Art historical studies have hitherto been mostly confined to sculptures, paintings, furniture and jewellery. Boldly moving away from the conventional approach to the study of coins as mere economic entities, the present volume is the first systematic, comprehensive and analytical study of ancient Indian coins as objects of art. Coins, like historical monuments, sculptures and paintings, have a symbolic meaning behind the visual form and epitomize the socio- religious conditions and the art traditions in which they emerged. Focusing on the coins of south India, the study, combining empirical data with theoretical insights, explores the subtle interrelationships between the steady evolution of coinage and the simultaneous development of art in this region.
Tracing thematic, iconographic and stylistic affinities between the art in coins and the art in stone, the study clearly reveals that as sculptural art was more pervasive than numismatic art, the latter recurrently felt the impact of the former. Often, the mint masters and coin makers, faithfully reproduced, on a miniature scale, specimens of sculpture and architecture on the coins. At the same time, coins too were rarely featured in other mediums of art. Probing the metallic composition and the process of production of the coins of different dynasties and periods, the present study also analyses the technical constraints of numismatic art.
The volume includes an exhaustive corpus, prepared for the first time ever, of the symbols and devices on the coins of the major dynasties of ancient south India.
The book will be of interest to archaeologists, numismatists, art historians and economic historians.
S. Suresh is presently in the U.S. as a Fulbright Senior Research Fellow at the National Trust for Historic Preservation, Washington D.C. and the School of Architecture, Planning and Preservation of the University of Maryland. He is Tamil Nadu State Convener of the Indian National Trust for Art and Cultural Heritage (INTACH) and Academic Director, Bharat Travel Services, Chennai. He was earlier Nehru Visiting Fellow at the Victoria and Albert Museum, London.
Educated in Chennai, Delhi and London, he holds a Ph.D. in Classical Archaeology from the Jawaharlal Nehru University, New Delhi. He has, to his credit, over 30 books and 50 research papers on various aspects of South Asian and Roman history, art and archaeology.
This volume embodies my research on the topic 'Numismatic Technology, Art and Symbology of Ancient South India (Up to and Including the Pallava Period)' as an ICHR Postdoctoral Research Fellow affiliated to the Sudharsanam Centre for Art and Culture, Pudukkottai (Tamil Nadu), from December 2002 to November 2004.
I take this opportunity to offer my grateful thanks to all those who helped and encouraged me during the course of this research.
First, I am most grateful to the authorities of the ICHR for offering the fellowship that enabled me to undertake this study.
I also place on record my gratitude to the Sudharsanam Centre for Art and Culture for providing me all facilities and assistance for my research. I am specially obliged to Prof. S. Swaminathan, Director of the Centre, for his encouragement and guidance. He resolved many problems at every stage of this project.
I was blessed with opportunities to discuss the various problems pertaining to my research with a galaxy of eminent scholars such as Prof. B.N. Mukherjee, Prof. I. Mahadevan, Prof. A.V. Narasimha Murthy, Prof. B.D. Chattopadhyaya, Prof. Y. Subbarayalu, Dr. T. Sathyamurthy, Dr. R. Krishnamurthy and Prof. Prema Kasturi. I am obliged to all of them.
Several museums, both in India and abroad, have helped by providing me access to their collections and archives. I thank the authorities of all these museums, specially Dr. Rita Sharma of the National Museum, New Delhi; Ms. R. Santhi of the Government Museum, Egmore, Madras; Mr. R. Mohammad of the Government Museum, Pudukkottai; Ms. S. Mangalavathy of the Kalaimagal Kalvi Nilayam Museum, Erode; Prof. Sudharshan Seneviratne of the Department of Archaeology of the University of Peradeniya (Sri Lanka), Mr. Senarath Wickramasinghe of the National Museum, Colombo (Sri Lanka) and Mr. Joe Cribb of the British Museum, London.
Mr. S. Raman of Madras, Mr. A. Sitaraman of Tanjavur, Vidwan 1. Ramasamy of Boluvampatti (near Coimbatore) and several others kindly permitted me to examine and photograph their private col-lections of coins and medals. I owe a word of special thanks to all of them.
I also thank Ms. Usha Kris for doing some of the photography work for this volume.
Finally, any opinions and comments about the book are welcome from the readers.


text:
Hydronyme
 LYerre est une rivière située dans le département français d'Eure-et-Loir, en région Centre, et un affluent droit du Loir, donc un sous-affluent de la Loire, la Maine et la Sarthe.

Toponyme
 Saint-Hilaire-sur-Yerre est une commune française située dans le département d'Eure-et-Loir en région Centre-Val de Loire.

redpajama_set_name: RedPajamaWikipedia


Mixed materials refresh retro dining style. Brushed ebony nettlewood frames a textural inlay of natural cane, for perfect contrast. Neutral linen-blend seating of high-performance fabric for modern sensibility.
Arm Height from Seat: 6.5"


Facebook boasts of having over billions of users and millions of active users on daily basis. Since Facebook is being used on a global scale it also suffers from language barrier which makes it difficult for the users to understand when one gets to read posts in other language. It is set make it easier for the users to communicate with people all round the globe by removing the language barrier in a simplistic fashion. Facebook is working towards introducing a new kind of software which has the capability to automatically translate posts in several languages within few moments. When a user issues a post on the Facebook then it will be made visible to others in their preferred language with the help of this software.
How will this new software work?
Facebook has stated that this software doesn't require any kind of installation or enable button by the users. Rather will be introduced within the Face book on a wholesome level to ensure that the posts are translated in real time. Users are simply required to type a post then go to a pull-down menu and add as many as 45 languages from the list ranging from the anything French to Lithuanian. Facebook is currently carrying out test of its multilingual composer among a relatively small group of users to find any kind of shortcoming and bugs along with improving its capabilities.
It has started making use of this feature on more than 500 Facebook Pages. These pages are strictly deals with businesses and brand and very soon Face book will be opening this features for testing on a wider scale. Language translation software makes use of the Facebook budding Artificial Intelligence technology and it helps in pre-filling the translation field when users adds different language for their post. This software make use of certain information like user's location and language preference in order to understand to decide which version of language should be shown to the users based on the users frequent language use.
Facebook is extremely popular and well known on the global scale. Almost everyone with a working internet connection has been on the Face book for once which has resulted in astonishing number of 1.65 billion users on its social platform. The problem faced by Face book is that almost half of user base doesn't speak the English language. Introduction of this new feature will help Facebook in bridging the language gap among the users and it will make it possible to spend more time on the Face book in an enriching fashion. Businesses and users both will be benefited with this feature as they will able to connect and communicate with each other in a more refined manner. Very soon users will be able understand each other regardless of the language barrier and they will be able to respond to the messages and posts in an instant with the language translation feature.


text:
Cutting-edge research can improve Africa: Dr Ocaya
06 March 2020 | Story Thabo Kessah | Photo Tsepo Moeketsi
Dr Richard Ocaya's research addresses the skills development and transfer millennium goal of many governments globally.
With the Fourth Industrial Revolution becoming a reality, Dr Richard Ocaya's research is receptive to the fact that Africa and the world need to re-imagine their research. His research focuses on electronic instrumentation design for scientific measurements, computational physics on atomic nano-atomic structures, and semiconducting organic compounds materials built on silicon to realise Schottky devices.
"I develop most of the instrumentation that I apply in my research – both software and hardware," said Dr Ocaya, a Physics Lecturer and Programme Director: Physics and Chemistry on the UFS Qwaqwa Campus.
"I am active in scientific computing through the computing cluster and software development, mathematical physics for material science modelling, and embedded instrumentation design using microprocessors. I also have deep interest in radio and data telemetry, in which I hold a South African patent issued in 2013. My present international collaborations are with like-minded researchers in similar fields in Saudi Arabia, Turkey, Japan, Egypt, South Korea, and the United States," he added.
How does his research talk to the real world?
"The driving principle of all areas of my research has always been to deploy cutting-edge research to actual, real-world applications for the immediate betterment of Africans. The areas of my research align closely with the millennium goals of many governments globally, including the Republic of South Africa. These goals pertain to skills development and transfer that position us to better address the challenges of energy, water, and other priorities."
Dr Ocaya is currently co-promoting a PhD student, having previously supervised one PhD, two MSc, and more than twenty honours students. He is a self-taught electronics and computer programmer, whose curiosity led him to question 'the voices and music coming from a box; a radio'. "In my quest to satisfy my curiosity, I collected many discarded devices, took them apart, and tried so many circuits, only to have them fail because the theory was lacking. After thousands of failed projects and with me barely thirteen and in lower secondary school, my first ever project actually worked," he said.
NRF-rating
He is the author of the book Introduction to Control Systems Analysis using Point Symmetries: An application of Lie Symmetries, which is available in all major bookstores such as Amazon, in both print and e-book format. He is a C3 NRF-rated researcher whose work makes a pioneering contribution to the new and growing field of phononics, an independent field of the now established photonics.
"This field will someday lead to improved energy-storage devices and faster processors due to more efficient heat removal from nanodevices," he concludes.
Well-known copy writer trains UFS students
Ms Claire Harrison, well-known copy writer and lecturer from the VEGA advertising school in Johannesburg, presented a workshop on copy writing on the Main Campus of the University of the Free State (UFS) in Bloemfontein. She was invited by the Department of Communication and Information Studies. The workshop forms part of a greater partnership between this department and the Department of Afrikaans and Dutch, German and French to improve skills in the course. Other partners include the Department of Drama and Theatre Art, the graphic design school DCM and the national radio stations RSG and SAFM. The workshop also serves as preparation for the advertisements the students must make for the Society of Physically Disabled and Kidz Care Trust.
Here are, from the left, front: Ms Danielle McLachlan (third-year student in Integrated Marketing Communication), Ms Harrison, Dr Angelique van Niekerk (presenter of the course in advertising copy writing and lecturer at the Department of Afrikaans and Dutch, German and French) and Ms Dalmé Mulder (lecturer at the Department of Communication and Information Studies); back: Mr Napo Moliana (third-year student in Integrated Marketing Communication).

