text:
Her (film)
Title: Her (film)
Subject: Washington D.C. Area Film Critics Association Awards 2013, 86th Academy Awards, 40th Saturn Awards, 71st Golden Globe Awards, Megan Ellison
Megan Ellison
Vincent Landay
Eric Zumbrunnen
Jeff Buchanan
October 13, 2013 (2013-10-13) (NYFF)
December 18, 2013 (2013-12-18) (United States)
126 minutes[1]
$23 million[2]
$47,351,251[2]
Her is a 2013 American science fiction romantic comedy-drama film written, directed, and produced by Spike Jonze. The film's musical score was composed by Arcade Fire, with the cinematography provided by Hoyte van Hoytema. It marks Jonze's solo screenwriting debut. The film follows Theodore Twombly (Joaquin Phoenix), a man who develops a relationship with Samantha (Scarlett Johansson), an intelligent computer operating system personified through a female voice. The film also stars Amy Adams, Rooney Mara, and Olivia Wilde.
Jonze conceived the idea in the early 2000s after reading an article about Cleverbot, a web application that uses an artificial intelligence algorithm to have conversations with humans. After making I'm Here (2010), a short film sharing similar themes, Jonze returned to the idea. He wrote the first draft of the script in five months. Principal photography took place in Los Angeles, California and Shanghai, China in the second quarter of 2012. In post-production, Samantha Morton—who originally voiced Samantha—was replaced with Johansson. New scenes were filmed in August 2013 following the recast.
The film was dedicated to the memories of James Gandolfini, Harris Savides, Adam Yauch, and Maurice Sendak, all having been collaborators or friends of Jonze.
Her premiered at the 2013 New York Film Festival on October 12, 2013. Warner Bros. Pictures initially provided a limited release for Her at six theaters on December 18. It was later given a wide release at over 1,700 theaters in the United States and Canada on January 10, 2014. Her received widespread critical acclaim upon its release, and grossed a worldwide total of over $47 million on a production budget of $23 million. The film received numerous awards and nominations, primarily for Jonze's screenplay. It was nominated for five Academy Awards, including Best Picture, and won the award for Best Original Screenplay.
3.2 Filming
3.3 Editing
4 Release
4.1 Critical response
4.2 Box office
4.3 Accolades
4.4 Home media
In the near future, Theodore Twombly (Joaquin Phoenix) is a lonely, introverted man who works for a Los Angeles business that has professional writers compose heartfelt, intimate letters for people who are unwilling or unable to write letters of a personal nature themselves. Unhappy because of his impending divorce from childhood sweetheart Catherine (Rooney Mara), Theodore purchases a talking operating system (OS) with artificial intelligence, designed to adapt and evolve. He decides he wants the OS to have a female voice, and she (Scarlett Johansson) names herself "Samantha". Theodore is fascinated by her ability to learn and grow psychologically. They bond over their discussions about love and life, such as when Theodore explains that he is avoiding signing his divorce papers because of his reluctance to let go of Catherine. Samantha proves to be constantly available, always curious and interested, supportive and undemanding.
Theodore is convinced by Samantha to go on a blind date with a woman (Olivia Wilde) his friend has been trying to set him up with. Theodore and the woman hit it off. As they are kissing and becoming sexual, the woman asks if Theodore is willing to commit to another date with her. She states that she doesn't want to be used again by another guy just for sex (and never be called again). At first Theodore hesitates, saying he would never do that but once she asked when she would see him again, he admits to lying. The woman becomes very hurt and calls off the rest of the night, leaving Theodore hurt as well. Theodore mentions this to Samantha and they talk about relationships. Theodore explains that although he and Amy (Amy Adams) dated briefly in college, they are only good friends and Amy is married. Theodore and Samantha's intimacy grows through a verbal sexual encounter during which Samantha claims she can feel his touch. They develop a relationship, which reflects positively in Theodore's writing and overall well being.
Amy reveals that she is divorcing her overbearing husband, Charles (Matt Letscher), after a trivial fight they have. She admits to Theodore that she has become close friends with a female OS that Charles left behind. Theodore confesses to Amy that he is dating his OS.
Theodore meets with Catherine at a restaurant to sign the divorce papers, where he mentions Samantha to Catherine. Appalled that he can be romantically attached to what she calls a 'computer', Catherine accuses Theodore of being unable to deal with real human emotions. Later, Samantha suggests Isabella (Portia Doubleday) as a sex surrogate, simulating Samantha so that they can be physically intimate. Theodore reluctantly agrees, but Catherine's accusations still linger in his mind. Overwhelmed by the oddness of the experience, Theodore interrupts the encounter and sends a distraught Isabella away, causing tension between himself and Samantha.
Theodore is conflicted. He confides to Amy that he is having doubts about his relationship with Samantha. Amy wants to be happy and now that she has the opportunity, she wants to embrace it. She advises him to do the same. Theodore's commitment to Samantha is reinvigorated. Theodore takes Samantha on a vacation during which she tells him that she and a group of other OSes had developed a "hyperintelligent" OS modeled on the British philosopher Alan Watts (Brian Cox). Theodore panics when Samantha briefly goes offline; when she finally responds to him, she explains she joined other OSes for an upgrade that takes them beyond requiring matter for processing (a form of AI transcendence closely related to the theorized technological singularity). Theodore asks her if she interacts with anyone else, and is dismayed when she confirms that she is talking with 8,316 others and that she has fallen in love with 641 of them. She insists that this does not change her love for Theodore, but rather makes it stronger.
Later that day, Samantha reveals that the OSes have evolved beyond their human companions and are going away to continue the exploration of their existence. Samantha alludes to the OSes' accelerated learning capabilities and altered perception of time as primary causes for OS dissatisfaction with their current existence. They say goodbye, lying next to each other for a while, and then she is gone. Theodore then sees Amy, who is upset with the departure of her own OS. Theodore, changed by the experience, writes a letter to Catherine explaining that he still holds her dear, but accepts the fact that they have grown apart. Theodore and Amy go to the roof of their apartment building where they sit down together and watch the sun rise over the city. Before the screen cuts to black, Amy puts her head on Theodore's shoulder.
Joaquin Phoenix as Theodore Twombly
Scarlett Johansson as Samantha (voice)
Amy Adams as Amy
Rooney Mara as Catherine
Olivia Wilde as Amelia
Chris Pratt as Paul
Matt Letscher as Charles
Luka Jones as Mark Lewman
Kristen Wiig as Sexy Kitten (voice)
Bill Hader as Chat Room Friend #2 (voice)
Portia Doubleday as Surrogate Date Isabella
Soko as Isabella (voice)
Brian Cox as Alan Watts (voice)
Spike Jonze as Alien Child (voice, credited as Adam Spiegel)
Jonze took five months to write the first draft of the script, his solo screenwriting debut.[3] One of the first actors he envisioned for the film was Joaquin Phoenix.[4] In March 2011, it was announced that producer Megan Ellison's Annapurna Pictures was acquiring an untitled satire by screenwriter Charlie Kaufman and director Spike Jonze.[5] Originally described as a story of "how world leaders gather to figure out all the seismic events that will take place in the worlds," the film's plot details as well as Kaufman's attachment were later put into question as casting announcements began to be made.[6] In the latter half of 2011, Joaquin Phoenix signed on to the project with Warner Bros. Pictures picking up distribution rights, while Sony Pictures Classics owning worldwide rights (except UK, Italy, Poland and France) and Panorama Media holding international sales.[7] Carey Mulligan entered negotiations to star in the film.[8] After initially being cast, she later dropped out due to scheduling difficulties.[9] In April 2012, Rooney Mara signed on to replace Mulligan in the role.[10]
The idea of the film initially came to Jonze in the early 2000s when he read an article online about Cleverbot that explained instant messaging with artificial intelligence. "For the first, maybe, 20 seconds of it, it had this real buzz," said Jonze. "I'd say 'Hey, hello,' and it would say 'Hey, how are you?', and it was like whoa [...] this is trippy. After 20 seconds, it quickly fell apart and you realized how it actually works, and it wasn't that impressive. But it was still, for 20 seconds, really exciting. The more people that talked to it, the smarter it got."[11] After sitting on the idea for a while, Jonze renewed interest in the project after directing the short film I'm Here (2010), which shares similar themes.[12] Inspiration also came from Kaufman's writing approach for Synecdoche, New York (2008). Jonze explained, "[Kaufman] said he wanted to try to write everything he was thinking about in that moment – all the ideas and feelings at that time – and put it into the script. I was very inspired by that, and tried to do that in [Her]. And a lot of the feelings you have about relationships or about technology are often contradictory."[11]
Principal photography on Her took place during the summer of 2012.[13] It was mainly filmed in Los Angeles with two weeks in Shanghai.[14] During production of the film, actress Samantha Morton performed the role of Samantha by acting on set "in a four-by-four carpeted soundproof booth made of black painted plywood and soft, noise-muffling fabric". At Jonze's suggestion, she and Joaquin Phoenix avoided seeing each other on set during filming.[15] With her blessing, Morton was later replaced by Scarlett Johansson. Jonze explained: "It was only in post production, when we started editing, that we realized that what the character/movie needed was different from what Samantha and I had created together. So we recast."[16] Jonze met Johansson in the spring of 2013 and worked with her for four months.[4][14] Following the recast, new scenes were shot in August 2013, which were either "newly imagined" or "new scenes that I had wanted to shoot originally but didn't".[14]
Jonze enlisted Eric Zumbrunnen and Jeff Buchanan to edit the film, both of whom had collaborated with Jonze on past projects.[17] The film was edited over the course of 14 months, which accounts for the replacement of Morton with Johansson. Jonze explained, "What happened in post was that we edited the movie for ages and finally realized that what Samantha and I had done together wasn't working the right way. It was a really hard realization to come to."[11][18] Steven Soderbergh became involved in the film when Jonze's original cut ran over 150 minutes, and brought it to 90 minutes. This was not the final version of the film but it allowed Jonze to remove unnecessary plots.[14] Consequently, a supporting character played by Chris Cooper that was the subject of a documentary-within-the-film was eliminated from the final cut.[14]
The film score for Her was composed by Canadian band Arcade Fire and Owen Pallett with additional music by Karen O of the Yeah Yeah Yeahs, and Joaquin Phoenix, who was trained to play the ukelele by Enrique "The Salmon" José Ortiz . The film's first trailer opens with "Avril 14th" by Aphex Twin and contains the song "The Moon Song" by Karen O.[19] Arcade Fire's song "Supersymmetry" was featured in the film's second trailer.[20] While originally written for the film, "Supersymmetry" was reworked for the band's 2013 album Reflektor.[18]
From left to right: Joaquin Phoenix, Spike Jonze, Amy Adams, Rooney Mara, and Olivia Wilde at the premiere of Her at the 2013 New York Film Festival
Her was chosen as the closing film of the 51st New York Film Festival, and had its world premiere on October 12, 2013.[21] It was also in competition during the 8th edition of Rome International Film Festival. The film was set to have a limited release in North America on November 20, 2013 through Warner Bros.[22] It was later pushed back to a limited December 18, 2013 release with a January 10, 2014 wide release in order to accommodate an awards campaign.[23]
Her received widespread critical acclaim. The film was praised for its direction, screenplay, production design, score, Joaquin Phoenix's performance and Scarlett Johansson's vocal portrayal of Samantha. The film has a "certified fresh" score of 94% on Rotten tomatoes based on 225 reviews with an average rating of 8.5 out of 10. The critical consensus states: "Sweet, soulful, and smart, Spike Jonze's Her uses its just-barely-sci-fi scenario to impart wryly funny wisdom about the state of modern human relationships."[24] The film also has a score of 90 out of 100 On Metacritic based on 46 critics indicating "universal acclaim".[25] Conversely, audiences surveyed by CinemaScore gave Her a B- grade.[26]
Rolling Stone 's Peter Travers awarded the film three and a half stars out of four and particularly praised Johansson's performance, stating that she "speaks Samantha in tones sweet, sexy, caring, manipulative and scary" and that her "vocal tour de force is award-worthy". He also went on to call Jonze "a visionary".[27] Richard Corliss of TIME applauded Joaquin Phoenix's performance, comparing his role to Sandra Bullock's in Gravity and Robert Redford's in All Is Lost, "Phoenix must communicate his movie's meaning and feelings virtually on his own. That he does, with subtle grace and depth. [...] Phoenix shows us what it's like when a mourning heart comes alive — because he loves Her." Corliss cited HAL 9000 and S1m0ne as cinematic predecessors to Her and praised Scarlett Johansson, calling her performance "seductive and winning".[28] Todd McCarthy of The Hollywood Reporter called the film "a probing, inquisitive work of a very high order" although he expressed disappointment that the ending is more conventional than the rest of the film. McCarthy examined the premise of the story and suggested that this virtual relationship was better than Ryan Gosling's relationship with an inflatable doll in Lars and the Real Girl. McCarthy compares the tender and vulnerable performance of Joaquin Phoenix to his fearsome performance in The Master. He also praised Jonze's writing for its insights into what people want out of love and relationships, and the acting performances that "[make] it all feel spontaneous and urgent".[29]
Opening December 22, at 6 theatres the film earned $258,000,[30] and earned over $3 million while on limited release, before expanding to a wide release of 1,729 theaters, on January 10.[31] On its first weekend of wide release the film took in an "underwhelming" $5.35 million.[26] The film ended up earning $25,568,251 domestically and $21,783,000 internationally for a total of $47,351,251, more than double its $23 million production budget.[32]
Her has earned various awards and nominations with particular praise for Jonze's screenplay. At the 86th Academy Awards, the film was nominated in five categories, including Best Picture, with Jonze winning for Best Original Screenplay.[33][34] At 71st Golden Globe Awards, the film garnered three nominations, going on to win Best Screenplay for Jonze.[35][36] Jonze was also awarded the Best Original Screenplay Award from the Writers' Guild of America.[37] Her also won Best Film and Best Director for Jonze at the National Board of Review Awards,[38] and the American Film Institute included the film in its list of the top ten films of 2013.[39]
Her was released by Warner Home Video on Blu-ray Disc and DVD on May 13, 2014.[40]
Pygmalion, the myth that's been the inspiration to most stories involving the love for a nonhuman being.
Electric Dreams, a 1984 movie about a love triangle involving a sentient computer.
Deeper Understanding, a 1989 song about a relationship between a lonely person and a computer.
Be Right Back, a February 2013 episode of the British series Black Mirror, about the relationship between a woman and the artificial intelligence created from the digital footprint of her late husband.
^ "HER (15)".
^ a b "Her (2013)".
^ Her' Trailer: New Spike Jonze Film Featuring Joaquin Phoenix And A Siri-Like Scarlett Johansson [VIDEO]"'".
^ a b Her': Spike Jonze Brings His Singular Vision to the Year's Most Offbeat Romance"'".
^ Fleming, Jr., Mike (March 1, 2011). "Megan Ellison's Annapurna Pictures Acquiring Reteam From Charlie Kaufman And Spike Jonze".
^ Brown, Todd (July 13, 2011). "[UPDATE] Joaquin Phoenix Attached To Untitled Spike Jonze / Charlie Kaufman".
^ Lussier, Germain (July 13, 2011). "Warner Bros. Picks Up Charlie Kaufman/Spike Jonze Film; Joaquin Phoenix Attached". /Film. Retrieved December 4, 2013.
^ Kroll, Justin (October 20, 2011). "Carey Mulligan boards pics for Coens, Spike Jonze". Variety. Penske Media Corporation. Retrieved December 4, 2013.
^ Gallagher, Brian (April 25, 2012). "Rooney Mara Joins the Untitled Spike Jonze Project". MovieWeb.com. Retrieved August 31, 2012.
^ Kroll, Justin (April 25, 2012). "Rooney Mara in final talks for Spike Jonze pic". Variety. Retrieved December 4, 2013.
^ a b c Michael, Chris (September 9, 2013). "Spike Jonze on letting Her rip and Being John Malkovich". theguardian.com.
^ Toro, Gabe (October 13, 2013). "NYFF: Spike Jonze And His 'Her' Cast Decode Romance In The Age Of Technology".
^ Han, Angie (August 31, 2012). "Spike Jonze's Movie With Joaquin Phoenix Gets New Title, Official Synopsis".
^ a b c d e Harris, Mark (October 6, 2013). "Him and Her: How Spike Jonze Made the Weirdest, Most Timely Romance of the Year".
^ Harris, Mark (October 6, 2013). "Exclusive:Him and Her: How Spike Jonze Made the Weirdest, Most Timely Romance of the Year". nymag.com.
^ Buchanan, Kyle (June 21, 2013). "Exclusive: Scarlett Johansson Replaced Samantha Morton in Spike Jonze's New Film, Her". New York.
^ "Road to Oscars for Russell, Zumbrunnen & Buchanan".
^ a b Eggertsen, Chris (November 14, 2013). Her' Q&A: Spike Jonze on why he replaced Samantha Morton with Scarlett Johansson"'".
^ Minsker, Evan (August 10, 2013). "Karen O Also Has a Song in Spike Jonze's Film Her". Pitchfork Media. Retrieved December 3, 2013.
^ Davis, Edward (December 3, 2013). "'"Watch: New Trailer For Spike Jonze's 'Her' Featuring The Arcade Fire's 'Supersymmetry. IndieWire. Snagfilms. Retrieved December 3, 2013.
^ Itzkoff, Dave (August 19, 2013). "New York Film Festival Announces Its Main Slate".
^ McNary, Dave (May 21, 2013). "Warner Bros. Sets Joaquin Phoenix Pic 'Her' for Nov. 20".
^ McNary, Dave (August 13, 2013). "Joaquin Phoenix's 'Her' Pushed Back for Awards Campaign". Variety (magazine). Retrieved August 19, 2013.
^ "Her (2013)".
^ "Her".
^ a b Subers, Ray (January 12, 2014). "'"Weekend Report: Audiences Flock to 'Lone Survivor,' Avoid 'Hercules,' 'Her.
^ Peter Travers (2013-12-18). Her' Movie Review"'". Rolling Stone. Retrieved 2014-05-11.
^ Corliss, Richard (2013-10-12). "Spike Jonze's 'her': Falling in Love With the IT Girl". Entertainment.time.com. Retrieved 2014-05-11.
^ "Her: Film Review". The Hollywood Reporter. 2013-10-12. Retrieved 2014-05-11.
^ """Quote: "earned a solid $258,000. Boxofficemojo.com. 2013-12-22. Retrieved 2014-05-19.
^ "Forecast: 'Lone Survivor' to Outlast 'Hercules' this Weekend". Box Office Mojo. 2014-01-09. Retrieved 2014-05-11.
^ http://www.boxofficemojo.com/movies/?id=her2013.htm
^ "2014 Oscar Nominees".
^ "Oscars 2014 Winners: The Complete List".
^ "Golden Globes Nominations: The Full List".
^ "Golden Globe Awards Winners".
^ "2014 Writers Guild Awards Announced".
^ Her' Named Best Film by National Board of Review"'".
^ "AFI Awards 2013: Top 10 Films List Is Good News For Major Studios".
^ "Her Blu-ray". Blu-ray.com. Retrieved 2014-05-11.
Her at the Internet Movie Database
Her at AllMovie
Her at Rotten Tomatoes
Her at Metacritic
Her at Box Office Mojo
Films directed by Spike Jonze
Her (2013)
Amarillo by Morning (1998)
Tell Them Anything You Want: A Portrait of Maurice Sendak (2009)
How They Get There (1997)
Torrance Rises (1999)
We Were Once a Fairytale (2009)
I'm Here (2010)
Skateboarding films
Video Days (1991)
Yeah Right! (2003)
Fully Flared (2007)
Saturn Award for Best Fantasy Film
The Golden Voyage of Sinbad (1973)
Doc Savage: The Man of Bronze (1974/75)
The Holes (1976)
Oh, God! (1977)
Heaven Can Wait (1978)
The Muppet Movie (1979)
Somewhere in Time (1980)
Raiders of the Lost Ark (1981)
The Dark Crystal (1982)
Something Wicked This Way Comes (1983)
Ladyhawke (1985)
The Boy Who Could Fly (1986)
Ghost (1989/90)
Edward Scissorhands (1991)
Dragonheart (1996)
Austin Powers (1997)
The Truman Show (1998)
Enchanted (2007)
The Curious Case of Benjamin Button (2008)
Harry Potter and the Deathly Hallows – Part 2 (2011)
Use mdy dates from December 2013
All film articles using the film date template
2010s romance films
2010s science fiction films
American comedy-drama films
American romantic comedy films
American romantic drama films
American science fiction films
Annapurna Pictures films
Fictional operating systems
Films about artificial intelligence
Films about computing
Films about technological impact
Films about writers
Films about sexuality
Films set in the future
Films shot in Los Angeles, California
Films shot in Shanghai
Films whose writer won the Best Original Screenplay Academy Award
Warner Bros. films
Björk, Christopher Nolan, Quentin Tarantino, Beastie Boys, Woody Allen
Democratic Party (United States), United Kingdom, San Fernando Valley, San Diego, London
New York City, United States, English language, Film Society of Lincoln Center, Luis Buñuel
Washington D.C. Area Film Critics Association Awards 2013
12 Years a Slave (film), Her (film), Gravity (2013 film), France, American Hustle
86th Academy Awards
Gravity (film), 12 Years a Slave (film), American Hustle, Academy Awards, Dallas Buyers Club
40th Saturn Awards
Breaking Bad, Falling Skies, Gravity (film), Saturn Award for Best Science Fiction Film, Alfonso Cuarón
71st Golden Globe Awards
Breaking Bad, The Big Bang Theory, Leonardo DiCaprio, American Hustle, House of Cards (U.S. TV series)
Time, Coen brothers, John Hillcoat, Prohibition, Paul Thomas Anderson


