile_picture I have a web service which returns a list of images(profile pictures) and their names and id no. Some of the members don't have profile picture. So I'm adding default picture from drawable. I'm using volley post and pojo to fetch json and add the pictures and names in gridview. But instead of showing images and names, its displaying JSON error message that "No value for profile_picture". This is my json result. So, any help in getting the images and names would be much appreciated.

Main fragment:

public class SearchName extends Fragment{

    private GridView mGridView;
    private GridItem newItem;
    private GridAdapter mGridAdapter;
    private ArrayList<GridItem> mGridData;
    public static final String KEY_USERID = "user_id", KEY_NAME = "search_text";
    private static final String FETCH_ALL_MEMBERS = "http://example.com/api/member/get-all/";
    String profile_picture = "";

    @Nullable
    @Override
    public View onCreateView(LayoutInflater inflater, ViewGroup container, Bundle savedInstanceState) {
        return inflater.inflate(R.layout.searchname, container, false);
    }

    @Override
    public void onViewCreated(View view, @Nullable Bundle savedInstanceState) {
        super.onViewCreated(view, savedInstanceState);

        mGridView = (GridView)view.findViewById(R.id.grid_view);

        displayLog();

        mGridData = new ArrayList<>();
        mGridAdapter = new GridAdapter(getContext(), R.layout.gridrow, mGridData);
        mGridView.setAdapter(mGridAdapter);

    }

    private void displayLog() {
        StringRequest stringRequest = new StringRequest(Request.Method.POST, FETCH_ALL_MEMBERS,
                new Response.Listener<String>() {
                    @Override
                    public void onResponse(String response) {

                        try {
                            JSONObject jObj = new JSONObject(response);

                            System.out.println(jObj);

                            String status = jObj.getString("status");

                            // Now check status value
                            if (status.equals("0")) {
                                Toast.makeText(getActivity(), "There was some error! Please try again.", Toast.LENGTH_LONG).show();
                            } else if (status.equals("1")) {

                                JSONArray result = jObj.getJSONArray("result");
                                for (int i = 0; i < result.length(); i++) {
                                    JSONObject json_data = result.getJSONObject(i);
                                    String name = json_data.getString("name");
                                    String user_id = json_data.getString("user_id");
                                    //String profile_picture = json_data.getString("profile_picture");

                                    newItem.setName(name);
                                    newItem.setUserId(user_id);
                                    if(json_data.has("profile_picture")){

                                        //String image_def = String.valueOf(R.drawable.default_profile);
                                        newItem.setImage(json_data.getString("profile_picture"));

                                    }else{

                                        Uri path = Uri.parse("android.resource://com.sam.fitlincsearch/" + R.drawable.default_profile);
                                        String image_def = path.toString();
                                        newItem.setImage(image_def);

                                    }

                                    mGridData.add(newItem);
                                }

                                mGridAdapter.notifyDataSetChanged();

                            } else {
                                // Error in login. Get the error message
                                String errorMsg = jObj.getString("error_msg");
                                Toast.makeText(getActivity(), errorMsg, Toast.LENGTH_LONG).show();
                            }
                        } catch (JSONException e) {
                            // JSON error
                            e.printStackTrace();
                            Toast.makeText(getActivity(), "Json error: " + e.getMessage(), Toast.LENGTH_LONG).show();
                        }
                    }
                }, new Response.ErrorListener() {
            @Override
            public void onErrorResponse(VolleyError error) {
                Toast.makeText(getActivity(), error.toString(), Toast.LENGTH_LONG).show();
            }
        }) {
            @Override
            protected Map<String, String> getParams() {
                Map<String, String> params = new HashMap<String, String>();
                params.put(KEY_USERID, "1");
                return params;
            }

        };

        RequestQueue requestQueue = Volley.newRequestQueue(getActivity());
        requestQueue.add(stringRequest);
    }
}
Adapter:

public class GridAdapter extends ArrayAdapter<GridItem> {

    private Context mContext;
    int resource;
    private ArrayList<GridItem> mGridData = new ArrayList<GridItem>();

    public GridAdapter(Context mContext, int resource, ArrayList<GridItem> mGridData) {
        super(mContext, resource, mGridData);
        this.resource = resource;
        this.mContext = mContext;
        this.mGridData = mGridData;
    }

    public void setGridData(ArrayList<GridItem> mGridData) {
        this.mGridData = mGridData;
        notifyDataSetChanged();
    }

    @Override
    public GridItem getItem(int position) {
        return super.getItem(position);
    }

