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Home » Interviews » Interview: The Brilliant Jason Isaacs Talks SKYFIRE & Filming During The COVID-19 Pandemic
Interview: The Brilliant Jason Isaacs Talks SKYFIRE & Filming During The COVID-19 Pandemic
Posted on November 23, 2020 by Niall Browne in Interviews
Movies In Focus had the great opportunity to chat with the brilliant Jason Isaacs about his latest film, Skyfire. Isaacs has had roles in everything from the Harry Potter franchise to Star Trek, The Patriot and Event Horizon. He's a captivating screen presence and heightens everything that he appears in. Skyfire is a rollicking rollercoaster ride of a movie which delivers exactly what you want from this type of disaster movie (Read the Movies In Focus review).
When I caught up with Isaacs we talked about the making of the film and what film production is now like in the post-COVID-19 era.
I'm never happier than talking about myself, my wife would say.
Are you in England?
Yeah. Yeah. I'm in the the house, the loft. I've been consigned to the attic.
I'm in the spare room myself – hidden away.
I'm not normally allowed here. This is where the kids normally come but they were at school, so I've nabbed it. I'm sure they're downstairs asking 'why is dad in the loft?"
On the eve of Lockdown 2 as well.
Exactly. Right. Well, not full lock down. I've got a 15 year old. She's still going to school. Which, you know, there's no science in that.
We won't even get into that. But anyway, it's good to talk about your movie, Skyfire. So thank you for spending the time.
Yes, that's right! Let's talk about the movie
So how did you get involved in it?
Well, I knew Simon West, the director, because I auditioned for Con Air about 500 years ago, which I'd never forgotten because I was a young actor. I came in to play one of the bad guys and it was for the Malkovich role or something and I was meant to have a gun, I said 'I'll just use pencil or something.' There was an actor reading with me and the man with the camera went, 'well, just use this' and took a gun out of his pocket and gave it to me. He said, 'The safety's on. You're fine'.
25 years later Simon offered me a job in a film that I couldn't do and it didn't happen anyway. And I reminded him of that and we had a good laugh and stayed on Skype for hours. Then six months later or something he called, he said, 'that film never happened, but I'm doing a big Chinese disaster action movie. Are you in?' And I'm like, 'yeah'. He said, do you want to read the script?'. I went, 'Is it good?. He said, 'yeah, it's great'. 'I'm in'.
So I just trust him. He's a really good storyteller. He's a really nice guy. He said, 'you'll have a riot and you can rewrite your lines. You can pick an accent you like'. And he was absolutely right. I had a fantastic time. It's good old fashioned, big, broad strokes storytelling with modern technology.
It is. Going into it, I presumed you were going to be – from roles you've played before – the villain of the piece
How dare you!
You're quite a sympathetic character – was that something on the page or did that develop?
No, no, it's on the page. It bears resemblance to many other big disaster movies and in some ways to Jurassic Park, you know, I'm Richard Attenborough, if I'm anybody. I'm an entrepreneur. Yes, I'm pursuing money, but it's not like I ignore the scientists. People told me it was safe to build a resort on the edge of this volcano and I've used the top scientists and seismologists. If anything, nature is the villain or maybe human beings are the villain for thinking they can beat nature with technology – if there's a message at all. There's not a message, it's a big rollercoaster romp.
It's like you said, it's a huge spectacular film. how much was practical and how much was CGI?
Well, we shot an active volcano and there were a number of times we had to abandon the set because lava outbursts, you know, I'm not talking bollocks . No, there's none of it, obviously. I mean, it's true that there were big boulders, but they're boulders of polystyrene There was a lot of smoke in the air and lots of paper, that kind of paper smoke type stuff that you ended up just coughing up, you know, strings of black snot with white paper.
There was fire everywhere and there's explosions everywhere but it was done very safely. It was a huge crew and they're very experienced. It's as dangerous as your imagination can make it – like any of the dangerous things do on camera. Thee job of an actor is to try and put yourself in fight or flight mode and as authentically as possible, imagine yourself in danger. So weirdly you go back to the hotel room as if you have been through some gigantic, life threatening event and you have to remind yourself and it's all just pretend.
Yes. And it must have been quite strange for you being English speaking actor, within the cast. What was that like? And what was the dynamic with your fellow actors like?,
It was very, very odd for me because one of the reasons I like this business, I think I was drawn to it when I was a student doing plays – is the community aspect of it, the social aspect of it. And I love to find out who everyone is on the set, and you're there every day with them for months. So you get to know people better and better, and you go out and eat together, hang out together. And yeah, I could not understand a word anyone was saying. Very few of them spoke any kind of English at all. It meant that I bonded with the English speakers because the director and director of photography and, you know, a couple of other people. But what was interesting about it was, first of all, there is this culture clash within the scene. So that works for us.
One scene which didn't actually didn't make it into the film is with one of China's most famous actors. And we sat looking at each other, not understanding what we were saying, and that was the scene and it was great. I think what I found interesting apart from the fact that I was isolated on set socially. They weren't unfriendly to me, but, you know, chatting was hard. It was how different they were, how different their lives were and attitude to work and how they engage with each other and how they acted on camera, the styles of acting and how Chinese people express themselves emotionally and how they express anger. It's not the same in a different language. It is different in a different language.
What about marketing the film – it was obviously a big hit in China when it came out at the end of last year, were you involved in the marketing?
I wasn't, I was working and I couldn't go. I was invited to Beijing. I was of course fascinated. I'd never been, I wanted to see what that was like. I'm not sure I would have been a great marketing thrust, for the interviews would have been rather tricky because I don't speak a word of Mandarin.
I didn't get to go. I did go to the Cannes Film Festival with the film though and and that was interesting too, because the lead actress, Hannah and her boyfriend are the kind of Jay Z and Beyonce of China. He's a huge pop star and she's a huge star. And many of the actors are very, very well known. They weren't well known in Cannes and there were a lot of very famous people there. They had a quite a large entourage of people because they trust their own people to do make up and security and the rest of it and navigating around Cannes was an interesting experience because I knew more people and obviously I speak the language and stuff. In the end it did the job that they needed. Back in China, they saw that we were on the red carpet at the Cannes Film Festival. And that was the only publicity I got to do. I haven't even seen the film yet.
Have you not, no?
Unfortunately not. I'm dying to see it.
It's actually a great rollercoaster of a movie. It's just a big fun blockbuster.
I mean, I knew it would be. I just knew that Simon West can do that stuff really well. He could do it in his sleep, but not to say that he wasn't on his front foot and excited to explore all the new possibilities of technology and things you can do in the computer and things you can do practically. But it just felt like very, very safe hands to tell an epic story like this, but I haven't got a chance to sit. It's odd even doing publicity for film I haven't seen, but I have no doubt that it does exactly what it says on the tin.
It's just a good entertaining blockbuster, you know, an old fashioned disaster movie, but like you said with modern effects.
I've spent a lot of time in lockdown my family watching a number of foreign language things. Apart from the fact that stories are often told differently by different cultures, it's how people express themselves. So how Chinese people, individuals, so there is no generic term, but generally how people in that culture express fear or hope or anger or emotion looks and sounds so different than how we do it. I found that fascinating and even doing scenes with them and having to learn little bits of Chinese. I mean, they wanted me to do more, but as I mangled it appalling, they gradually trimmed it down to the bare minimum. But even how you ask a question in Chinese or how you express anger in Chinese is so completely different, and it can be misread by a Western person.
Is it an experience you would like to do again? Is it something you enjoyed?
I often get embarrassed talking about my work because even the word 'work' feels false. You know, I do this thing that I enjoy. It started as a hobby, you know, meet people and I make friends and I'm still doing that. I love the adventure of it. I'm kind of making a film in Hungary and going back to this weekend, it's different culture. It's set in a different time period. I always get to play different people and find out what their lives are like and when possible I do the research and shadow people in real life. Whether they're politicians or pimps or you know, drug dealers or soldiers or whatever, you know, I get to walk in other people's shoes, but safely. So yeah, it was a very eye-opening experience to find out how the Chinese film industry works, which is completely different to ours. What their work ethic is like, what their relationships with each other are like, how people speak to each other. I hope that for all of us, we get to travel, but one of the great aspects of my work pre COVID, is that I traveled and got to dive into different universes.
How do you think things are going to happen moving forward? Obviously you said that you're going to work now – what's different. Or what do you expect to be different?
Oh my God, what's different? Some things are exactly the same. So it was, it was lovely not having filmed anything for a very long time to be back on a set and be able to forget momentarily, the dark clouds that are looming over all of us and the potential consequences of this beyond the monstrosity of the disease, what will emerge into.
On the other hand, the other set is completely different. Rigid protocols with zones. It's much less social. I'm trying not to talk. You got masks on, in between shots. There's some anxiety around how rigid is the protocol, you know, and, and how long do people quarantine for and has everybody had a test.
Then thankfully when it actually starts a bit like watching sports on telly when they don't have crowds and stuff, but when they start kicking a ball or serving over a net, they're doing the thing that they know I'm doing the thing that I know, and I was able, briefly to just be in scenes with the wonderful Lesley Manville and try and fall in love with her – which was easy and not think about, how many extras that were in the room and whether they're being responsible when they get away from the set.
Thats's just it, the whole thing's changed, even distribution. The way everything has gone to streaming, Is it for the better, or for the worse? How do you think it's all going to plateau out?
I mean, it's a terrible, terrible shame that we don't get to gather in groups and tell stories at the moment in theaters or in cinemas, because something completely different happens when you're with a large group of people in a dark room. There's a social contract for start. You're all just going to be quiet and you're all going to listen. And you're going to lend your imaginations to a tale in the theater and in cinema that you will be taken somewhere because the pictures move, they take you to other worlds. Well, there's something else. You watch a piece of truth on screen. You know, it most manifests when he will laugh or when you all scream in a horror film – and then you laugh because you all scream. But really when there's less obvious shows of unity, you're still feeling other people are sharing human behavior with you and you feel less alone.
You feel more connected with the world because you go, yeah, I've done that. I thought that, I felt that – that's the job of an actor to kind of peel the layers back and go look at what we have in common. And you don't get that when you're watching it by yourself, you don't and you can't. So I, if anybody watching this has ever noticed stand up comedian or very funny person, they can be incredibly irritating at dinner. But if you're sitting in a crowd of 500 people, you have to cross your legs and try not to wet yourself. There's something different happens to us when we tell stories in a crowd. And yeah, I don't know what's going to happen, nobody knows what's going to happen. I hope the good version iswe go back to the cinema and go back to theatre.
That's it – it's just one of those strange things. I saw Tenant and there were 13 people in the cinema and everyone was masked up and it was just a very strange experience. Have you been?
I haven't gone to the cinema or theatre. I'm anxious about it. I understand that it's spread, it's an aiborne disease. I don't think that necessarily six foot does it if someone's got it and they're shouting or laughing or screaming, you know, singing, I'm sure no one is singing in the cinema, but, other people in different age groups manage their own risk. It's a great loss and cinema and theatre as well. 'cause I lump them together can provide a real solace and real comfort and real hope. Like all the arts can for people in dark times. Literature is still available and there are many things that are still available to lift your spirits and to let you know that other people have felt the same, but there's something truly magic that happens in a group of people when they're taken on the journey.
You said you're currently working, what is it you're filming at the minute?
A film, Mrs 'Arris Goes To Paris with Lesley Manville and a bunch of other wonderful actors, including a lot of French actors, which is interesting.
And after that, is there anything in the pipeline?
There's things – are they're going to happen? I don't know. Yeah. There are things and offers and pilots that I've signed up to do that we didn't get to shoot in March that's supposed to happen at the beginning of next year. I'm quite comfortable being at home. I'm incredibly privileged that I'm not broke or homeless or hungry, which lots of people are. I don't know what we're going to emerge into if we emerge into anything. One thing's for sure. I guess our industry won't stop because people will be at home watching television. I don't know if we will get to continue to make it depending on the prevalence of the disease in the community but I look forward to going back to work. I mean, I love going to work. I love my job, but I'm not so stupid as to prioritise that over the safety of my family and my parents, my dad.
con air
jason isaacs
simon west
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Trailer: Things Get (Really) Weird For Nicolas Cage In BETWEEN WORLDS
Uncovering Curiosities: Don Chaffey's ONE MILLION YEARS B.C.