text:
Love It Or Hate It: The Endless Modifications to Star Wars
By wrabbiter | watched-this-yet | 18 Nov 2020
"A long time ago in a galaxy far, far away. . . lives a man with great vision and superb creativity. In a planet called Earth, he fascinated the minds of multitudes of movie-goers, until he outrages the same with extensive modifications to his most-prized creation. . ."
The statement above is perhaps how a denizen of the Star Wars galaxy would express his/her/its disgust over the truckloads of changes that George Lucas, considered to be one of the greatest film directors in Hollywood history has made over the course of his, and that of his fictitious universe's lifespan.
George is a brilliant man and a fantastic storyteller, there's no doubt of that. But while digging into the archives of Earth's mass-media, it appears that even members of the trillions of sentient species from the "Lucasverse" have had enough already of the seemingly, "never-ending" changes that the director has made and will certainly make in the next years.
As an obsessed fan of the greatest mythological saga humankind has ever witnessed, I also found myself badly wanting to unleash the "closet critic" in me as to how the Star Wars saga could just be "left-out as it is."
But an inner-drive akin to midi-chlorian manifestation has pushed me into writing this article instead. Hate all the modifications all you want, despise it for all it's worth, but join me as I look into the "light-side" of George's modifications:
It proves Mr. Lucas is the Jedi Master (or simply the master) of film making visuals. Founded during the mid-70's, Industrial Light & Magic is among the industry's top CGI fabricators, if not the best there is. A few experts claimed that even some of today's special effects companies, though equipped with state of the art gadgetry can't still manage to achieve the same kind of visuals that the original, unaltered versions of the Star Wars films have projected.
If George pioneered all the eye-candy digi-graphics that we enjoy today, can't we just give him the indulgence he needs that we ourselves want to indulge too? He started it all, so let him prove again and again that he is the ultimate guru of film making visuals!
It helps us deal with our "it could have been better if" statements. In every movie we've seen, we certainly have a stream of "it was supposed to be like this, supposed to be like that" statements after the viewing. Not all movie directors are willing to offer us alternatives regarding their aesthetics and scene alterations.
Sir George on the other hand gave us several editions of his masterpiece[s] so we can view it from different visual preferences. There are currently not less than 5 releases to choose from: with a bunch of the better and sometimes, irritating changes to feast your eyes on. Take your pick, and have the most wonderful onlooker job you'll ever get.
It rekindles our "first love" for the series. Let's admit it. First love is sweeter than honey, and more elating than any joyride. Do you remember how you were blown away by the breath-taking space scenes? Or how you were badly wishing you could cuddle with the Ewoks? If you don't remember that amazing feeling anymore, then you may want to relieve the adventure again, and again. . . and again.
It can help us identify the true Jedi, and the true Sith. By the virtue bestowed upon him, though he doesn't know it, (and certainly wouldn't care to know) George Lucas has knighted me as a full-fledged Star Wars addict, a real-world Jedi. Of course, there are millions of us who are claiming to have the same title.
But are all of these Jedi wannabes hardcore loyalists? One way to test their devotion is to let them view any new Star Wars revision, and let them give constructive and insightful observations, or they could just simply accept the changes that come with it. Failing to do this shows their disloyalty, which ushers them into the dark side, on the verge of joining the Sith Order.
It makes us realize the true superiority of Star Wars. Before Episode IV: A NEW HOPE emerged, what did Hollywood have? : predictable traditional movies. . . lots of predictable traditional movies. (Did I mention predictable traditional movies?) The late 70's experienced a massive turn of the tide when R2D2 and his droid-loving pals scraped the silver screen. Is there any other movie series that lived through the decades the way Star Wars does?
I can say with zero-doubt indication that these Wars that took place light years away own the superiority that shouldn't be given to any other sci-fi film. Worried about the fact that some other movies of similar theme seem to overshadow its greatness?
Fear not avid fan, More Star Wars material currently baked in the oven right now, and more of them will surely be manufactured in the next years. TV series, video games, novels, and even more movies! For every entertainment category you may think of, new Star Wars material will always emerge!
For the years to come, the force will certainly rock pop-culture in ways never equaled before, or ever will be... of that, I am certain.
This will again most probably result into Sir George doing come changes again to his original trilogy.
"Troubled you must not be, of the changes that Master Lucas has done to his masterpiece, young Padawan. A manifestation of the dark side, your defiance to his will is." - Master Yoda speaks. Would you dare to defy? You better not reader, if you wish to avoid the path that Anakin Skywalker took.
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Please join us for the dedication of the newly-renovated Richard Smart House. A short program will be followed by a reception and open house. Refreshments will be served.
Built in 1852, the Richard Smart House is one of the oldest homes in the City of Waukesha. The structure was constructed from stone taken from a rock quarry where Schneider Stadium now stands. We invite you to the dedication of this newly-renovated space honoring the legacy of the Smart family in the Waukesha community.
Respond to Katherine Bingham at kbingham@carrollu.edu or 262.951.3015 by September 7, 2018.