    @Override
    public View getView(int position, View convertView, ViewGroup parent) {
        View v = convertView;

        ViewHolder holder;
        if (v == null) {
            holder = new ViewHolder();
            LayoutInflater inflater = ((Activity) mContext).getLayoutInflater();

                v = inflater.inflate(R.layout.gridrow, parent, false);
                holder.image = (ImageView) v.findViewById(R.id.item_image);
                holder.name = (TextView) v.findViewById(R.id.item_name);

            holder.image = (ImageView) v.findViewById(R.id.item_image);
            v.setTag(holder);
        } else {
            holder = (ViewHolder) v.getTag();
        }

            GridItem item = mGridData.get(position);
            Picasso.with(mContext)
                    .load(item.getImage())
                    .placeholder(R.drawable.placeholder)
                    .fit()
                    .into(holder.image);
            holder.name.setText(item.getName());

        return v;
    }

    class ViewHolder {
        ImageView image, icon;
        TextView name;
    }

}
Pojo:

public class GridItem {
    private String nameUrls, imageUrls, sportsCat, userId;

    public GridItem() {
        super();
    }

    public String getImage() {
        return imageUrls;
    }

    public void setImage(String imageUrls) {
        this.imageUrls = imageUrls;
    }

    public String getName() {
        return nameUrls;
    }

    public void setName(String nameUrls) {
        this.nameUrls = nameUrls;
    }

    public String getSportsCat(){
        return sportsCat;
    }

    public void setSportsCat(String sportsCat){
        this.sportsCat = sportsCat;
    }

    public String getUserId(){
        return userId;
    }

    public void setUserId(String userId){
        this.userId = userId;
    }
}

A: you need to check the string like this
String profile_picture = "";
if(json_data.has("profile_picture")){
    profile_picture = json_data.getString("profile_picture");
}else{
    profile_picture = "";
}

your newItem is null.
you need to initialize it first like this inside the for loop
newItem = new GridItem();

A: What about trying this, instead of checking to see if profile picture is null you check to see if the JSON contains the profile_picture for example
  If (!json_data.has("profile_picture"))){

                                    //String image_def = String.valueOf(R.drawable.default_profile);
                                    Uri path = Uri.parse("android.resource://com.sam.fitlincsearch/" + R.drawable.default_profile);
                                    String image_def = path.toString();
                                    newItem.setImage(image_def);
                                }else{
                                    newItem.setImage(json_data.getString("profile_picture");
                                }

redpajama_set_name: RedPajamaStackExchange


San Francisco-based AirHelp was announced as the winner of the 2014 Spark powered by Rackspace award at the inaugural Collision event, which took place in the heart of the Downtown Project in Las Vegas. In its first year, the competition saw over 30 technology startups, which were selected from 500 applicants, battle it out to win a cash prize of $10,000 plus a fund of services.
AirHelp is an easy way to get the money people are owed by airlines when flights are disrupted. It allows users to submit their claim though the website and app and takes care of the hassle for the claimant. AirHelp only receives 25% of the compensation if the claim is successful.
"The 30 startups were extremely high-quality and congratulations to the winners AirHelp. It was great to be a judge at the first Collision Conference," said Spark judge Michael Birch, founder of Bebo and Monkey Inferno.
The Spark powered by Rackspace award focuses on high potential technology start-ups and was open to any start-up which has received under €1 million in funding to date. Entrants were judged on the uniqueness of their idea, their level of development thus far, and their potential for future growth. Judges included Kevin Colleran of General Catalyst, Rob Coneybeer of Shasta Ventures, serial entrepreneur Michael Birch and Abhas Gupta of Mohr Davidow Ventures.
About Collision: The first Collision Conference was held in The Western Hotel in the heart of the Downtown Project in Las Vegas. It was attended by 1,500 attendees, 150 startups and 60 speakers including Tony Hawk, Phil Libin, Sean Altman and Tony Hsieh. The organizers of The Summit organized the event. The Summit is Europe's largest tech event also known as "Davos for geeks." Founded in 2010 the event will host 20,000 attendees Dublin this year. with over 75percent of those attendees coming from overseas.


