text:
Re-Buhari's Electoral Travails
Mene Lik
Dear Professor Akinnaso: I read your write-up titled "Buhari's Electoral Travails" on Punch Newspapers, May 24, 2011, back page, with interest and expectations. Your write up was mainly aimed at discrediting the validity of Buhari's legal contests of held elections while supposing that Goodluck Jonathan had "credible victory".
Through your first paragraph, I hoped and expected that somewhere along your argument you would want to pay a minuscule homage to some proven realities that have been acknowledged by many. This was not as I mused through your article somewhere fascinated by the level of bias and unawareness, more of unawareness than bias anyway, proven on your write-up.
With due respect to you and your profession and not to mention the ill-fated list you might inspire, I hope to, with this opinion, offer light to your judgment in the faith that you truly are in pursuit of truth and might be somewhere along the line, interested in lasting peace in Nigeria.
Before you quickly judge my descent, let my notify you that I am Nigerian, Igbo, above 30, fluent in Yoruba and Igbo, with interest in the Biafran hope, living in Lagos, schooled in Igbo land, Christian, and a university graduate. I put this thus so as to give you some clearer perspective to who I am. You cannot be more sympathetic to the southern Nigeria than I am, I am not a jihadist or even a Muslim, I have also travelled outside my region of Nigeria and have met peoples of all types. Now you can imagine how your sense of judgment happens to put me on the line of having to give you my bio-data just to aid your discernment.
Now back to where we were heading. Your main contention is that Buhari is not popular and has no reason to complain. Right? It would be worthwhile now to enquire if you were in Nigeria during the days of the presidential campaigns. Were you around during the PDP primaries? Did you read alternative source of news like Sahara Reporters, etcetera? Did you ever see Buhari's campaign in all the states he visited? Do you know that those crowd were never paid unlike those that attended Jonathan's rallies? Did you also see how scanty most of Jonathan's state–wide campaigns were? Do you also know that at every rally of Jonathan's, people were paid to appear? Prof, I am certain you are unaware of these.
My perspective on this last election might not help you am sure, but you want to hear Festus Keyamo speaking on the figures that were allotted to PDP presidential candidates during the past presidential elections: "In 2007, this was the same trend of unjustifiable figures that did not match normal voting patterns that discredited the election. What, then, is the fundamental difference between both elections? Yet we are told one was the worst and the other the freest and fairest. This is nothing but a joke.". This statement was made in the midst of Niger-Deltans, militants and ex-militants, the most staunch supporters of Goodluck Jonathan, in an arena where people had been killed in sporadic violence and no one paid . This statement was made on the last Adaka Boro day, in the heart of Niger –Delta, Sir. And somewhere in the middle, Keyamo added that he cannot accept that black is white and white is black simply because he wants his brother to be president at all cost. Prof are you following?
You may also search for EU's remark on the last presidential election. You can search also for Professor Itse Sagay's interview excepts on the election. You may also know Barrister Bamidele Atturu, a renowned human right activist who publicly averred that Nigerian leaders should own up that the elections were flawed with irregularities and begin to think of working out ways to make other elections better. These are people that are educated and most interestingly, they are even not supporting CPC to get to power. Now how does your opinion fair before these people.
Now on more personal levels, Prof, you may call up friends in Eastern and South-Southern Nigeria and ask them to give you friendly accounts on how the elections were held in those regions. A former school-mate of mine pointedly told me that in his locality in Awo Idemili in Imo State (am sure you never saw this town on any map), he and his friends took it upon themselves to thump-print massively for PDP, in the presidential election. He maintained that this was done boot to boot because though people would want Jonathan to win, they were detached from the voting and did not come out. I got similar facts also from Akwa Ibom, Delta and Enugu states.
In addition to this prof, Asaba market was reported open on the day of the last presidential election as a pure evidence of voter-apathy in the South East and South South Nigeria. These people and others in the country know the level of manipulation that went on and when they read your comment, Prof, you sound somewhat deracinated from facts and truth and lost in some form of phantastic utopia that never was or better still, you are immersed in some form of illusionary bigotry which produces the illiterate jihadists we have killing Christians in the North of Nigeria.
Now on ambassador Campell, I would want to request that you search carefully through Nigerian history and violence through the Gideon Orkar coup and the killing of Igbos in the North. The anti-southern violence in the north was re-energized again after a southerner, Gideon Orkar tried to seize power from IBB, a northerner. Then walk slowly through the annulment of June 12 election to Obasanjo's emergence, his betrayal of the North by turning to support that Jonathan should continue in power.
Study these side by side with the level of violence that went up in the north of Nigeria whenever there was any. Then come back to the PDP primaries. Am sure you never knew that after Atiku lost in the primaries, the Ulamas on the next Jumhat service in the North of Nigeria preached that those who voted for Jonathan were enemies of Islam and did not deserve to live. After that sermon, security was tightened around some northern Nigeria governors for fear of mob attack. Am certain Prof you never read this. So what was left? You still needed am American to tell you that there was a dangerous leaning in the system and that dark clouds were hanging in the air. Prof are you still there?
Now I am certain you would wonder what my interest is. Sir, "Sometime in April" in Rwanda, in a matter of days, over one million people were hacked to death in a spark of rage that was fired by age-long hatred, fear, animosity and lack of trust . There the Balkans looked like a holiday resort. What happened in Rwanda was inspired by long years of projection of deceit, lies, broken accords, falsehood and perceived marginalization which was maintained by a set of systems averse to reality and justice, as has been created by the ruling PDP.
Prof, where the tragedy of your opinion lies is that though I am Igbo, many of my people and I know that the elections you defend with impunity were rigged. The worst of it, the very root of concern and danger is that, Southern Nigerian has a high proliferation of arms and while the northern masses know that the elections were rigged, your cover-up whether born out of ignorance or bias, sends a message to them saying: "Whether we have cheated you or not, you can go to hell and take your leaders along for company; we don't care". Prof, I won't take this from anyone, neither would southern Nigeria in the face of arms proliferation and agitations for cessation, and neither would the melee of illiterate frustrated red-eyed almajiris that number over 15 million by popular estimations. Further and ironically too, the Nigerian army is dominated by Northern Nigeria. If you put these together, you will get my point Sir, and quintessentially the danger in covering up the truth.
Having mentioned few notable points of contemplation Sir, I hope I have done your ignorance some good by sending this to you and I hope you will be kind enough to send me a reply and forward this to other friends of yours.
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The Truth, Nothing But The Truth By Oby Ezekwesili
Christianity Politics
Dr. Doyin Okupe, You Are Wrong: President Jonathan Is Not Like Jesus Christ By Pastor Gabriel Olalekan Popoola
The President owes us an apology and a refund of $1million
President Buhari Draws Roadmap to Steer An Adrift Nation Aright By Peter Claver Oparah
Femi Fani-Kayode Satanic Verses By Bayo Oluwasanmi
June 12; And The Daniel Finally Comes To Judgment


text:
Q: Statistics help probalility If boys and girls are equally likely to be born, what is the probability that in a randomly selected family of $4$ children, there will be at least one boy? (Find the answer using a formula. Round your answer to three decimal places.)
What formula are they talking about?

A: $P(x \geq 1) = 1 - P(x < 1) = 1 - P(x = 0) = 1 - .5^4 = 1 - 0.0625 = 0.9375$

redpajama_set_name: RedPajamaStackExchange


Easy-Garden Climbing Plant Trellis enables space to be used more efficiently by growing vertically.
Constructed of Zinc plated poles and a strong and durable UV stabilized thermoplastic net for climbing plants.
Net may be purchased seperately.
Provides a base for climbing plants to cling to while growing.
Helps produce more quality produce because fruit is not laying on ground.
Promotes faster ripening by providing more light and air to plant and produce.
Brachets included for attaching to the Easy-Garden Basic raised bed and extensions or a wooden raised bed. (Screws not included for wood attachment).
The growing trellis is an option to help climbing plants. It is constructed of poly deer fencing and all metal parts are zinc plated for long life.
Shown on a 10 ft. bed.