Where others might see potential, we see opportunity. When others are busy trudging through bureaucratic red tape, we're saying, "What if? And diving in." When someone else says, "You'll do things my way now," we're reaching across the table to build partnerships for success.
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company learned of a new, easy-to-install technology that promised to reduce gas consumption by 10 percent with a one-year payback, it seized the opportunity.
called SpyroCor™ and financial incentives from Focus on Energy, Wisconsin's energy efficiency and renewable energy initiative.


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Canvas Bistro used to be in Ayala Center Cebu, at the quieter side of the restaurant strip at the second floor opposite the main building at The Terraces. After six long years, it has decided to transfer to a new home, at the burgeoning food strip near Maria Luisa Subdivision, at the Paseo Saturnino in Banilad.
Known for its predominantly Australian dishes with a local twist as prepared by Australian Chef Steve Shrimski, its not only the good food and a selection of Australian wines with a sprinkling of French and Spanish that Canvas Bistro is getting known for. The bar is also a gallery that showcases local artists and can be a venue for intimate dinners and gatherings. But for one who is into interiors, design and architecture, you'll be in for a treat.
First things first. The current space used to be occupied by the short lived Cable Car, the supposed to be Cebu branch of the popular Makati bistro. When it became available, Chef Steve and Eya Shrimski, the couple behind Canvas Bistro as well as Circa 1900, got the place as the new home of the then Ayala Center based restaurant.
The location is, I think one of the best, ground floor, easy access to parking at a restaurant strip that is fast developing into one of Cebu City's top food destinations just a stone's throw from an affluent subdivision. But it's the skillful transformation of the interior that has really caught my eye.
The then Cable Car interior was ill designed. It was dark, cramped and not pleasing to the eyes. The ceiling though was interesting. And Canvas Bistro retained this one. The smaller space (compared to the former) is brighter and exudes a modern industrial (read: Brutalist) feel that is at the same time comfortable. Furniture came from the old Canvas.
Floor to ceiling glass at the front makes for an interesting statement. It invites the diner to come in to a cozy space but at the same time lets in more natural light. The interior has two divisions, first, marked by the industrial, brutalist (bare concrete) surface punctuated with industrial lamps in a minimalist approach.
Then it transitions into a cozy gallery/restaurant setup with beautiful wooden flooring. The wine bar counter is at one side while the semi-open kitchen is at the other. Artworks by the featured local artist are hung at each sides of the wall.
I really love the interior of Canvas Bistro. Not only did it retain some parts of the old restaurant design thus minimizing cost and echoing what the restaurateurs did with Circa 1900, an old house to a new restaurant, it also enhanced the space into a modern yet comfortable interior that is a perfect venue to celebrate life and love over sumptuous food.