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Dappled Cities Album Listening Party @ The Lord Gladstone, Sydney - 4/5/2017
The Lord Gladstone played host to a very special event on Thursday night: an album listening party for 'Five' (stylised as 'IIIII'), the latest record from Sydney group Dappled Cities.
It has been five years since the band's last full length effort. So naturally, there was an air of quiet anticipation. After a few drinks at the bar, we were politely asked to come and hear the band play. Blue and pink light filled the performance space. A calm neon backdrop for the band's intimate three-song set. The audience was treated to a trio of dual guitars and a synthesiser, melded together with strong vocal performances to create lush sonic textures. The tracks performed were all cuts from the new record, played stripped back and uninhibited by gimmick or extravagance.
A testament to any band is what they can accomplish with barebones instrumentation, and Dappled Cities did just that. Their performance was ethereal yet sincere. Dreamy yet wholesome. With big swells in sound they lifted the audience into the clouds, and brought them back down with gentle melodies. It is important to note this was not the original format of the tunes. But this just goes to show the versatility of the group's songwriting.
While the performance was brief, it was not the only feature of the night. Alongside the back of the room was a fixture of 5 record players, where guests could listen to the album on vinyl. This was a nice personal touch. And a nice contrast to the live component of the evening.
This less-is-more approach, accompanied by a keen attention to detail, was a theme of the whole night. This reflects a maturity and sincerity that can only come with experience. Since Dappled Cities have been around since the early 2000s this hardly comes as a surprise. Listeners will be rewarded for their patience. 'IIIII' is out now, and I look forward to revisiting the album again and again in the coming weeks.
Reviewer: Cameron Macleod

redpajama_set_name: RedPajamaCommonCrawl


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April 14, 2009 By Fausta
Tea, right-wing extremists, pirates, and Vatican rejects
In today's podcast at 11AM Eastern, Moe Lane of Red State joins in for political commentary.
Chat's open at 10:45AM. Join us!
Filed Under: Barack Obama, Democrats, politics, Pope Benedict, taxes Tagged With: Caroline Kennedy, Fausta's blog, piracy, pirates, Vatican
The case for killing the pirates
As laid out by Fred C. Iklé in today's WaPo, based on the international right of self-defense,
Kill the Pirates
It is naive to assume that the millions paid annually in ransom to pirates merely enables them to purchase villas and fancy automobiles. Somalia is a country without government, where anarchy is being exploited by terrorist organizations. Although the threat that pirates pose to commercial ships is increasingly known, little is being done to combat it. And we must consider the bigger picture: Terrorists are far more brutal than pirates and can easily force pirates — petty thieves in comparison — to share their ransom money.
We already know that Somalia is an ideal fortress and headquarters for global terrorist activity. The United States has learned the painful lesson that Somalia is not an easy place for our military to establish law and order; two of our interventions there became embarrassing defeats — in 1993 and more recently in support of Ethiopian forces.
So why do we keep rewarding Somali pirates? How is this march of folly possible?
Start by blaming the timorous lawyers who advise the governments attempting to cope with the pirates such as those who had been engaged in a standoff with U.S. hostage negotiators in recent days. These lawyers misinterpret the Law of the Sea Treaty and the Geneva Conventions and fail to apply the powerful international laws that exist against piracy. The right of self-defense — a principle of international law — justifies killing pirates as they try to board a ship.
The international right of self-defense would also justify an inspection and quarantine regime off the coast of Somalia to seize and destroy all vessels that are found to be engaged in piracy. These inspections could reduce the likelihood that any government will find itself engaged in a hostage situation such as the one that played out in recent days. Furthermore, the U.N. Security Council should prohibit all ransom payments. If the crew of an attacked ship were held hostage, the Security Council could authorize a military blockade of Somalia until the hostages were released.
Sadly, the UN Security Council won't do such thing.
Law professor Eric Posner looks at the piracy question,
In the meantime, governments will have to employ an unsatisfactory combination of carrots and sticks—mounting expensive patrols that spot and pick off pirates on occasion, while paying ransoms to those pirates who succeed.
Dave Schuler, however, sees seven options.
The problem will continue, and will likely get worse.
Phyllis Chesler looks at the cpnflicting narratives of our times.
Filed Under: Fausta's blog Tagged With: Fausta's blog, piracy, pirates
Captain Richard Phillips rescued
Just got home to find good news,
Captain jumps overboard, SEALs shoot pirates
The American captain of a cargo ship held hostage by pirates jumped overboard from the lifeboat where he was being held, and U.S. Navy SEALs shot and killed three of his four captors, according to a senior U.S. official with knowledge of the situation.
Capt. Richard Phillips was helped out of the water off the Somali coast and is uninjured and in good condition, the official said. He was taken aboard the USS Bainbridge, a nearby naval warship.
Princeton neighbor TigerHawk points out that
Captain Phillips is now resting on the U.S.S. Bainbridge, named for Commodore William Bainbridge. Not only was Commodore Bainbridge born right here in Princeton, New Jersey, but he fought the Barbary Pirates and was imprisoned by them for 2 1/2 years until freed after William Eaton's expedition to "the shores of Tripoli."
There is, however, a troubling part to the story,
At the time of the shootings, the fourth pirate was aboard the Bainbridge negotiating with officials, the source said. That pirate was taken into custody.
Let's hope the Obama administration is not planning on issuing full civil rights protections to that guy.
Filed Under: Fausta's blog, Somalia Tagged With: piracy, pirates
Swashbucklaphobia
Having read article after article about Somali pirates, one wonders why, for instance, ship crews are not trained and armed, or if there's going to be armed response.
Well, the latter question got an answer: The military are ready for action but the White House is stalling.
U.S. military already prepared with battle plans for Somalia pirates, say intelligence sources
Retired U.S. Ambassador Robert Oakley, who was special envoy to Somalia in the 1990s, said U.S. special operations forces have drawn up detailed plans to attack piracy groups where they live on land, but are awaiting orders from the Obama national security team.
"Our special operations people have been itching to clean them up. So far, no one has let them," Oakley told the Daily News
Andy McCarthy reminds us that To be civilized, we must be strong:
There is nothing less civilized than rewarding evil and thus guaranteeing more of it. High-minded as it is commonly made to sound, it is not civilized to appease evil, to treat it with "dignity and respect," to rationalize its root causes, to equivocate about whether evil really is evil, and, when all else fails, to ignore it — to purge the very mention of its name — in the vain hope that it will just go away. Evil doesn't do nuance. It finds you, it tests you, and you either fight it or you're part of the problem.
The men who founded our country and crafted our Constitution understood this. They understood that the "rule of law" was not a faux-civilized counterweight to the exhibition of might. Might, instead, is the firm underpinning of law and of our civilization. The Constitution explicitly recognized that the United States would have enemies; it provided Congress with the power to raise military forces that would fight them; it made the chief executive the commander-in-chief, concentrating in the presidency all the power the nation could muster to preserve itself by repelling evil. It did not regard evil as having a point of view, much less a right to counsel.
We don't see it that way anymore. Evil is now just another negotiation. Pirates and terrorists are better known for their human rights than for their inhuman wrongs. On Thursday, America's commander-in-chief didn't want to talk about the pirates — "Guys, we're talking about housing right now," he chided a reporter who dared to raise the topic as the Somalis held the American ship's captain hostage. Secretary of State Hillary Clinton, meanwhile, was dispatched to assure the public that the world would come together to deal with this "criminal activity" — a relief if you were wondering whether the naval destroyer on the scene was equipped with Miranda-warning cards.
To make the picture even more glum, John Kerry is calling for Senate hearings. I kid you not. What is Kerry planning to do? Summon a few pirates to testify? Request documentation?
(end update)
Should piracy merit more consideration from Congress than the entire bailout, stimulus, and budget combined?
What next, a strongly-worded letter from the UN?
Or maybe reaching out to 'moderate' pirate community
For too long, America has been too dismissive of the proud culture and invaluable contributions of the Pirate Community. Whether it is their pioneering work with prosthetics, husbandry of tropical birds or fanciful fashion sense, America owes a deep debt to Pirates.
The past eight years have shown a failure to appreciate the historic role of these noble seafarers. Instead of celebrating their entreprenuerial spirit and seeking to partner with them to meet common challenges, there have been times where America has shown arrogance and been dismissive, even derisive.
Some of us wonder if our current Overseas Contingency Operation would even be needed had the last administration not been so quick to label Pirates as "thieves," "terrorists" and worse. Such swashbucklaphobia can lead to tragic results, as we have seen this week.
Or perhaps the administration will issue calls for cargo-ship reductions?
No farce comes close to regarding national security threats as annoying distractions.
Filed Under: Barack Obama, John Kerry, Somalia Tagged With: Fausta's blog, piracy, pirates