the duly completed Order that is accepted by Shipping Container Pools in writing, and the relevant part of Shipping Container Pools' Current Price List.
The Contract date is the date Shipping Container Pools provides an acceptance to You, You may not cancel an Order accepted by Shipping Container Pools unless Shipping Container Pools agrees in writing to its cancelation.
Cancellation, if accepted, may be conditional on you paying the cost and expenses incurred by Shipping Container Pools.
You must provide your full Name, delivery address and contact details on the order form unless already provided.
An order is accepted by Shipping Container Pools when Shipping Container Pools acknowledges acceptance of your order in writing or electronic means or provides you with the Product/Products/Services.
"ACL" means the Australian Consumer Law Schedule of the Competition and Consumer Act 2010 (Cth) and its associated Regulations as amended.
"SCP Products" means all of Shipping Container Pools' products, parts and accessories manufactured and/or sold by Shipping Container Pools.
"SCP Yard" means the place designated by SCP as the place of manufacture and storage of of equipment and accessories.
"Contract" means the contract referred to in Clause 2 hereof.
For all other Products, it is when the products are dispatched by SCP to you from the place of dispatch or such other place as SCP my communicate to the customer as being the place of delivery.
"Installation" means (where applicable) the installation of the products at the site of installation.
"Intellectual Property" means all copyright, design and drawings of the products and all now how and information pertaining to the design or manufacture of the products.
"Person" means any natural person, company or entity.
"Price" means the purchase price of the products inclusive of GST determined by reference to SCP's current price list and as set forth in the order.
"Pools" means a SCP pool, spa, wader or any other fibreglass products.
"Products" means the SCP products as described in the Order, and in accordance with the Specifications.
"Specifications" means SCP's specifications applicable to each of the products and, where applicable, specifications for installation.
"You" means the person described in the SCP's order as the customer.
SCP will manufacture and / or supply the products ordered by you for the price. The price must be paid within the terms on the invoice before the delivery of the products.
Where there is any changes in the costs incurred by SCP in relation to the Products, SCP may vary its price to take account of any such change, by notifying you.
SCP will contact you twice prior to building your Pool and on both occasions you will be required to provide a response.
The first time you will be asked to check and confirm the order details that have been input into our system, by replying to our email.
The second time you will be asked to check your order details again and confirm the delivery address, an estimated completion date will also be provided.
Once SCP has received both of your responses, your confirmed order will be placed inline for production on or around the intended production date.
SCP reserves the right not to proceed with the production of your order until both confirmation of payment and confirmation of order are received from when your account is overdue.
SCP may refuse to accept any order at its absolute discretion.
It is your responsibility to provide SCP with your specific requirements in relation to the products in writing.
(a) if the request to return is made in writing to SCP within 3 days of delivery, stating the reason for the requested return.
(b) if the goods are not optioned or customised in any way or produced to your specific requirements in part or in whole.
(c) with the prior written authority of SCP.
Unless otherwise agreed, SCP will deliver the products safely and securely packed.
You must be present on delivery to inspect the product and sign Acceptance of Delivery document.
SCP will use reasonable commercial endeavours to ensure that the products are delivered on or prior to the time to times of delivery set forth in the order, however any time for delivery is an estimate only and not a contractual commitment. SCP in not liable for any cost incurred by you as a result of delayed delivery.
If SCP cannot complete delivery by any estimated date, it will complete delivery within a reasonable time.
You must inspect the products on delivery in accordance with Clause 7 or at such reasonable times and places as SCP shall specify.
Immediately on delivery of the products, the duty of care (including the insurable risk) for the products passes to you.
full details and description within 7 day of delivery, otherwise you are deemed to have accepted the products.
Where you provide to SCP the details of the rectifications required within the time provided, SCP shall, if it accepts that such shortages, damage or non-compliance with the order exist and require rectification, promptly carry out all those requirements so as to bring the products within the terms of the order.
If in the reasonable opinion of SCP the details of the rectification sought by you are outside the order, SCP shall within two (2) working days of receiving such details of rectifications inform you in writing of those parts of the rectification which SCP says are not required in order for the products to comply with the order.
If you and SCP cannot agree on the details of rectification then either part may require the products to be returned to SCP .The cost of such return and risk involved shall be borne by you.
When any shortages, claim for damaged products or non-compliance with the order is accepted by SCP, SCP may, at its option, repair the products, replace the products, or refund the price of the products. Where SCP chooses to repair the products, You can accept or reject such repairs.
Payment is not deemed made until SCP has received payment in clear funds.
SCP always reserves the right at anytime to require full payment before Production or completion of a product.
SCP aways reserves the right at any time to require full payment for custom orders involving engineering and / or aesthetic modifications.
If a product is manufactured to your order and you cancel the order after production, SCP reserves the right to invoice the product in full. This invoice is payable within 7 days.