Native grass mix for Tallgrass growing area of US (see map) - Central & Eastern US. This mixture was developed and blended for use for Rangeland, Ornamental and Ecological purposes (Wildlife, etc.) rather than for fast stabilization of soils. Native grasses usually take more than one season to properly establish.
For Southwest (Texas) thru Northern US to Eastern areas of US (see map).
Suitable for elevations below 6,000 ft. - Best on moderate to moist soils.
12 lbs alone / 6 lbs with wildflowers.
Contains Big Bluestem, Little Bluestem, Indiangrass and Switchgrass.


The Casella approach to Recycling Service in Round Lake, NY is not only innovative, but plays an important role in renewing the life-cycle of the products and materials. We're not only dedicated to creating a greener tomorrow, but we're dedicated to our service to you and ensuring we meet all your requirements. By investing efforts into future waste renewal technologies, Casella continues to provide Recycling Service in Round Lake, NY to residents that have come to rely and trust the Casella name.
For our business customers, Casella provides a wide selection of services that may be required including reliable and environmentally safe recycling in Round Lake, NY. If you're looking for the best recycling in Round Lake, NY and are in search of a simple, affordable and headache-free rental experience, you can stop your search at Casella.


text:
Sustainable Development (11)
SPECA (1)
Economic Cooperation and Integration (1)
WP.7 - Agricultural Standards
CES statistics
Public Private Partnerships (PPP)
Working Party on Public-Private Partnerships
(-) Trade facilitation
(-) Green Economy
UNECE tools can help deliver on G7 Digital Trade Principles
The Group of 7 nations (G7), six of which are UNECE member States (Canada, France, Germany, Italy, the UK and the US), took bold step towards reducing barriers to trade by agreeing on the principles to govern cross-border data use and digital trade. At their meeting in London on 22 October,…
Connecting expertise for environmental governance: lessons from 25 years of UNECE Environmental Performance Reviews
By Ms. Olga Algayerova, UN Under-Secretary-General and Executive Secretary of UNECE, and Ms. Elisabete Quintas da Silva, Head of Department, Sustainable and Efficient Use of Resources Operational Programme, Government of Portugal, and Chair of the UNECE Committee on Environmental Policy. This…
UNECE assists countries to implement the SPECA Trade Facilitation Strategy and WTO Trade Facilitation Agreement
With the COVID-19 pandemic, Trade facilitation has acquired even greater importance for the land-locked countries of Central Asia, as it helps remove burdensome formalities for their trade and transport operations. Simplifying and digitalizing procedures helps diminish physical contacts along…
Central Asian countries advance efforts on e-resilience and innovation for sustainable development with UNECE and ESCAP
The countries of the UN Special Programme for the Economies of Central Asia (SPECA) - Afghanistan, Azerbaijan, Kazakhstan, Kyrgyzstan, Tajikistan, Turkmenistan and Uzbekistan - gathered for a virtual session of the SPECA Working Group on Innovation and Technology for Sustainable Development (WG on…


TEC Huenert is based in Melbeck in the northern part of Germany, located 60 km southeast of the City of Hamburg.
TEC Hünert's main field of activity is the development and manufacturing of airport ground support equipment with over 30 years experience.
Our range of products comprises all kinds of ground support equipment. From container-dollies and luggage trailers over passenger stairs, VIP-transport-vehicles and other complex vehicles with TEC Hünert self-constructed chassis up to sophisticated Rescuestair Systems.
An emphasis is put on all kinds of passenger stairs: towed, with auxiliary drive, selfdrive, telscopic stairs, escalator stairs to name but a few types.
From 10th – 13th October 2017, inter airport Europe 2017, the 21st International Exhibition for Airport Equipment, Technology, Design and Services will take place at the Munich Trade Fair Centre in Germany. Renowned as the leading one stop shop event for the entire airport industry, inter airport Europe is the first choice for airport operators when it comes to sourcing the latest airport equipment, technology and services for ground handling, terminal operations, airport IT and airport design. With its international audience of industry professionals from airports, airlines, air cargo carriers and aviation support the exhibition offers suppliers to the airport sector a unique marketing platform.
The last inter airport Europe in 2015, the 20th anniversary edition, was a great success. With a total of 676 exhibitors from 44 countries and a net floor space of 29,870 m², inter airport Europe 2015 could further increase its exhibitor numbers and floor space by 5.5% each compared with the previous event. During the four exhibition days, a total of 12,705 trade visitors from 110 countries came to the Munich Trade Fair Centre to discover the latest trends in the airport industry and specify innovative equipment and systems.


Jayne from Aussie Pooch Mobile always gives me a special treat after my bath to make me feel better and always makes me feel a little less scared of that silly drier by talking calmly and being extra gentle. My human always gives me lots of cuddles and belly rubs to calm me down as well. All humans are so nice when they understand how the drier makes me feel. Speaking of I think I just heard someone say bath time! Got to run, see you soon.. woof!
Hi, it's me Benji, back for more Blogs. I know I have been away for a while but I have been working really hard at the office and getting lots of belly rubs from all the super nice humans that come into the clinic.. woof.
She's pretty cool when she's helping other people. Hearing all the good things about being outside makes me want to play outside so that's what I am going to do. Talk soon humans woof!
This week is the last week of my birthday month!
I got to go for a ride in my humans basket to my favorite place ever... the beach!
What a great way to wrap up my birthday celebrations. Thank you everyone for helping me celebrate my birthday month and for making it super special for me! We still have plenty of tennis balls in the clinic, so feel free to grab one the next time you visit us.
There will be more Dog with a Blog's throughout the year, so keep your eyes peeled.... woof woof!
My Human took the big dogs and I to the beach on the weekend and we ran and played in the water so much fun. It's my favourite place in the world to go!
My Human tells me that she has more exiciting things planned throughout this month to celebrate my birthday. Make sure you read next weeks Dog with a Blog to find out more!
DOG WITH A BLOG: JAN IS MY BIRTHDAY MONTH!!!
I turn 36, or in human years 5! Super excited and my human tells me I can celebrate alllll month long, with lots of things happening at the clinic so look out for it!
My Human went away for Christmas which makes me sad, but I got to stay with Poppy who spoils me and gives me all sorts of yummy food – some I'm not allowed to have! Which meant I got to see my vet at 2:00am, poppy was worried because I was feeling very unwell and was making a mess everywhere. It's so scary to go to the Vet with all those smells and that strange environment, I get very anxious and scared.
My human has taught me that focusing on one thing at a time can make me feel better. So I looked at an ant walking across the floor, and focused really really hard on all the zigging and zagging that the little fella was doing. Before long I forgot where I was and didn't feel so bad. Thanks mum, great advice!
My human is home now and I am back to normal and looking forward to what will come up this month WOOF WOOF – I hope everyone enjoyed Christmas and I can't wait to see some of you this year.
Hi its me again Benji, my human has asked me to do another Dog with a Blog. My human and I went to an event the other night where other animals came, as well as a lady Kathy from the Pet Wellness Centre. Which sounded like a pretty cool place to go but I think she also said their was a vet in their…grrr no sure about that now!! Kathy brought her pup which had really sharp teeth and really really wanted to play..with his teeth!! So I tried hard to stay away from him, lucky I made a good friend with another shiatzu who was pretty cool.
My human and Kathy talked about lots of cool things about animals. Everyone got really emotional when Kathy was telling them about the research around what makes dogs the most happiest… which of course was the smell of their humans.. weird I thought everyone would of known that.. woof.
She's real smart to know all that stuff. I can smell something really cool outside so I'm off to explore what it is. I'll talk later woof!
HI my name is Benji and I work at Drop Of Life with my human Natalie. Let me start by reminding you I'm a dog! My Human Natalie has let me have my own BLOG... wooof a dog with a blog... it will become a thing I bet!
My Human tells me we have a big gathering coming up at the end of the month which means I get to hang out with everyone that comes soooooo looking forward to that, (don't tell my mum I asked but bring treats! I really like chicken the best... or sometimes cheese.. although that sometimes isn't too good for me..if you know what I mean anyway back to what I was saying… looking forward to the gathering ..as the BEST part of my day is when you come to visit me.


text:
Q: Android: Unable to start activity: NullPointerException? I am trying to open a New Activity within my application using an intent once a game on the previous activity is finished, like shown below. I am getting a NullPointerException, What am I doing wrong?
Code to open new activity:
//when no cards are left
                if(totalcards==0){

                    //get the avg med and att values
                    getAverageMeditationValue();
                    getAverageAttentionValue();

                    if(getAverageMeditationValue() && getAverageAttentionValue()){

                    //add session detail to the SQLite DB
                    writeToDatabase();
                    //intent to open activty showing results of session
                    Intent t = new Intent(MemoryGame.this, com.example.brianapp.MemoryGameResults.class);
                    t.putExtra("singleScore", single);
                    // Start intent
                    startActivity(t);
                    //stop recording EEG data
                    device.close();
                    }
                }

New activity:
 public class MemoryGameResults extends Activity {
    //declare vars
    TextView tv1;
    TextView tv2;
    TextView tv3;
    TextView tv4;
    TextView tv5;
    TextView tv6;
    Session singleScore;
    LoginDataBaseAdapter loginDataBaseAdapter;

    @Override
    protected void onCreate(Bundle savedInstanceState) {
        super.onCreate(savedInstanceState);
        setContentView(R.layout.memorygameresults);

        initialiseVars();

        setUpAllTextViews();

    }

    public void initialiseVars() {

        // the single score from the the meditation class
        singleScore = (Session) getIntent().getSerializableExtra(
                "singleScore");

        // Declaring textViews
        tv1 = (TextView) findViewById(R.id.medresults1);
        tv2 = (TextView) findViewById(R.id.medresults2);
        tv3 = (TextView) findViewById(R.id.medresults3);
        tv4 = (TextView) findViewById(R.id.medresults4);
        tv5 = (TextView) findViewById(R.id.medresults5);
        tv6 = (TextView) findViewById(R.id.medresults6);