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Johnny Gaudreau's moves on display for BC
By Jennifer Toland TELEGRAM & GAZETTE STAFF
WORCESTER � Denver coach Jim Montgomery coached Boston College junior left wing Johnny Gaudreau at Dubuque in the USHL in 2010-11. Montgomery knows first-hand just how special the Hobey Baker Award finalist and two-time Hockey East Player of the Year is.
"John Gaudreau's the kind of player anyone should pay money to come see," Montgomery said after his team's skatearound at the DCU Center Friday afternoon. "He's worth the price of a ticket. He's so creative. He does things you've never seen before and that's from game to game. That's what's so exciting about watching him play."
Fans at today's Northeast Regional semifinal between Denver and Boston College at 4 p.m. will get a chance to see what Montgomery is talking about.
Gaudreau, the nation's leading scorer with 69 points, is averaging nearly two points per game (1.86), and was the first skater in college hockey to hit the 40-, 50- and 60-point plateaus this season.
Earlier this week, Gaudreau received the 62nd Walter Brown Award as the best American-born player in New England.
This season, Gaudreau had an incredible 31-game point streak that started Nov. 1 and ended March 16. During the streak, Gaudreau amassed 29 goals and 32 assists.
Top goalie, top line
Denver senior Sam Brittain has posted five shutouts this season and was the National Collegiate Hockey Conference Goalie of the Year. He understands the test BC's potent top-ranked offense will present.
After the Eagles lost to Holy Cross, 5-4, the day after Thanksgiving, York put Gaudreau and seniors Bill Arnold and Kevin Hayes on the same line for BC's next game Dec. 6 against UNH.
Boston College is 18-3-2 since the three got together and they have combined for 45 goals, 64 assists and a plus-65 rating.
"They have the top line in college hockey," said Brittain, who ranks fourth nationally with a .932 save percentage. "They're phenomenal with the puck, without the puck. They're a great team. We're excited for the challenge. We're focused and ready to go and ready to give them a bit of a run."
Brittain has played the second-most minutes of any goalie and has made 30 or more saves in 16 games. He has been the starter in net throughout Denver's current four-game win streak.
"They've got a hot goalie right now," Arnold said. "We have to make sure we pepper him with shots early."
Since the Gaudreau-Arnold-Hayes line formed, all three players have scored at least one point in 16 of their last 23 games.
"You have to be patient against that top line," Montgomery said. "You don't want to be running at them defensively because they'll make you look stupid. You've got to mark your men well. You have to keep them in front of you.
"I know from coaching Johnny his anticipation of when the transition from defense to offense is going to happen. He doesn't end up on breakaways like he does by a fluke. His timing is impeccable. I've been trying to show our players that when you realize the turnover has happened, he's already two strides ahead of you and behind you. We've got to be sure we keep John Gaudreau in front of us."
BC has not been shut out in 96 games, the longest streak in the nation. Denver is second at 67 games.
Defense turns to offense
Denver, which captured the NCHC tourney title, has scored 15 goals in its last four games. The Pioneers are averaging 2.7 goals for the season.
Sophomore forward Matt Tabrum said the Pioneers' solid defense has led to more offense.
"Our main goal has been to break up plays and move it to our forwards as quick as possible," senior defenseman David Makowski said. "They've done an excellent job lately of getting pucks deep and working the other team's defense down low. And when available, they've been looking for us and we've had some pretty balanced scoring here the last four weeks from all four lines, which has been good to see."
Eagles stretch wings
When the Eagles take the ice to play Denver today, it will be their first game since March 16, when Notre Dame ousted them from the Hockey East Tournament in the quarterfinals.
"We've accomplished a lot this year," Arnold said. "Obviously, it didn't end the way we wanted it to, but we learned from those mistakes we made against Notre Dame and had two really good weeks of practice and we're ready to go this weekend."
Contact Jennifer Tolandat jtoland@telegram.com.Follow her on Twitter @JenTandG.


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package com.krogen.generator.parts;

import java.util.ArrayList;
import java.util.HashMap;
import java.util.List;
import java.util.Map;

import com.krogen.constants.DjangoConstants;
import com.krogen.generator.Part;
import com.krogen.main.Application;
import com.krogen.main.DataContainer;
import com.krogen.model.django.modelpy.DjangoModel;
import com.krogen.model.django.modelpy.DjangoModelField;
import com.krogen.model.django.modelpy.EntryTypesEnum;
import com.krogen.model.enumeration.Enumeration;
import com.krogen.model.panel.AdaptParentChildPanel;
import com.krogen.model.panel.AdaptStandardPanel;
import com.krogen.model.panel.DjangoPanel;
import com.krogen.static_names.Settings;

public class ViewPyPart extends Part {

	public ViewPyPart() {
		super();
	}

	@Override
	public void generate() throws Exception {
		List<DjangoPanel> panels = djangoAdapter.getPanels();
		List<AdaptParentChildPanel> pcPanels = DataContainer.getInstance().getParentChildPanel();
		List<DjangoModel> djangoModelList = djangoAdapter.getModelList();
		Map<String, String> classnameModelMap = djangoAdapter.getClassnameModelMapping();
		Map<String, String> panelClassMap = djangoAdapter.getPanelClassMap();
		List<Enumeration> enumerations = djangoAdapter.getEnumerations();

		context.clear();

		context.put("classes", new ArrayList<String>());
		context.put("projectname", Application.projectTitleRenamed);
		context.put("modulename", DjangoConstants.MODULE_NAME);
		context.put("description", Settings.APP_DESCRIPTION);
		context.put("urls", djangoAdapter.getDjangoUrls());
		context.put("panels", panels);
		context.put("pcPanels", pcPanels);
		context.put("classnameModelMap", classnameModelMap);
		context.put("panelClassMap", panelClassMap);

		context.put("models", djangoModelList);
		context.put("enumerations", enumerations);

		Map<String, Map<String, List<String>>> pcForeingKeyMap = new HashMap<String, Map<String, List<String>>>();

		if (pcPanels.size() > 0) {
			for (AdaptParentChildPanel adaptParentChildPanel : pcPanels) {

				// if the parent-child panel has child no panels. skip the generation
				if (adaptParentChildPanel.getChildPanels().size() <= 0) {
					continue;
				}

				DjangoModel parentModel = null;
				List<DjangoModel> childModelList = new ArrayList<DjangoModel>();

				for (DjangoModel model : djangoModelList) {
					if (model.getLabel().equals(adaptParentChildPanel.getParentPanel().getLabel())) {
						parentModel = model;
					}
				}

				for (DjangoModel model : djangoModelList) {
					for (AdaptStandardPanel childPanel : adaptParentChildPanel.getChildPanels()) {
						if (model.getLabel().equals(childPanel.getLabel())) {
							childModelList.add(model);
						}
					}
				}

				Map<String, List<String>> fieldMap = new HashMap<String, List<String>>();

				for (DjangoModel childModel : childModelList){
					List<String> fieldListToSend = new ArrayList<String>();

					for (DjangoModelField field : childModel.getFieldsList()) {
						if (field.getEntryTypesEnum() == EntryTypesEnum.FOREIGNKEY) {
							String foreignKeyEntity = classnameModelMap.get(field.getClassName());
							if (foreignKeyEntity.equals(parentModel.getName())) {
								fieldListToSend.add(field.getFieldName());
							}
						}
					}

					fieldMap.put(childModel.getLabel(), fieldListToSend);
				}
				pcForeingKeyMap.put(adaptParentChildPanel.getLabel(), fieldMap);
			}
		}

		context.put("pcForeingKeyMap", pcForeingKeyMap);
		// TODO add ejb-url map

		generateWithProjectname(DjangoConstants.moduleDir, DjangoConstants.VIEWS_PY, context);
	}

}

redpajama_set_name: RedPajamaGithub


This is a placeholder page for Wade Hannah, which means this person is not currently on this site. We do suggest using the tools below to find Wade Hannah.
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text:
Vintage 1953 military aircraft to be restaurant
A piece of Ohio aviation history will be on display for the first time next week at the I-X Center, that's when the c...
Posted: Mar 14, 2018 4:02 PM
Updated: Mar 14, 2018 4:02 PM
A piece of Ohio aviation history will be on display for the first time next week at the I-X Center, that's when the center's Boeing KC-97G Stratofreighter will be included as part of the Summit Racing Equipment I-X Piston Powered Auto-Rama March 16-18.
"There are very few of these around the world and as a matter of fact there's only one of these planes in the whole world flying," said show manager Steve Legerski.
The 1953 aircraft that saw duty in the Ohio National Guard in the 1960s was acquired by the I-X Center last year after it sat for nearly 40 years at the Military Aircraft Storage and Disposition Center at the Davis-Monthan Air Force Base in Arizona.
It was painstakingly disassembled by a group of former race car mechanics led by former A.J. Foyt Crew Chief William "Tex" Powell and shipped by truck to Cleveland where I-X Center Mechanic Rocco Bevelacqua got to work on the 1:1 scale model.
"I was a nervous wreck, I had never put a plane together before," said Bevelacqua. But he said the instructions written out by Powell made the process much simpler than he thought.
"Let me tell you those guys were awesome, " he said. "I thought we were going to be up there for four or five months, in actuality, we probably were three and a half weeks and that plane was together."
To date, 800 hours have been put into the restoration of the outside of the plane to its original state.
Plans are eventually to build a pad on the south outside of the building where the plane will eventually be converted into a restaurant for the public to enjoy making it as much an icon at the I-X Center as the indoor Ferris wheel.
While many know the I-X Center for its conventions and indoor amusement park, its roots were in military construction starting in 1942 as the Cleveland Bomber Plant making B-29 bombers before shifting over to the manufacturing of tanks.
Owner Ray Parks wanted to celebrate that history.
"We searched the whole world for other B-29's, we really couldn't find a B-29 per se, so we found what was the next generation of B-29s the C-97," said Legerski.
"I think it's a great piece of history in Cleveland, as is the IX Center. I mean there's not too many B-29 assembly plants and tank plants around the world and we're fortunate in Cleveland to have one right here in our backyard."
Vintage Stonehenge photos recreated
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Aircraft interiors: Innovative cabin designs
Vintage British Airways posters celebrate 100 years of aviation
'Visit Wuthering Heights': Classic novels transformed into vintage travel posters
Dafydd Jones' vintage photos of British elites gone wild