SCP reserves the right to resell the product where any order remains undelivered 30 days after the delivery date, or is cancelled. You will be credited with the proceeds of the sale less 10% cancellation fee and less any additional transportation cost or other damages, cost or expenses incurred by SCP.
(d) by written notice to you, terminate any uncompleted Contract Clauses 12(c) and 12(d) may also be relied upon, at SCP's option.
If the product delivery is delayed due to natural causes or due to improper preparations at site (delivery address) SCP will store the completed product at the SCP Yard, which will be confirmed in writing from both parties.
Any "wear and tear" incurred while in storage will not be liable to SCP and will be deemed normal for the product being exposed to the natural elements.
If any restoration or "freshen up" is required (to be confirmed in writing) before the dispatch you would incur the costs (materials and labour).
Any storage fees organised during shipping would not be liable to SCP and will be passed on to you, unless otherwise indicate in writing and confirmed by both parties.
This contract does not oblige SCP to accept any variation in the products to be supplied. SCP will however (without obligation) consider any variations sought by you.
The term of any variation will not be binding unless and until they are agreed in writing and signed by SCP and You. They will then constitute a variation to this Contract.
If you request a variation to the order, SCP may increase the price amount for the variation.
(a) title and property in all products remains vested in SCP and does not pass to you.
purpose you irrevocable licence SCP to enter such premise and also indemnify SCP from and again all costs, claims, demands or actions by any party from such actions.
Where the products are to be installed by you, you acknowledge and agree that in the event that payment is not made in accordance with this contract then no further installation shall take place until the products have been fully paid.
The parties agree that the risk of damage to the products shall pass to you on delivery of the products notwithstanding that site has not been passed. In the event that the products are damaged after delivery but before title has passed you shall continue to be liable to SCP to pay the balance (if any) of the full price in accordance with this contract.
For the purpose of the PPSA.
(b) these terms are a security agreement and SCP has a purchase Money Security Interest in all present and future products supplied by SCP to you and the proceeds of the products.
The securities interest arising under this clause attaches to the products when the products are collected or dispatched from SCP's premises and not at any later time.
Where permits by the PPSA, you waive any rights to relieve the notifications, verifications, disclosures to other documentation specified under sections 95, 118, 121(4), 130, 132(3)(d), 132(4), 135 and 157 of the PPSA.
SCP and you agree to contract out of and nothing in the provisions of sections 96, 125, 129,142 and 143 of the PPSA will apply to these Terms.
(b) where SCP has the rights in addition to those in Chapter 4 of the PPSA, those rights will continue to apply.
(b) procure from any person considering by SCP to be relevant to its security positions such agreement and waivers (including as equivalent to those above) as SCP may at any time require.
For the purpose of section 275(6) of the PPSA, the parties agree and undertake that these Terms and any information pertaining to the sale of the products and details of the products shall be kept confidential at all times. Neither party may disclose any information pertaining to these Terms or the sale of the products, except as otherwise required by law or is already in the public domain.
SCP in not liable for any indirect or consequential losses or expenses suffered by you or any third party, how so ever caused, including not limited to loss of turnover, profits, business or goodwill or any liability to any other party, except to the extent of liability imposed by the ACL.
(a) you have not relied on any service involving skill and judgement, or on any advice, recommendations, information or assistance provided by SCP in relation to the products or their use or application.
(b) you have not made known, either expressly or by implication, to SCP any purpose for which you require the products and you have the sole responsibility to satisfy yourself that the products are suitable for your use.
Nothing in the Terms is to be interpreted as excluding, restricting or modifying the application of any State or Federal Legislation applicable to the sale of goods or supply of services which cannot be excluded, restricted or modified.
Installation of the products are not part of the contract. Unless otherwise agreed in writing, installation of the products is your exclusive responsibility. SCP will not be responsible for any damage done to the products during , or as a consequence of their installation, transportation or during or as a consequence of you taking delivery of the products at the site of installation / holding yard / transfer process.
The failure be either you or SCP to exercise or enforce any rights conferred hereunder shall not be deemed to be a waiver of any such right nor operate so as to bar the exercise or enforcement thereof at any time or times thereafter.
Any notice required to be given hereunder shall be in writing and shall be deemed to have been duly given if sent by pre-paid post or email addressed to the party concerned at its principal place of business or last known address.
This contract between SCP and you shall be governed by and construed an interpreted in accordance with the laws of Queensland. Any dispute shall be subject to the exclusive jurisdiction of the courts of Queensland, the Federal Court of Australia and to courts entitled to hear appeals from those courts.
shall include the plural number and singular number respectively and where words herein are used importing the masculine gender they sell include the feminine or neuter gender respectively.
meet those obligations then both parties agree to meet tighter and in good faith see to resolve the dispute. If notwithstanding this clause the dispute ramming unresolved either party may take such actions as it thinks fit to enforce its rights against the other.