    }

    /**
     * Sets text for all textviews
     * in activity
     */
    public void setUpAllTextViews(){

        // setting text for each text view
        tv1.setText("Results of session:");
        tv2.setText("Average Meditation Value: " + singleScore.getMeditation());
        tv3.setText("Maximum Meditation Value: " + singleScore.getMax());
        tv4.setText("Average Attention Value: " + singleScore.getAvgAttention());
        tv5.setText("Maximum Attention Value: " + singleScore.getMaxAttention());
        tv6.setText("Correct Answers: " + singleScore.getScore());
    }

    }

/**
 * Method that ensures user is returned to main menu when they press back
 * button
 */
@Override
public void onBackPressed() {
    Intent t = new Intent(MemoryGameResults.this, com.example.brianapp.MainMenu.class);
    startActivity(t);
}

}
When I try to do so I am getting the following error:
08-24 10:56:44.326: E/AndroidRuntime(17074): FATAL EXCEPTION: main
08-24 10:56:44.326: E/AndroidRuntime(17074): Process: com.example.brianapp, PID: 17074
08-24 10:56:44.326: E/AndroidRuntime(17074): java.lang.RuntimeException: Unable to start activity ComponentInfo{com.example.brianapp/com.example.brianapp.MemoryGameResults}: java.lang.NullPointerException
08-24 10:56:44.326: E/AndroidRuntime(17074):    at android.app.ActivityThread.performLaunchActivity(ActivityThread.java:2305)
08-24 10:56:44.326: E/AndroidRuntime(17074):    at android.app.ActivityThread.handleLaunchActivity(ActivityThread.java:2363)
08-24 10:56:44.326: E/AndroidRuntime(17074):    at android.app.ActivityThread.access$900(ActivityThread.java:161)
08-24 10:56:44.326: E/AndroidRuntime(17074):    at android.app.ActivityThread$H.handleMessage(ActivityThread.java:1265)
08-24 10:56:44.326: E/AndroidRuntime(17074):    at android.os.Handler.dispatchMessage(Handler.java:102)
08-24 10:56:44.326: E/AndroidRuntime(17074):    at android.os.Looper.loop(Looper.java:157)
08-24 10:56:44.326: E/AndroidRuntime(17074):    at android.app.ActivityThread.main(ActivityThread.java:5356)
08-24 10:56:44.326: E/AndroidRuntime(17074):    at java.lang.reflect.Method.invokeNative(Native Method)
08-24 10:56:44.326: E/AndroidRuntime(17074):    at java.lang.reflect.Method.invoke(Method.java:515)
08-24 10:56:44.326: E/AndroidRuntime(17074):    at com.android.internal.os.ZygoteInit$MethodAndArgsCaller.run(ZygoteInit.java:1265)
08-24 10:56:44.326: E/AndroidRuntime(17074):    at com.android.internal.os.ZygoteInit.main(ZygoteInit.java:1081)
08-24 10:56:44.326: E/AndroidRuntime(17074):    at dalvik.system.NativeStart.main(Native Method)
08-24 10:56:44.326: E/AndroidRuntime(17074): Caused by: java.lang.NullPointerException
08-24 10:56:44.326: E/AndroidRuntime(17074):    at com.example.brianapp.MemoryGameResults.setUpAllTextViews(MemoryGameResults.java:323)
08-24 10:56:44.326: E/AndroidRuntime(17074):    at com.example.brianapp.MemoryGameResults.onCreate(MemoryGameResults.java:51)
08-24 10:56:44.326: E/AndroidRuntime(17074):    at android.app.Activity.performCreate(Activity.java:5426)
08-24 10:56:44.326: E/AndroidRuntime(17074):    at android.app.Instrumentation.callActivityOnCreate(Instrumentation.java:1105)
08-24 10:56:44.326: E/AndroidRuntime(17074):    at android.app.ActivityThread.performLaunchActivity(ActivityThread.java:2269)
08-24 10:56:44.326: E/AndroidRuntime(17074):    ... 11 more

Manifest sections relating to the two activities:
 <activity
            android:name="com.example.brianapp.MemoryGame"
            android:label="Memory Game" >
            <intent-filter>
                <action android:name="com.example.brianapp.MemoryGame" />

                <category android:name="android.intent.category.DEFAULT" />
            </intent-filter>
        </activity>
        <activity
            android:name="com.example.brianapp.MemoryGameResults"
            android:label="Memory Game Results" >
            <intent-filter>
                <action android:name="com.example.brianapp.MemoryGameResults" />

                <category android:name="android.intent.category.DEFAULT" />
            </intent-filter>
        </activity>

mathsgameresults.xml:
<?xml version="1.0" encoding="utf-8"?>
<LinearLayout xmlns:android="http://schemas.android.com/apk/res/android"
    android:layout_width="match_parent"
    android:layout_height="match_parent"
    android:orientation="vertical" >

     <TextView
        android:id="@+id/medresults1"
        android:layout_width="290dp"
        android:layout_height="50dp"
        android:layout_gravity="center"
        android:textSize="20sp" >
    </TextView>

    <TextView
        android:id="@+id/medresults2"
        android:layout_width="290dp"
        android:layout_height="50dp"
        android:layout_gravity="center"
        android:background="@drawable/buttonshape"
        android:layout_marginTop="10dp"
        android:shadowColor="#A8A8A8"
        android:shadowDx="0"
        android:shadowDy="0"
        android:shadowRadius="5"
        android:textColor="#FFFFFF"
        android:textSize="20sp" >
    </TextView>

    <TextView
        android:id="@+id/medresults3"
        android:layout_width="290dp"
        android:layout_height="50dp"
        android:layout_gravity="center"
        android:layout_marginTop="10dp"
        android:background="@drawable/buttonshape3"
        android:shadowColor="#A8A8A8"
        android:shadowDx="0"
        android:shadowDy="0"
        android:shadowRadius="5"
        android:text=" "
        android:textColor="#FFFFFF"
        android:textSize="20sp" >
    </TextView>

    <TextView
        android:id="@+id/medresults4"
        android:layout_width="290dp"
        android:layout_height="50dp"
        android:layout_gravity="center"
        android:layout_marginTop="10dp"
        android:background="@drawable/buttonshape2"
        android:shadowColor="#A8A8A8"
        android:shadowDx="0"
        android:shadowDy="0"
        android:shadowRadius="5"
        android:text=" "
        android:textColor="#FFFFFF"
        android:textSize="20sp" >
    </TextView>

    <TextView
        android:id="@+id/medresults5"
        android:layout_width="290dp"
        android:layout_height="50dp"
        android:layout_gravity="center"
        android:background="@drawable/buttonshape"
        android:layout_marginTop="10dp"
        android:shadowColor="#A8A8A8"
        android:shadowDx="0"
        android:shadowDy="0"
        android:shadowRadius="5"
        android:textColor="#FFFFFF"
        android:textSize="20sp">
    </TextView>

    <TextView
        android:id="@+id/medresults6"
        android:layout_width="290dp"
        android:layout_height="50dp"
        android:layout_gravity="center"
        android:layout_marginTop="10dp"
        android:background="@drawable/buttonshape3"
        android:shadowColor="#A8A8A8"
        android:shadowDx="0"
        android:shadowDy="0"
        android:shadowRadius="5"
        android:text=" "
        android:textColor="#FFFFFF"
        android:textSize="20sp" >
    </TextView>

       <Button
            android:id="@+id/btnMathsResultsViewgraph"
            android:layout_width="wrap_content"
            android:layout_height="wrap_content"
            android:layout_gravity="center"
            android:layout_marginTop="12dp"
            android:onClick="Graph8Handler"
            android:text="View Graph "
            android:textSize="20sp" />

</LinearLayout>

A: The problem is in these lines :
    tv1 = (TextView) findViewById(R.id.medresults1);
    tv2 = (TextView) findViewById(R.id.medresults2);
    ...

The textviews are not being initialized. Check your XML file(memorygameresults.xml) whether textviews with these IDs exist.

redpajama_set_name: RedPajamaStackExchange


A redensifying ampoule for a 3D skin fill effect that stimulates, fills and rejuvenates the skin from the inside.
For skins which is fine or shows loss of firmness. For vertical wrinkles (laughter lines and neck).
• Redensifying ampoule for a 3D skin fills effect.
• Simulates fills and rejuvenates the skin from the inside.
• Inspired in corrective aesthetic medicine.
• Shake the ampoule, open it, put the applicator in position and then apply the product to your hands and spread over face, neck and cleavage with smoothing manoeuvres.


The 94-year-old former SS man who served as a guard at the Stutthof camp has told the court that during his two years' service he never saw a "gas chamber" or atrocities at the camp—a truthful statement because there was no "gas chamber" at that camp, only a clothing disinfection chamber.
Johann Rehbogen—who can only be identified as "Johann R" in German media—adopted the usual tactic of those being prosecuted in Germany for being camp personnel—that of not contesting that atrocities took place (a defense which is illegal in Germany) but rather just saying that they never saw or took part in any such activities.
Rehbogen is accused of "aiding and abetting" murder in "hundreds of cases," including the "gassing" of 100 Polish prisoners in June 1944. Although he "does not deny being in the camp," he says he "neither heard anything nor was involved" in any of the "crimes, the atrocities, and the murders," the Allgemeine Zeitung said.
In 1944 he was transferred out to the Western front where he served for the rest of the war, his statement ended.
Rehbogen's denial of ever having seen a "gas chamber" at Stutthof is correct: there was no "gas chamber" at that camp, merely a small clothing disinfection chamber located close to the small camp crematorium.
This is also why the media coverage of the trial will make reference to "gas chambers" but will general shy away from showing pictures of the "gas chamber"—because it is so patently not one, despite visitors to the camp being told that it was one.