The defense contends, however, that the verdict was spurred by the jurors' sympathy for the lead plaintiff and by the location of the trial — Bullock County, Ala. "Alabama historically has been a tough venue for corporate defendants," said Robert Hays of Atlanta's King & Spalding. "That's changed in the last few years, but Bullock County is still a very tough jurisdiction." Jernigan v. GM Corp., No. CV2000-104.
Jeffrey Jernigan was injured when a 1993 Oldsmobile Delta 88 driven by his brother in Bullock, Ala., was hit by a Pontiac Grand Prix coming from the opposite direction. The right front corner of the Oldsmobile hit the right front corner of the Grand Prix and the floor board and roof of the Delta 88 collapsed.
Jeffrey hit his head on the "A" pillar, fracturing his skull, said Allen. Jeffrey underwent surgery to remove the left frontal lobe of his brain, but the injury left him with "no concept of danger and no control of his impulses," Allen said. "He needs 24-hour care," and will have to be institutionalized.
His father filed a products liability action against General Motors contending that his son sustained the brain injury because General Motors had lessened the strength of the door beams, front rails and lower rails in the passenger compartment of the Delta 88 as part of a cost reduction program, Allen said. To demonstrate this point at trial, the plaintiffs' attorneys brought in door beams from a previous model of the Delta 88, then compared it to the door from the 1993 model, Allen said.
"We also showed the damage to the Grand Prix. The smaller car had what we suggested -bigger door beams/' Allen said. The Grand Prix's passenger compartment survived the impact of the collision, he said.
General Motors contended that the speed of the cars and the impact of the collision caused the collapse of the passenger compartment. GM estimated that the total speed at impact was approaching 100 mph. "No other car could have performed differently," Hays said. "There was no evidence of design defect," he contended. The Delta 88, he added, "had a four-star crashworthiness rating." The highest ranking is five stars.
A Union Springs, Ala., jury awarded $22 million in compensatories and $100 million in punitives. The punitives were reduced to $60 million in conformance with Alabama's caps on punitives.
"General Motors will pursue appropriate remedies," Hays said.
Vehicle fires: are you at risk?


Boderline Diabetes – What does this mean ?
Is Borderline Diabetes Really Diabetes?
The term "borderline diabetes" is misleading. Sometimes when people first hear this term they picture someone teetering or standing in the middle of a doorway – €"literally standing on the edge of a border. The person can see what's ahead in the next room, but hasn't crossed over the border yet. And if they had their choice, they would never cross, as doing so would mean they have a disease – €"diabetes. However, if they stay on the border, some believe they are safe from health problems. That is the misleading part, and here's why.
Prior to 1997, diabetes was diagnosed when someone had a fasting blood glucose level over 140 mg/dL. The difference within this level and 110 mg/dL (what is considered the highest normal blood glucose level) created a thirty-point gap (border) between having a normal glucose level and being diagnosed with diabetes. When someone's blood glucose level consistently stayed within the 110 – 140 mg/dL range, they were told they had "borderline diabetes" or a "touch of sugar." While they did not have diabetes yet, it meant they were close to having it.
So what was misleading positive sign that they were about the term "borderline diabetes€"?
Well, many people believed that as long as they had not crossed the "border" yet, they were fine. Some decided to wait until their doctor told them they had crossed the border before learning about diabetes and how to prevent or delay it. Many did not see their doctor for annual checkups, which resulted in their glucose level not being monitored on a regular basis. By putting off checkups and choosing to wait and see what developed, they didn't take their rising glucose level seriously.
It's unfortunate, but many people don't realize that diabetes develops slowly and can quietly creep up on someone over time. By the time people are diagnosed with type 2 diabetes, over half already have started developing health-related problems. If people took "borderline diabetes" more seriously, they could take steps to preserve their health by delaying or even preventing the onset of diabetes.
In 1997, the ADA (American Diabetes Association) took action to encourage those people with elevated glucose levels and at risk for developing type 2 diabetes to take steps to stay healthy. Here's what they did.
First, they dropped the fasting blood glucose level used to diagnose diabetes from 140 mg/dL – 126 mg/dL. This reduced the gap in half (making it only 15 points) between having normal glucose levels and diabetes. Through earlier diagnosis and treatment of diabetes, experts hope to prevent and/or delay many of the harmful health complications people with diabetes have suffered from in the past.
Second, they recommended that instead of using the term"borderline diabetes," health care professionals use the term "glucose impairment," as it better explains what's happening in the body, and urge those with it to take earlier action to learn about diabetes. There are two types of glucose impairments people may be told they have, based upon how their glucose level was tested. They may have impaired glucose tolerance or impaired fasting glucose.
Impaired Glucose Tolerance : This term describes someone who has taken an oral glucose tolerance test and had a two-hour blood (plasma) glucose level of 140-200 mg/dL.
Impaired Fasting Glucose : This term describes someone who has a fasting blood glucose level between 110-126 mg/dL. It means that their glucose is above normal (greater than 110mg/dL) but not high enough to be diagnosed with diabetes (less than 126 mg/dl).
Currently, it's estimated that 21 million Americans have unpaired glucose tolerance, of which 35-40 percent will later go on to develop type 2 diabetes. Because of this high risk, those diagnosed with a glucose impairment should consider their diagnosis a serious health concern and start taking measures to decrease their risk for developing diabetes in the future. These measures might include making changes in their lifestyle habits to eat healthier, be more physically active, maintain a desirable weight level, and reduce or manage their stress level. In addition, they should have their blood glucose level checked on a regular basis.


text:
Wilwerwiltz (Luxemburgs: Wëlwerwolz) is een voormalige gemeente in het Luxemburgse kanton Wiltz. Sinds 1 januari 2006 is Wilwerwiltz samen met Kautenbach opgenomen in de nieuwe gemeente Kiischpelt. Wilwerwiltz heeft een totale oppervlakte van 19,74 km2 en telde 647 inwoners op 1 januari 2005. Het plaatsje heeft een treinstation.

Evolutie van het inwoneraantal

Plaats in Luxemburg (land)
Kiischpelt
Voormalige gemeente in Luxemburg (land)

redpajama_set_name: RedPajamaWikipedia


text:
Q: Creating new user MySQL syntax error Hi I'm developing app for a school project and I want need to create a user which will be saved in the database.
I've created a Profile class
public class Profile{

    private String username;
    private String password;

    public Profile(String _username, String _password){
        this.username = _username;
        this.password = _password;

    }

    public void setUsername(String username){
        this.username = username;
    }

    public String getUsername(){
        return this.username;
    }

    public void setPassword(String _password){
        this.password = _password;
    }

    public String getPassword(){
        return this.password;
    }

Than I have created a DBConnect class which will contain all the methods one of them being CreateProfile which I want to user to Insert the values for new profile into the database "user" table.
public class DBConnect {

    private Connection dbConnection;

    public DBConnect(){

        try{
            dbConnection = DriverManager.getConnection("jdbc:mysql://localhost:3306/test?user=root");
        }catch(Exception ex){
            System.out.println("Connection failed :" +ex);
        }
    }
    public void createProfile(Profile profile){
        Statement stm = null;
        try{
            stm = dbConnection.createStatement();
            stm.executeUpdate("INSERT INTO User (Username,Password) VALUES (\"" + profile.getUsername() + "\", \"" + profile.getPassword()+ "\"");
        }catch(SQLException ex){
            System.out.println(ex);
        }
    }

Finally in my JFrame I have two textFeilds username and password which I want to use in order to pass on the parameters for profile constructor. Once this is done I DBConnect object to start of the connection and than I'm calling the Create Profile method which is declared in the DBConnect.
    private void jButton1ActionPerformed(java.awt.event.ActionEvent evt) {
    Profile p = new Profile(jTextField1.getText(), jPasswordField1.getText());
    DBConnect dbc = new DBConnect();
    dbc.createProfile(p);

Everything compiles but when I run the program and try to create a new Profile I get this Error.
com.mysql.jdbc.exceptions.jdbc4.MySQLSyntaxErrorException: You have an error in your SQL syntax; check the manual that corresponds to your MySQL server version for the right syntax to use near '' at line 1
My MySQL tables is a simple table with two columns called 'Username' and 'Password'

A: You need to put the right parenthesis inside the string:
stm.executeUpdate("INSERT INTO User (Username,Password) VALUES (\"" + profile.getUsername() + "\", \"" + profile.getPassword()+ "\")";

redpajama_set_name: RedPajamaStackExchange


Little Eightmile ranch, another view of the eroding habitats. More evidence of cattle damage. Over 6.5 miles of fencing was placed to protect the Lemhi River and was completed in 1998, as part of the restoration.