redpajama_set_name: RedPajamaCommonCrawl


text:
The Development of a Warrior Poet: Poet and MMA Fighter Cameron Conaway, Part 1
Valerie Worthington
Princeton, New Jersey, United States
Brazilian Jiu Jitsu, Sport Psychology
The stereotype of the poet is of a sensitive, bookish individual who uses words to capture the human experience. On the other hand, the stereotype of the warrior is brash, aggressive, concerned with physical domination. And never the twain shall meet. Right?
Wrong, if Cameron Conaway has anything to say about it. Dubbed "The Warrior Poet" by a mentor for his pursuit of both mixed martial arts and expression through the written word, Conaway demonstrates that the values and tools of the warrior and the poet are arguably two sides of the same coin. And he has used these tools in a variety of ways to make a positive impact on the world, as a teacher, a fighter, an author, a speaker, and a human rights advocate.
I had the opportunity to find out from Cameron how he became the Warrior Poet and how he lives this philosophy today.
Cameron's childhood was less than idyllic, as he endured financial hardship, the challenges of having a father who alternated between being absentee and being abusive, and all the normal issues children and young adults face as they try to learn who they are and want to become. As a teenager, Cameron discovered mixed martial arts, one of the galvanizing influences in his young life, by accident, "walking through the movie rental store looking for porn," and instead finding a UFC video featuring Ken Shamrock. In his book Caged: Memoirs of a Cage-Fighting Poet, Cameron commented that "Ken was fourteen when Bob (Shamrock, Ken's adoptive father) rescued him. I was fourteen when Ken's memoir (Inside the Lion's Den) rescued me."
Some fifteen years later, Cameron is still passionate about the sport, claiming it contains all he needs to know. "In a way, the sport filled the gap left by my father. It taught me to be flexible and humble and to strive for well-roundedness."
Cameron's childhood experiences also positioned him to take to writing and poetry, given his retreat into his own imagination because of his life circumstances. "I've met so many writers with nearly identical stories," he said. "I was too young and too scared to brazenly confront these issues, so I thought about them and eventually developed a sensitivity to my emotions and the emotions of others." An introductory poetry class he took in college set the wheels in motion for him to become a writer.
Thus was a fighter-writer, a Warrior Poet forged. To Cameron, the definition goes far beyond his own experiences as a professional MMA fighter and graduate student of poetry. "It's an awareness of balancing the physical and the mental, of questioning, of not letting bias blind reason." For him, it is about striking a balance between self-improvement and service to others.
Cameron is retired from MMA, but when he was active, he observed that he was a better fighter when he wrote about it. "To really write a great description of a move or even of an emotional state is to understand it as much as possible." With every revision of Caged, parts of which he reworked upwards of twenty times, he moved closer to an understanding of what he was trying to convey. "Writing, for me, was the mental equivalent of drilling a move over and over." Conversely, Cameron also finds that physical health helps him with his writing. "When my diet is solid and I'm in a good rhythm with training, I feel my brain fires quicker and I can get more done in a shorter period of time."
And others can understand the confluence. Those who appreciate the complexity of MMA are better able to appreciate Cameron's love of poetry. And "most poets totally get the fighter side of me. I think it's overlooked how tough and rebellious they are." Being a poet in this day and age "is an act of utter rebellion against the status quo." While Cameron finds poets to be more interested in the fighter side of him than vice versa, "one way to bridge the gap is to believe that we all have fights in life. We're all fighters in one way or another." Cameron has developed a series on The Good Men Project called "What's Your Fight?" that speaks to this belief.
More recently, Cameron's fight has turned to human trafficking. When his fiancée's professional and personal goals inspired a move abroad, they chose Thailand. In addition to helping him with his writing ("I can think of no better supplement for a writer to take than travel."), the trip to Thailand stepped up his pre-existing interest in human rights by exposing him to the grim realities of Thailand's sex trafficking industry. He was inspired to write Never to Be Sold Again, and since then has attended conferences, written articles, and become the Social Justice editor at The Good Men Project. "Fighting for others is my new fight, and it's a fight that will last a lifetime."
Read part two of my interview with Cameron to learn other ways he has transformed fighting and poetry into action.
See more about: interviews, martial arts, poetry, MMA, UFC, mixed martial arts
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The Pug was honoured officially at Holland's Royal House of Orange after one of the noble dogs saved the life of the Crown Prince.
The earliest ancestors of the Pug date back to 750 B.C. making it one of the oldest dog breeds. He is believed to have originated in China in approximately 400 BC, possibly as a smooth-coated, taller version of the Pekingese. Highly prized by the Chinese Emperors, these companion dogs were lived in pampered luxury, even guarded by soldiers.
A great favourite in many royal courts, the Pug was introduced to Britain by William of Orange. Queen Victoria herself was devoted to her Pugs and bred many over the course of her long reign. Her involvement with dogs in general helped to establish the Kennel Club in 1873.
Today, his purpose unchanged since the beginning, he continues as acompanion, watch dog, and now, a therapy dog.
The word 'pug' comes either from the Latin 'pugnus' meaning 'fist' or from Old English 'pugg', an affectionate term.
Standing up to 11 inches (28 cm) at the shoulder, Pugs weigh between 14 and 18 pounds (6.3-8.1 kg). They have short, smooth, glossy coats that come in fawn, silver-fawn or jet black. Fawn is any fawn shade including light apricot, deep apricot to reddish gold. They have a black face mask and black ears. Although grooming is minimal, they do shed a lot.
Pugs are loyal, affectionate, loving, and generally docile. They are very people-oriented and are very fond of playing with children. They too have long childhoods and will behave like a puppy for close to two years. Their owners need patience but will be rewarded by a lovable and amusing little clown! Pugs get along well with other dogs.
This dog cannot live outside in hot, humid weather. Because of his flat face, prolonged exposure to this type of weather can cause death.
Pugs are intelligent, but can be strong-willed, independent thinkers. They need patient handling but no harsh punishment is necessary as they are sensitive to tone of voice. Pugs require more than the average exercise for a Toy breed.


There are several ways that a child can meet the requirements to register as a British citizen. Depending on the child's circumstances, they will be able to apply for registration as a British citizen by entitlement or discretion under the Nationality Act 1981.
Section 1(3) applications - allows children born in the United Kingdom to parents who are now settled in the UK or have become a British citizen, to register their child as a British citizen, this registration is by entitlement.
Section 1(4) - allows children that were born on or after 1 January 1983 in the UK and who have lived in the United Kingdom for the first 10 years of their life to register as a British Citizen, this registration is by entitlement.
Section 3(1) applications - allows illegitimate children (parents not married) born in the UK before 1 July 2006 to a British father to register as a British Citizen, this registration is by discretion. (If the parents married after the birth, the child may now be considered legitimate).
Section 3(1) application - allows children who do not come under section 1(3) or section 1(4) (above) to register as a British Citizens if one or both of the their parents are applying for British citizenship, this registration is by discretion.
Registration of minors is discretionary, for further guidance and application forms, click here.
For further information on applications made by minors for registration as British citizens on a discretionary basis, click here.
IT IS IMPORTANT TO REMEMBER that the UKBA guidance does not amount to hard and fast rules. Each case must be considered on its merits after taking into account all the relevant factors. It is therefore possible to register a minor under circumstances that would normally lead to the refusal of an application or to refuse when normally a child might be registered if this is justified in the particular circumstances of any case.


Search for Condensation reaction at Zoo.com Now!
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Why Do You See Your Breath on a Cold Day?


text:
The 1995 Cincinnati Bengals season was the team's 28th year in professional football and its 26th with the National Football League.

With Jeff Blake firmly entrenched as the starting quarterback, the Bengals won their first two games. However, the Bengals would lose their next two, heading into a rematch with Don Shula and the Miami Dolphins, in which the Bengals also lost, 26–23. The Bengals went on to play fairly well the rest of the season, but could not avoid their fifth straight losing season, ending with a 7–9 win–loss record.

One of the season's biggest disappointments was running back Ki-Jana Carter who the Bengals took with first overall pick out of Penn State. Carter would suffer a knee injury in his first preseason game, forcing him to miss his entire rookie season. He would never fully recover, in an injury plagued career.

Offseason

NFL Draft

Personnel

Staff

Roster

Regular season

Schedule

Standings

Team leaders

Passing

Rushing

Receiving

Defensive

Kicking and punting

Special teams

Awards and records

Conference Leaders
 Carl Pickens, Led AFC, Receptions, (99)
 Carl Pickens, Led AFC, Touchdowns, (17)

Franchise Records
 Carl Pickens, Franchise Record, Most Touchdowns in One Season, (17),
 Doug Pelfrey, Franchise Record, Most Field Goals in One Season, (29),
 Doug Pelfrey, Franchise Record, Most Points in One Season, (121),

Milestones
 Carl Pickens, 2nd 1,000 yard receiving season (1,234 yards)
 David Dunn, 1st 1,000-yard return season

References

External links

 1995 Cincinnati Bengals at Pro-Football-Reference.com

Cincinnati Bengals
Cincinnati Bengals seasons
Cincin


text:
Q: Create an advanced variadic extension for Data in swift I wanted to append Different byte storage types like Int8, Int16, Int32, .. into data. It has become very complex as every time I have to convert one by one to data and append the same.
How to create extension for Data which will accept Int8, Int16, Int16 Int32 in any order and return bytes
Typically the below code should work. I tried but. not able to finish the extension method
let value1: Int8 = 0x01
let value2: Int16 = 0x0001
let value3: Int32 = 0x00000001

let data = Data.getBytes(value1, value2, value3)

extension Data {
    static func getBytes(...) -> Data {
        // How to proceed?
    }
}

A: First, you need a common type that will be accepted by getBytes. Unfortunately we cannot use FixedWidthInteger directly, because it contains a Self constraint. We cannot use FixedWidthInteger as a generic parameter either, because then we would not be able to mix Int8 and Int16 and so on in a single call.
Therefore, instead of using Any, I would suggest to introduce a new protocol MyIntType and let all the types you want to support implement this:
protocol MyIntType {
    // ...
}

extension Int8: MyIntType { }
extension Int16: MyIntType { }
extension Int32: MyIntType { }

extension Data {
    static func getBytes(_ values : MyIntType...) -> Data { /* ... */ }
}