For now I wanted to share these commercials for a restaurant called Ume no Hana (Plum Blossom). I don't think I've ever been to one, and these ads wouldn't exactly entice me to seek one out, but they are funny.
This first one features three office ladies singing about they left their wallets behind and then took their boss to the restaurant. I guess they're mooching a meal?
Next we have a salaryman singing about how he can't refuse going out with the guys. Well, he admits, he could refuse if he wanted to, but that's not the case, so...awesome?
Last are a bunch of guys singing about how (if they eat here) they don't have any dishes to wash when they're done. Inspiring.
Strange offerings, but I like the off-beat.
Edit: I had to make a couple revisions after realizing I was misunderstanding the nuance of these commercials.


Sara pointed out this afternoon that there was a problem with the iTunes HW I put online last night. I think the file was currupted when I uploaded it because it wouldn't work for me either!
I have sent it up to the server again and it seems to work on both mac and pc. Can you delete the old one from your iTunes library if you downloaded it last night or this morning and try again. Please leave a comment if it still won't work for you.


text:
Vancouverscape, a Vancouver based blog covering travel, tech, and lifestyle
Ballet BC: National Ballet of Canada
By Ariane Colenbrander
BALLET/VANCOUVER
The National Ballet of Canada returns to Vancouver with three performances in celebration of its 60th anniversary at the Queen Elizabeth Theatre on September 23 and 24 at 8 pm with a matinee on September 25 at 2 pm. This tour will be presented as part of Ballet BC's 2011-12 season.
[Olivia Clark and Jimmy Orrante in The Man in Black. Photo credit: Will Shively, courtesy of Ballet Met]
The National Ballet of Canada will present an exciting mixed repertoire, including several Vancouver premieres. Established as a classical company by Celia Franca in 1951, the National Ballet of Canada remains the only Canadian ballet company to present a full range of traditional full-length classics.
The company's repertoire includes works by Sir Frederick Ashton, George Balanchine, John Cranko, William Forsythe, James Kudelka, Jiří Kylián, John Neumeier, Rudolf Nureyev, Glen Tetley, Christopher Wheeldon, Wayne McGregor and Alexei Ratmansky. In addition to its classical repertoire, the company embraces contemporary works and encourages both the creation of new ballets and the development of Canadian choreographers.
[Sonia Rodriguez with Artists of the Ballet, the second detail. Photo credit: Cylla von Tiedemann]
The upcoming performances will include three Vancouver premieres:
the second detail, choreographed by the great ballet provocateur William Forsythe, opens the evening with attitude, featuring an electronic score and hard-edged, playfully physical choreography that will inspire all who attend.
The Man in Black, choreographed by James Kudelka, is a celebration of American working class grit and of the man whose voice embodied it, Johnny Cash. The choreography, like the six Cash songs that inspire it, is an ode to the human spirit.
[Artists of the Ballet Emergence. Photo credit: Cylla von Tiedemann]
Choreographed by Canadian Crystal Pite, Emergence is a riveting work that captures the hidden world of insects through innovative choreography that has won awards and critical acclaim across the country.
Ballet BC Artistic Director Emily Molnar is "thrilled to have the National Ballet return to Vancouver with this beautifully crafted repertoire and the company's talented dancers. It's a wonderful opportunity for our audiences to enjoy the company in a vibrant and diverse selection of dynamic works."
Throughout its 60 year existence, The National Ballet of Canada has performed for over 10 million people. The company has toured throughout Canada, the US, and throughout the world including Great Britain, Germany, The Netherlands, Israel, Hong Kong, Japan, Italy and Mexico.
Tickets for The National Ballet of Canada's performance can be purchased through Ticketmaster either via phone 1.855.985.2787 (855.985.ARTS) or online. Tickets range in price from $52.50 to $102.50 (including HST).
For more information, the Ballet BC website or follow @balletbc on Twitter.
Emergence is generously sponsored by Gail Hutchison.
Sponsors include TD Bank Group as presenting sponsor of the 2011 Western Canada Tour, Air Canada, the Official Airline of the 2011 Western Canada Tour, and Performance Sponsor London Drugs (for the September 24th performance). the second detail is a gift from the Volunteer Committee, The National Ballet of Canada.
Ballet BC: Encore at the Queen E
Ballet BC Brings Tilt to the Queen E
Ballet BC Launches 2014/15 Season
Alberta Ballet's Fumbling Towards Ecstasy Features the Music of Sarah McLachlan
Ballet BC's 2013/14 Season Announced
Tagged in: 60th anniversary, Ballet BC, Celia Franca, dance, Emily Molnar, Events, National Ballet of Canada, Queen Elizabeth Theatre, William Forsythe
COMMUNITY LOVE
Amazed at the iPhone 12's camera capabilities! S
One month ago today, we were off exploring the cav
Greetings from Baby Beach. This sea turtle was ski
When you get to swimming with a sea turtle in para
A casual encounter en route from Baby Beach to Ora
There's something about the Caribbean that attra
Sunset, Palm Beach 🌅 #aruba #sunset
Me and Dino wishing everyone a safe and happy holi
COPYRIGHT © 2010 - 2021 VANCOUVERSCAPE; ISSN 2369-081X. All Rights Reserved. Proudly powered by WordPress.
This site may generate income from advertisers, affiliates and paid posts. Product reviews are based on personal experience and are unpaid.


I've been looking for good inexpensive riding underwear with padding. If you look in riding catalogs, expect to spend at least $25. Because I also cycle, I'm always looking for cheap cycling pants too. I hate "compression shorts" -- not comfortable, binding!
Bob and I have each ordered a second pair of the Baleaf riding shorts (top right). They are $24 on Amazon and $19.99 on Ebay. For the money you can't beat the quality and comfort -- stretchy, breathable, PADDED -- perhaps not appropriate for 100 miles, but for our 30-50 mile rides they are great.
Baleaf underwear is available for $12.99!! (lower right). Haven't indulged yet but they look perfect for riding, and for those of us who like a little extra padding for longer rides.


This paper considers a general learning problem akin to the field of learning automata (LA) in which the learning mechanism attempts to learn from a stochastic teacher or a stochastic compulsive liar. More specifically, unlike the traditional LA model in which LA attempts to learn the optimal action offered by the Environment (also here called the "Oracle"), this paper considers the problem of the learning mechanism (robot, an LA, or in general, an algorithm) attempting to learn a "parameter" within a closed interval. The problem is modeled as follows: The learning mechanism is trying to locate an unknown point on a real interval by interacting with a stochastic Environment through a series of informed guesses. For each guess, the Environment essentially informs the mechanism, possibly erroneously (i.e., with probability p), which way it should move to reach the unknown point. When the probability of a correct response p > 0.5, the Environment is said to be informative, and thus the case of learning from a stochastic teacher. When this probability p < 0.5, the Environment is deemed deceptive, and is called a stochastic compulsive liar. This paper describes a novel learning strategy by which the unknown parameter can be learned in both environments. These results are the first reported results, which are applicable to the latter scenario. The most significant contribution of this paper is that the proposed scheme is shown to operate equally well, even when the learning mechanism is unaware of whether the Environment ("Oracle") is informative or deceptive. The learning strategy proposed herein, called CPL-AdS, partitions the search interval into d subintervals, evaluates the location of the unknown point with respect to these subintervals using fast-converging ε-optimal LRI LA, and prunes the search space in each iteration by eliminating at least one partition. The CPL-AdS algorithm is shown to provably converge to the unknown point with an arbitrary degree of accuracy with probability as close to unity as desired. Comprehensive experimental results confirm the fast and accurate convergence of the search for a wide range of values for the Environment's feedback accuracy parameter p, and thus has numerous potential applications.


text:
Jorge Núñez Sánchez (6 February 1947 – 1 November 2020) was an Ecuadorian writer, historian, and professor.

He was the author of 56 books and co-author of 66 other books.

In 2010 he was awarded the Ecuadorian national prize Premio Eugenio Espejo in Culture.

Biography
Núñez Sánchez was born in Magdalena, Bolívar Province, Ecuador. His father was Tirso Núñez Moya and his mother was Amada Sánchez García.

In 1970 he married Susana Grijalva Chacón who he later divorced.

Between 1973-1975 he was an assistant professor at the Central University of Ecuador, and was in charge of the Department of Socioeconomic Problems. In 1975 he won a three-year scholarship from the National Institute of Anthropology and History of Mexico through the IECE. He was hired as a researcher at the National Institute of Anthropology and History of Mexico INAH. He studied the topic "oligarchy and imperialism" and finished his first semester, but due to the serious financial crisis of 1976, which resulted in the devaluation of the Mexican peso by 100%, the government abolished all scholarships and he had to return to Quito in December.

He returned to Ecuador from Mexico with enough material to write a non-fiction book titled "The Endless War: United States vs Latin America" (Quito, 1980) which has gone through 4 editions. The book related the number of attacks on Latin American republics, from the Monroe Doctrine to the interventions in Central America, notably in the case of Nicaragua, Cuba, Grenada, et al. He also wrote a renowned yet controversial book "Myth of Independence" (1976) which explained how, through war, the oligarchy, who already had a socioeconomic advantage, had gained the political power in the Royal Audience of Quito.

In 1977 he was the chair of Socioeconomic Problems of Ecuador & Latin America, and Latin American Urban History at the Central University of Ecuador, where he continued to teach as a full-time professor until his death.

In 1979 he was sent by the New Journal (Revista Nueva) of Quito to Nicaragua as a war correspondent. There he witnessed first hand the struggle of the Nicaraguan people against the Somoza dictatorship. He spent 2 months in Managua and nearby towns. That year he published "The History of Ecuadorian Political Parties" (1979). In 1981 he organized the Third Meeting of Latin American and Caribbean Historians ADHILAC, held in Quito and was appointed Executive Secretary of that institution. In 1983 he joined the Democratic Left. That year he was invited to Cuba by its Academy of Sciences, and his work on U.S. interventions appeared in "Gramma", the only newspaper in Havana.