text:
All Lanes Clear
Wellington Power Corp., a Pittsburgh-based electrical contractor, is helping to relieve one of the worst bottlenecks in the United States by electrifying the world's largest drawbridge.
For more than two years, Wellington has been working on the new Woodrow Wilson Memorial Bridge that will cross the Potomac River near Alexandria, Va., on the Capital Beltway. The Beltway, an eight-lane highway, circles Washington, D.C. The Beltway narrows at one spot: at the existing drawbridge and approaches, which crimp traffic into six. Since the Beltway carries up to 225,000 vehicles a day and the 45-year-old bridge was built to handle 75,000, this squeeze play can become a driver's nightmare, routinely resulting in backups that are miles long.
The Beltway, part of Interstate 95, the East Coast's heavily traveled main corridor, has undergone several widening projects, but nothing touches this effort. When completed, the new drawbridge, constructed parallel to the old span, will have a 257-foot wide, 12-lane bascule. The eight bascule sections—the steel leaves that open for boat traffic—are lifted by huge semicircular gears. One of Wellington's jobs is to provide two 35-kilovolt (kV) primary circuits that are terminated at substations in electrical rooms under the bascule section's roadbed and routed through a platoon of Cutler-Hammer switchgear to feed the 16, 150-hp gear motors and corresponding bridge controls.
Wiring any job of this scope would be tricky enough, but the majority of this "wire" is four inches in diameter, 1,000 feet long and weighs 14 pounds a foot. It is protected by steel-cable armor, wrapped in tar-impregnated jute and polyethylene jackets, and laid in a trench dug well below the Potomac's navigation channel. The cable reels weigh 7 tons and transporting them—or any material—to the project site was difficult since trucks had to rumble through Alexandria's Old Town, the kind of neighborhood rife with commercial restrictions, a slice of real estate full of $2-million-plus town homes and narrow streets once strolled along by Washington, Jefferson, Monroe and Madison.
Scott Winters, Wellington project director, said community relations played a big part in the new Wilson bridge preparations. His construction trailer complex is tucked under the old bridge, along with other job site trailers and staging areas, all hemmed in by Jones Point Park along the Potomac. There is very little room to move, park work trucks or store materials.
On a cold, sunny December morning, Winters and Jim Fuss, general superintendent, led a guided tour of the project. From the top of the new bridge, 20 feet taller than its predecessor, there is a close-up view of Old Town's wintry streets and nonstop traffic.
"You have two factions here," Winters said. "You have the state and all the motorists and the commuters that can't wait for this bridge to open up. Then you have the people who live right there—and I can understand their feelings—they have all this construction that's been going on for two years, and it's going to be a five-year period before it's done. They have to listen to the equipment, trucks rolling down past their beautiful homes, in a very quiet, lovely neighborhood."
Wellington wins contract
What made Wellington a good choice for the new bridge is the full-service contractor's financial strength and experience with marine, bridge and traffic-management projects. Besides the submersible bridge-control cable, secondary power, lighting, pedestrian-warning and gate systems, Wellington will install CCTV, a wireless roadside weather information system, remote traffic microwave sensor and fiber optic communication systems, using Transdyn, Pleasanton, Calif., as a subcontractor to design the bridge's "intelligent transportation system."
In addition, Wellington was awarded the electrical contract for the $191 million Maryland bridge approaches. President and CEO Paul Loftus said Wellington received $30 million in contracts for both the bascule and Maryland approaches. Loftus said Wellington has changed dramatically over the years through both internal growth and acquisitions, some they have retained and some they have shed, and once had double their current work force.
"We've been up the ladder and find the area we're in now fairly comfortable," Loftus said, adding Wellington has recently put a marketing firm into the mix. "First, we're having them upgrade all our business-development materials. I think of marketing as a presentation of what we do and since we do many specialty projects, a lot of people aren't aware that we're more broad-based than the conventional electrical contracting firm."
The cable
The bridge-control cable design and installation was the project's most challenging aspect. Graybar, St. Louis, handled distribution of the Draka Cableteq USA cable, which was custom-made at Draka's North Dighton, Mass., plant. Steve Stone, a Graybar datacom sales manager who had never worked on submarine cable, said his Pittsburgh branch office normally didn't chase this type of project. The cable spec came in "volumes," and he conferred with a Draka team and Winters to get the design just right.
"Large projects like this became a niche market, and I really wasn't all that familiar with Draka," Stone said, adding that the cable manufacturer did a lot to make the process smoother. "They understood this product, all the intricacies, and they actually taught Graybar a lot about this product. I doubt there are many manufacturers in the world who could have made the product the way it was specified and the way that it came to the job site. I think Draka had to retool some of their capabilities just so Wellington could make the runs that needed to be made."
As the cable installation got underway, Graybar facilitated cable deliveries every other day into Alexandria, which, if handled incorrectly, could result in heavy fines for Wellington. Graybar also negotiated copper prices as they fluctuated during the multiyear production process, and helped Wellington lock in a good deal. Stone said this type of job, with its complicated logistics, showcases Graybar's expertise.
The installation
By December 2005, Wellington had installed most of the submarine cables. Since the bridge opening precludes connecting utility lines between Maryland and Virginia, another subcontractor Marine Technologies, Baltimore, cut a trench through the channel using a clam bucket. Wellington's installation requires that 24 four-inch cables go to the Beltway's "outer loop" bascule section with nine more to the inner loop section; this is accomplished with assistance from Marine Tech divers.
"In supposedly an orderly fashion—you can't see your hand in front of your face—once all the cables are in the trench, the divers backfill with gravel," Winters said.
To handle the cable, Wellington set a huge reel on top of one of the V-shaped bridge piers—or arch rib—where the electrical rooms are located. Dominion Virginia Power provided utility power for the two Wellington-installed 35 kV feeds that run 2,500 feet underneath the bridge approach through six-inch conduits. The feeds terminate in the Virginia-side electrical room.
Ten four-conductor sets of 500 MCM cables, 18 119-conductor bridge-control cables and three 48 multimode and single-mode fiber optic cables continue down through the accessible, hollow arch rib. At the rib's bottom sits a concrete piling pier with embedded six-inch conduits that are directed away from the bridge and extend into the navigation channel. The cables run down through the Virginia-side arch rib and piling pier across the river channel and up the Maryland-side piling pier and arch rib terminating in the other electrical room. This cabling arrangement provides the power and control systems with total operation redundancy.
"There's a backup for every operation system that's in place," Winters said. "If utility power is lost on the Maryland or Virginia side, we can automatically switch through either substation by means of switchgear interlocks or two standby generators, depending on which side is lost."
A gold-plated job
As one might expect, the cable management on this project is something to behold. The tray and conduit are not only jumbo sized, they're top quality. Vibration from traffic—it constantly rattled the Wellington trailer complex—and opening the bascule leaves has nearly ruined the old bridge, and the new one is designed to withstand this endless fatigue for the next 50 years. All conduit is PVC-coated GRC, Winters said, and all cable tray is stainless steel. Pull and termination boxes, enclosures, hardware, are made of 316-grade stainless, and supports are fabricated from hot-dipped galvanized steel.
Once Wellington had negotiated and executed the contracts, Winters spent months preparing outlines, developing goals and assembling a staff.
"We have a lot of layout and design responsibility," Winters said. "The project's on-site staff includes two engineers and two superintendents. We spent a good bit of time just developing the different layouts for all the equipment, material, conduit, cable tray to the point where we basically engineered everything on our own drawings."
Winters said he's done the gamut in the industry—powerhouses, manufacturing facilities, prisons, hospitals—but this was another experience altogether.
"I've either managed or been involved with just about everything in the industry," he said. "But this is neat. It's an interesting job. It's personally the most challenging thing I've ever done."
But most important, D.C.-area commuters and thousands of weary travelers rolling down I-95 won't have to worry as much about another traffic jam.	EC
FULMER is a freelance writer based in Joppa, Md., and former editor of ELECTRICAL CONTRACTOR magazine. He can be reaced at johnsfulmer@comcast.net.
Beyond the Dumpster
Last month, we reviewed the issue of identity theft and the impact of recent legislation regulating the protection of sensitive information. For electrical contractors, the adoption of policies and procedures for records management includes a defined program of scheduled retention and appropriate destruction. Remember, most...


Leading wind lidar provider, ZephIR Lidar, has released the single most comprehensive set of results across the industry to date totalling some 79 separate, non-concurrent validations. All ZephIR 300's were validated against an IEC compliant 91m met mast, at the UK's Lidar & Sodar Test Site (UK-LSTS).
The purpose of the validations is to verify that the product design, engineering and manufacturing delivers a consistently quality product allowing ZephIR Lidar's Quality Assurance process to confirm the required corresponding met mast measurements over a range of heights above ground level.
The 79 ZephIR 300's all successfully passed the set of performance verification criteria devised in collaboration with GL Garrad Hassan requiring the gradient of the regression line forced through the origin of the 10-min averaged horizontal wind speeds to be within ±2% of the ideal value of unity. In addition, the coefficient of determination, R-sq, a measure of the 'scatter' of the data for which the value 1.00 indicates perfect correlation, is required to be greater than 0.97, at all four matching measurement heights (91m, 70m, 45m and 20m).
More importantly, a statistical analysis of the combined results showed the forced-fit gradients across all 79 trials had a standard deviation of less than 1%. In more than 64% of the ZephIR 300 trials, the gradient was actually within ±0.5% from the mast results, providing strong evidence of the consistency of ZephIR 300 performance (Figure 2).


text:
DAVID CAZARES Staff WriterSUN-SENTINEL
The three Express Airways employees imprisoned last month after landing with a plane full of explosives on a Colombian island are still in jail and have yet to be charged with any crime.
Family and friends of the pilot, Herbert Waite Jr., 67, co-pilot Arnold Miske, 24, and company president Guy Pellet, 42, believe the men could be released soon because Colombian officials have asked the office of U.S. Sen. Connie Mack, R-Fla., for information about the company.
"We're waiting to hear something today or tomorrow," Richard Cowart, vice president of Express Airways at Opa-locka Airport, said on Thursday.
Mark Mills, a spokesman for Mack, said the Colombian Consulate in Miami requested information on the company to relay to the Colombian Embassy in Washington.
Despite the inquiry to Mack's office, the release of the three men probably is not imminent, federal officials said.
Gary Sheaffer, a spokesman for the U.S. State Department's Bureau of Consular Affairs, said officials there have not been informed of any negotiations between the two governments to free the men.
He said the three are still being held because they are under suspicion of illegally importing explosives to Colombia, despite the company's contention that it was merely transporting its cargo to Ecuador.
"It's all in the hands of the prosecutor," Sheaffer said. "If he determines that there's insufficient evidence to take them to trial then he can release them."
The three men left Miami on Sept. 3 to fly 3 tons of construction dynamite to Ecuador but were taken into custody on the island of San Andres, where they had stopped to refuel. Waite and Pellet, of Daytona Beach, are U.S. citizens; Miske is a Dutch national.
Since the men were detained, Waite's family in North Miami has been in touch with the U.S. State Departement, the offices of Florida's two U.S. senators and the area's congressional delegation.
"We feel like there's some hope now," Waite's son, John, said on Thursday.