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This is the first part of a multi-part tutorial series on how to create an animated image carousel that works in email clients that support CSS animation. This article will cover how to build a basic carousel that will fade from one image to the next.
Since CSS animations mostly only work in Webkit based clients, the carousel will be active in iOS Mail (iPhone, iPad), Apple Mail and Outlook for iOS and Mac. Other clients will display the fallback content.
Subsequent articles will add effects such as pan and zooming and sliding. So stay tuned. If you're new to CSS animations, check out this helpful primer by Alex Ilhan.
The carousel we'll be building will contain three images, although you should be able to customize it for as many images as you like.
The basics of this carousel are pretty straightforward; we start with a div containing a set of images with links.
Then we're going position the images so they overlap each other using absolute positioning. This will display the last image on top instead of the first. We'll change that in a minute.
We'll now use the following CSS to cycle through the images in the carousel. Specifically, we'll shift their z-index positions up and down depending on which part of the animation the image is in.
As you can see, we have an animation sequence called car-anim. All three images will be sharing the same animation, but they'll start at different times using the animation-delay property. The animation will last a total of 9 seconds (3 seconds for each image).
So far, pretty straightforward stuff.
If you run the code above, you'll note that at times there's what appears like a very brief glitch when the images swap. This is due to the fact that when cycling the images, the lower level images share the same z-index (1). In absolute position stacked elements, if two elements share the same z-index the bottom-most element appears on top — therefore there's a brief moment where the 3rd image appears before the 2nd image gets its z-index changed to 2.
This issue doesn't present itself if we cycle the images according to their natural stacking order, (from the 3rd image to the 1st), but I felt conceptually cycling the 3rd image first feels odd, so we fix it by hiding an image using opacity:0 when it is no longer at the top. I add a slight delay when hiding to account for the iOS transition gap.
In iOS9 the email client pauses animations when the user scrolls the email. However, it does not pause the animation delay timer. This can potentially cause timing issues if the user scrolls the email after the first animation has started but the animations for other images have yet to start. This issue is not present in iOS10.
One solution is to not use animation delay, but that would be a huge setback. Thankfully, there's another option, and that is to use negative animation delays. Negative animation delays as stated in the referenced article "start the animation immediately, as if that amount of time has already gone by." This works for us because any scrolling of the email will pause all animations since they are already running so the animations don't lose sync.
We change our animation delays for our images to the following. You can shift the delays up or down to start the animation at any time but they must be spaced equally apart based on the total animation runtime.
To improve the carousel experience we'll add a fade effect so that the images fade out and fade in during the image transition. This is achieved using the opacity style. For our purpose we'll set the transition period to 5%. You can set it to a larger or smaller value to speed up or shorten the transition time.
To make the carousel scale to the width of its container, we add the following CSS.
We also need to make at least one image position:relative so that the fluid container doesn't collapse now that height is set to auto.
I'll cover a fallback technique for clients that can't show the carousel, as well as some details about how to customize this example for your needs.
At this point, our "best case scenario" animated carousel is done. Now we need to ensure that clients that don't support animation don't get a broken experience. There are multiple ways to handle "fallback content" and this article goes into the various options.
The strategy I'll use for this example is to hide the carousel and display a separate "fallback" block for clients that don't support CSS animation. To do this, we display the fallback content by default and then in a -webkit-min-device-pixel-ratio media query we hide the fallback content and display the carousel. This is because Webkit based email clients support CSS animation.
We also need to hide the carousel from the Zimbra email client (Comcast) and Samsung email client which, although responsive to the -webkit-min-device-pixel-ratio media query, lack the ability to fully render the carousel.
If you'd like to have more than 3 images in your carousel, simply add more images into the HTML and adjust your animation blocks appropriately. For four images, instead of fading out at 33%, you fade out at 25% and for five images, you fade out at 20%.
There's an amazingly simple approach to swap images in a carousel by changing the URL of background images. Unfortunately, this technique has a side effect in iOS9 that causes the images to glow and fade even when the images are not transitioning. If you're interested, you can see the code for it here. Apparently iOS10 does not suffer from this bug so this may be an option soon.
So there you have it, a fully working responsive animated image carousel!
In the coming weeks there will be more articles that build upon this example, so stay tuned!
When attempting complex email techniques like this one, it's best to test your code and make sure it's looking great everywhere. Try email testing free for a week and see what you think!
Hi, which clients does this work on? And why is this better than a simple animated gif slideshow?
As stated, it works in most webkit browsers and in the default Apple Mail client. The advantage is that GIFs can be very heavy in terms of image size, where as 2 images animated using CSS should use considerably less space. Also, you can add individual links to each image whereas when it's a GIF you can only link the asset once.
I've just built this from the tutorial, it's been a great help and works as expected!
So I hope I answered your question Paeon and Thank you Justin Khoo for writing this post!
It is possible to make a carrousel with another kind of transition, like slide on the X and Y axis.
@Gordon thank you for your comments and I'm glad you've put it to the test!
Strange, I only see the animation on mobile. What am I doing wrong? Thanks!
Any ideas how to integrate the 480px max-width into the animation script?
Got it! Thanks again for this fantastic script!
I'm trying to add more images to the carousel, but I can't seem to get the delay and the length of the animation to match correctly. I have 6 images in total, with delays from -19s til -4s for the last. The length of the animation is 18s now, as I figured your longest delay was -10s and the length of the animation was 9s. But it's either showing the last images too long before finally showing the first and looping through the images or if I shorten the animation it shows the last image for a second before changing to the first, but then it seems to skip 2 and 3.
How do I calculate the length of the animation needed to fix all 6 images in the animation?
Hi .. great example !! I'm trying to do only 2 images (fadein) .. so I removed the third image, but now I get a blanc space after the 2nd image. What must I alter so with 2 images it will transition back to image 1?
Trying to get the desktop version to work… with no results.
I'm having the same issue as EC, it stacks in Outlook iOS. If anyone knows a fix, please let me know! Thanks.
I'm running into the stacking issue in Outlook iOS and Outlook for Android. Would love to know if anyone has a solution.