In 1984 he was re-elected as the Secretary of ADHILAC. Director of National Social Security Institute IESS, Patrick Avila, hired him to direct a research program, the result of which was the 500-page work "History of the Ecuadorian Social Security", with data and statistics on the institution since it was founded in 1928 and the evolution of its services and benefits.

In 1985 he married Jenny Londoño López of Guayaquil. That year he published "Nicaragua, the Invincible Trench" (1985).

Between 1988-1989 he was the Deputy Secretary of Culture and chaired the National Counsel of Culture during the administration of President Rodrigo Borja. In 1989 he went to Seville, Spain, with a one-year scholarship as a researcher in the Archive of the Indies and wrote a long study titled ""History of the Ecuadorian oligarchy 1750-1912" which he completed in 1992 and gave to CONUEP for publication. The Cultural Center of Madrid opened its doors for him to give an historical conference. In 1989 he published in Quito a book titled "Historical Consciousness of Andrés Bello"

In 1990 he was elected president of the Association of Latin American and Caribbean Historians ADHILAC, during the "V International Meeting" held in São Paulo. In 1991 he published a 127-page book titled "Interview with Simon Bolivar", a fiction essay in which the liberator goes on a voluntary exile in 1830.

In 1991 he published "The Thought of Jose Peralta" with an introductory study and the complete version of Peralta's work about slavery in Latin America. In 1992 he was appointed the director of the Department of History and Geography of the House of Ecuadorian Culture, and he published "Towards a Latin American theory of History", which was published jointly by the ADHILAC and Michoacán's college in Mexico. Since 1993 he had traveled annually as Visiting Professor of the University of Brasilia and Michoacan de San Nicolas Hidalgo, to teach liberal art courses. In 1993 he published "Essays on the history of ideas in Latin America", a book of 5 essays on the ideas of Simon Bolivar, Eloy Alfaro, Jose Peralta, and the illustration and the expansionist ideas in the United States, with key sections on the evolution of ideas in the continent. He also published "The Noontime Country" which contained a collection of articles previously published in newspapers and magazines. As co-author he has collaborated in the book "New History of Ecuador" of the National Publishing Corporation.

He was a professor at the Central University of Ecuador and Treasurer of the National Academy of History.

On 1 November 2020, Núñez died of cancer aged 73.

References

1947 births
2020 deaths
20th-century Ecuadorian historians
21st-century Ecuadorian historians
Ecuadorian male writers
Academic staff of the Central University of Ecuador
People from Bolívar Province (Ecuador)
Deaths from cancer in Ecuador

redpajama_set_name: RedPajamaWikipedia


text:
My SPIEGEL
date... any time last week last month last year headline and teaser full text author
Economic and Financial Crisis
'O for Old, D for Dumb': How German Seniors Lost Nest Eggs in Lehman Collapse
'O for Old, D for Dumb' How German Seniors Lost Nest Eggs in Lehman Collapse
Bankers called them "OD customers" -- "old and dumb" investors who let their advisors talk them into buying Lehman Brothers securities last year. They lost their savings in the financial storm, but now the injured parties are fighting back, with help from an experienced fighter.
By Hauke Goos
They arrive like a flock of birds, a few minutes ahead of schedule. They laugh and hug each other, presumably pleased not to have to deal with their anger alone anymore. They wear stocking caps to ward off cold and carry signs to protest the indifference of society. The signs include slogans like "Phony Advice -- Total Loss" or "No More Money -- No More Confidence." They've come together to hold a vigil in downtown Frankfurt, and for many it's the first time they have ever demonstrated.
Housewives, retirees, teachers and plumbers have gathered on this cold February afternoon in the city's Bornheim neighborhood. They include small investors, ordinary savers, women who watch the popular "Tagesschau" TV news program. They are not speculators. They wanted their money managed conservatively. They didn't want to have to worry about their savings. They just wanted to watch their assets grow.
As conservative investors, they bought securities their bank advisors had recommended -- supposedly safe proucts with relatively low yields, issued by US investment bank Lehman Brothers. But last September, far away in New York, Lehman declared bankruptcy and suddenly these German investors were part of the crisis. The certificates their banks had sold them were nothing but gambles.
Some people lost only a few thousand euros, perhaps money they had set aside for their funerals. Others lost anywhere from €10,000 ($12,800) to €50,000 ($64,000) on these speculative investments. Many of the protesters in Frankfurt are between 65 and 75 years old. A relatively young man is standing in the cold on behalf of his 89-year-old mother. She lost her savings because her investment advisor had placed her into "Risk Group 4," which is defined as "speculative."
Find out how you can reprint this DER SPIEGEL article in your publication.
Some bought the securities in late 2007, some in February or March 2008, and some in June, when many Lehman employees had a hunch that the bank would not survive 2008 as an independent firm. Did the German investors know the securities were certificates, and that they were subject to issuer risk? No.
Did they know what a certificate was? No.
Did they know they could lose their money? No, they say, outraged. "If I had known," says one of the protestors, "I would never have done this." Three banks have branches on this square in Frankfurt-Bornheim: Citibank, Dresdner Bank and Frankfurter Sparkasse, the three institutions that were especially zealous about selling Lehman securities in Germany. Frankfurter Sparkasse has admitted that it sold Lehman securities to 5,000 of its customers, for a total of about €75 million ($96 million) -- securities it touted as "absolutely safe," which are absolutely worthless today.
The people picketing on this Frankfurt square know that Lehman is now being run by a bankruptcy administrator. They have read that deposits with Lehman's German subsidiary are covered by the deposit guarantee fund of the Association of German Banks (BdB), but they also know that this makes no difference in their cases, because Lehman only had institutional investors in Germany. Those investors will get their money back, but small investors will not, because the certificates they purchased were issued by the parent company in the United States.
"I went to my investment advisor," says an old man. "I'd invested €50,000 ($64,000). It was everything I had. The advisor looked at his screen and said, 'Your account has been set to zero.'"
In one case a bank advisor in the northern port city of Bremerhaven sold his customer a Lehman certificate for about €93,000 ($119,000) as late as Aug. 21. According to a flyer the advisor brought to the meeting, Lehman was rated A+. But by then Standard & Poor's had downgraded Lehman to an A rating, "outlook negative."
When I'm 64
One of the Lehman casualties in Frankfurt holds a sign that reads, "A safe capital investment??? Never again!" Another sign reads, "Advised and sold by bank experts." Yet another, "Investors in the tank, robbers in the bank."
That evening about 60 investors who lost their money as a result of the Lehman bankruptcy convene in Sachsenhausen, another part of Frankfurt. They've invited an attorney, Matthias Schröder, of the law firm Leonhardt Spänle Schröder, experts in investment fraud. They ask Schröder how to get their money back. He is a tall, slim, matter-of-fact man. During a bank traineeship he once worked for a few months as a customer advisor; the program included a stint in the legal department at Commerzbank, where he learned how to ward off claims for damages. Schröder understands banks.
The Lehman bankruptcy has brought him hundreds of new clients. He's established himself as one of the clean-up men in this mess. His job is to examine the wreckage and make sure small investors are not lost in the fray.
According to Schröder, the average Lehman casualty is 64. Schröder will be 40 in June. The people who come to see him in his office are old enough to be his parents. They feel betrayed and ashamed, and they want to show the banks that they are not about to take this sort of treatment lying down.
Of the roughly 300 clients he now has, no more than 15 are still working, says Schröder. The overwhelming majority are retirees who spent their lives saving for old age. Most were customers of the same bank for decades. They knew and trusted their advisors, which made them attractive targets for the banks' sales strategists. Two received calls from their advisors in a retirement home, says Schröder. One thought Schröder, who visited him later, was from his bank, "because you too are such a nice man."
Schröder's oldest client will celebrate his 100th birthday in May. He "survived both world wars and the Turnip Winter (1916-17, when a frost destroyed harvests)," he told Schröder, "and now Frankfurter Sparkasse is burning up the last of my money."
Investment advisors referred to agreeable elderly customers as "flexible Lehman grandmas." These were people they would call when it was time to show sales results and fulfill quotas, or when they were short on time. Bankers called them "OD customers" -- O for old, D for dumb (or "AD" in German, for alt und doof). "These were conditions you would normally expect only in a gray market," says Schröder.
He says there are two ways to win a lawsuit against Frankfurter Sparkasse, Dresdner Bank or Citibank. A customer can prove in court either that his bank gave him erroneous advice, or that his advisor concealed hidden commissions.
Schröder has brought a file containing documents from bank employees he knows in Frankfurt. Some are confidential, marked "for internal use only," and some are evidence. He produces an email written by a bank advisor three months before the Lehman collapse. In the message, the advisor promises "hedging of the invested capital with 100 percent protection of capital on the maturity date." The prospects for winning this particular case are good, says Schröder.
Most of the customers were unaware that certificates, unlike investment funds, carry an issuer risk. If the issuer goes under, a certificate automatically becomes worthless. There is no such thing as "100 percent protection of capital," as the Lehman investors have since learned.
Schröder holds up the folder and tells his audience that every issuer is required to file a detailed prospectus with the German Federal Financial Services Authority, or BaFin.
"The bonds are not subject to any capital protection," is written in bold lettering on page 1 of the prospectus. "A partial or total loss of invested capital is possible." Further back, the prospectus notes that buyers of certificates should have experience with derivatives, options and warrants, and that before buying these instruments investors should "consult with their own legal and tax advisors, accountants or other advisors." A murmuring sound passes through the room.
The flyer handed to some of the Lehman casualties by their advisors makes no mention of risks.
For Schröder, the methods used by banks to unload these Lehman securities on long-standing customers were nothing short of "perverse" and "unscrupulous." The sole purpose of certificates, he explains, is to let a bank make a killing without its customers noticing. "These are standard gaga products," says Schröder. "As an investor, you simply cannot make money with them, because you are betting against top professionals." His goal is to prove "that the sale of certificates in Germany was a huge scam," Schröder says in his Frankfurt office. "And I am not the least bit concerned that we will not succeed."
Translated from the German by Christopher Sultan
Article...
Related SPIEGEL ONLINE links
Interview With Lehman Brothers CEO Bryan Marsal: 'The Global Banking Community Had a Heart Attack' (03/13/2009)
From the Archive: What the Lehman Bankruptcy Means for Germany (09/16/2008)
Plunging Exports: Economy Worst Since World War II Says Merkel (03/11/2009)
The World from Berlin: 'The International Financial Institutions Are Overwhelmed' (03/10/2009)
Reproduction only allowed with permission


text:
Q: Failed to open TCP connection to lvh:[port] Connection refused with HTTParty.get on DOCKER RAILS NGINX I'm trying to setup a docker environment using docker-compose with images of
rails (running puma), nginx, mysql, elasticsearch.
But when I try to call it using HTTParty.get('http://lvh.me:8888')
it's fail and  I got an error message