In getBytes, you need to access the internal bytes from the concrete Int-Type, e.g. call something like Data(bytes: &intValue, count: MemoryLayout<Int8>.size). Fortunately, Int8 etc. support something like bitWidth (which is similar to the MemoryLayout) because the all conform to the FixedWidthInteger protocol.
Nevertheless, we cannot use FixedWidthInteger directly in the getBytes function, because it contains a Self constraint.
As a work-around, we just need to add the bitWidth property to our MyIntType protocol:
protocol MyIntType  {
  var bitWidth:Int { get }
}

All those Intx-Types already implement it, so we do not need an extension for them, and can simply use it in getBytes:
extension Data {
    static func getBytes (_ values:MyIntType...) -> Data {
        var d = Data()
        for var v in values {
            let data = Data(bytes:&v, count:v.bitWidth / 8)
            d.append(contentsOf:data)
        }
        return d
    }
}

Now we can check it:
let value1: Int8 = 0x01
let value2: Int16 = 0x0010
let value3: Int32 = 0x00000100

let bytes = Data.getBytes(value1, value2, value3)
print (bytes)
for b in bytes {
    print (b)
}

redpajama_set_name: RedPajamaStackExchange


Many Air Conditioning systems in New York City suffer from unneeded shaking, vibrating, and loud sounds. These systems cause frustration for employees, and customers. The sounds, and rumbling can be distracting, frustrating, and in some cases even destructive to equipment in the building. This is especially true inside hospitals, nursing homes, offices, and schools.
In NYC these conditions are not uncommon, even brand new air conditioning systems can suffer from shaking, rumbling, vibrating, and loud unnecessary sounds. For the most part older machinery will experience greater amounts of vibration. If left alone with heavy vibrating it is entirely possible that the equipment will break down. A worst case scenario of this has the malfunctioning piece causing damage to the entirety of your air conditioning system if it is not discovered ASAP.
However, it is entirely possible that another piece of your air conditioning system is in need of vibration analysis. Start with a vibration analysis inspection so that we can determine the needs of your parts, before it turns into the needs of your air conditioning system.


on 23 June 2018, Maltepe/Istanbul.
It was just one day prior to the elections.
Millions of people is to be expected to participate.
Gathering started under a heavy rain, it is still not clear how many people attended.
But it is clear it was a significant amount.
Elections resulted by the victory of the former president.


text:
<?php

class TokenReflection_Test_MethodNoNamespace
{
	public function noNamespace()
	{
	}
}

redpajama_set_name: RedPajamaGithub


text:
HPLC analysis of furazolidone in goats given the therapeutic dose
A. I. Mustafa, B. H. Ali, A. M. Satti
1. Furazolidone (FZ) was given to Nubian goats at the recommended therapeutic dose of 10 mg/kg body wt, for 5 days. The animals were slaughtered 24 hr after the last dose, and their livers, gluteal muscles, kidneys and hearts analysed for FZ residues by an HPLC method with a detection limit of 0.05μg g-1. 2. The drug was detected in the muscle and liver at concentrations of 0.256 ± 0.009, 0.101 ± 0.016 μg g-1 tissue, respectively. 3. No detectable concentrations of the drug were found in the kidney and heart.
Comparative Biochemistry and Physiology. Part C, Comparative
Limit of Detection
Mustafa, A. I., Ali, B. H., & Satti, A. M. (1985). HPLC analysis of furazolidone in goats given the therapeutic dose. Comparative Biochemistry and Physiology. Part C, Comparative, 81(1), 167-169. https://doi.org/10.1016/0742-8413(85)90109-4
HPLC analysis of furazolidone in goats given the therapeutic dose. / Mustafa, A. I.; Ali, B. H.; Satti, A. M.
In: Comparative Biochemistry and Physiology. Part C, Comparative, Vol. 81, No. 1, 1985, p. 167-169.
Mustafa, AI, Ali, BH & Satti, AM 1985, 'HPLC analysis of furazolidone in goats given the therapeutic dose', Comparative Biochemistry and Physiology. Part C, Comparative, vol. 81, no. 1, pp. 167-169. https://doi.org/10.1016/0742-8413(85)90109-4
Mustafa AI, Ali BH, Satti AM. HPLC analysis of furazolidone in goats given the therapeutic dose. Comparative Biochemistry and Physiology. Part C, Comparative. 1985;81(1):167-169. https://doi.org/10.1016/0742-8413(85)90109-4
Mustafa, A. I. ; Ali, B. H. ; Satti, A. M. / HPLC analysis of furazolidone in goats given the therapeutic dose. In: Comparative Biochemistry and Physiology. Part C, Comparative. 1985 ; Vol. 81, No. 1. pp. 167-169.
@article{6cd8434134294333b6d8b99eb244c504,
title = "HPLC analysis of furazolidone in goats given the therapeutic dose",
abstract = "1. Furazolidone (FZ) was given to Nubian goats at the recommended therapeutic dose of 10 mg/kg body wt, for 5 days. The animals were slaughtered 24 hr after the last dose, and their livers, gluteal muscles, kidneys and hearts analysed for FZ residues by an HPLC method with a detection limit of 0.05μg g-1. 2. The drug was detected in the muscle and liver at concentrations of 0.256 ± 0.009, 0.101 ± 0.016 μg g-1 tissue, respectively. 3. No detectable concentrations of the drug were found in the kidney and heart.",
author = "Mustafa, {A. I.} and Ali, {B. H.} and Satti, {A. M.}",
journal = "Comparative biochemistry and physiology. C: Comparative pharmacology",
T1 - HPLC analysis of furazolidone in goats given the therapeutic dose
AU - Mustafa, A. I.
AU - Ali, B. H.
AU - Satti, A. M.
N2 - 1. Furazolidone (FZ) was given to Nubian goats at the recommended therapeutic dose of 10 mg/kg body wt, for 5 days. The animals were slaughtered 24 hr after the last dose, and their livers, gluteal muscles, kidneys and hearts analysed for FZ residues by an HPLC method with a detection limit of 0.05μg g-1. 2. The drug was detected in the muscle and liver at concentrations of 0.256 ± 0.009, 0.101 ± 0.016 μg g-1 tissue, respectively. 3. No detectable concentrations of the drug were found in the kidney and heart.
AB - 1. Furazolidone (FZ) was given to Nubian goats at the recommended therapeutic dose of 10 mg/kg body wt, for 5 days. The animals were slaughtered 24 hr after the last dose, and their livers, gluteal muscles, kidneys and hearts analysed for FZ residues by an HPLC method with a detection limit of 0.05μg g-1. 2. The drug was detected in the muscle and liver at concentrations of 0.256 ± 0.009, 0.101 ± 0.016 μg g-1 tissue, respectively. 3. No detectable concentrations of the drug were found in the kidney and heart.
JO - Comparative biochemistry and physiology. C: Comparative pharmacology
JF - Comparative biochemistry and physiology. C: Comparative pharmacology


"My Career, My Life" presents an array of jobs in an interactive format, pairing working professionals with curious elementary and middle school students for a day-in-the-life workshop designed to help kids explore possibilities and find the answer to the question "So, what do you want to be when you grow up?" Youthentity delivers this program in several formats to elementary and middle school students.
What it is: The My Career, My Life career fair is a program designed to guide elementary school students in the direction of careers that are most suited for them. We bring in professionals to tell kids what they do in an illustrative and interactive format. Industries presented have included interior design, forest service, construction and excavation, veterinary medicine, cosmetology, public safety and law enforcement, marketing, culinary careers and more.
Students are given an assessment and assigned their individual career code: Artistic, Investigative, Enterprising, Realistic, Conventional and Social.
By learning which three career codes best fit their personalities, students begin to understand what careers they may enjoy best.
Guided by their career code information, students learn about a variety of careers matching their interests and talents, and select a couple of mini internships they are interested in.
Students are matched with professionals in their desired fields of interest.
What it is: Small groups of students are paired with an instructor in a particular chosen field for a mini-internship, typically lasting 1.5-2 hours. In that time, students work within real scenarios encountered in the field, learning to problem-solve and think critically. Middle schools currently participating in the My Career, My Life program are Glenwood Springs, Carbondale, Basalt and Two Rivers Community School. Interested in bringing career development to your school? Get in touch with us.
Veterinary medicine, cosmetology, police work, interior design, architecture, entrepreneurship, restaurant management and culinary arts, journalism, professional dance, art creation and curation, river ecology, personal training, event planning, fashion design and chiropractic medicine.