" YOU WILL GET PAID " short stence for a long story.
You can be paid for the electricity you generate, and for any surplus electricity you export to the grid. And of course you'll also save money on your electricity bill, because you'll be paid more than what you pay.
With out backup system, you will lose your solar feed with energy cutUNLESS back-up system installed, charger/inverter is used for charging batteries when the power is thier and feed your needs at power cut.


The year 2050: The cities of the world lie in ruins. Catastrophic climate change, long prophesized, has devastated the world with fatal consequences. In a flooded San Francisco, time pilot Fay overlooks the magnitude of the destruction. Sent from a distant future to avert the evisceration of mankind, she is faced with the horrible realization that it is already too late. The last hope for salvation is another desperate leap back in time to our present!
In the eco-thriller A New Beginning from Daedalic Entertainment, Fay teams up with scientist Bent Svensson to try and stem the tide. Players will experience an absorbing adventure about the most important issue of our times. At locations around the globe, it is up to them to change the course of history – with the whole world hanging in the balance.


HALIFAX—The former CEO of Halifax's IWK Health Centre is expected to make a plea on fraud and breach of trust charges in June.
Tracy Kitch's case was put off Monday in Halifax provincial court until June 10 for election and plea.
Defence lawyer Joel Pink said in an interview that Crown and defence lawyers will be meeting in the meantime, although he wouldn't elaborate as to why.
Kitch, a former executive vice-president of patient care and chief nursing executive at Mount Sinai Hospital in Toronto, resigned as CEO of the Halifax children's hospital in August 2017.
An independent review had concluded she owed tens of thousands of dollars for "potentially personal" expenses charged to her IWK corporate credit card.
Kitch is charged with breach of trust and fraud over $5,000.
Former IWK chief financial officer Stephen D'Arcy also faces a charge of breach of trust, in addition to charges of unauthorized use of a computer and mischief to data.
Their cases will proceed separately.
Kitch was arrested at her home in Oakville, Ont., while D'Arcy turned himself in to Toronto police.
Kitch was earning an annual salary of $296,289 at the time of her departure.
Nova Scotia's auditor general has said he was shocked to find a lack of oversight and basic financial management controls at the hospital.
Michael Pickup concluded the IWK's board of directors failed to create a culture that promoted accountability.


The purpose of the B2L Bank Executive Leadership Certification Program is to develop the Alabama banking industry's next generation of promising leaders. The 18-month program is designed for highly motivated mid- to senior-level banking professionals. This program will equip promising executives with the ability to handle the challenges associated with moving into new and more complex leadership roles.
It is the association's desire that graduates of the program build a network of leaders that remains committed, loyal and actively involved in matters that affect the association and our ability to help our member banks to serve the financial needs of the communities in which we live and serve.
To learn if you are right for the program, or to download the application and full program brochure, click here.