2203.1 - Purpose and scope.
2203.3 - Public attendance at Commission meetings.
2203.4 - Procedures applicable to regularly-scheduled meetings.
2203.5 - Procedures applicable to other meetings.
2203.6 - Certification by the General Counsel.
2203.7 - Transcripts, recordings, and minutes of closed meetings.


text:
Teaching assistants to march in Miners' Gala parade.
By Bruce Unwin
DEMO: Teaching assistants staging a demonstration at County Hall, Durham, recently.
TEACHING assistants are to highlight their fight against planned cuts in their pay by taking part in the Durham Miners' Gala next month.
Faced with the prospect of being dismissed by Durham County Council on existing terms, the 2,700 assistants would then be re-engaged, but on less favourable terms and conditions.
It means the assistants, including those at higher level and with support status, will see their pay reduced, some by up to 23 per cent, from next year.
Many have said they would be unable to afford to remain in the job if the proposed cut goes ahead.
Assistants from across the county staged a mass demonstration outside County Hall, in Durham, prior to a previous county council meeting, and a rally at the Miners' Hall, in Redhills, Durham, last Thursday (June 9) was almost as equally well attended.
Union leaders were sanctioned to prepare for a strike ballot if the consultation process now in place fails to yield any movement in the county council's stance.
But the pressure will be maintained when the assistants join the various former colliery lodges in the procession of bands and banners to the speakers' field at the Big Meeting, on July 9.
Kathryne Wray, of the County Durham Trades' Union Council, which supports the assistants, said Durham Miners' Association has agreed to the request to march on Gala day.
"I understand they're hoping that at least 500 assistants march behind the banner, and they hope there will be the potential to get time on the speakers' platform, as well."
She added that it would help to spread the word and drum up more support for the cause.

redpajama_set_name: RedPajamaCommonCrawl


Stop by one of Great Southern Equipment's locations across Florida to see our selection of Sakai compactors.
Sakai rollers have a long life and consistently outlast the competition. With heavy duty parts and a patented shock isolation system, these machines are an excellent long term investment. Sakai offers a wide range of asphalt compactors from 33" width rollers perfect for road shoulders and parking lots, to larger models that quickly finish work on highways and airports.
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For unmatched durability, Sakai's line of soil compactors features the same heavy duty parts and shock isolation system as the asphalt models. These rollers feature high centrifugal force outputs and several amplitude and frequency settings to achieve uniform compaction and reach target density in fewer passes.
Traction control and raised exhaust pipes for trench work mean these machines can handle any job including slope work, utility installation, and site prep. Sakai soil compactors also feature a new ECO compaction mode to reduce fuel consumption by up to 20%.
Versatile and durable, Sakai offers light compaction equipment for your small, confined compaction jobs. These machines offer superior shock absorption systems to lower vibration for the operator.
Sakai offers rammers, plate compactors, walk behind rollers, trench rollers, and ride-on vibratory rollers. These machines are ideal for trench work, utility projects, and landscaping.


text:
Film Car "KAMAZ". Section 4. Additional brake systems of The KAMAZ car". (1987)
Car "KAMAZ". Section 4. Additional brake systems of The KAMAZ car" (1987)
Documentary №38695, 2 parts, duration: 0:18:40
Production: Centrnauchfilm (CNF)
Director:I. Kogan, Yu. Smirnov
Screenwriters:G. Karaulova
Camera operators:G. Kreps
Sound mixer:B. Kokin
Other authors:T. Uspenskaya
TransportationSectors of the economy
Educational film about the device and the operating principle of additional braking of the vehicle.
Reel №1 Car "KAMAZ". Section 4.
View of the front of the truck "KAMAZ", moving on the highway.
The truck "KAMAZ" on the track of the test site.
The driver is driving a truck.
The driver's foot presses on the brake pedal.
The driver switches gears.
"KAMAZ" stops on the road after the failure of the working brake system.
View of the cab and rear wheels of the car.
"KAMAZ" on the highway.
The driver is driving, the driver's foot presses the brake pedal, the brake of the working system does not work.
The driver includes additional braking systems-a spare one when braking and a parking one when the car is completely stopped.
View of the front part of the "KAMAZ" standing on the road.
The rear wheels of the "KAMAZ".
Diagram of the spare (parking) brake system, system controls (animation).
Pneumatic actuator with double safety valve.
Air cylinders, control valve and rear wheel brakes on the spare brake system diagram (animation).
Type of control tap.
A type of spring-loaded energy accumulator that drives the brake mechanisms.
Scheme of operation of the energy accumulator when the brake mechanism of the wheel is affected (animation).
Device and operation diagram of the manual brake control crane (animation).
Opening of the brake crane by the driver.
The driver is driving.
Turn the crane handle to the rear fixed position.
The car is on an incline, held by the parking brake.
Installing the brake valve handle in the front fixed position for disinhibiting the vehicle.
The scheme of operation of the spring energy accumulator during disinhibition, disinhibition of the wheel (animation).
"KAMAZ" starts moving.
Dump truck "KAMAZ" on the ascents and turns.
View of the front of the car.
The driver is in the cab.
Giving a signal about a breach of tightness.
The car brakes sharply on the slope.
The scheme of automatic operation of the spring energy accumulator in case of a sharp drop in pressure in the brake system (animation).
The rear wheel of the "KAMAZ".
The driver presses the button to activate the emergency release system.
The scheme of operation of the nodes of the emergency disinhibition system (animation).
The car starts moving downhill.
The driver holds the air supply button with his hand while driving downhill.
"KAMAZ" brakes on the bridge due to the lack of air in the emergency disinhibition system.
Warning lights and emergency alarms are on.
The driver performs a mechanical release of the parking brake.
The scheme of operation of the spring energy accumulator during mechanical disinhibition (animation).
Drivers eliminate air leakage from the brake system pipeline.
Diagram of the operation of the safety valves in the pneumatic actuator (animation).
Operation diagram of the double safety valve (animation).
The driver gets behind the wheel, turns off the parking brake control valve.
The car starts moving.
View of the back of a dump truck driving on the highway.
Calendar: 1987
Locations: Moscow [820]
Seasons: Summer [824]
Automobile transportTransportationSectors of the economy
View of the part of the highway with a long descent (from above).
View of the dashboard.
Diagram of the auxiliary brake system of the car "KAMAZ" (animation).
Diagram of the engine switching to braking mode (animation).
The wheels of the "KAMAZ" during braking.
The driver is in the cab of the truck.
The driver presses the brake-retarder control valve with his foot.
General scheme of operation of the additional brake system (animation).
The scheme of operation of the auxiliary system flap, creating pressure in the engine exhaust pipe (animation).
The driver removes the foot of the control scran, presses the service brake pedal.
Trucks "KAMAZ" on the highway, one overtaking the other.
Vans in the parking lot, "KAMAZ" in reverse takes its place.
Installing the trailer.
Connecting the pneumatic drive of the trailer brakes, the driver's face.
Diagram of the communication of the air line of the tractor-trailer with pneumatic brakes of the trailer and the operation of the disconnecting crane (animation).
Diagram of trailer brake equipment, components and assemblies (animation).
"KAMAZ" with a trailer passes an open barrier.
"KAMAZ" with a trailer moves downhill, turns.
The scheme of operation of the two-wire pneumatic drive of brake mechanisms (animation).
Type and operation diagram of the trailer brake control valve (animation).
Diagram of the air supply to the air distributor of the trailer connecting the air cylinder to the brake chambers (animation).
The scheme of operation of the air distributor during disinhibition (animation).
Installation location of a single safety valve on a tractor vehicle (animation).
Diagram of the safety valve operation in case of damage to the trailer supply line (animation).
View of the dashboard in the cab of the "KAMAZ".
Device and scheme of operation of a single-wire pneumatic drive of trailer brakes with a control valve (animation).
Opening of the intake valve in the trailer air distributor (animation).
Scheme of operation of the chain "trailer air cylinder-brake chambers" (animation).
"KAMAZ" with a trailer on the highway.
The sequence of braking and disinhibition of the wheels of the road train (animation).
The wheels of the road train.
The driver's face.
Road train on the highway.


For three quarters the 2008 wooden spooners matched it with the premiers. More than 5 goals in front at three-quarter time it looked as if they were going to withstanding a massive comeback, but Jarryd Roughead marked and goalled with 30 seconds left to win it for the Hawks.
Austin Wonaeamirri suffered a hamstring injury that would keep him out of the start of the season, and captain James McDonald injured his leg.
Paul Johnson was reported for striking Sam Mitchell in the first quarter but was cleared.


As those of you that attended last week's DAM Contemporaries screening already know, Stacey Steers' new animated film Night Hunter is wonderful. The film was enthusiastically received by a capacity crowd at the Denver Art Museum's Sharp Auditorium last Friday. The evening included screenings of a selection of Stacey's previous films, which many of our members know and love from previous ASIFA screenings. I saw many of those members in the audience anticipating the premiere of Night Hunter. The new film utilizes imagery of American silent film actress Lillian Gish, and builds upon Steers' unique style of handmade dreamlike animation. The captivating, organic imagery carries the viewer along a continually unfolding path of stunning vision and imagination. It is not to be missed.
I have heard from several ASIFA members that were unable to make reservations in time to attend the premiere. If you missed it, rest assured that you can view Night Hunter through August 28th at the Fuse Box exhibit at the Denver Art Museum. If you get the chance, be sure to thank DAM for bringing great animation to Denver and for exhibiting the work of an awesome Colorado animator.
ASIFA-CO Board member Wes Price and I got to spend a moment chatting with Stacey and L.A. based animator (and friend of ASIFA-CO) Sandro Del Rosario at the reception, pictured above. It was great to hang out with these two again, and a great way to cap off a wonderful night for animation in Colorado! Also, a big thank you to our members that attended and showed DAM that Colorado loves animation. You guys rock!