text:
Hanna Martine
All Books and Series Lists
Goddess Marked
Liquid Lies
A Taste of Ice
Drowning in Fire
The Good Chase
Play For Me
Only You: Erotic Romance for Women
Connect With Hanna
Interviews and Essays
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Chapter 1, The Good Chase
I need a hot guy in a kilt.
Shea Montgomery snorted a most unfeminine snort as she read the text that had just come through from her best friend, Willa.
Gently moving aside a box cradling some pretty divine bottles of Scotch whisky, Shea nudged back a flap of the white tent that would be her home for the day. Down an easy slope, out in the middle of a large, open field, a group of two-hundred-plus-pound men milled about, early morning sunshine on their faces, a brisk late-May breeze kicking up their kilts. Some of the men sat stretching on the grass, some rotated their arms in warm-up, some jogged slowly around the field's perimeter.
The first throw of the Long Island Highland Games would go off in about two hours.
Smiling, Shea texted back to Willa: Funny, that's exactly what I'm looking at right now.
Bring one back to the city for me.
Shea peered hard at the massive guys gathering inside the flag ropes. I take that back. Lots of kilts. None hot. Sorry.
Take a pic. Let me decide.
Shea laughed. I'm working. And no way to be stealthy about it when no one else is over there.
You are dead to me.
Shea tucked her phone into the back pocket of her black pants.
"Always good to start the day off with a smile. Right, Big Boss?"
Dean, her best employee at the Amber Lounge in Manhattan, stepped into the tent, rolling up the sleeves to his white button-down shirt. She so rarely saw him outside her bar—and in daylight, no less—that she'd never noticed how much silver there was in his curling black hair.
"Hopefully it's a sign," she said, blowing out a big breath. "Help me with the inventory, will you? The master list is right there."
He read her the names of the bottles while she fingered the necks of each kind of Scotch whisky she'd curated for the day's tasting, making sure each had made it from the Amber's cellar to out here in Suffolk County.
When they were done, Dean stood back and admired her stash with hands on hips. He whistled in a high arc as he took in the bottles of port- and sherry-wood barrel-aged, and the twenty-seven-year single malt, and the eighteen-year-old blend.
"Nice choices," he said. "Not exactly starting at the bottom, are you?"
Shea tossed an empty box underneath a billowing tablecloth. "Yeah, well, you have to pay a hundred dollars extra just to come in here for a tasting. It was made very clear to me I had to make it special."
Dean's eyes bugged out. "A hundred bucks? No shit?"
Shea pulled her long hair back into her trademark ponytail and glanced with chagrin out at the blue velvet rope delineating the entrance to her tent. She sighed, snapping a rubber band around her hair and letting her arms flop down. "No shit."
In the distance sounded the day's first bleat of a bagpipe, a little shaky at first, but then smooth and lovely as the piper warmed up and the notes took shape. Shea recognized the tune and it gave her pause, made her smile to herself.
This was why she planned to attend and do whiskey tastings—of Scotch and others—at so many New England Highland Games this summer. Because they reinvigorated her. Because they shaped her dreams of things outside the walls of the Amber Lounge. Because they brought back memories of Scotland. Because they recalled those days, so many years ago, when she'd actually begun to live.
It was a perfect day for the games. For the sun and laughter, for watching powerful, kilted athletes compete by throwing around heavy implements like the hammer and the caber. For lying back on your elbows and surrounding yourself with the heartbreaking, beautiful sounds of pipes and drums, telling history through song. For cheering on young folk dancers and obedient sheepherding dogs.
Even if these particular games had its nose up in the air as opposed to right down in the peat and heather where it should be, the reminders of her Scottish ancestry warmed her heart.
But alas, she would get to do none of the fun events. Today was about the whisky.
The white tent rippled and flapped around Shea and Dean as they skillfully set out short-stemmed tasting glasses and made artistic towers of boxes and glassware behind the makeshift bar. High, circular tables draped with white linen and tied with blue bows peppered the center space, with squatter tables and cushioned chairs set outside under a canopy.
And then there was the goddamn velvet rope.
Whisky shouldn't be untouchable, relegated to only a certain level of social drinker, but that's exactly what Shea and her bottles were today, hidden away in this too-fancy tent. No one could enter who wasn't wearing the yellow one-hundred-dollar wristband. Laughable for a Scottish festival.
Shea just wanted to talk whisky, just wanted to serve what she loved. Not for the first time, she wondered if opening up such an exclusive bar had been an error in her development as a businesswoman. It clashed too much with her personality. Maybe she was better suited to running a corner pub with worn seats and scary bathrooms, but with the same access to amazing drinks. Take away the hoity-toity atmosphere, but keep the rare, good liquor.
Throughout the day, she tended to the few tasters who did manage to wander into her tent. During the long lulls in between, she gazed out at the heavy athletic field, watching the massive caber flipping end over end, and listening to the excited announcer and the enthusiastic crowd's applause. She ended up sending Dean back to the city to open the Amber.
In the early afternoon, two couples ducked out of the bright sun and came in laughing. The taller husband, the one in a plaid, short-sleeved button-down shirt, was holding a set of stacked, empty beer cups. A Drinker, Shea pegged him, who'd come in here chasing the buzz. The other man, the one in a blue T-shirt, headed right for Shea, nodding as though they already knew each other. He was either a Hot Air—someone who thought he knew a lot about the good stuff—or a Brown Vein—someone who really did know.
Of the women, one wore a red visor that parked itself around her ears and extended far over her face. The other had a short, blond ponytail. Neither woman looked particularly interested in why they'd come in here, though all four people sported wristbands.
Shea spread her arms across the table and gave them all a welcoming smile. Didn't matter why anyone came in, when it came down to it. They were giving the drink a chance, and educating newcomers was one of her favorite parts of her job. Sometimes that was the best kind of challenge, to win over someone who'd been skeptical—a Squinter—or someone who had cut their teeth on whiskey by sneaking their parents' ten-dollar plastic-bottled swill bought at the corner bodega.
"So what do these get us?" Drinker waved his yellow wrist.
Always genial, always polite. "Tastes of three amazing whiskies and a walk-through of each, by yours truly."
"That's a big deal, my friend," added the other man. To Shea he gave a deep nod, lips pursed. "Saw you on the History Channel the other night." He didn't mention which special.
"Really? That's always great to hear. Glad you came by." Perfected responses to almost every comment from almost every type of customer.
She turned to her artful setup of bottles beneath the large banner with the Amber logo, and swung back around holding a tray of glasses. She flipped each glass over and slid it across the white tablecloth with smooth, practiced ease. One glass, two, three, four—
A fifth yellow wristband appeared at the elbow of the blue-shirted man she was leaning toward pegging as a Brown Vein. This new wristband wrapped around an arm that was crusty with caked mud. The newcomer's fingers and palm looked like he'd tried to wipe them somewhat clean, but black still clung under his nails. Shea followed that arm upward, which widened out significantly at the biceps. He wore a red-and-black-striped rugby shirt, soaked with the efforts of a recently completed match. His short, dark hair was sweat damp and stuck out all over the place in a way that shouldn't have looked good, but did. His cheeks and forehead were sunburned, and he leaned his elbows on the table with drowsy ease, leaving mud smudges behind.
Out of the corner of her eye, she saw one of the wives nudge the other.
"Welcome," Shea told Rugby.
"Hi," he replied.
She nodded at his shirt. His perfectly fitted shirt. "How'd you do?"
"Thirty-five to seventeen. We were not the higher number."
She winced. "Ouch. You at least get a try?"
"I did, actually." He blinked and straightened, looking pleasantly surprised that she knew rugby scoring terminology. "You know the game?"
"You could say that." She returned the tray to its place off to the side and set out the three bottles she was guessing this crew would like. The uninterested wives were throwing off Shea's drink-matching radar, but she'd work with what she had.
She said to Rugby, "So what I'm hearing is that you need a drink."
"Something a little finer than water, exactly." Rugby let out a small laugh. He twisted one of the whisky bottles to read the label. "Whatcha got here? What does a hundred bucks buy—wow."
"You know it?" Shea's turn to be pleasantly surprised.
"Heard of it, yeah. So that's why these things were so expensive." He waved his wrist so the loose end of the yellow wristband flopped about. "Took out a second mortgage to buy one."
Shea smiled.
The tall man in the blue T-shirt looked down his nose at Rugby and jabbed a meaty finger at the bottle in Rugby's hand. "That's made by a distiller in Scotland that still uses the original 1840 peat kilns to smoke the barley."
Shea fought for a straight face. Hmmm, maybe this guy was more Hot Air than Brown Vein. He was correct, but who voluntarily spouted off that kind of information to a stranger?
"Impressive." Rugby's eyebrows shot up exaggeratedly as he pursed his lips at Shea. Hot Air didn't get the subtle sarcasm, but she did and had to suppress another smile as she removed the bottle's cap. Customer equality and all that.
Out in the distant field, the athletes were taking a rest between events. A small contingent of pipes followed a line of old men dressed in military kilts as they marched onto the grass, Scottish and American flags whipping in the wind. The pipes started up, a wave of music drifting into the whisky tent.
Rugby cringed.
"No bagpipes, huh?" Shea teased.
"Sorry. No."
"For shame. Leave my tent immediately."
Rugby's cringe twitched toward a wan smile. And in that moment she became distinctly aware that he'd been monopolizing her attention, with four other tasters to entertain. How'd he do that?
"Why are you at the Scottish games," said Hot Air, who was tipsier than he'd originally appeared, "if you don't like the pipes?"
Rugby plucked at his dirty and sweaty shirt. "I go where the team tells me, hit who they want me to hit. Run wherever there's a goal line." He turned back to Shea, "You like bagpipes?"
Glancing out at the small parade making its way around the field, she felt the cool, familiar glass of the bottle in her hand and replied, "I do. Very much."
When her gaze drifted back to the five people standing on the other side of her table, Rugby was staring at her so hard she swore he might have been the source of all gravity.
"So," he said, throwing her a bright smile that tipped heavily to one side, "do you remember me?"
That blinked her out of that weird trance. She remembered regular faces, especially those who repeatedly visited the Amber Lounge, but with so many tastings and traveling and hired events and interviews these days, transient people tended to dissipate from her memory.
Yet there was something familiar about him. Something about his off-center smile set against the tanned skin layered with sweat and specks of dirt. But she couldn't place it right away, and she'd spent enough time away from the other four tasters.
She gave him one of her careful, noncommittal smiles. "I'm sorry. I don't."
"I'm Byrne."
A little cocky of him—but not quite obnoxious—to assume that she'd remember him based on one name. She didn't.
"Just Byrne?"
"Just Byrne." His smile widened, tilting even more to one side. Holy crap. He was far too easy on the eyes. She hadn't dared to think that about any guy who'd stood on the other side of her bar since Marco, and look how that had turned out.
"Shea Montgomery," she replied blandly, then turned to select a bottle. Too late, she realized she already held one in her hand.
"Yes. I know," said Just Byrne to her back. And then he chuckled.
The sound of that laugh, soft and low, slid an invisible hand around the nape of her neck, took a featherlight hold, then dragged itself seductively down her back.
Oh no. This did not happen to her while she was pouring.
She shook it off because she had to and turned back around to face her tasters, meeting the eyes of everyone but Byrne. She poured a shallow tasting amount in each glass, starting at the far end with plaid-shirted Drinker and ending with Byrne, who nudged his glass a little closer to her.
"Last summer?" he prompted.
She made the colossal mistake of lifting her gaze, of getting a good, long look at his eyes. Powder blue with a dark navy ring around the edge. Gorgeous. Flirtatious. Really fucking dangerous.
"At the Highland Games up in Gleann, New Hampshire." And now the dangerous eyes were smiling, too. "That cow wiped out your tent. Me and my team helped you clean it up."
The bottle slipped from her fingers. Just an inch or two, but it made a graceless clink on the table. She did remember him now. How he'd tried to openly flirt with her the first night after his team had won the tug-of-war competition, and then more subtly the next day after that damn loose cow had destroyed hundreds and hundreds of dollars of good whisky.
She also remembered that she'd been briefly intrigued by him. Extremely reluctantly intrigued, but intrigued nonetheless.
That damn crooked smile layered a boyish tint over his confident, intense focus on her, and she suddenly realized that his sojourn in here and all his amusing comments weren't entirely about the whisky.
Good luck with that, buster, she wanted to say. I don't ever date tasters.
"Oh yeah." Cool as the breeze, that was Shea. "Didn't you guys win the tug-of-war?"
"So you do remember." The way he said it, all drawn out, was packed with suggestion.
He was acting way too encouraged, like their witty banter would actually go somewhere. She shrugged. "That's about all I remember."
She turned her back on him and stepped to the center of her tasters, then poured herself her own tiny glass.