text:
Remix Competition
We're pleased to announce the first Real World Remixed competition in association with Peter Gabriel, who's given us Shock The Monkey to remix and Solid State Logic, who are donating a great prize.
We're celebrating twenty years of Real World Studios and the installation of a new SSL XL 9000 console in our flagship studio 'The Big Room' along with a lovely AWS 900+ in our metamorphosed 'Production Room'. To spread the joy we're making available a sample pack; including all the vocals, from Peter's original multitracks of Shock The Monkey. Recorded between spring 1981 and summer 1982 this track was one of the first to use sampling technology. Peter utilizied the ground breaking Fairlight CMI and you can hear it and other classic machines such as the Linn Drum and the Prophet 5 synth throughout the sample pack.
"I'd been dreaming for some time of an instrument that could sample stuff from the real world and then turn it, make it available on a keyboard. Larry Fast told me that he thought he'd heard rumours of such an instrument. It was £10,000 which seemed an unearthly amount of money, got very excited with this thing, it's called the FairLight, and spent a lot of time then collecting sounds going to factories to the university, getting interesting samples that were then used on that record and the ones after, it was really one of the key things that gave that record a different sound." Peter Gabriel
Download the pack when it becomes available on the 28th of June, remix, then upload your finished mix back to this site - we're going to be keeping an eye on the peer reviews and ratings, then we'll sit down with Peter and listen to the pick of the mixes here in the first week of October. The winner will be announced on September 7th.
The winner will get to experience the quality of sound processing SSL tecnology can bring to their work in the form of the amazing Duende. Five runners up can hear some of Peter's other recordings given new life in the 5.1 mixes by Dan Lanois and Richard Chappel on signed copies of Peter's Play: The Videos DVD.
Peter Gabriel: Welcome to my Real World
Peter Gabriel tells how, 20 years ago, he set up his pioneering label and studio dedicated to recording and releasing music from all over the globe
Next Wednesday, 28 June, we're having a party to celebrate 20 years of Real World with a wonderful mixed bill of Little Axe, Daby Toure, Sevara Nazarkhan, Guo Yue, Charlie Winston and the DJ Adrian Sherwood.
Since the band Traffic announced they were going to "get it together in the country" in 1967, musicians have been trying to escape the temptations of city life to focus on their writing and recording in greener pastures. I emigrated to the West Country in 1974, tired of the regular evening rumble of my neighbours' fists on the walls of our Notting Hill bedsit as my songs crawled out of the piano. The first location was an old farm-shed in the southernmost valley of the Cotswolds. It was warm, well insulated and we managed to stick in a couple of picture windows, looking up the valley. The cows would sometimes come and lick the window panes while we were making music. This we would take as a sign of good fortune and good taste. I always wanted to buy more stuff, so the idea of renting the place out as a studio started to look like a fine thing to do.
I was very excited when artists such as Joni Mitchell and Robbie Robertson started to use the place, and the idea of turning it into a proper studio seemed like the next step. We spent some time looking for a new site until a friend introduced us to our present site, Box Mill, seven miles away.
At the time, most studios were cramped, disco-lit, underground padded cells as isolated as possible from the outside world. My vision was to set up a series of writing and recording rooms, all with windows overlooking water, fully connected to and serviced by a large hub that could house the brains and the enormous main control room. Our slogan was "handmade and high-tech' and the studio was built around both approaches. Great technical recording is worth nothing without a great performance. The studio was designed to create an open and free environment in which people from other cultures might feel comfortable enough to give great performances. The largest studio had two or three stages inside the control room so that the zoo-like separation between engineer, producer, and artist was eliminated.
The angst of the creative process manifested in different ways. Some would arrive with prayer mats, others with hookers. But, like hotelkeepers, a studio should not be in the business of preaching to its clients, and we were there to facilitate the creative process.
Today the costs of recording can be very low, and every major record company has its boutique "world" label, but at the beginning it wasn't like that. We could only fund Real World as a record company if it was really tightly managed. Simon Draper of Virgin had offered us 10 grand to make each record, covering advances to artists, recording costs, album art and the running of the label.
The first release on Real World was Passion - the soundtrack for the film The Last Temptation of Christ. It was also the first time I had recorded with Nusrat Fateh Ali Khan, and perhaps the most extraordinary sessions to this day were when we were in the attic studio, which had a raised balcony at the back. The Indian violinist L Shankar stood up on the balcony and Nusrat was standing just behind the desk on the main floor. I think everyone had hairs standing on the backs of their necks as the music started. Both of them took the melody and made it their own. It was like tennis when you think the rally can't get any better but each player raises their game and it just goes up and up. Amazingly emotional: it was India and Pakistan working together for a film about Christ.
No music has gone out that we are not proud of in one way or another, but I've been particularly moved by some of the stuff Nusrat has done. Being part of the process that introduced him to a non-Asian audience is something we all feel good about. We've put out so much great stuff - Maryam Mursal, Yungchen Lhamo, the AfroCelts, Ozomatli, and Papa Wemba all come to mind. Sheila Chandra is another. Sheila's album ABoneCroneDrone is based around the idea that when you look at a rock all you see is a rock, until it starts revealing itself - a bit like lying on your back and looking up at the clouds. To me it's quite a new approach to music-making, and I don't think it got the recognition it deserved. I love Charlie Musselwhite's new record, Delta Hardware. He's an extraordinary harmonica player. On the first album he was a bit shy of taking the front spot as a singer, but I think he's like Johnny Cash in his approach to music.
Part of what I didn't like about how some music had been approached was this slightly fascistic attitude towards ethnic purity and that the "ethnic artists" had to be kept in their traditional, folk, ways. Our approach was that artists were artists and should be allowed to explore and experiment and follow whatever directions inspire them.
Many of the Womad festival artists loved hanging around the festivals and playing and writing. Partly as a result of this, we set up a recording week, usually around the time of Womad. They were some of the most incredible recording experiences of my life. It was like a giant dating agency. Quite a lot of people met up and then later went on to do their own recordings together. Everyone agrees it's just the best experience; it changes you and you learn so much. Not everything works, but when it catches fire it's extraordinary. It's a very commonplace idea now but it certainly wasn't then.
'Africa Calling: Live 8 At Eden', featuring Youssou N'Dour, Angélique Kidjo, Mariza, and many others, is out on EMI/Real World on Monday
UN Security Council must act on Burma
When Argentina was ruled by a brutal military junta, thousands of people and organisations around the world rallied to the cause, demanding human rights and democracy without delay.
Compassionate individuals housed many activists in exile in the United States, United Kingdom and elsewhere, while artists around the world lent their support to help us begin to come to terms with the aftermath of the disappearance of 30,000 people. Support from around the world and within the United Nations was critical. Yet, many thousands of lives could have been saved had the international community acted sooner.
Today, the world finds itself at odds with another brutal military junta in the Southeast Asian country of Burma, which continues to incarcerate Aung San Suu Kyi, the world's only imprisoned Nobel Peace Prize recipient.
Suu Kyi's "crime" is being loved by the people of Burma. Her political party won 82 per cent of the seats in parliament in Burma's last democratic election, only to have the results annulled by the ruling military junta. She has remained locked up for 10 of the past 17 years. Many people of Burma fare much worse, suffering the most severe forms of torture.
The situation for ethnic minorities in the country is even worse. The military regime rules by brute force, oppressing and relocating hundreds of thousands of ethnic minorities who stand in opposition to its rule. Two thousand eight hundred villages have been burned down or otherwise destroyed in eastern Burma alone, some repeatedly, to force ethnic minorities to move to military-controlled areas. As a result, there are over one million Burmese refugees, and over half a million internally displaced people (IDPs). The situation for both groups is dire. For example, refugees like Naanh Hla (not her real name), a Shan woman, who was 16 years old and seven months pregnant when 10 Burmese soldiers kidnapped and killed her husband and gang-raped her to the point that she gave birth prematurely alone in the jungle, or Naw Paw Paw, who recounted to Burma Issues - a group working with the human-rights organisation WITNESS - how she lost four of her six children, two on the same day, over the course of many years fleeing through the jungle.
In the past four months, the worst attacks in a decade have displaced almost 20,000 people. Yet the junta continues to cut off international access to areas of ongoing conflict, which has precluded aid to IDPs, a violation of international humanitarian law. Even in Sudan, humanitarian agencies are permitted access; not so in eastern Burma.
If caught by the military, IDPs are often either killed on the spot or forced to become porters or labourers with little or no pay. Female porters are often systematically raped at night by officers and soldiers. Forced labourers are often required to build roads for the military, making it near impossible for them to grow their own crops.
The junta military also targets children. According to Human Rights Watch, there are up to 70,000 children conscripted into the army, more than any other country in the world. Some conscripted "soldiers" are as young as eleven.
The United Nations has tried in good faith to bring change to Burma but these efforts have failed. The military junta has ignored 28 consecutive non-binding UN Resolutions, four special envoys from the UN Commission on Human Rights, and two special envoys from Secretary-General Kofi Annan himself. The Association of Southeast Asian Nations has called for the release of Suu Kyi and others, to no avail. Bilateral initiatives from Indonesia, Malaysia, Thailand and Singapore have also been rebuffed by the military junta, and several missions by the European Union have failed to elicit reform. These failures are not the fault of the United Nations. They have failed due to the intransigence of the military junta, which continues to make empty promises about transitioning to democratic government. The junta's words have lost all credibility.
This situation won't fix itself. The UN Security Council should address the situation in Burma and pass a legally binding resolution calling for peaceful change. Unlike other UN efforts, the Security Council has the power to compel its members to take action. A positive proposal was articulately spelled out in a recent report by South Africa's Archbishop Desmond Tutu and former Czech president Vaclav Havel in which they made it abundantly clear that the Council has the responsibility to act on Burma. The report articulated how the effects of brutal military rule in Burma are spilling over the country's borders and destabilising the region, and rightfully pointed out there is ample precedent for action - the Security Council has acted in less severe situations in the past. Human Rights Watch, Amnesty International and others are calling for the Security Council to act.
Members of the Security Council, including Argentina and the United Kingdom, should step forward and publicly lead the effort for a peaceful, binding Security Council resolution on Burma. If they refuse to act, many more people will die.
Adolfo Perez Esquivel is the 1980 Nobel Peace Prize recipient from Argentina and founder of the Service, Peace and Justice Foundation.
Peter Gabriel, acclaimed musician and activist, is the co-founder of the international organisation WITNESS, currently partnered with the human rights group Burma Issues.
Adolfo Perez Esquivel,
Special to The Nation
Daby Touré à Genève
SPECTACLES ONÉSIENS - Découvertes et redécouvertes coloreront la saison prochaine.
Le programme 2006-2007 des Spectacles onésiens a été présenté hier par Cyrille Schnyder, directrice de programmation[1]. Concerts et spectacles humoristiques se succéderont pour cette dix-neuvième saison qui s'étend d'octobre à mai. (...)
Sous l'étiquette World music, on retrouve le chanteur d'origine mauritanienne Daby Touré, révélé par Peter Gabriel lors de sa dernière tournée. Grand maître de gaïta –cornemuse galicienne–, Carlos Nuñes se produira avec ses musiciens au mois de janvier. Enfin, le choeur ukrainien Kalena, composé de 80 chanteurs et musiciens, promet une soirée forte en émotions.(...)
[1]Le programme complet sera disponible dès vendredi sur le site: www.spectaclesonesiens.ch
Maurane "au milieu 2" nous
Elle ne s'attendait pas à revenir si vite. Et puis, tout compte fait, cela l'arrange bien. Voilà qui tombe à pic, pour nous aussi. Maurane sera sur scène ce soir à 19 h 30 au Mahatma Gandhi Institute, deux ans après nous avoir quitté l'heureux tour.
L'humaine qui danse est au milieu de nous avec une "petite tournée entre deux grosses". Un tour de chant qui promet d'être intimiste, entre deux instrumentistes : guitare et piano. Une formule qui laissera la place, à la fin, à une carte des désirs. Petit quart d'heure (on espère que ce sera plus) où le public pourra commander ses chansons préférées. "L'idée c'est que le public soit dans son salon."
Endiablées ou mélancoliques, celles que Maurane préfèrent ce sont les chansons tristes. Pas à pleurer, mais marquantes. De celles qui vous prennent aux tripes comme les chansons que Brel savait concocter. Nougaro, l'idole, sera là aussi. Mais pas le titre avec Lara Fabian, "parce que je ne l'ai pas emmenée dans mes valises" ni Pa gaie la pagaille, ou alors juste un refrain.
Au milieu 2, c'est "le spectacle des possibles". Voilà comment Maurane nous l'a présenté hier au Dinarobin, au Morne. Tout comme il est possible que la chanteuse vous raconte ( comme elle l'a fait avec nous) la fois où elle était pompette ( son péché mignon c'est le champagne, elle en avait une coupe, il y a deux ans, au Plaza, nous gratifiera-t-elle de bulles ce soir ?). Un peu d'alcool dans le sang, pour mieux Boire dans le même rêve.
De quoi voguer jusqu'au Toi du monde. Elle en a fait du chemin avant d'arriver à Maurice. Des dates à Madagascar, pas assez à son goût, "parce que ce sont les officiels qui ont été privilégiés. On est toujours déboussolé par la richesse d'un côté et la pauvreté de l'autre". Quatre concerts à la Réunion, dont elle retient sa rencontre avec Emilie Minatchy, ex-star-académicienne.
Non, Maurane n'affiche ni rejet ni mépris pour les noms issus des émissions de télé-réalité. Elle est de ceux qui ont été "explosés" par la version de Bagdad Café de Dominique de La nouvelle star. Elle est de ceux qui "ont hâte que Christophe sorte de la grosse machine pour se créer une identité".
Et quand on lui parle de ses débuts, des années de galère, Maurane préfère dire que c'est "l'école, l'apprentissage". Elle en a gardé un côté cool, une "indolence qui fait partie de mon rythme". Avec en prime, ses entrées dans de prestigieuses "familles" d'artistes. Des noms ? Sans prétention, elle cite Cabrel, Goldman, Nougaro, Fugain.
A l'automne, il faudra y ajouter le nom de Daran. Celui qui écrit son nouvel album. Elle aime bien être à plusieurs, Maurane. Après des duos avec Céline Dion, Lara Fabian et tout ce que le showbiz français compte comme Enfoirés, c'est avec Sting, Peter Gabriel ou Youssou N'Dour qu'elle aimerait chanter. Mais bon, "il faut parfois rester avec ses rêves". C'est bien ce que nous nous attendons à vivre ce soir.