The environmental conditions and radar echo features of the 72 superccll-storms in northern Jiangsu Province arc in-vcstigated, based on the data from 5 Doppler weather radars,3 radiosonde stations, and surface weather stations during the 2005-2009. The sounding analyses indicate that high precipitation supercells usually occur with very high CAPE, medium deep layer(0-6 km) vertical wind shear, and high value of low level dewpoint, while classic suppercells occur with high CAPE, strong deep layer vertical wind shear, and moderate low level dewpoint. Supercells producing large hailstones and/or strong wind gust occur in the environment with lower height of 0℃ and 20℃ levels, relatively sharp lapse rate of temperature, strong deep layer vertical wind shear, and moderate surface dewpoints. However, the tornadic supercells occur in the environment with strong lower level (0-1 km) vertical wind shear, lower LCL, less lapse rate of temperature, and high surface dew-points, frequently accompanied by flash heavy rain. The results of Doppler weather radar echoes analysis shows that there are three types of supercell storms in northern Jiangsu:classical supcrcells, high precipitation supercells, and high precipitation supercell complexes. A classical supercell is usually isolated, with a mesocyclone at rear-right flank(relative to storm moving dircetion), a hook echo at low level, and a high reflectivity core above a broad bounded weak echo region(BWER).A high pre-cipitation supcrcell has a front inflow notch with a mesocyclone, a wide bow-shaped echo next to the inflow notch at low level, and a BWER or WER, with the mesocyclone circulations filled with precipitation. high precipitation superccll complexes have a similar structure to the high precipitation, but with longer life time. The storm cell characteristics analysis displays that, in majority of cases, the strongest echoes of the supercells range from 55 dBz to 76 dBz, the vertical integrated liquid(VIL) from 35 kg/m2 to 90 kg/m2, the rotation speed of m esocyclones is greater 15 m/s, and the duration over 40 minutes. High probability of tornados can be expected when a mesocyclone possesses very low base and smaller diameter.


In this sample video from Pod 2, Speck the alien challenges the idea of throwing things 'away'.
Pupils explore the wastefulness of current manufacturing processes.
They categorise waste into two main categories: natural materials which can be recycled through natural systems, and processed technical materials which cannot and so build up in the environment.
Pupils realise that, in order to stop resource depletion and polllution, technical materials used in products need to be designed so that they can easily be dismantled and re-used through closed loop systems . These are cradle to cradle products.
Pupils classify materials found on a beach into manufactured or processed (technical) materials on one hand and natural materials on the other. Pupils develop their listening skills by transferring information on natural processes to graphic notes.
Pupils consider the number of aluminium cans used in the UK and the extent to which they are recycled. They use spreadsheets to model how much aluminium is retrieved. Pupils compare the UK recycling rates with rates of other countries and suggest strategies to help close the aluminium loop.
Pupils take a torch to pieces and draw an exploded diagram. They extract information from a fact file about finite materials in the torch, and consider how its design could be made more sustainable.
Pupils assume the role of designers presenting their idea to a Dragons' Den panel. Their brief is to take an everyday product and redesign it to conform to closed loop principles. This summative task draws on the knowledge, skills and understanding developed earlier in the pod, helping pupils develop presentation skills.


text:
Mystery Science Theater 3000: Season 11 (Blu-ray Review)
Review Date: Apr 17, 2018
Robert Cohen/Joel Hodgson
2017 (April 17, 2018)
Netflix (Shout! Factory)
Film/Program Grade: C-
Video Grade: A-
Audio Grade: A-
Extras Grade: D+
Overall Grade: C
WE'VE GOT MOVIE SIGN!!!
Mystery Science Theater 3000 returns with Season 11 in an 8-Disc Blu-ray boxed set from Shout! Factory. Premiering with a new cast that includes Jonah Ray, Felicia Day, and Patton Oswalt, as well as cameo appearances by original cast members and other celebrities, MST3K successfully relaunched via a highly successful Kickstarter campaign and premiered on Netflix in April of 2017 with 14 new episodes. Widely popular and well-received with only minor detractors, this new incarnation of the show is already on its way to another season.
I've gone into a good amount of detail about MST3K in past reviews, so I won't bother getting into that. We'll keep things short and sweet instead and just cover the set itself. New episodes of the show include the following films: Reptilicus, Cry Wilderness, The Time Travelers, Avalanche, The Beast of Hollow Mountain, Starcrash, The Land That Time Forgot, The Loves of Hercules, Yongary: Monster from the Deep, Wizards of the Lost Kingdom, Wizards of the Lost Kingdom II, Carnival Magic, The Christmas That Almost Wasn't, and At the Earth's Core. The quality of each episode varies, with some episodes being better than others.
Reptilicus is a 1961 monster movie imported from Denmark and released through American International Pictures. It features an array of Danish actors, monster-induced havoc, and snooze-inducing dialogue. Cry Wilderness, a family-friendly adventure released in 1987, features a tale about a young boy who believes in Bigfoot and goes looking for his father who is hunting a wild tiger in the wilderness. Ib Melchior's The Time Travelers, released by A.I.P. in 1964, follows a group of scientists through a time portal to a future world inhabited by monsters who threaten human existence after a nuclear fallout. Avalanche, a tried and true disaster movie from 1978 with roles inhabited by Mia Farrow, Rock Hudson, and Robert Forster, involves a winter resort, a doomed love story, and mass, snow-driven destruction.
In The Beast of Yellow Mountain from 1956, a cowboy goes on the hunt for a prehistoric dinosaur after it steals his cattle and begins attacking local townspeople. Luigi Cozzi's Starcrash from 1978 is an attempt to cash in on the success of Star Wars, but to a much lesser, but perhaps more charming, degree. In The Land That Time Forgot from 1975, a group of people wind up on an unknown island with prehistoric animals and a tribe of Neanderthal-like beings who are out to kill them. The Loves of Hercules stars Jayne Mansfield and Mickey Hargitay, the latter the titular hero seeking vengeance after the death of his wife, only to find another in the form of a queen, but not before battling monsters and no-good villains. In the 1967 South Korean monster movie Yongary: Monster from the Deep, a large, fire-breathing Kaiju emerges from the depths after a series of nuclear tests and earthquakes... sound familiar?
In Wizards of the Lost Kingdom and Wizards of the Lost Kingdom II (from 1985 and 1989 respectively), a young man must overcome various evil overlords with the aid of fierce warriors and kid-friendly creatures, all in laugh-inducing, swords and sorcery fashion. Carnival Magic, directed by Al Adamson in 1981, is a so-called family film about a magician and a chimpanzee who combine their talents for circus crowds, but not without jealous detractors. For holiday special fans, there's The Christmas That Almost Wasn't from 1966, featuring a down-on-his-luck lawyer and Santa Claus, both of whom must try and save Christmas by paying the lawyer's rent and reigniting the lawyer's landlord's Christmas spirit, or something. And last but not least, At the Earth's Core, Amicus Productions' 1976 adaptation of the Edgar Rice Burroughs novel about scientists who find themselves at the center of the Earth and overrun with monsters and prehistoric cavemen.
Shout Factory's boxed sets of the old show were normally released three to four times a year with some nice extras and better quality episodes than what might have been found floating around online or on bootlegs. That's not the case with this new show. As far as image and sound quality are concerned, the host segments were shot in high definition and the films themselves are taken from the best elements available, most of which are quite good. Everything appears colorful and detail-oriented as expected with little to nothing worthy of complaint. The audio for the show is presented in both English 5.1 and 2.0 DTS-HD with optional English subtitles. I personally found the 2.0 presentation to be more than ample enough for the show, although the 5.1 does offer up some extra space to breathe, as well as added ambience. Both are fine tracks to choose from.
Unfortunately, the extras is really where this set falters. What has been included is Ballyhoo Motion Pictures' excellent We Brought Back MST3K 73-minute documentary, which goes into extreme detail about the creation and release of the new season of the show, and is absolutely worth watching. However, sorely missing is all of the material from the Kickstarter-exclusive DVD and Blu-ray releases, which included an introduction from Joel Hodgson, two still galleries – concept art and production photos; a Season 11 blooper reel; several Kickstarter videos: Bring Back MST3K!, The Next Host, The Next Cast, Turkey Day 2015 at Kickstarter, Funny or Die: Leaked Star Wars Auditions, More Questions, and The Final Countdown Telethon; and last but not least, several After the Campaign videos, including a Rifftrax MST3K Cast Reunion excerpt, an MST3K Panel at SDCC 2016 excerpt, a Camp Conival 2016 Panel, a set of Turkey Day Marathon 2016 host segments, and the Advance Screening Tour: Q&A Highlights reel. Some of this material is featured in the documentary that's been included, but I cannot wrap my mind around why it wasn't included on the official release as well. Go figure.
All in all, this is still another solid boxed set release of MST3K from the good folks at Shout! Factory (outside of the missing extras, that is). If you're a fan of this new version of the show and you missed out on the Kickstarter version, you'll definitely want to pick this up. Now push the button, Frank... err, Max.
1956, 1960, 1961, 1964, 1966, 1967, 1975, 1976, 1978, 1981, 1985, 1987, 1989, 2017, At the Earth's Core, Avalanche, b movie, b movies, Ballyhoo, Ballyhoo Motion Pictures, Blu-ray, Blu-ray Disc, box set, boxed set, boxset, Carnival Magic, comedy, Cry Wilderness, Felicia Day, funny, horror, Joel Hodgson, Jonah Ray, MST3K, Mystery Science Theater 3000, Netflix, Patton Oswalt, Reptilicus, review, revival, Robert Cohen, sci-fi, science fiction, Season 11, Shout! Factory, Starcrash, The Beast of Hollow Mountain, The Christmas That Almost Wasn't, The Digital Bits, The Land That Time Forgot, The Loves of Hercules, The Return, The Time Travelers, Tim Salmons, TV, TV show, Wizards of the Lost Kingdom, Wizards of the Lost Kingdom II, Yongary Monster from the Deep