"So you do, like, a lot of these things?" slurred Drinker down at the end.
"You mean the Highland Games?" she asked, and when Drinker nodded, she replied, "Last year was my first doing the tastings. Got a couple more this summer."
"Lot more people up in Gleann," Byrne said, looking around her empty tent with an odd, thoughtful expression. Gleann's tent last year had been nonstop, from open to close.
"I am grateful for each and every taster," Shea replied carefully.
"But you wish there were more people?" he asked, meeting her eyes again.
"I always want to share whisky." God, she was starting to sound like a brochure. Throwing on a smile, she returned her focus to the two couples. "Are we finally ready to drink, folks?"
Drinker held up the small, squat, stemmed glass. "Why not the flat-bottom glasses? What do you call those again?"
"These are better for nosing the whisky," Shea replied. "Here, hold the base like—"
She didn't mean to look over at Byrne again. Habit, really, to take in everyone at the tasting table, to make sure she had their attention and that they each knew they were important to her. Hot Air was grasping the glass underneath, resting the bowl in his palm. But Byrne had the base balanced lightly in his fingertips. Correctly.
She ripped her stare from him and focused on the couples. "Hold it like this." She showed them how to hold the base of the glass and not grip the bowl like a Viking. "What we're going to do first is nose the whisky three times, each time slightly longer than the last. One second, two seconds, three seconds. I'm going to count. Why don't you all watch me as you do it."
The women shared a glance and laughed, and Shea wondered how many of those empty plastic beer cups had been theirs.
"One."
Shea lifted the glass to her face, inserted her nose, and inhaled.
The couples followed suit, and displayed pretty much the range of reaction she'd expected. Everything from I-Don't-Give-A-Shit-Let's-Drink, to Ew-This-Is-Disgusting, to dramatic, chest-pounding coughing because she'd inhaled too deeply and too long. Hot Air's expression said that this was nothing he hadn't already known.
And then there was Byrne. Nose in his glass for about a quarter second longer than was necessary. Powder blue eyes lifted just over the rim. Set solely on her.
Did he think he was the first guy to give her The Eye from the other side of the bar? This flat surface in front of her was No-Man's-Land. Quite literally.
"Should be different the second time, now that you got the shock of the alcohol out of the way," she heard herself saying. "It should be sweeter."
The corner of Byrne's mouth twitched, a hint of that crooked smile, then he buried his nose in the glass again, exactly matching her movements. Concentrating. This time not looking at her. Black lines of dirt had settled into the deep grooves of concentration along his forehead. He must be a few years older than her, maybe midthirties. He wore his years extremely well.
Stop it, stop it, stop it.
On cue, Hot Air started spouting off to his companions a list of all the things he smelled in the whisky. While there were never any right or wrong suggestions to specific scents or notes—whisky was an entirely personal experience—he was messing with Shea's rhythm.
"And the third?" Byrne asked Shea, cutting into Hot Air's thesaurus recitation. Hot Air shut up.
"On the third nose," Shea said, "you should smell some fruit, going deeper into the intricacies of the glass."
Her tasters followed her actions.
"Byrne! You done in there yet? Come on, let's go!"
Byrne swiveled to the sound of the chorus of male voices. Outside in the sun, the rest of his team, muddy and disheveled in red and black, beckoned to him. No other rugby players wore yellow wristbands.
Byrne acknowledged them with his glass, then took a perfect taste of what Shea had poured.
The brown liquid disappeared slowly into his mouth. His jaw worked it over for a good four or five seconds. Biting it, chewing it. Savoring it, as it should be done. Then he swallowed it back, his throat working.
Exactly like how she was about to instruct her newbies.
Byrne lifted his eyes to Shea without a hint of pretentiousness or flirting. "Excellent, thank you." Then, with a nod to the other four tasters, he left her tent.
She watched him go.
He had a long stride, masculine but oddly graceful. A leisurely confidence to his gait, contrasted by the clumps of turf stuck to the bottom of his cleats. He was built exactly how a rugby player should be with those ridiculous legs—tanned and thick and strong, with a distinct pronunciation of his quads. Might as well have rugby player tattooed down the side.
Goddamn it. In her mind she held one of those giant cartoon mallets and was whacking herself on the head.
Outside, the rest of Byrne's team had moved on except for one guy with a stocky build and longish blond hair. Byrne gave the other guy a "just a minute" gesture and disappeared in the opposite direction of his team.
Shea shook her head of his image and poured the next whisky for the couples, answering their questions about the Speyside distillery and the mashing process and what the years of aging on the bottle meant.
Then Byrne ambled back into view. Just a red-and-black-striped figure in her periphery at first, but her stupid brain demanded she look out through the tent flaps again, and so she did, beyond annoyed at herself. Distantly she thought she heard a nearby clearing of a throat, but she couldn't rip her stare away from Byrne.
His friend had drifted out of sight, but Byrne didn't seem to be looking for him. Instead Byrne went down the grass slope to where two couples, possibly in their forties, had spread out a blanket along the flag rope just outside the athletic field. The hammer toss was going on, but Byrne ignored the event and instead tapped one of the women on her shoulder. He gave her that incredible, crooked smile.
Toast. That woman was toast.
But then all four of the strangers were listening to Byrne say something, nodding up at him enthusiastically.
Byrne reached into the pocket of his rugby shorts and pulled out four yellow wristbands. One of the men reached for his wallet, but Byrne waved him off.
Shea gasped. Why on earth had he done that? Four hundred dollars. Four hundred dollars! Not to show off or to try to impress her, she hoped, because tossing around money was the absolute wrong way to do that.
To be generous, maybe? But still, four hundred dollars on whisky, given to complete strangers? Who was this guy?
As the two new couples slapped on the wristbands and stood, folding up their blanket, Byrne headed in the direction his team had gone. As he passed by the whisky tent, he turned his head and instantly found Shea. Caught her staring.
She quickly ducked her head, blindly grabbing for the third and final bottle, but not before she was blasted by the full impact of that crooked smile, far too bright in the sunshine.
That smile promised a lot. Things she hadn't allowed herself—or been afforded—to think about in a long, long time. Things that hit her right where she hadn't been touched in an embarrassing number of months.
It disturbed her greatly, to be disarmed while in uniform, so to speak. It disturbed her even more that the man who'd done it was a taster—quite possibly a Brown Vein—met while she was working, and apparently in possession of some kind of money. No-nos, all around.
He wouldn't win.
He had to know that even though he'd caught her staring, and even though she'd looked away like a shy virgin at a bachelor auction, it didn't mean that he'd gained any sort of ground with her. She had strict personal rules to uphold, a hard-won reputation to maintain, and a business to keep at the top of the New York scene.
But when she looked up to tell him all that with her cool, disinterested expression and Stay Back eyes, Byrne was gone.
(c) 2014 Hanna Martine
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text:
France: Students and workers prepare mobilisation against government's "First Job Contract"
By WSWS correspondents
Mass protests and strikes are planned throughout France tomorrow in opposition to the Gaullist government's "First Job Contract" legislation, which permits companies to dismiss young workers without cause during their first two years of employment. Public sector workers have delivered strike notices in 71 cities and towns, and 135 demonstrations will be held against the attack on young workers' conditions.
Transport workers, including those on the national rail network and the Paris Metro, will strike. Teachers, postal workers, public servants, banking workers, employees of Agence Françe Presse and public television networks will also stop work. Other affected companies include Total (oil company), Air France and France Telecom.
The anti-CPE movement has continued to gather momentum despite the efforts of the trade unions to negotiate a deal with Prime Minister Dominique de Villepin. Five unions—the CGT (General Confederation of Labour), CFDT (French Democratic Confederation of Labour), FO (Workers Power) and two management unions, the CFTC and the CFE-CGC—discussed the CPE with Villepin on Friday.
The failure to reach agreement has seen various trade union leaders issue statements that they will not meet Villepin again until the government announces the withdrawal of the CPE. The unions' response is driven by the fear of losing control over the increasingly militant youth-led movement, which enjoys the overwhelming support of ordinary working people.
"When you have a country where the youth are as mobilised to contest a reform with such radicalism one would expect a prime minister to take measure of the urgency of the situation," Bernard Thibault, head of the Stalinist-dominated CGT, declared.
"The discussion proposed by the prime minister on the trial period of two years and the lack of any cause for the sacking is vain," the union bureaucrat continued. "One is taking away a founding aspect of the CPE—that's just like admitting that the CPE doesn't have its place in French legislation. He must withdraw the CPE and rediscuss the CNE."
Thibault's sudden discovery of the CNE (New Employment Contract) highlights the duplicity of his latest "hardline" posture. The CNE, passed by the Villepin government last year, allows companies with less than 20 employees to sack any worker within their first two years of employment. The legislation, which was the direct precursor for the CPE, was passed without any serious opposition from the trade unions. Now, however, sensing the determination of French workers to beat back the government's right-wing program, the CGT head claims the CNE must be "rediscussed."
The student unions have also hardened their position. On Friday the trade unions who met with the prime minister arranged a meeting between the student union heads and the government. Earlier that day, leaders of the main high school and university students' organisations (UNEF, Cé, FIDL, UNL) signed a joint statement with eight trade unions declaring that they "are aware of the gravity of the situation in which the country is immersed" and that "the assembled unions ask the prime minister to receive today the joint union committee they have formed."
Last Saturday, however, the four student unions delivered Villepin a letter explaining that they were refusing to meet with him until he promised to withdraw the CPE.
"[T]he opposition movement is not weakening," Le Figaro reported yesterday. "On the contrary. In a sign of radicalisation the National Student Coordination composed of the representatives of the mobilised universities called this Sunday for the resignation of the government. The approximately 300 delegates who met over two days in Aix-en-Provence called for all the major motorways and railways to be blocked on Thursday, and, if the legislation has still not been withdrawn, for a general strike with the workers on April 4."
World Socialist Web Site reporters spoke with university and high school students at last Thursday's 100,000-strong demonstration in Paris.
Gabriel, a final-year high school student specialising in science, said that his school had shut down for two days in protest against the government. "Villepin is arrogant," he declared. "He thinks he's right but then there are the youth. They say 'no'—they refuse insecure jobs and refuse to work for nothing. My impression is that the youth are being sacrificed so others can get ever-more wealthy. The CPE won't be the final reform—they'll always want something more."
The WSWS asked Gabriel about last year's youth revolt in the suburbs. "This is more political," he replied. "The riots in the suburbs were more a social question, youth fed up to the teeth.... At the moment there's a political crisis in France. People don't know which way to vote—left or right—you get the idea that it's the same thing.
"There used to be social rights that had been won. Workers had many rights but today they want to make workers flexible. You can see it's a free-market system—it's getting more and more like the American system. Now, the rich countries like France despise the poor countries, the third world countries. They get rich off their debts and off their workers. That's got to stop."
Julien, a student at St. Denis University, said, "I work as an administrative assistant in a collège [for 11- to 15-year-olds] in order to finance my studies. All the young people who work with me are on insecure short-term contracts and they earn just 300 to 400 euros a month. That's far too little for living in Paris.
"Villepin is just a reactionary," Julien continued. "He has an archaic nineteenth-century conception of France; that is, workers must pipe down and the bosses should be all powerful.... The youth and the students must understand that the CPE is just one element of Villepin's anti-social program—it's not just a reform against youth, it's against the working class. Capitalism is getting more and more brutal."
The WSWS asked about the police beating of 39-year-old worker Cyril Ferez, who remains in a coma. "It's a disgrace—quite simply shameful. The police come and beat and trample on a trade union member, and so we can see that Villepin is an ultra-reactionary. The police are really just there to defend capital and the power of the elites, not the people."
Julien was also critical of the trade unions, which had refused to call a strike to coincide with the national student day of action. "It's another scandal—the trade union bureaucrats just want to keep their cosy positions."
Hundreds of thousands protest pension cuts in France
Assange's French legal advisor Juan Branco: "We've experienced a strong shift that we now need to nurture"
Malians protest to demand departure of French occupation troops