The Trevalli Puddings are made with genuine ingredients in compliance with the traditional recipe to preserve the authentic taste, that of the well-done food. Free from preservatives, gluten free and without eggs.
INGREDIENTS: Semi-skimmed milk (78%), sugar, cocoa (3.5%), corn starch, modified corn starch, gelling agent: carrageenan (E407), salt, flavorings. Gluten-free.


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The Producers of Health Briefs TV Release November Air Dates for Richmond, VA
The inspiring health information program will air on TCN-The Comcast Network throughout the month.
Health Briefs TV
Richmond is a thriving city which boasts two top-ranking hospitals.
Coral Springs, FL (PRWEB) November 06, 2013
The producers of Health Briefs TV are pleased to announce air dates for the city of Richmond, Virginia. The city boasts two top-ranking medical centers as rated by U.S. News and World Report – The Virginia Commonwealth University Medical Center and Bon Secours St. Mary's Hospital. The show features compelling segments in the many aspects of health and medical care. It shares fascinating stories about the people, businesses and places where innovative solutions to health and medical care are being created and implemented. The show, hosted by a respected celebrity athlete, will air on TCN-The Comcast Network throughout the month.
The Health Briefs TV show explores the emerging technologies, progressive treatments, revolutionary people, and innovative healthcare options that are all part of the global health industry. It explores topics relating to the health and medical fields and offers valuable information about the diagnosis, treatment and prevention of many common ailments. The show's producers take pride in sharing up-to-date, valuable information about new procedures, prevention tips and outstanding businesses. It also features interviews with innovative health and medical professionals in the industry.
The program is headquartered in South Florida, and films on location throughout the United States and Canada. It is broadcast on most regional and national cable television networks. The show is a proud leader of quality, educational programming. Join the fans, the show's staff and its host on many of the popular social sites to discuss and comment on stories of the day. Learn more about Health Briefs with Terry Bradshaw on Facebook, Google+, Pinterest and About.me.
RBryan
Health Briefs Host Terry Bradshaw


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Roxette cancel their summer tour.
Roxette were supposed to start the last leg of their massive RoXXXette 30th Anniversary Tour on June 3rd. However, singer Marie Fredriksson has been advised by her doctors to refrain from touring and as a consequence all the summer shows are cancelled. Their last performance was to be at the Grand Arena in Cape Town, South Africa on February 8 earlier this year.
Marie Fredriksson: "It's been an amazing 30 years! I feel nothing but joy and happiness when I look back on the Roxette world tours. All our shows and memories over the years will forever be a big part of my life. I'm particularly proud and grateful for coming back in 2009 after my severe illness and to have been able to take Roxette around the globe a couple of more times. Sadly, now my touring days are over and I want to take this opportunity to thank our wonderful fans that has followed us on our long and winding journey.
I look forward to the release of our album "Good Karma" in June – for me it's our best album ever!"
Per Gessle: Who would have thought this small town band from the Swedish west coast were to be still on the loose after 30 years! We've done mind-blowing gigs all over the world that has taken us far beyond our wildest and craziest dreams. I want to thank all our fellow musicians and collaborators on and off the road. Thanks also to our beautiful fans, all of you who have listened, encouraged, waited, travelled, all of you who have shared the singing, laughter, joy and tears. Most of you have been just as much part of Roxette as we have! Without you, nothing (and I mean nothing!) would have been possible. Most of all I want to thank the mighty Marie, the Amazon of the holy voice, the Goddess of superb rock performance, the liberated and magnificent interpreter of my humble words and music, for this magic carpet ride which took us to the top of all the mountains. My God, what a great view we've had! The joyride on the road is over now – but we sure had fun, didn't we?
Marie Fredriksson and Per Gessle formed Roxette in 1986 and their debut single was "Neverending Love". In April 1989 they became an overnight sensation with "The Look" and their huge international break was a fact. Since then they have toured the world again and again. Fans from all different corners of Planet Earth have been equally enthusiastic, faithful and devoted; from Birmingham to Buenos Aires, from Vancouver to Vladivostok, from Sydney to Stuttgart. Roxette performed a grand 557 shows in front of millions and millions of cheering people. 75 million albums sold, 51 singles released, four US Billboard number ones and countless top hits on worldwide charts make Roxette one of the most successful bands in the history of pop and rock.
Roxette's latest single "It Just Happens" was released on April 8 this year and their 10th studio album "Good Karma" will be released on June 3.
Tags: roxette
Who's touring
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You can find this section under System Logs > 404 Errors in the IRP Admin left navigation menu.
The 404Errors.aspx page lists all 404 errors that have occurred throughout the site and provides you with the option to view more information about each error (in a similar fashion to the existing 'IRP Errors' page in the same section). 404 errors are also referred to as 'not found' errors and indicate to customers that the server could not find what they requested.
ID: The unique ID of the 404 error message, created automatically by the IRP.
IP Address: The IP address of the device used by the user when they attempted to view the URL that resulted in the 404 error being generated.
IRP Version: The version of the IRP being used on the website when the the 404 error was generated.
Device: The type of device (desktop or tablet/mobile) used by the user when they attempted to view the URL that resulted in the 404 error being generated.
Url: The URL of the page that the user attempted to view that resulted in the 404 error being generated.
Timestamp: The date and time when the 404 error was generated.
IRP Version: This is the IRP version being used at the time of the error.
At the top of the page you can click the View 404 Event Handler button to go to the 404Handler.aspx page in the Server Management section of IRP Admin where you can configure the page that customers see when the 404 error message is generated. For more details see the 404 Error Handler help topic.
To clear the log, click the Clear Error Log button at the top of the page.