text:
Biografia
Figlio di un attivista sindacale, è fratello maggiore dell'attore Rémy Belvaux. Nel 1979 si è trasferito a Parigi per intraprendere la carriera di attore.

Filmografia

Attore
Allons z'enfants, regia di Yves Boisset (1981)
La Truite, regia di Joseph Losey (1982)
La morte di Mario Ricci (La Mort de Mario Ricci), regia di Claude Goretta (1982)
La Femme ivoire, regia di Dominique Cheminal (1982)
Ronde de nuit, regia di Jean-Claude Missiaen (1984)
La femme publique, regia di Andrzej Żuławski (1984)
Una morte di troppo (Poulet au vinaigre), regia di Claude Chabrol (1985)
Hurlevent, regia di Jacques Rivette (1985)
La Baston, regia di Jean-Claude Missiaen (1985)
Il disordine (Désordre), regia di Olivier Assayas (1986)
La Loi sauvage, regia di Francis Reusser (1988)
L'Air de rien, regia di Mary Jimenez (1989)
Trois années, regia di Fabrice Cazeneuve (1990)
Madame Bovary, regia di Claude Chabrol (1991)
Sorrisi asmatici - Fiori del destino, regia di Tonino De Bernardi (1997)
Rincorsa (Cavale), regia di Lucas Belvaux (2002)
Dopo la vita (Après la vie), regia di Lucas Belvaux (2002)
Una coppia perfetta (Un couple épatant), regia di Lucas Belvaux (2002)
Demain on déménage, regia di Chantal Akerman (2004)
Joyeux Noël - Una verità dimenticata dalla storia (Joyeux Noël), regia di Christian Carion (2005)
La raison du plus faible, regia di Lucas Belvaux (2006)
Pars vite et reviens tard, regia di Régis Wargnier (2007)
L'Armée du crime, regia di Robert Guédiguian (2009)
Rapt, regia di Lucas Belvaux (2009)

Regista
Per scherzo! (Pour rire!) (1996)
Rincorsa (Cavale, 2002)
Dopo la vita (Après la vie, 2002)
Una coppia perfetta (Un couple épatant, 2002)
La raison du plus faible, 2006
Rapt, 2009
38 testimoni (38 témoins, 2012)
Sarà il mio tipo? (Pas son genre, 2014)
A casa nostra (Chez nous, 2017)
Des hommes (2020)

Premi e riconoscimenti

Festival di Cannes
2006 - Candidato alla Palma d'oro per La raison du plus faible

Premio César
1986 - Candidato a migliore promessa maschile per Una morte di troppo (Poulet au vinaigre)
2004 - Candidato a migliore regista per Per scherzo! (Pour rire!), Rincorsa (Cavale) e Dopo la vita (Après la vie)
2004 - Candidato a migliore sceneggiatura originale per *Per scherzo! (Pour rire!), Rincorsa (Cavale) e Dopo la vita (Après la vie)
2010 - Candidato a migliore regista per Rapt
2010 - Candidato a miglior film per Rapt
2013 - Candidato a miglior adattamento per 38 testimoni (38 témoins)
2015 - Candidato a miglior adattamento per Sarà il mio tipo? (Pas son genre)

Premio Magritte
2013 - Migliore sceneggiatura per 38 testimoni (38 témoins)
2013 - Candidato a migliore regista per 38 testimoni (38 témoins)
2013 - Candidato a migliore film per 38 testimoni (38 témoins)
2015 - Migliore sceneggiatura per Sarà il mio tipo? (Pas son genre)
2015 - Candidato a migliore regista per Sarà il mio tipo? (Pas son genre)
2015 - Candidato a migliore film per Sarà il mio tipo? (Pas son genre)
2018 - Candidato a migliore film per A casa nostra (Chez nous)
2018 - Candidato a migliore regista per A casa nostra (Chez nous)
2018 - Candidato a migliore sceneggiatura per A casa nostra (Chez nous)

Altri progetti

Collegamenti esterni

Premi Magritte per la migliore sceneggiatura

redpajama_set_name: RedPajamaWikipedia


text:
10 Things You Never Knew About Jeannie D
Review: One Direction Live In Johannesburg
elbroide March 31, 2015
CelebrityMusicNewsReviews0 Comments 0
Fans have waited over a year since tickets went on sale. South Africa has waited five years for the world's biggest boy band to make their way to South Africa and in March 2015, we finally got the chance to see One Direction live! It's a big thing to sell out FNB Stadium but, proving just how big they are, One Direction sold it out two days in a row! I was there on the 29th of March and this is what I thought about the show.
Starting things off was SA's Got Talent winner Johnny Apple, who just released his debut album of the same name. I'm a huge fan of Johnny and his voice is one of the best in South Africa but things didn't work with his performance for me. He had the opportunity of a lifetime and he didn't make the most of it. Firstly, and I'm not sure why this bothered me, but he didn't say his name until the second last song. Johnny is still unknown in the local music scene – despite his large social media presence.
Johnny performed the first three or so songs and sort of got the crowd going. The lad, talented as he is, struggled in front of so many people and the stage swallowed him whole. He introduced each song before he sang and did it so awkwardly that you could tell he was nervous AF. Sure, everyone gets nervous but I feel a performer should never reveal that. Then, halfway through his 40-minute set, he introduced the winners of the very first The X Factor South Africa, Four, who performed a few songs as well. Why? Who knows.
They performed some covers as well as their new single 'I Do' and the crowd freaking loved it – and so did I! Sure, their dancing was so incredibly cheesy but they captured the audience. Johnny, however, has more mid-tempo to slow songs and Four's energy translated way better than his. Also, he has 40 minutes. WHY is he wasting his time on stage giving Four the chance to shine? Sure, I understand if they sang a song or two together but that was a silly mistake on his part. That being said, Johnny's album skyrocketed to the number two spot on iTunes which is something incredibly phenomanal for the kid – and he deserves every bit of success.
Team Niall!
A post shared by El Broide (@elbroide) on Mar 30, 2015 at 10:35am PDT
Onto the main event. Clearly South Africa was disappointed that Zayn Malik would not be performing at the show, however, we quickly understood that nothing can be done about this and we might as well enjoy the show. Before going into the show it was interesting for me to see that Liam Payne was given a lot of Zayn's vocals and it was quite nice seeing him in the spotlight a bit more.
#LittleThings #OneDirection
The boys kicked off the show with 'Clouds' and instantly got the crowd revved up. It was interesting to note that Zayn's face was removed from all of the photos and videos used in the introduction. The lads were about five songs into their set before addressing the crowd, revealing how excited they are to be in Johannesburg and how thankful they are for having the fans stick by them. Also, they understood that selling out FNB Stadium TWICE was a pretty huge deal.
#YouAndI! The bromance between Liam and Niall #OneDirection
Their performance was good. There was a lot of energy from the boys and they interacted with the crowd quite a lot. Harry Styles, in fact, teased the audience by throwing water at them a number of times. Speaking of Harry, his vocals are absolutely amazing and seeing him live made me understand this even more.
The crowd went nuts when songs such as 'Little Things', 'What Makes You Beautiful', 'Steal My Girl', 'One Thing' and 'Story of my Life' played. I was quite surprised, however, that not a single song blew me away. Sure, they performed huge hit singles and it was really nice but that's about it. I also found that, since there are four of them on stage, the boys were shouting a lot during the choruses.
#BestSongEver #OneDirection
That being said, their performance was an absolute blast. Their energy is electrifying and their stage presence is undeniable. I enjoyed every second of the show and would watch One Direction do their thing on stage again in a heartbeat. Despite Zayn not being there, the boys pulled it off – and that is a huge achievement. Cape Town, be ready!
#BetterThanWords 🙌🙌 #OneDirection
"Midnight Memories"
"Better Than Words"
"Don't Forget Where You Belong"
"Night Changes"
"Through the Dark"
"Girl Almighty"
"You & I"
"Best Song Ever"
FourJohannesburgJohnny AppleLiveOne DirectionSouth AfricaZayn Malik
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text:
Biografia
Nata nel 1936 a New York, Arlene McQuade cominciò a lavorare come attrice bambina alla radio e in teatro. Proprio la sua interpretazione nel dramma Estate e fumo di Tennessee Williams, in scena a Broadway dal 6 ottobre 1948 al 1 gennaio 1949, la pose all'attenzione della CBS come una delle interpreti più promettenti del momento.