text:
Q: Syntax for a for loop in ruby How do I do this type of for loop in Ruby?
for(int i=0; i<array.length; i++) {

}

A: limit = array.length;
for counter in 0..limit
 --- make some actions ---
end

the other way to do that is the following
3.times do |n|
  puts n;
end

thats will print 0, 1, 2, so could be used like array iterator also
Think that variant better fit to the author's needs

A: What? From 2010 and nobody mentioned Ruby has a fine for /in loop (it's just nobody uses it):
ar = [1,2,3,4,5,6]
for item in ar
  puts item
end

A: ['foo', 'bar', 'baz'].each_with_index {|j, i| puts "#{i} #{j}"}

A: I keep hitting this as a top link for google "ruby for loop", so I wanted to add a solution for loops where the step wasn't simply '1'.  For these cases, you can use the 'step' method that exists on Numerics and Date objects.  I think this is a close approximation for a 'for' loop.
start = Date.new(2013,06,30)
stop = Date.new(2011,06,30)
# step back in time over two years, one week at a time
start.step(stop, -7).each do |d|
    puts d
end

A: The equivalence would be
for i in (0...array.size)
end

or
(0...array.size).each do |i|
end

or
i = 0
while i < array.size do
   array[i]
   i = i + 1 # where you may freely set i to any value
end

A: array.each_index do |i|
  ...
end

It's not very Rubyish, but it's the best way to do the for loop from question in Ruby

A: To iterate a loop a fixed number of times, try:
n.times do
  #Something to be done n times
end

A: array.each do |element|
  element.do_stuff
end

or
for element in array do
  element.do_stuff
end

If you need index, you can use this:
array.each_with_index do |element,index|
  element.do_stuff(index)
end

A: If you don't need to access your array, (just a simple for loop) you can use upto or each :
Upto:
2.upto(4) {|i| puts i}
2
3
4

Each:
(2..4).each {|i| puts i}
2
3
4

A: Ruby's enumeration loop syntax is different:
collection.each do |item|
...
end

This reads as "a call to the 'each' method of the array object instance 'collection' that takes block with 'blockargument' as argument".  The block syntax in Ruby is 'do ... end' or '{ ... }' for single line statements.
The block argument '|item|' is optional but if provided, the first argument automatically represents  the looped enumerated item.


text:
Meghan Markle Under Fire for Not Including the Queen on Vogue Cover
Wendy Michaels
While many have applauded Meghan Markle's selection of women to feature on the cover of the September British Vogue issue she guest-edited, titled "Forces for Change," she's also facing some criticism. Some critics believe there's one impressive woman who didn't make the cut: Queen Elizabeth II.
Meghan Markle and Queen Elizabeth II | Max Mumby/Indigo/Getty Images
The significance of the women featured on the Vogue cover
Markle carefully selected a diverse lineup of 15 women to grace the cover, which includes actor and women's rights advocate Salma Hayek Pinault, New Zealand Prime Minister Jacinda Ardern, LQBTQIA+ advocate and actor Laverne Cox, climate activist Greta Thunberg, and youth voting activist and actor Yara Shahidi, among others. There is one mirrored space that reflects the reader's image when they look at the cover.
A Sussex Royal Instagram post explained: "For the cover, The Duchess chose a diverse selection of women from all walks of life, each driving impact and raising the bar for equality, kindness, justice and open mindedness. The sixteenth space on the cover, a mirror, was included so that when you hold the issue in your hands, you see yourself as part of this collective."
Edward Enninful, British Vogue's Editor-in-Chief, said of Markle's decision not to be included on the cover herself: "In the end, she felt that it would be in some ways a 'boastful' thing to do for this particular project. She wanted, instead, to focus on the women she admires."
We are proud to announce that Her Royal Highness, The Duchess of Sussex is the Guest Editor for the September issue of @BritishVogue. For the past seven months, The Duchess has curated the content with British Vogue's Editor-in-Chief Edward Enninful to create an issue that highlights the power of the collective. They have named the issue: "Forces for Change" For the cover, The Duchess chose a diverse selection of women from all walks of life, each driving impact and raising the bar for equality, kindness, justice and open mindedness. The sixteenth space on the cover, a mirror, was included so that when you hold the issue in your hands, you see yourself as part of this collective. The women on the cover include: @AdwoaAboah @AdutAkech @SomaliBoxer @JacindaArdern @TheSineadBurke @Gemma_Chan @LaverneCox @JaneFonda @SalmaHayek @FrankieGoesToHayward @JameelaJamilOfficial @Chimamanda_Adichie @YaraShahidi @GretaThunberg @CTurlington We are excited to announce that within the issue you'll find: an exclusive interview between The Duchess and former First Lady of the United States Michelle Obama, a candid conversation between The Duke of Sussex and Dr Jane Goodall, inspirational articles written by Brené Brown, Jameela Jamil and many others. Equally, you'll find grassroots organisations and incredible trailblazers working tirelessly behind the scenes to change the world for the better. • "Guest Editing the September issue of British Vogue has been rewarding, educational and inspiring. To deep dive into this process, working quietly behind the scenes for so many months, I am happy to now be able to share what we have created. A huge thanks to all of the friends who supported me in this endeavour, lending their time and energy to help within these pages and on the cover. Thank you for saying "Yes!" – and to Edward, thank you for this wonderful opportunity." – The Duchess of Sussex #ForcesForChange
A post shared by The Duke and Duchess of Sussex (@sussexroyal) on Jul 28, 2019 at 2:26pm PDT
Why some people believe the Queen should be on the cover
Naturally, just about anything that Markle does is criticized, so it's not too shocking to hear that she's under fire for not including the Queen.
One Twitter user asked: "Why isn't HM The Queen included on the cover of September's Vogue, @RoyalFamily? Her Majesty is the perfect role model: like many of us she had no choice but to do the job she was given. The ultimate in grace & discretion for 70+ years."
Another user noted: "Pathetic front page. Where are doctors, scientists, teachers. Why a child climate change activist who should be in school? Where is Her Majesty the Queen? #vogue #Meghan #duchessofsussex #selfindulgent."
One critic believes the Queen would find Markle's efforts "idiotic"
One loud Markle critic, The Sun's Dan Wootton, is not a fan of the duchess' involvement with the issue at all, going so far as to say that the Queen would find it "idiotic."
During an interview on ITV's Lorraine, Wootton explained, "The Queen will think this is an absolutely idiotic ridiculous decision, as do I."
He added: "Remember Meghan doesn't want to be a celebrity, she says she wants to be a royal. Royals don't guest edit magazines, celebrities guest edit magazines. Do you get me? Do you see the point that I'm making?"
Wootton further claimed, "I feel I need to bring a bit of reality to the situation. Vogue is probably the most elite expensive snobby fashion-dominated, skinny-dominated magazine in the entire world. This is not some great mainstream force for good, this is a magazine for the elite."


text:
Several thousand migrants in Turkey resume march towards Greek border
By Osman Orsal
Reuters 18 September 2015
EDIRNE (Reuters) - A growing crowd of several thousand migrants resumed their bid to march on Turkey's Greek border on Friday, but security forces later halted their advance from a makeshift roadside camp where they had sheltered for three days.
Several hundred migrants had been in a stand-off with police, some in riot gear, since Tuesday, as they attempted to walk from Istanbul to the Pazarkule border crossing near the city of Edirne.
By Friday numbers had swollen to several thousand, a Reuters witness said, and security forces allowed them to march closer to the frontier before again halting their progress some 14 km by road from the border, but much closer cross-country.
Earlier, Edirne's Governor said migrants would not be allowed to pass without an invitation from neighbouring or European countries.
"This passage is not possible," Dursun Ali Sahin said in a live broadcast on CNN Turk. "If there is any country that is formally inviting you, we would be happy to take you there ourselves with a vehicle or by plane. But that has not happened so far," he added.
The crowd of migrants, some pushing luggage-laden strollers and carrying their children, highlights the paradox of Turkey's position.
It has been widely praised for welcoming 2 million Syrian refugees, Deputy Prime Minister Numan Kurtulmus saying Turkey had spent $7.6 billion responding to the refugee crisis.
But is now a key jumping-off point for those trying to reach Europe, as many of those fleeing neighbouring Syria and Iraq, as well as Pakistan and Afghanistan, say there is no work for them in Turkey and see the European Union as their best hope.
Hundreds of thousands have made the perilous journey by boat to Greek islands off Turkey, but a spiralling death toll has seen more people make for its land borders.
On Thursday a spokesman for the caretaker Greek government said it was preparing for a possible new wave of migrants crossing the Evros river that divides Greece from Turkey.
(Reporting by Osman Orsal; Writing by Humeyra Pamuk and Jonny Hogg; Editing by Jon Boyle)
Turkey's Erdogan: Europe must back Libyan govt in Tripoli
'The Cave' Director Feras Fayyad Misses TCA Panel After Being Detained by Immigration Police
EU border chief says migrant entries from Turkey on the rise
Syria truce fails as Idlib civilians killed daily - U.N.