The Secret Diary (tagline: "Dude, I invented the friggin iPod. Have you heard of it?") is one of the most closely read blogs in Silicon Valley. FSJ is not so much Jobs' anonymous alter ego as his id - free-associating about everything from "frigtards" like Eric "Squirrel Boy" Schmidt to the "microtards" in Redmond, Washington. FSJ's latest coups: Getting a thumbs-up from the Real Steve Jobs at the D conference, and a book, Options, set to come out in October.
Dude, just one question: Who are you?


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British Imperialism Assignment
British expansion into India had substantial effects on its government, social, and cultural structure. Between the late 1700s to the late 1800s, the government power shifted from Mughal control to British dominance. British effects on Indian society were a mix of positive and negative changes in education, industrialization, economy and psyche. Traditional Indian culture was also radically altered to fit the liking of the British. These three components were key to the transformation of India during British imperialism.
At first, the British rule over India was indirect. The British East India Company hired sepoys, or Indian soldiers, to monitor Britain's interests in that region. Indian suspicion in the company led to a series of revolts, the Sepoy Mutiny, or Great Rebellion, and the massacre at the House of Ladies. After the British stopped the revolts, the power was given to the British government under Queen Victoria, who was now the Empress of India. British rule was now direct and India was an official colony of Britain.
Viceroys, or British officials, now carried out the supervision, which was a drastic change from Mughal rule. The social changes made by the British were just as substantial as the political ones. The British brought stability to Indian society through their educational and industrial reforms. The British paid attention to education more than before, however their changes still left ninety percent of the population illiterate. A railroad, telegraph, and postal service were introduced, which allowed easier communication throughout India than they had previously had.
However, other industrial modifications made by the British were very limited as they tried to keep modernity out except for the profitable textile and jute manufacturing mils. This rigid economy caused the destruction of many native industries. The British mandate on farmers to grow cotton ultimately led to the starvation of thirty million Indians between 1800 and 1900. Racial injustice was also vital in the British expansion into India. The Indians were inherently given an inferior rank to the British, regardless of any of the circumstances.
These changes imposed by the British led to the strong Indian nationalist movement against the British. The nationalist movement was not only caused by social change, but also by great cultural adjustment. The British got rid of the Indian tradition of suttee, the burning of widows as well as attempting to dispense of the thugs, or religious fanatics, who would strangle their victims in a cruelly odd manner. The British raj of India was a time where many nationalist ideas were in circulation.
The British tried to bring their culture in by instituting a British college in Calcutta. Indian authors wrote many commentaries on British rule, the most famous, Rabindranath Tagore. Tagore wrote of Indian pride and of Indian ideas concerning their British colonization. The Indian National Congress, a group of Indians trying to voice the opinions of the whole nation, carried out the nationalist movement even more. The British rule of India set off a chain of reactions to affect all aspects of Indian daily life.
The effects of British colonization of India were rather sizeable in the political, social, and cultural aspects. Many cultural and social traditions were lost to the new British manner of running things. The political system was completely restructured under the British. It is indubitable that the British mad changes to Indian life, but whether or not the effects were generally more positive or more negative is up for debate; however, it is evident that there were characteristics of both.
British Imperialism Assignment. (2018, Nov 15). Retrieved January 28, 2023, from https://anyassignment.com/social-science/british-imperialism-assignment-52776/
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