HOUSTON – Gary Kubiak was fired as coach of the Houston Texans effective immediately, the team announced Friday morning.
Texans owner Bob McNair made the announcement at a press conference at Reliant Stadium after the team lost its 11th consecutive game of the season Thursday night, 27-20, against division rival, the Jacksonville Jaguars.
The owner said that he decided it was time for a change with the last straw being the loss to the Jaguars. The Texans played miserably and were flagged 14 times for a franchise-record 177 yards.
"We have more talent than Jacksonville. We expect to go out and play smart and we didn't play smart," said McNair.
The Texans are 2-11 after beginning the season as a favorite to represent the AFC in the Super Bowl. Kubiak's overall record is 61-64, with a 2-2 mark in the playoffs.
"Losing like this is unacceptable and it's something we can't tolerate," McNair said.


text:
In front of the curtain
Restoration & Conservation
Grotesque Comedy
Acting Spaces
Richard Teschner's Magic Mirror
HOSTED BY THE THEATERMUSEUM
Bosch On Stage
School & After school care
Theater workshops
Interactive guided tours
Shadow theater box
Peter Handke's theater oeuvre
Children's Birthday Parties
Stage Design Models
Puppet and Paper Theatre, Teschner's Figurenspiegel
Photographic Collection
Quisquilia
Theatre Graphics, Poster and Programs
Inventory Bequests
Research Projects and Results
Grotesque! Monstrous Arts and their Return
Rosalia Chladek's Bequest - A Scientific Inventory and Review
Josef Kainz and photography
The Magic Space
Richard Strauss, Hugo von Hofmannsthal and Alfred Roller. Commented edition of their correspondence.
Hermann Bahr and Arthur Schnitzler. Edition of the Correspondence and Supporting Documentation
Database: Digitalisation Of The Max Reinhardt Bequest
Scientific Valorisation Of The Theater Museum's Costume Collection
Archiving And Cleaning Of The "Maschere" Collection by Lodovico Ottavio Burnacini
Top News on Corona Virus (SARS-CoV-2)
Due to the Corona Virus safety precautions our archives remain closed until further notice.
The Photographic Collection of the Theatermuseum, with holdings that far exceed 700,000 items, is the most important and largest photo collection dealing with the history of theatre in Austria. Scene and portrait shots document the performing arts—both in Austria and abroad—back to the mid-19th century. The earliest photographs are portraits from the 1840s, and a bit later these were joined by the first re-enactments of dramatic scenes done in the studio.
The highlights of this collection include photographic documentation of European stage productions such as those of Max Reinhardt's Berliner Bühnen, remarkable pictorial witnesses to the Russian avant-garde theatre of the 1920s, the photo-historical documentation of all Salzburg Festival stage productions, and the collection on cinema prior to the year 1943, comprising around 65,000 photos.
A small selection of these comprehensive holdings can be viewed in the "Fotolabor" (Photo Lab) in the display collection of the Theatermuseum.
The ephemeral nature of theatrical events has always nurtured the desire to capture great moments for posterity. Up into the 19th century, it was above all the products of printed graphics that filled this need. From the second half of the 19th century onward, the new medium of photography began to assume the task. For a long time, it was mostly portraits and/or re-enacted stage scenes that were photographed.
The oldest photos in the Photography Collection of the Theatermuseum are dated 1846, and therefore from the very beginning of the age of photography, which was invented in 1839. These early salt prints were made by photographer Georg Koberwein, who took portraits of his mother, Burgtheater actress Auguste Koberwein, alongside other family members.
With the help of new technological advances, Hans Böhm finally succeeded in taking the first scene shots directly from the stage in 1924. Only at that point did it really become possible to capture a theatre event the moment it occurred. His photographs of stage productions by Max Reinhardt are first and foremost of documentary significance.
A significant basis for the museum's collection was formed by the private collection of court actor and Burgtheater director Hugo Thimig (1854–1944). Thimig himself was fond of photographic experimentation, and he created numerous humorous self-portraits as well as pictures of his children Hans, Hermann and Helene, who were likewise to become famous stage and screen actors later on.
Further photographic archives were purchased by Joseph Gregor (1888–1960), founder of the "Theatre Collection of the Austrian National Library", including for example the collection of Konstantin Danhelovsky, privy councillor at the Austrian Court of Audit. We have this "head hunter" to thank for over 50,000 portraits from high society, theatre and culture that have thus been preserved for posterity. Following his death in 1939, this valuable collection went to the National Library, and today the theatre-related part is kept at the Theatermuseum.
During the 1970s, the Theatre Museum was able to purchase the entire life's work of theatre photographer Bruno Völkel who, alongside productions of the Federal Theatres, also photographed the stage productions of Vienna's minor stages and basement theatres during the post-war years. In 2004, the collection acquired the oeuvre of Josef Palffy. With their pictures, these two documentary photographers alone covered over 60 years of Austrian theatre history.
Furthermore, generous gifts and frequent purchases continue to expand the photo collection of the Theatermuseum. These additions include valuable originals from the studios of Madame d'Ora, Trude Fleischmann and Rudolf Koppitz, as well as the photo inventories of Atelier Dietrich, of Foto Ellinger in Salzburg and of Franz Xaver Setzer.
10 a.m. – 1.30 p.m.
Appointments upon advance notification only.
FOInsp. Haris Balic
+43 1 525 24 5330
haris.balic@theatermuseum.at
Mag. Ilse Eichberger
ilse.eichberger@theatermuseum.at
Christian Wittmann
Informationsdienst
christian.wittmann@theatermuseum.at
Theatermuseum Lobkowitzplatz 2, 1010 Vienna
Opening hours: daily except Tuesdays 10 a.m. - 6 p.m.
Also visit our other museums