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Throughout our efforts, we work closely with staff to set up systems, tools, and processes that enable our clients to continue the work well beyond Kitamba's engagement.
We know that many school systems have undergone countless "reform" efforts. Our goal is to bring durable, lasting improvements that help our clients support student success over the long haul. We are focused on the shared goal of creating higher quality education and learning opportunities for all children. What matters most to us is that our clients share this vision and are working hard every day to bring that vision to life.


Rob Fissmer is new contributor to the ISO50 blog, he has been djing under the name Raeo which if you go to his site you'll discover a large archive of mixes that he's put together along the same vein as this collection above. Personally I love this package of songs, the downbeat instrumental sound that has IDM influences is some of my favorite and Rob grabbed some of the best most recent examples. Also another fun fact about Rob is that he's a ice hockey goalie and a fine one at that, if Ninja Tune's hockey team knew that he might get picked up.
Guest Music Post: Roger.. Guest Music Post: Micha.. Guest Music Post: Cerem..
Wow Space Ghost. More info please!
Man, when you posted GazeMX, it rocked my world. Been following (aka train-spotting) you ever since.
Thanks Jay – I think I remember emailing with you way back when. Finally some new mixes in the pipeline .
Hallo I recently pay for web hosting plan from http://www.elcoplanet.com but I need another web hosting provider as backup for my hosting..I want to do reselling of web hosting so Elco planet has very good offer for Alpha Reseller and Master Reseller plans of hosting but I need another provider for backup service..can you please give me some other links of pages which are offering cheap hosting as http://www.elcoplanet.com offers ?
Ohh, jaz tudi komaj čakam tvojo novo kolekcijo (barve mi močno dpjadeoo), pa Artmarket, pa pomlad v prestolnici, pa pohajkovanje po tlakovcih . bajdevej, a je tista prva zadevščina še od Novega leta ostala ali imte novo baročnowanabee dekoracijo v mestu?


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text:
Four Amazing Years in Cinema History and the Films That Fueled Them
Like vintage wines, some years provided exceptional quality when it came to the cinematic products that were produced. Here are four years that many consider to be the best in film history. This subjective list is presented in chronological order.
If there is one year that can be considered Hollywood's benchmark year, its gold standard, it is 1939. "Gone With the Wind" became the first color motion picture to win Best Movie of the Year Award and the film swept every major category. It launched the entire industry into a new era and set higher expectations for future film making endeavors. But one film doesn't make an epic year on its own. "The Wizard of Oz" also came out in 1939 as did other classics like "Stagecoach", "Mr. Smith Goes to Washington" and others. It is almost hard to imagine these films were produced over 80 years ago.
The sixties were a time of change and upheaval. That was reflected in the movies of 1967, including the Movie of the Year , "In the Heat of the Night". The year was also punctuated with Sidney Portier's "Guess Who's Coming to Dinner". "The Graduate", :Cool Hand Luke" and "Bonnie and Clyde". America was growing up and we were now seeing things on the big screen it had never experienced before.
Movies in 1994 ranged from iconic to cultish to just plain crude. One thing is for sure, viewers had a diverse selection to choose from. Tom Hanks stunned and amused us with his performance in "Forrest Gump" while John Travolta starred in "Pulp Fiction". Independent studios began hitting their stride but mainstream studios were still putting out classics like "The Lion King". "The Piano" and "The Fugitive" both of which won Oscars. The year also gave us a lot of low hanging fruit in "Ace Ventura: Pet Detective: and "Dumb and Dumber".
If any year could compete with 1939 as the best in cinematic history, it could be 1999. The year was packed with unique, original stories and films that have stood the test of time. These include "The Green Mile", "Fight Club", Matrix", "The Sixth Sense", "Girl Interrupted", "Eyes Wide Shut" and others. The year was filled with non-stop hits and blockbusters.
The rise of independent film productions in the 1990s changed movies forever. It allowed for more creativity and options. Such is the case with independent insurance companies. We give you more options when it comes to home, life, auto and business insurance. Let us compare companies and rates for you. It could just be a banner year when it comes to saving money on your insurance.


text:
Q: Spring repository filter by using an object So I'm making use of PaginAndSortingRepository<> in Spring. Now I have an object that is bound to this repository. Let's call it AuditLogEntry. So my becomes PagingAndSortingRepository<AuditLogEntry, Long>. I need to apply some filters to this repository, so I created a new model called AuditLogEntryFilter. This is not bound to the AuditLogEntry itself, but I want to use this object to filter out my AuditLogEntry's. The first approach that I've came up with myself is make methods for each of the filter's properties that can be different. This becomes very complicated when the filter' size is expanding. The thing I want to do is this:
List<AuditLogEntry> filterByAuditLogEntryFilter(AuditLogEntryFilter filter);

Does anybody has an idea how to accomplish this? I already looked into make an implementation of the PagingAndSortingRepository, but then I have to implement all of the other methods. Which I don't want to do.
Update solution:
Thanks to @Nikolay Rusev, I come up with the following solution:

*

*In my controller, I call my repository like this:
@RequestMapping(value = "/auditentries", method = RequestMethod.POST)
public String processFilter(final AuditLogEntryFilter filter, BindingResult bindingResult, ModelMap
        modelMap, Pageable pageable) {

Page<AuditLogEntry> auditLogEntryPage = auditLogEntryRepository.findAll(auditLogEntryFilterSpec(filter), pageable);

modelMap.addAttribute("filter", filter);

return "audit";

}

*Then I made a spec with roughly the following code:
public static Specification<AuditLogEntry> auditLogEntryFilterSpec(AuditLogEntryFilter filter) {
    return new Specification<AuditLogEntry>() {

        @Override
        public Predicate toPredicate(Root<AuditLogEntry> root, CriteriaQuery<?> criteriaQuery, CriteriaBuilder criteriaBuilder) {

            List<Predicate> predicateList = new ArrayList<Predicate>();

            if(filter.getDateFrom() != null || filter.getDateTo() != null) {

                if(filter.getDateFrom() != null && filter.getDateTo() == null)
                {
                    Predicate auditLogEntryFromDatePredicate = criteriaBuilder.greaterThan(root.get("timestamp"), filter.getDateFrom());
                    predicateList.add(auditLogEntryFromDatePredicate);
                }

                if(filter.getDateFrom() == null && filter.getDateTo() != null) {
                    Predicate auditLogEntryToDatePredicate = criteriaBuilder.lessThan(root.get("timestamp"), filter.getDateTo());
                    predicateList.add(auditLogEntryToDatePredicate);
                }

                if(filter.getDateFrom() != null && filter.getDateTo() != null) {
                    Predicate auditLogEntryFromDatePredicate = criteriaBuilder.greaterThan(root.get("timestamp"), filter.getDateFrom());
                    Predicate auditLogEntryToDatePredicate = criteriaBuilder.lessThan(root.get("timestamp"), filter.getDateTo());
                    predicateList.add(auditLogEntryFromDatePredicate);
                    predicateList.add(auditLogEntryToDatePredicate);
                }

            }

            Predicate[] predicates = new Predicate[predicateList.size()];
            predicateList.toArray(predicates);

            return criteriaBuilder.and(predicates);
        }
    };
}

Now it retrieves the right results according to the filters.

A: May be you need to look at spring data specifications. here is the spring documentation: http://docs.spring.io/spring-data/jpa/docs/1.5.0.RELEASE/reference/html/jpa.repositories.html#specifications
here is a good articles about it:
http://info.michael-simons.eu/2014/09/24/creating-specification-instances-for-spring-data-jpa-with-spring-mvc/
http://blog.kaczmarzyk.net/2014/03/23/alternative-api-for-filtering-data-with-spring-mvc-and-spring-data/
hope it helps