Fece il suo debutto televisivo nell'agosto 1949, a 13 anni, come "Rosalie (Rosie) Goldberg" nel cast principale della serie The Goldbergs, di cui rimarrà tra i protagonisti fino al 1956. Con Lanny Rees in The Life of Riley fu tra i primi attori/attrici adolescenti ad acquisire successo alla televisione come interprete di popolari sitcom familiari, secondo una formula destinata a ripetersi comunemente negli anni e decenni a venire.

The Goldbergs si incentrava sulle vicende di una famiglia ebraica americana di New York e della sua matriarca, Molly Goldberg (interpretata da Gertrude Berg). La serie, originata nel 1928 come radio-dramma, ebbe grande successo di pubblico e di critica tanto che il cast televisivo, inclusa la McQuade, ne fu protagonista anche di una versione cinematografica, The Goldbergs (1950). La McQuade  interpretò lo stesso personaggio di "Rosalie Goldberg" anche in quattro episodi di The Milton Berle Show nel 1952-1953. Sul set della serie televisiva, la giovane divenne molto amica di Anne Bancroft, cui la legava anche la comune origine italiana da parte materna.

Al di fuori del suo impegno nella serie The Goldbergs, la sua carriera di attrice fu limitata negli anni cinquanta ad alcune partecipazioni in altre serie televisive e ad una piccola parte (non accreditata) nel film L'infernale Quinlan (1958) diretto da Orson Welles.

Nel 1960 si sposò con l'attore Valentin de Vargas, dal quale avrà due figli, prima del divorzio nel 1967. La sua presenza in televisione si ridusse ad alcune occasioni sporadiche. Alla carriera di attrice, la McQuade preferì quella di artista, pittrice e scultrice.

Morì nel 2014, all'età di 77 anni, a Santa Fe (Nuovo Messico), dove si era trasferita dal 2002 per vivere vicina ai figli e ai nipoti.

Riconoscimenti
 Young Hollywood Hall of Fame (1950s)

Filmografia

Televisione
 The Goldbergs - cast principale, 55 episodi (1949–1957)
 Starfish, regia di Marc Daniels (1956) - episodio della serie Kraft Theatre
 4 episodi de The Milton Berle Show (1952-53)
 Fight for the Title, regia di Erle C. Kenton (1957) - episodio della serie Telephone Time
 The Nick Joseph Story, regia di Allen H. Miner (1959) - episodio della serie The Lawless Years
 Forty Detectives Later, regia di Arthur Hiller (1960) - episodio della serie Alfred Hitchcock presenta (Alfred Hitchcock Presents)
 Have Gun - Will Travel – serie TV, episodio 4x12 (1960)
 Full Fathom Five, regia di Richard Benedict (1968) - episodio della serie Hawaii Five-O
 The Contract, regia di Jack Hively (1970) - episodio della serie Death Valley Days

Cinema
 The Goldbergs, regia di Walter Hart (1950)
 Touch of Evil (1958), regia di Orson Welles - non accreditata