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Carriera

Club
Husby cominciò la carriera con la maglia del Rosenborg, per poi passare ai danesi del Brøndby. Dopo un biennio in squadra, si trasferì agli spagnoli del Granada. Tornò poi in Norvegia, prima nel Moss ed in seguito nel Vålerengen. Tornò poi al Rosenborg, dove vinse un campionato e due Coppe di Norvegia. Dal 1994 al 1996 fu in forza al National, mentre nel 2001 giocò un incontro nel Byåsen. È l'unico calciatore ad aver giocato nelle due massime divisioni norvegesi per quattro decenni, dagli anni settanta agli anni 2000.

Nazionale
Conta 2 presenze per la . Esordì il 26 maggio 1987, schierato titolare nel pareggio a reti inviolate contro la .

Statistiche

Cronologia presenze e reti in Nazionale

Palmarès

Club

Competizioni nazionali

Rosenborg: 1990

Rosenborg: 1990, 1992

Note

Collegamenti esterni

Calciatori della Nazionale norvegese


text:
Герб Но́вгорода-Се́верского — официальный геральдический символ города Новгород-Северский Черниговской области.

История возникновения герба
Осенью 1604 года Лжедмитрий вторгся на Северскую землю во главе польского войска. Жители Новгорода-Северского встретили непрошенных гостей пулями и ядрами. Обороной города руководил воевода Пётр Фёдорович Басманов. Призывы сдаться ни к чему не привели, а все попытки взять город не принесли успеха. Между тем, длительная осада не входила в планы самозванца. Он решил взять город штурмом. На помощь новгород-северцам подошло посланное Годуновым войско во главе с князем Ф. И. Мстиславским. В середине декабря 1604 года в битве с войсками Лжедмитрия оно понесло большие потери, но самозванцу пришлось снять осаду с города. За стойкость и мужество Новгороду-Северскому был пожалован герб с изображением городской стены с башней, «на ней звезды, а по сторонам же копье и сабля золотые». Герб выражает военную символику.

4 июня 1782 года герб был официально утверждён без значительных изменений — в зелёном поле изображена часть городской стены с воротами и башня с шестиконечной звездой, а по сторонам золотые копьё и сабля.

Проект Б. Кене
20 апреля 1865 года Б. Кёне был разработан другой проект герба. На зелёном щите изображена серебряная стена с открытыми воротами и башней, с шестиконечной звездой. Над воротами изображены крестом красное копье и дугообразный меч. В свободной части помещен герб Черниговской губернии. Щит увенчан серебряной городской короной с тремя зубцами и обрамленный двумя золотыми колосками, обвитыми Александровской лентой. Этот проект был предложен Б. Кёне и не был принят.

Ссылки
 Российская геральдика. Гербы и флаги
 Украинская геральдика

Источники
 Федирко А. М. «Новгород-Северский. Город десяти веков. Фотопутеводитель.» ISBN 5-7715-0098-4

Новгород-Северский
Новгород-Северский
Гербы с городскими коронами
Гербы с изображением крепости
Гербы с изображением копья
Гербы с изображением сабли
Гербы с изображением шестиконечных звёзд


text:
Q: How to get the PNG name instead of the whole directory path in Xcode? So I have a list of PNG's in my "Supporting Files" Xcode project. And I did this to access all files with extension PNG:
NSArray *pngFilePaths = [[NSBundle mainBundle] pathsForResourcesOfType:@"png" inDirectory:@""];
NSLog(@"PNG:%@", pngFilePaths);

That prints out this:
"/Users/John/Library/Application Support/iPhone Simulator/5.1/Applications/123456-1234-1234-1234-B123412341234/MyPNGProject.app/UI_daily_time.png"

However, I only want the PNG NAME "UI_daily_time", instead of the whole path. So I just added the directory above to get to the png with this:
NSArray *pngFilePaths = [[NSBundle mainBundle] pathsForResourcesOfType:@"png" inDirectory:@"/Users/John/Library/Application Support/iPhone Simulator/5.1/Applications/123456-1234-1234-1234-B123412341234/MyPNGProject.app/"];
NSLog(@"PNG:%@", pngFilePaths);

But pngFilePaths is now empty, I'm guessing the "inDirectory" path I gave it is wrong, but I don't know why. Any help is much appreciated, thanks in advance!

A: Once you get the full path use stringByDeletingPathExtension to get rid of the extension, then  use lastPathComponent to get the name only:
NSString *pngFilePath = [pingFilePaths objectAtIndex:0];
NSString *pngName = [[pngFilePath stringByDeletingPathExtension] lastPathComponent];


Stereoselective syntheses of chiral 1,4-dihydropyridines and analogs of indolizine type alkaloids.
Supervisor: prof. Ing. Štefan Marchalín, DrSc.
The following table shows details about research workers on the project "Stereoselective syntheses of chiral 1,4-dihydropyridines and analogs of indolizine type alkaloids.".


You must ignore these attacks.
All those who follow My Teachings need only follow their hearts for they will find it easy to discern the truth.
Once the knowledge is given to you, my precious followers, you must never be afraid for you are following the path to eternal life.
Any other path, irrespective of the glorious, but worthless, temptations which pull you towards worldly trappings will not lead you to me.
Next Next post: My Agony in the Garden is being relived once again and I am doubled with the pain of suffering.


As a hiring specialist, for many years I've been vocalising the importance of balance. Why often focussing too heavily on one particular skill or requirement can often be detrimental. How people can often make up for a lack of one particular area by excelling or developing another.
How hiring managers need to have developed a strong hiring process that focusses more on the outcomes they want. How candidates can succeed varies from person to person.
But there is one particular factor when size does always matter.
Something that you should never compromise on ANY hire.
Desire not in the general sense, but in relation to this particular job.
In other words, does the candidate really, really, 123 essay help me REALLY want this job?
As simple as it sounds, believe it or not in most cases desire is hardly ever on the priority list. In 90% cases, even when I have been working with well known CEO's of publicly listed companies, desire isn't even mentioned in the short-list of requirements.
There are a few reasons for this. Firstly, in some cultures, believe it or not, extensive desire for a particular job can actually be considered a weakness. A sign that the candidate is desperate – there has to be something wrong. We are programmed to believe that those who are doing really well are unlikely to jump ship unless in very rare circumstances.
Another problem is that desire is an "intangible", something that is difficult for us to touch, see or measure. And so we go for things that make us feel surer – tangibles – things such as qualifications, industry experience and working for a competitor. All of us intellectually know that intangibles like desire are more important, but don't act on this. We go for the safety – even though we won't get as good results. In fact in nearly ten years as a hiring specialist I can say undoubtedly with 100% confidence that the greatest leaders I have ever worked with understand this concept and it's probably the major factor in their success. It's the core basis of the assessment process we use with our clients.
But maybe the biggest problem with trying to hire a candidate based on desire, is that desire can often be "faked" by candidates. The reason for them wanting to be selected is not the attraction of the actual job, but something else. Could be money, status, current unemployment or impending redundancy. Whatever – you fill in the gap.
So how can we overcome this problem? We've all been stung by the candidate who repeatedly told us how this would be the ultimate opportunity for them only to then leave for a competitor six months later.
How do we hire the person who genuinely really wants click this job?
http://www.drbenyehuda.com/?p=co-creation-literature-review-soky-349 Part 1: How many questions do they ask?
The more interested you are in something, the more inquisitive you will be. Car lovers are continuously looking under the bonnet and fiddling with parts, top students are always the ones questioning the teacher.
More questions equal more interest.
One of the biggest mistakes hiring manager mistake is failing to emphasise the challenges and expectations of the role. It's often though that this might "scare off" potential candidates.
Ironically, the opposite is true. People who have genuinely high levels of desire for the job will embrace the opportunity as it is. And those who are unsure will run for the hills. Everyone might want that sales job. But maybe not when they realise how aggressive their sales target is. Or how tough the target client base.
Why wait for them to find out when it is too late? Better to find the right person on day one.
Challenges and expectations will motivate those who truly desire.
People from the recruiting or hiring industry don't always have the best reputation. Although there are some great professionals out there, many candidates and hiring managers have experienced being manipulated into making a decision. With many companies (including ones me or my colleagues have previously worked at) this has even been part of the official training process. Convincing candidates to take jobs. Or "Candidate closing" as it's sometimes called.
It's the recipe to disaster. Other than abysmal ethics, nothing could be more counter-productive to a successful hire. In nearly ten years, I've placed over 300 candidates and I have never convinced anyone to take a job.
I've never had to. If you find the right candidate at the start – someone who truly desires the opportunity – then the close is automatic.
The easier the close, the greater the desire. And the better the hire.
Strong candidate desire is the cornerstone of successful hiring.
It's the one factor that always needs to be big.
Hiring managers need to ensure they are using the right strategies and tools to hire candidates that have a strong desire to work in the job.
How much desire does your team have?


Vintage French Canister. Made in Germany. In very good vintage condition.
All pre-loved vintage pieces are one of a kind, authentic vintage, carefully curated and handpicked especially for you. 20-60 years old. Handle with care, we suggest handwash or dryclean. Only one available.