text:
In 2014 Dundee was named the UK's first, and remains to be the only, UNESCO City of Design.
The City of Design title was awarded to 12 other cities prior to Dundee's designation and the network now includes 31 Cities of Design.
Dundee is a dynamic city with a strong cultural identity and history of innovation and creativity. It has been recognised by UNESCO for its diverse contributions to fields including, medical research, comics, video games and is now home to V&A Dundee: Scotland's first design museum. The title recognises the design innovations Dundee has contributed to the world, including aspirin, biomedical research which has led to hundreds of new cancer drugs, comics including the Beano and Dandy, orange marmalade, video games including Lemmings and Grand Theft Auto.
With a population of 148,000, but serving a wider travel to work area of 500,000, Dundee has, time and again, reinvented itself, focusing on design and creativity to promote economic growth. In the 19th century, it was the world centre of the jute textile industry, resulting in rapid industrial development. It was also a major home to a dynamic digital media industry, respected higher-education institutions and creative industries.
Dundee has used culture and creativity as key drivers of social and economic regeneration. The city still faces significant challenges with the collapse of its traditional industrial base, the legacy of long-term, inter-generational unemployment, and serious social, health and economic problems, but it is tackling these through the Waterfront regeneration, partnership strategies to create jobs, increase confidence and raise aspirations.
As a Creative City of Design, Dundee envisages:
using design as a cornerstone in addressing both social inequalities and opportunities that exist in the city;
sharing experiences and knowledge about digital design, including links between game design and the arts and sciences as well as contemporary art and design;
setting up collaborative projects on interdisciplinary design, combining multiple design approaches to solve social challenges;
focusing on social design, redesigning public service and community engagement; and
fostering public discourse on the place and contribution of design in contemporary society.
Dundee City of Design have developed and produced a number of events following the designation to develop these actions points, including: Dundee Design Festival, Dundee Design Month and Dundee Design Parade. For more information on our programme please see our Events Page.
Dundee City of Design's fundamental principals informing the action plan 2019-2022 are, to:
Celebrate and demonstrate the impact of design, engaging citizens in design, the work of designers and opportunities for co-design.
Champion Dundee's designers by promoting their talent, supporting their creative and commercial success, and involving them in decisions.
Actively participate in the UNESCO Creative Cities Network/Collaborate and share in developing projects and learnings from other UNESCO Cities of Design.
To find out more about why Dundee is a UNESCO City of Design you can view and download a presentation here and view our City Values here.
Why Dundee?
DC Thomson & Co produces over 200 million magazines, newspapers and comics every year; including The Beano, The Dandy and The Courier.
James Bowman Lindsay sent the first ever wireless radio broadcast in 1832 from Dundee.
Thomas John MacLagan developed the earliest form of aspirin in 1876, which was then further developed by German researchers. The microscope he used is still in the Tayside Medical History Museum.
James Chalmers, who died here in 1853 and is buried in the Howff, invented the first adhesive postage stamp.
Dundee University's Duncan of Jordanstone College of Art & Design (DJCAD) is consistently ranked in the top 10% of the UK's art and design schools.
Jane Gowans is one of Professional Jeweller Magazine's Hot 100, with designs worn by singer Emeli Sande and actress Emma Thompson.
Hayley Scanlan graduated from DJCAD before setting up her successful business. Hayley is the only designer to ever win the Scottish Young Designer of the Year award twice.
The original Grand Theft Auto and Lemmings games were created in Dundee in the 1990s by former Abertay University student Dave Jones.
Abertay University is ranked in the world's top 25 universities for teaching game design, at both undergraduate and postgraduate level. Abertay launched the world's first Computer Games Technology degree in 1997, which was later followed by specialist courses in art, audio and game design.
Dundee has many digital pioneers, from digital toy makers Denki, to porting Minecraft on to Xbox and PlayStation thanks to 4J Studios, to 3D mapping innovators eeGeo.
Guerilla Tea developed Play to Cure in partnership with scientists at Cancer Research UK, a game where you help process breast cancer data by navigating your way around an asteroid field.
Space Budgie are designing Glitchspace, an innovative game that enables you to learn programming skills while you play.
Patrick Geddes, the founder of the modern town planning movement, was a professor at Dundee University. He coined the phrase "think global, act local".
All the cultural activity in the city is amplified by Creative Dundee who support creative talent to base, grow and sustain their practice in and around the city. They connect opportunities and amplify the city's creative pulse through events which encourage cross-sector collaboration and networking to develop the local creative and cultural sectors.
Dundee UNESCO City of Design Partners:
Dundee Partnership
Dundee City Council
Leisure & Culture Dundee
V&A Museum of Design Dundee
The McManus: Dundee's Art Gallery and Museum
Dundee Contemporary Arts
Dundee Heritage Trust
Abertay University
Dundee and Angus College
Dundee Civic Trust
The Dundee Partnership is responsible for the choice and presentation of the facts and opinions in this summary of its bid to join the Creative Cities Network, which are not necessarily those of UNESCO and do not commit the Organisation
© Dundee City of Design 2015


text:
From Bengal to the Big Apple
Amaya Rivera
Mira Nair loves to tell a good story, no matter what the genre. From the gritty urban realism of her debut feature, Salaam Bombay!, to the gilded world of 19th-century England in Vanity Fair and the intricacies of romance, love, and family in her smash hit, Monsoon Wedding, she's a director who has continually defied easy categorization.
Nair's latest film, The Namesake, an adaptation of Jhumpa Lahiri's novel of the same name, tells the story of the immigrant Ganguli family. The parents, Ashima and Ashoke, immigrate from Calcutta shortly after an arranged marriage and eventually settle in a middle-class suburb outside New York City. Their son, Gogol, struggles with his parents and begins to shun aspects of Bengali culture. That strain lies at the heart of the film, which examines the complexities of immigration, grief, and familial ties.
Nair herself grew up near Calcutta, the capital of the Indian state of West Bengal, and came to the United States at the age of 19 to attend Harvard. After earning her degree in sociology, she began making films, which have won such accolades as the Caméra D'Or at Cannes (Salaam Bombay!) and a Golden Globe (Hysterical Blindness).
Mother Jones: What inspired you to make The Namesake?
Mira Nair: First and foremost, because of having lost someone who was like a mother to me in a country that was not fully home. The way that Jhumpa had distilled the nature of grief was a solace, and I wanted to give expression to that. The second big draw was the ability to visually link the two cities in which I have grown up: Calcutta in my youth and New York City—critically, the city that taught me how to see in frames—in my later life.
MJ: Although Gogol and his mother have very different relationships to American culture, the push and pull of Bengali and American life is complex for both. Is immigration necessarily an assimilation story? Is it for the Ganguli family?
MN: I think The Namesake is about the history of all our names. And how each person's name is like a puddle of history. For me it's very much about the love of "traveling the world without moving an inch"—this is a phrase a viewer told me. I love that about books. I grew up in a small town in India, but through books I knew the world.
MJ: You once said, "I make images in my work. I don't pen words." How difficult was it to adapt a novel with so much internal conflict into a movie?
MN: Every frame and every scene has to have an intention. Especially in this film, which covers 30 years in two hours. What I wanted to do was a deep love story about stillness. The parents' generation is one of stillness and deep love—a different kind of courtliness that we no longer know. And that is balanced by Gogol's story. I wanted to make a Bengali film in America; I love those early films of Satyajit Ray—the economy, the courtship, the charm. So that type of sweetness, and then with the clang and coolness of Manhattan. It's a completely New York movie in some ways but with people who look like me in the center.
MJ: How involved was Jhumpa Lahiri?
MN: Well, I cast her in the movie, and there are about 26 members of the Lahiri family in the movie. I spent a weekend with her family in their house in Rhode Island, which informed a lot of the look of the film. We made the Ganguli's house look like her parents'.
MJ: Your previous feature film, Vanity Fair, had period costumes and big-name stars. Did you consciously want to make a more intimate, contemporary film?
MN: No, because I wasn't looking to make The Namesake; it began more like a possession. I was on my way to India to reshoot the ending of Vanity Fair when I picked up The Namesake for the journey, and I just couldn't believe it. It was exactly what I was going through emotionally. I'd shoot Vanity Fair during the day—elephants, carriage, Reese Witherspoon—and at 6 p.m. I would say, "Goodbye, everyone, I'm going to my room." And I read and reread The Namesake. We began shooting it 10 months later, which is very quick from conception to raising money, all that stuff. It was like a fever.
MJ: Snippets of hip hop, rock and roll, Indian, and classical music populate your films. How important is music to telling a story?
MN: I often begin movies with music in my head; it's a very important dimension to me. Not just the music itself, but how to use music in film: when and how and subtlety. I don't like to be too sweet in my stories, and I like the abrasive clang, the contrasting of sounds and cultures. For example, Gogol goes to an American barbershop to get his head shaved in respect to his father. But of course that barber thinks it's about being trendy. Two people are inhabiting two different spaces seamlessly, and music is an economic way to capture that in a frame. I commissioned a rap song ["The Chosen One," performed by thelements, featuring Mykill Miers] with the lyrics "You are the chosen one / I am my father's son," and it was wonderful fun to work with the musicians on that.
MJ: What are your future projects?
MN: I'm producing a series of short films to raise awareness of aids and hiv in India, called "aids Awake." I've made deals to clip these films onto the beginning of blockbusters. So when the masses go and see Bollywood star Shah Rukh Khan's new movie this October, they will see a short, maybe even starring him, beforehand. And our Ugandan film school is now in its third year. It's a three-week boot camp for cinema. We give full fellowships to 12 to 20 screenwriters and directors from Uganda, Rwanda, Tanzania, and Kenya, and the remaining 20 percent from South Asia. They come to Kampala, where we have mentors from Spike Lee to Nigerian writer Misan Sagay to Matthew Robbins, who wrote several Spielberg movies. The objective is to make local cinema. If we don't tell our own stories, no one else will.
Mira Nair Picks The Best of Bollywood
Omkara
Directed by Vishal Bharadwaj, one of the directors participating in Nair's "aids Awake" campaign, Omkara is a modern retelling of Othello.
When their husbands' lives collide while working abroad in Saudi Arabia, two women form an unlikely,nd ultimately doomed, friendship.
Sarkar
Featuring veteran Bollywood star Amitabh Bachchan, this homage to The Godfather depicts the ruthless business practices of one corrupt family.
Maestro's Choice
Kishori Amonkar. Nair's favorite song, "Raga Ahir Bhairav," is one of the highlights of this performance by Amonkar, a classical Hindustani singer who is known in India as the Saraswati (goddess of the arts) of Song.
Soundtrack, Various Artists.
The tracks on this eclectic mix range from Argentinean musician Federico Aubele to cutting-edge London DJ State of Bengal, but most are composed by Nitin Sawhney, whose music combines South Asian melodies with Western electronica and breakbeat style.
A Crazy Story That Has Nothing to Do With Trump or Coronavirus or the Election and Really Isn't Very Important at All, but Is Indeed Crazy
Ben Dreyfuss
A Scholar of American Doom Doesn't See How Capitalism Can Fix This Crisis
Jonny Coleman and Molly Lambert
Here's What "Blood on the Tracks" Taught Me
This Is How Authoritarians Get Defeated
Monika Bauerlein