Note

Altri progetti

Collegamenti esterni

Attori bambini statunitensi


text:
Curating the city
Pub date April 8, 2014
WriterLaura B. Childs
SectionVisual Art
art@sfbg.com
Geary Boulevard runs almost the entire length of San Francisco, beginning in the middle of the Financial District, at the historic Lotta's Fountain. Along the first few blocks of one of the city's longest streets — amid a bustling community of corporate offices, luxury boutiques, and specialty coffee houses — the city oldest established art galleries have thrived. But that's changing.
Three art galleries used to share the second floor of 77 Geary. Now, it is headquarters of a technology firm. Rena Bransten Gallery, George Krevsky Gallery, and Accession Gallery were sent eviction notices in January, forced out by the expansion of the building's fourth floor tenants, MuleSoft. The software and consulting company offered to pay double the art galleries' rent. When a counter-offer was too costly for the gallery owners, the art spaces were forced to relocate or close indefinitely.
News of the eviction of these three galleries broke in January, inciting an outcry about affordability and displacement caused by the tech industry, an all-too-common San Francisco narrative these days. These galleries were forced out of a space they had occupied for decades, a space where they had cultivated a community of artists and art-lovers alike, a place where the two could easily connect.
The affordability and displacement crisis is not news to San Francisco. With stores closing and opening daily and eviction notices sent out left and right, the fodder for concern about the changing face of the city is inexhaustible.
>>READ OUR FULL CAREERS AND ED ISSUE: HOW TO SURVIVE AS AN ARTIST HERE
What's worrisome about the 77 Geary gallery evictions is not so much the evictions themselves, but rather what it means for the future of art in San Francisco. Galleries serve as a gathering space for artists to sell art and for the community to appreciate it. Without the walls of a gallery, where will artists sell their work? How do we continue the thriving community of artists and art lovers? And most importantly, what will become of the art world as we move towards an increasingly digital world?
GALLERIES AS INCUBATORS
Public art museums, or art galleries, have been around since the late 1700s. For centuries, they've functioned as hubs of culture where art is not simply sold, but appreciated. Over time, commercialization has plagued the art world, artists and art galleries alike have had to focus on sales over building a culture and a community. In the past few years, gallerists have seen the landscape of the art world shift so dramatically that they've been unable to keep up.
"Local galleries are under assault," Trish Bransten, director of Rena Bransten Gallery, tells the Guardian. This 27-year-old gallery on Geary was run by a mother and daughter team. They recently relocated to 1639 Market St, a townhouse-like space that recently the public. The white walls stretch up two floors, with a loft in the back. There's potential here, Trish says, despite the 1,100- square-foot gallery being a quarter the size of its previous location. The five-woman staff sits in a circle, comfortably discussing the changing art scene over martinis.
What they describe as an "assault" comes from different angles. The Mulesoft eviction was an easy target for pinning the blame on technology companies, but the problem lies deeper that. It's been 20 years since the World Wide Web was introduced to the public and some industries are seeing consequences only now.
The digitization of our lives has had a profound effect on the art world. Similar to when the Internet upturned the journalism and publishing industries, the art industry is struggling to move forward in the digital world — all these content providers forced to find new ways to reach their audiences.
Heather Marx and Steve Zavattero have been gallery owners for 12 years, until last year. Marx & Zavattero Gallery was part of the 77 Geary galleries until they decided to close six months before the formal eviction. It became clear to the couple that the old model of art galleries was changing. The art world was shifting from under their feet and they felt that they could not move forward with the old model of selling art.
"We were straddling the old school and the new school," says Zavattero, who was part of the first tech boom in the 1990s before joining his wife's gallery. He remembers Marx & Zavattero Gallery as a gathering place for wonderful visuals, great ideas, and stimulating conversation. "Maybe that's just an archaic notion at this point with the world speeding up this much," he says. "I think in San Francisco it's happening at such a rapid acute pace that it's ominous in a sense."
Gallerists traditionally find artists for an exhibition and then support them throughout their career. Putting on an artist exhibition takes weeks of preparation. It's a creative process where the gallerists work in tandem with the artist to create a story about the artwork. Most exhibitions are open to the public free of cost. The purpose of an art exhibition isn't just to sell paintings, photographs, or sculptures. Galleries function in a similar way to museums. They encourage the public's exposure to art.
"There was a real energy put around a show and certainly we had to sell because you had to stay in business and it wasn't so market-driven," remembers Marx, who has an advanced degree in art history but at times felt like she needed an MBA. "It was scary. Now, you can't keep up unless you're going to a fair at least every month. The art fairs have proliferated like wildfire and it's really hard for a small business in its awkward teenage years to keep up."
Art fairs commonly take place over the course of several days, where artists and art dealers show and sell their work. They can range from local street gatherings to gargantuan conventions that take over cities, like ArtBasel in Miami. Many galleries see a rise in exposure and sales from art fairs, but these shows can prove costly. From shipping costs to plane tickets, the cost often doesn't outweigh the sales for mid-tier galleries.
The mid-tier galleries have been hit harder than new galleries and old institutions. Veteran galleries that have been in business for over 30 years, like Fraenkel Gallery and Robert Koch Gallery, have the cachet of brand and artist recognition. On the other end, new galleries are successful based on their novelty and trendiness.
Ever Gold Gallery is located in the Tenderloin and offers experimental exhibitions based on bridging old and the new art concepts. Ever Gold, dubbed the "art pushers of the Tenderloin," put together an exhibition called "Ever Wash" that turned the gallery into a minimalist Laundromat where visitors could do their laundry for free. The edgy location offers room to experiment with cutting-edge notions like public participation and DIY exhibitions.
"You're not quite the young hip gallery, you're not the blue chip gallery, where are you?" asks Jenny Baie, director of Rena Bransten. Unlike Marx & Zavattero who decided not relocate to a smaller space because they felt it to be unfair to their artists, Rena Bransten is going back to its roots.
The women joke about becoming a new hip gallery because of the storefront location in an up-and-coming neighborhood. They're excited about the prospect of building a new community. The gallery's building is connected to artist studios, a welcome surprise.
"I didn't even know there were artist studios left," Trish Bransten says, only half-jokingly. "I thought they were all in Oakland."
NEXT PHASE
Steve Zavaretto describes the art scene as an ecosystem, a delicate community of galleries, artists, and art lovers that rely on each other. With the displacement of artists and art studios from the city, where do art galleries find content? With the rise of the Internet and art fairs, can galleries really dedicate themselves to their own artist exhibitions? Where do art collectors and curators find talent if galleries keep closing?
"Having space is a luxury and ever since the Internet and the accessibility of images through the Internet, we are left constrained by having to show people things in our space," says Catharine Clark, the owner of her eponymous gallery in Potrero Flats, an emerging hot spot in the art scene.
Clark moved her gallery out of SoMa when the San Francisco Museum of Modern Art began remodeling. The construction was going to be disruptive to the business, she says. "But we've certainly done business with people who have never even seen the space so one could ask questions about what is the value of space if it doesn't contribute to — and in fact actually takes away from — the ability to be open to the rest of the world."
The millennials expect everything to be available online. If they want to buy an Alexander McQueen dress without even trying it on, they can use Farfetch. They get their news, buy groceries, and send birthday presents online. There is undoubtedly an untapped market of art lovers who would like to purchase original art online.
A gallery artist exhibition used to be the most coveted means of exposure for artists, but the walls of a gallery seem to restrict exposure in the present day. The space a gallery is constricted compared to the limitless Internet, although many artists are reluctant to go digital because their art isn't easily translatable into megabytes. Photographs are the easiest to convert onto screens; sculptures are the most difficult.
Jeremy Sutton is an artist who relies heavily on technology and innovation. Based in Potrero Flats, in a building comprised of artists studios, Sutton creates art on digital tablets and canvas. The charismatic painter often combines digital and physical paint. "I'm not trying to paint stuff that specifically looks digital," he says with a smile in the comfort of his studio. "I'm trying to create artwork that evokes and speaks and communicates as an artwork and as a painting."
Sutton's work pays off in live action painting events. He has worked with the de Young Museum, Cirque du Soleil, and various corporate events. During the de Young events, Sutton will portray famous painters such as Henri Matisse, Edgar Degas, Pablo Picasso, and Vincent Van Gogh and create traditional and digital artwork during a live performance.
This British artist has built a strong online presence, creating a brand behind his name. While a lot of his work is digital, his most sublime pieces are better viewed in person than on a screen. He currently has an exhibit at Embarcadero Four and is working on a commission piece, yet he rarely gets business through art on the wall.
Breaking down the costly brick and mortar walls, the independent consulting business model has become popular with former gallerists. Heather Marx is launching Heather Marx Art Advisory, a consulting business based on private and corporate advising, curatorial projects, and artist collaborations.
During the 2008 financial collapse, the art industry suffered tremendously. Americans for the Arts' 2013 National Arts Index, a score of the health and vitality of the arts in the country, increased progressively between 2003 and 2007. The two-year Great Recession showed a drop far exceeding the five years before it. The art industry is still struggling, with 2011 marking the lowest index score of the 21st century.
"We're hearing from our colleagues, art dealers and artists in New York and Los Angeles, they're starting to talk about what's happening in San Francisco," Marx says. "It's on the topic of conversation all across the country really, within the art world. I think finally with Rena [Bransten] closing — she was one of the biggest galleries in San Francisco history and a real anchor — for her to move out and reinvent to find a space, that sort of woke everybody up."
But the National Art Index found that arts engagement remains prosperous. Art museum attendance has been steady, but the way the public consumes art is expanding and shifting. The study found that the market is moving towards personally curated engagement, which can be seen in San Francisco.
The former George Krevsky Gallery is reinventing itself to become George Krevsky Fine Arts Services. The new business model will operate by appointment only and "will be providing art advisory services in collection management and interior design, conservation, archival framing, shipping and handling, and appraisals," according to the website.
Adler&Co, one of the remaining galleries at 77 Geary, offers consulting services as well. The National Arts Index shows an ever-present demand for art that is undergoing a transformation in how the public chooses to participate in the arts.
CULTURAL SHIFT
When the technology industry brings in the big bucks, other industries are forced to keep up with innovation. Almost every coffee shop, retail store, and restaurant has a Yelp listing, Facebook page, and Twitter handle. Many art galleries are present on Yelp, but the art world as a whole is lacking an online presence.
"Technological advances are driving seismic shift in audience involvement and participation across all art forms," Robert L. Lynch, president and CEO of Americans for the Arts, explained in the 2013 National Arts Index report. "Arts organizations that fully understand how to properly use these tools have a much better chance of sustaining their current audience while simultaneously attracting new patrons."
To the dismay of many art galleries, the delivery model for the arts is going digital. Digital downloads have replaced music CD sales. Kindles and Nooks have replaced books. While the art industry is several years behind, savvy entrepreneurs are just now seeking to tap into the art market through technology.
Catherine Cu is the founder of EnzoArt, a new startup e-commerce website that brings together artists and consumers. Similar to the traditional model of art galleries, the company will provide an online representation for artists.
"I think a lot of young people may be interested in having more choices than what galleries have to offer," Cu tells us. She draws the parallel to online shopping. "Online, we have a wealth of options — nearly infinite product options and the ability to arm ourselves with information before we make a purchase. The gallery model is a little different. There aren't as many choices and there's not as much transparency. Younger folks aren't drawn to that."
Cu intends to recreate the personal experience of art online. She envisions a model with an online marketplace similar to Airbnb, connecting artists with art buyers. The human aspect is essential to art purchasing, but instead of it being through a gallery, it will be directly between the artist and the consumer.
"It's not just about having a piece of art to hang on the wall, which can feel impersonal and commoditized" Cu says. "It's about connecting the buyer and the artist so that the buyer has a more meaningful experience with the piece."
Letting people see the artist's inspiration and process is the key to bringing online art to life, Cu maintains. Otherwise, she can create her own watercolor painting on her phone or order Van Gogh prints online. "Personally, what would motivate me to buy original art and pay the associated premium is having rich narratives behind the art," she says.
The Rena Bransten Gallery staff agree that the personal connection is necessary to selling art. "So much of the gallery business is personality," says Rena Bransten. Through exhibitions, the gallery gives a voice to emerging artists. They've seen the online model work for known artists — like photographer Dawoud Bey, a deaf artist who relies hugely on the web — but lesser well-known artists get lost in the Internet abyss.
"There's a trend toward branding, the Web actually encourages it," explains Trish Bransten. "Branding is really hard. Everybody wants a Warhol, even a mediocre one."
Marx & Zavattero found it particularly difficult to keep supporting artists that they felt deserved attention when the public was looking for the next new star.
"It's always hard to lose an artist. It's like losing a great employee. You want to keep them happy," Zavattero says. " But sometimes things change, the world changes."
The cultural shift in the demand for art has upended the art industry. With uncertainty about the future, comes different opinions about its transition. The conflict between the old model of art consumption and the emerging new model has created a seismic rift in the art community. Artists have been displaced, galleries forced to shut their doors. Nobody feels supported. The ecosystem is crumbling.
In the Financial District, where Geary Boulevard begins, the iron Lotta's Fountain served as a meeting point during the 1906 earthquake. Today, it's a symbol of the city's resilience.
"We were part of the landscape, but the terrain shifted so radically," remembers Zavattero. Several art galleries remain amid the commercial storefronts. Gallery Paule Anglin sits above Factory Outlet boasting 3XL apparel and Ho Ho Snack Shop. Art and fashion mingle with an Alexander McQueen boutique, as well as luxury retailers like Nespresso. Above the high-end espresso brand, MuleSoft has now moved into the second floor, taking over the space where the heart of a thriving art ecosystem once beat.
There are always waves in San Francisco. Change is the only constant, but the challenge is to preserve our unique urban culture, from the artists to the activists. Our civic duty is to find a way to preserve the ephemeral zeitgeist of San Francisco through innovation — or sometimes in spite of the innovations that are remaking the city.
Heather Marx and Steve Zavattero lament over threats to the wealth of diversity in the city. Trish Bransten feels a loss of counterculture that once made the city engaging and interesting. There's a lot of heat coming down on the tech industry, but the anger against it can be a distraction. It's really up to us to curate this city.
"My big concern for San Francisco — I don't think it's a tech versus art thing," says Catharine Clark, who once lost a rent bid to a kitchen appliance store. "It's how can we define what type of community we want to live, work, write in and help that be realized. I actually think it's a civic problem."
Laura B. Childs