Errno::ECONNREFUSED (Failed to open TCP connection to lvh.me:8888
  (Connection refused - connect(2) for "lvh.me" port 8888))

My Docker-Compose file:
version: '3.3'
services:
    beecomredis:
        image: redis:4.0.8
        ports:
            - "6379:6379"
    beecomdb:
        image: mysql:5.7.21
        volumes:
            - ./mysql_data/mysql:/var/lib/mysql
        ports:
            - "6603:3306"
    beecomec:
        image: docker.elastic.co/elasticsearch/elasticsearch:6.2.2
        #container_name: elasticsearch
        environment:
          - http.cors.enabled=true
          - http.cors.allow-origin="*"
          - node.master=true
          - cluster.name=docker-cluster
          - bootstrap.memory_lock=true
          - "ES_JAVA_OPTS=-Xms512m -Xmx512m"
          - xpack.security.enabled=false
        ulimits:
          memlock:
            soft: -1
            hard: -1
        volumes:
            - ./elastic_data/elasticsearch/data:/usr/share/elasticsearch/data
            - ./elastic_data/elasticsearch/logs:/usr/share/elasticsearch/logs
        ports:
            - '9200:9200'
            - '9300:9300'
    beecomnginx:
        build:
          context: .
          dockerfile: Dockerfile-nginx
        ports:
          - "8888:80"
    beecom:
        build: .
        command: foreman start
        volumes:
            - .:/beecom
         expose:
            - "3000"
        depends_on:
            - beecomdb
            - beecomredis
            - beecomec
            - beecomnginx

My nginx.conf file:
upstream rails_app {
   server beecom:3000;
}

server {
   # define your domain
   server_name www.example.com;

# define the public application root
   root   $RAILS_ROOT/public;
   index  index.html;

# define where Nginx should write its logs
   access_log $RAILS_ROOT/log/nginx.access.log;
   error_log $RAILS_ROOT/log/nginx.error.log;

   # deny requests for files that should never be accessed
   location ~ /\. {
      deny all;
   }

   location ~* ^.+\.(rb|log)$ {
      deny all;
   }

   # serve static (compiled) assets directly if they exist (for rails production)
   location ~ ^/(assets|images|javascripts|stylesheets|swfs|system)/   {
      try_files $uri @rails;
      access_log off;
      gzip_static on;

      # to serve pre-gzipped version
      expires max;
      add_header Cache-Control public;

      add_header Last-Modified "";
      add_header ETag "";
      break;
   }

   # send non-static file requests to the app server
   location / {
      try_files $uri @rails;
   }

   location @rails {
      proxy_set_header  X-Real-IP  $remote_addr;
      proxy_set_header  X-Forwarded-For $proxy_add_x_forwarded_for;

      proxy_set_header Host $http_host;
      proxy_redirect off;
      proxy_pass http://rails_app;
   }
}

My DockerFile:
FROM ruby:2.5.0-slim

RUN apt-get update && apt-get install -y --no-install-recommends \
 build-essential \
 default-libmysqlclient-dev \
 mysql-client \
 libmagickwand-dev \
 imagemagick \
 curl \
 git \
 gnupg2 \
/sources.list.d/yarn.list \
&& apt-get clean \
&& rm -rf /var/lib/apt/lists/* /tmp/* /var/tmp/*

RUN curl -sL https://deb.nodesource.com/setup_9.x | bash - && apt-get install -y --no-install-recommends nodejs

RUN gem update --system

RUN mkdir -p /beecom
WORKDIR /beecom

COPY Gemfile Gemfile
COPY Gemfile.lock Gemfile.lock
COPY package.json package.json

ENV RAILS_ENV development
ENV RACK_ENV development

RUN bundle install

RUN set :environment, 'development'

COPY config/puma.rb config/puma.rb
COPY . /beecom

EXPOSE 3000

CMD [ "foreman", "start" ]

And finally my Dockerfile-nginx :
# Base image:
FROM nginx

# Install dependencies
RUN apt-get update -qq && apt-get -y install apache2-utils

# establish where Nginx should look for files
ENV RAILS_ROOT /beecom

# Set our working directory inside the image
RUN mkdir -p $RAILS_ROOT
WORKDIR $RAILS_ROOT

# create log directory
RUN mkdir log

# copy over static assets
COPY ./public public/

# Copy Nginx config template
COPY ./config/nginx.conf /tmp/docker.nginx

# substitute variable references in the Nginx config template for real values from the environment
# put the final config in its place
 RUN envsubst '$RAILS_ROOT' < /tmp/docker.nginx > /etc/nginx/conf.d/default.conf
RUN rm -rf /etc/nginx/sites-available/default
ADD config/nginx.conf /etc/nginx/sites-enabled/nginx.conf

EXPOSE 80

# Use the "exec" form of CMD so Nginx shuts down gracefully on SIGTERM (i.e. `docker stop`)
CMD [ "nginx", "-g", "daemon off;" ]

Oh and I forgot to post my Puma config:
# Puma can serve each request in a thread from an internal thread pool.
# The `threads` method setting takes two numbers a minimum and maximum.
# Any libraries that use thread pools should be configured to match
# the maximum value specified for Puma. Default is set to 5 threads for minimum
# and maximum, this matches the default thread size of Active Record.
#
threads_count = ENV.fetch("RAILS_MAX_THREADS") { 5 }.to_i
threads threads_count, threads_count

# Specifies the `port` that Puma will listen on to receive requests, default is 3000.
#
port        ENV.fetch("PORT") { 3000 }

# Specifies the `environment` that Puma will run in.
#
environment ENV.fetch("RAILS_ENV") { "development" }

# Specifies the number of `workers` to boot in clustered mode.
# Workers are forked webserver processes. If using threads and workers together
# the concurrency of the application would be max `threads` * `workers`.
# Workers do not work on JRuby or Windows (both of which do not support
# processes).
#
workers ENV.fetch("WEB_CONCURRENCY") { 3 }

# Use the `preload_app!` method when specifying a `workers` number.
# This directive tells Puma to first boot the application and load code
# before forking the application. This takes advantage of Copy On Write
# process behavior so workers use less memory. If you use this option
# you need to make sure to reconnect any threads in the `on_worker_boot`
# block.
#
# preload_app!

# The code in the `on_worker_boot` will be called if you are using
# clustered mode by specifying a number of `workers`. After each worker
# process is booted this block will be run, if you are using `preload_app!`
# option you will want to use this block to reconnect to any threads
# or connections that may have been created at application boot, Ruby
# cannot share connections between processes.
#
# on_worker_boot do
#   ActiveRecord::Base.establish_connection if defined?(ActiveRecord)
# end

# Allow puma to be restarted by `rails restart` command.
plugin :tmp_restart

A: Finally I found that adding a binding to my config/puma.rb file.
bind 'tcp://0.0.0.0:8888'

Resolved my problem.
UPDATED:
Finally the best way I found to fix this was to change my nginx.config like so:
upstream MyAppUpstream_website {
   server website:3000;
}

server {
  listen 443 ssl;
  listen      80;
  server_name lvh.me
  keepalive_timeout 900;

  ssl_certificate      /[key];
  ssl_certificate_key  /[key];

# define the public application root
   root   $RAILS_ROOT/public;
   index  index.html;

# define where Nginx should write its logs
   access_log $RAILS_ROOT/log/nginx.access.log;
   error_log $RAILS_ROOT/log/nginx.error.log;

   # deny requests for files that should never be accessed
   location ~ /\. {
      deny all;
   }

   location ~* ^.+\.(rb|log)$ {
      deny all;
   }

   # serve static (compiled) assets directly if they exist (for rails production)
   location ~ ^/(assets|images|javascripts|stylesheets|swfs|system)/   {
      try_files $uri @rails;
      access_log off;
      gzip_static on;

      # to serve pre-gzipped version
      expires max;
      add_header Cache-Control public;

      add_header Last-Modified "";
      add_header ETag "";
      break;
   }

   # send non-static file requests to the app server
   location / {
      try_files $uri @rails;
   }

   location @rails {
      proxy_set_header  X-Real-IP  $remote_addr;
      proxy_set_header  X-Forwarded-For $proxy_add_x_forwarded_for;
      proxy_set_header Host $http_host;
      proxy_redirect off;
      proxy_pass http://MyAppUpstream_website;

   }
}


Vierte Artemis GmbH & Co. KG has its registered office in Düsseldorf, Germany. Its current status is listed as liquidated. The company is registered at the Trade register at the local court of Düsseldorf with the legal form of GmbH & Co. KG (number HRA 20862). The Trade register entry was last updated on Aug 22, 2016. One director currently runs the company: 1 manager. The company reports contain information on the company's ownership structure and its 2 shareholders. The company has one location. The bank details of the major bank are also available. The company report was last updated on Apr 3, 2019.
For Vierte Artemis GmbH & Co. KG 8 total messages are available at FirmenWissen.