text:
Publié le 20 juin 2010 par Aleta Alekbarova
Reproduced with the kind permission of Numismatica Ars Classica NAC AG, Auction 31, lot 13.
This gold coin called aureus (lat. aureus – "golden") was struck in 19 BC in Rome by Marcus Durmius, a minter of the emperor Caesar Augustus (63 BC – AD 14). It is commonly placed by numismatists at R4 level on the Sheldon rarity scale, which comprises very scarce specimens. Its weight is estimated to be 7,959 g.
The obverse of the coin carries a portrait of the emperor wearing an oak wreath, encircled with the legend CAESAR AVGVSTVS. Its reverse features a crab holding in its claws an insect which could be identified as a butterfly or a dipteran such as a midge or a gnat. The decoration is accompanied by the inscription M • DVRMIVS / III • VIR, indicating the minter's name and his official title, triumvir monetalis.
The unusual design of the reverse provides a very large field for discussion and interpretation.
The motif comes as a surprise since Rome's Republican traditions require that the coins struck by a triumvir monetalis show on their reverse a notable exploit of his ancestors, the mythological origin of his family or a monument his family has funded. Moreover, it appears to be too extravagant, almost too violent to be considered simply as an entertaining image such as can be seen on M. Durmius' silver denarii depicting hunting scenes.
It is possible to compare the aureus with a set of coins made in the 5th century BC in Akragas, one of the leading Greek cities of Sicily, which regularly used the crab on their reverse, or the denarii struck by C. Cassius Longinus and the legate M. Servilius in 43-42 BC. These figure a crab holding an aplustre, an appendage of wood used to decorate ships' sterns; below we can see an untied diadem and a rose. However, it is unlikely that Augustus' aureus is related to one of these coins. In the first case, there is no doubt that the crab was used as a symbol of the river god Akragas, whose name the city had taken; concerning Cassius's coin, the decoration has a precise historical meaning, as it makes an allusion to the general's victory over the Rhodian fleet – thus, the crab stands for the city of Cos, whereas the rose corresponds to Rhodes. Furthermore, we should exclude the eventuality that Augustus' aureus could have been inspired by the coins of Caesar's murderer.
In 1559, the Italian emblematist Gabriele Simeoni gave a possible explanation of the picture in his work Le Imprese Heroiche et Morali (Lyon). He implied that the reverse was an illustration of the proverb Festina lente ("make haste slowly"), which had been one of Augustus' favourite quotes (Suetonius, Divus Augustus, 25). Throughout the ages, it had often been represented as a hare half hidden in a snail shell, a tortoise carrying a sail on its back, and especially a dolphin winding itself round an anchor, a leitmotiv which appears on a certain number of Vespasian's coins. Simeoni suggested that the crab could symbolize, by its slowness, the wise moderation and reflexion, while the quick flight of the butterfly rather the rage and the rashness. The juxtaposition of two such opposite species was supposed to call attention to the fact that the emperor should stay temperate and rational in every occasion.
A radical change in the interpretation of the reverse was made in 20th century, when the philologist Harold Mattingly proposed in his article "The Date of Virgil's Death : A Numismatic Contribution" (The Classical Review 44 [1930], p. 57-59) to regard the image as a homage paid by the emperor to Virgil, the greatest poet of the Saeculum Augustum, who had tragically died in 19 BC on his way to Italy after having left to Greece in order to visit the places he had described in his epic the Aeneid. This point of view was embraced as well by Jean-Luc Desnier in 1995 ("Tenet nunc Parthenope", Latomus 54, p. 298-304).
Yet this supposition seems too hypothetical and incomplete unless a connection is made between Durmius' aureus and the Culex ("The Gnat"), a poem in hexameters doubtfully attributed to the young Virgil. It describes a small incident which occurred to an anonymous shepherd: disturbed in the middle of his nap by a gnat, the old man killed the insect, which permitted him to avoid being bitten by a poisonous snake. The link between the poem and the coin was put forward by the French philologist Jean-Yves Maleuvre, who had exposed in 1991 a new version concerning Virgil's death (cf. "La mort de Virgile d'après Horace et Ovide", Paris, 1993). According to his theory, the poet had been secretly murdered by Augustus, whose power he had been constantly defying by using a kind of double language that permitted him to express unobtrusively his hostility towards Augustus' despotic regime in his poetry without attracting public attention. The Princeps had been tolerating these covert attacks because he knew that only a small number of readers would be able to feel the harrowing contradiction concealed in Virgil's verses, and that the poet would be still considered as the emperor's devoted admirer. Thereby he was free to order from Virgil poems to his glory: he would eliminate him, once he would not need him any more. A meticulous analysis of the Culex affirms the assumption that it has been written by Augustus himself, who had thus indulged in the luxury of proclaiming cynically his crime and mocking his victim (J.-Y. Maleuvre, "Le moucheron d'Octave", RBPh 76, 1998, p. 75-86). Durmius' aureus would be a simple "illustration" of the poem: the "gnat" could be in fact a derisive pseudonym applied to Virgil; this possibility makes the aggressive character of the reverse clear. A strong argument for the identification of the crab to the imperial murderer may be found in the fourth book of Elegies of Propertius, where we read a severe warning against the Crab: Octipedis Cancri terga sinistra time, IV, 1, 150 ("fear the avaricious back of the Crab, eight-footed Cancer!").
All things considered, all of the interpretations above-cited seem to contribute to clarify the mysterious signification of this extraordinary aureus. Nevertheless, it will certainly continue to fascinate and confuse both scholars and spectators.


Many people that feel stuck, uninspired, stressed, anxious and afraid, want more than just the run-of-the-mill advise to achieve their goal's or solve their problems. When limiting beliefs and destructive emotions are the root cause of the problems in your life, no amount of positive thinking will correct the issue. If you want to improve your personal or professional life, it is up to you to take action and control of your thoughts, feelings and emotions. Mastering Success provides you with the understanding and resources to get your life in order.
You might have watched, heard and read a lot about ways to improve yourself. However, if you have tried different approaches without much success, you are not alone. Many people that feel stuck, uninspired, stressed, anxious and afraid, want more than just the run-of-the-mill advise to achieve their goal's or solve their problems. When limiting beliefs and destructive emotions are the root cause of the problems in your life, no amount of positive thinking will correct the issue. If you want to improve your personal or professional life, it is up to you to take action and control of your thoughts, feelings and emotions. Don't sit back and let your life pass you by; you have the potential to make your life better, take action, you won't regret it. I believe in self-empowerment and the achievement of higher consciousness through self awareness, inner-peace and knowledge. I believe in you. I know that every human being has an infinite amount of inner-sources and strength that virtually goes untapped. This book combines modern therapy advances with the wisdom of ancient systems of healing, into skills you can utilize and master to achieve the life you desire. The techniques are uniquely sorted into key categories dealing with beliefs, emotions, energy, thinking patterns, visualization and life in general. This book also provides guidance for knowing how to do it, when to do it and why to do it.
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The Strand House presents a once-in-a-lifetime opportunity to experience an unforgettable dinner at this special Culinary Masters event.
For one night only, we open our kitchen to Timothy Hollingsworth, former chef de cuisine at The French Laundry in Napa Valley, where he'll create an extraordinary five-course menu.
Dinner will be paired with wines from B Wise Vineyards, with a special appearance by winemaker Massimo Monticelli.


text:
AT-ST ( — ) — легка двонога бойова машина з фантастичного кіносеріалу Зоряні війни. Використовувався імперією для розвідки, патрулювання, бойової охорони важчих і маломаневрених броньованих транспортерів AT-AT, вогневої підтримки штурмовиків в бою при відсутності важкої зброї у супротивника.

Конструкція і будова
AT-ST являє собою вежу-рубку, де встановлено озброєння і розміщений екіпаж, рухливо сполучену з двоногим шасі. Двоноге крокуюче шасі в порівнянні з гусеничним, колісним шасі або ховер-платформою надає велику свободу пересувань на пересіченій місцевості, таких як піщана пустеля, сніжна цілина або ліс з високим чагарником (відповідно планети Татуїн, Хот і супутник Ендора). Додатковою перевагою є хороший огляд з вежі-рубки. Бронювання легке, розраховане тільки на захист від піхотних бластерів і примітивних форм ручної метальної зброї. Озброєння включає дві спарені лазерні гармати по фронту вежі-рубки, бластер по лівому борту для самозахисту від важкої бронетехніки і гранатомет по правому борту для поліпшення протипіхотних можливостей. Екіпаж складають дві людини — механік-водій і оператор озброєння. Місць для десанту не передбачено, імперські екіпажі AT-ST носили світло-сіру уніформу з відкритими шолом-касками.

Персонажі науково-фантастичних фільмів
Техніка Зоряних війн


This was the second year the J.P. Morgan Corporate Challenge has been held on the streets of Downtown Rochester, and an 18-percent increase in attendance over 2017 indicates the new location has caught on.
Gleason, a world leader in gear engineering and technology, was founded in 1865. And pride in that longevity is what brought its employees to the starting line of the 28th J.P. Morgan Corporate Challenge in Rochester.
And Gleason had plenty of chances to network on this overcast, but comfortable-to-party night in Downtown Rochester.
A superb crowd of 8,771 runners and walkers from 361 companies – 18-percent larger than the 2017 gathering – covered the 3.5-mile course along the city streets and Inner Loop. They then celebrated post-race within beautiful Frontier Field, home of the Rochester Red Wings baseball team. Expanded hospitality options for the companies included space on the field and in the dugouts, and throughout the seating bowl and suites.
It's a different feel for the Corporate Challenge, which may not go back as far as Gleason, but has a rich history of its own. It has its roots in Highland Park (1991-2003) and the Rochester Institute of Technology (2004-16). This is the second year the event has been Downtown and at Frontier Field, the reviews are positive, and the benefits remain.
The surge in attendance to 8,771 was fueled by Wegmans. The grocer's 862 registered employees this year is the largest in the history of the Corporate Challenge in Rochester, breaking its own 2017 mark of 830 entrants. Paychex also had a healthy increase, from 374 to 410 entrants. Five other companies entered 100 or more employees: Rochester Regional Health (364), University of Rochester (261), City of Rochester (147), Harris Corporation (145), and Labella Associates (100). Event owner and operator J.P. Morgan registered 77 employees.
Some significant history was made at the finish line. The amazingly-talented Trisha Byler of DuPont successfully defended her women's individual title, breaking the finish line tape in 21:16 (6:04 pace). She bested runner-up Georgia Tuttle of Brown & Brown of New York (21:28) and third-place finisher Rachel Pinney from Partners + Napier (21:33).
Byler was also the first woman at the 2017 J.P. Morgan Corporate Challenge Championship in Frankfurt, Germany last June 13. Her 2017 Rochester title was on July 11. With this victory, she now has three individual wins in 12 months – the first runner in the 42-year history of the J.P. Morgan Corporate Challenge Series to do so.
There was a new face in the men's winner's circle as Matthew Wilber of Corning Federal Credit Union crossed the finish line first in 18:21 (5:14 pace). Wilber had been the runner-up at this event in 2016.
Jonathan Pelzar, running for Excellus BlueCross BlueShield, was a strong second in 18:36 with Chad Byler of Navitar nipping at his heels in third at 18:37.
Then the party began inside Frontier Field.
Zachary Hess, team captain for award-winning architecture and engineering firm Bergmann, feels the Corporate Challenge is a perfect fit for his company's culture.
The diversity of entrants is one thing that makes the Corporate Challenge attractive to Bergmann.
There's a strong community element as well, and this year there was a first-time beneficiary. Veterans Outreach Center, which provides comprehensive resources to current and former members of the U.S. Armed Forces, will receive a donation in celebration of all Corporate Challenge participants from J.P. Morgan. In existence since 1973, Veterans Outreach Center is the oldest non-profit serving veterans in the U.S. Services include benefit counseling, employment and job training service, wellness programs, financial and legal counseling, veterans' treatment court, housing assistance programs and residential programs.
The 42nd year of the J.P. Morgan Corporate Challenge Series takes a one-day breather before resuming on Thursday, May 24 on the banks of Lake Michigan with the 37th running in Chicago.


On November 22, 2014, 12-year-old Tamir Rice was shot at close range by police officer Timothy Loehmann outside the Cudell Recreation Center on Cleveland's near-westside. Tamir died the next day.
Soon after the shooting, the community dissected video footage of the incident, which showed officers driving into the park and encountering Tamir and his replica pistol. The grand jury ultimately declined to indict Loehmann or his partner. Earlier this year, the city offered a $6-million settlement to the Rice family without admitting wrongdoing.
Rice joined an ever-growing list of black tweens, teens and men who died at the hands of police officers.
In describing the case, county prosecutor Timothy McGinty used the phrase "objectively reasonable" to describe the officers' actions.
Playwrights Local, the area's newest theatrical group, is presenting the world premiere of Objectively/Reasonable (A Community Response to the Shooting of Tamir Rice, 11/22/14), a script and performance conceived by the theater. The performances continue through Sunday, Sept. 4, at Creative Space at Waterloo Arts.
The playwrights interviewed Cudell residents, legal experts, teachers, activists and mothers for their reactions to and thoughts about what happened.
Playwrights Mike Geither, Tom Hayes, Lisa Langford, Michael Oatman and David Todd did the interviews to reflect the community's responses, thus giving a voice to the "silent people." They wrote the segments for the script, mostly monologues. Todd, as the dramaturge, wove the drama together, and the play's director, Terrence Spivey, bridged the pieces with staging devices, including singing, dancing, electronic media and verbal and nonverbal elements.
If only the police had been trained in non-confrontational techniques, or the negative climate of "young black male versus police" wasn't the community norm.
If only Loehmann's record had been carefully considered before he was hired by the Cleveland Division of Police. He had bounced around Northeast Ohio departments, garnering a reputation for being aloof and "weepy" on the job. In 2012, for instance, he resigned from the Independence Police Department following a poor performance review.
Why was a 12-year-old even playing with a toy gun?
The cast members (Ashley Aquilla, Kaila Benford, India Burton, Samone Cummings, Ananias Dixon, Kali Hatten, Jameka Terri, LaShawn Little, Brenton Lyles and Nathan Tolliver) each portray numerous characters with clarity of purpose.
A special spotlight must be focused on Ashley Aquila for her emotional but measured monologue of the words of Samaria Rice. Tears flowing, she slowly textures Samaria's words.
Though a little long, especially with the audience seated on hard church benches, the script holds the attention with sensitive, curious, straightforward, probing, and highly emotional speeches.
Though repetitious at times, much of the material works. If further productions are to be done, based on this presentation, the authors might want to consider some tightening of monologues and cutting of some speeches and the adjustment of the ending so that the audience is aware when the play is over.
The use of pictures and video to supplement the story helps add texture to the speeches. When action was not presented on the screen, a picture of the Cudell cupola hung over the stage as a sad reminder of the site of the horror.
The post-performance talk-back session we attended was moderated by former county commissioner Peter Lawson Jones. It brought out a series of provocative points including needed changes in police culture, the benefits of neighborhood policing, the probes as to whether Tamir would have been shot if he was white, and what white members of the audience would think of going through life as an African American male. Cleveland's segregation pattern — east/black, west/ white, much like cities in the South — drive-by shootings, and the low quality of schools were also topics that came up for discussion.
The next post-performance discussion will be on Sunday, Aug. 28.
It is the purpose of the Playwrights Local to produce works of Northeastern Ohio writers. If future efforts produce anything like this painful-to-watch but well-conceived play, their purpose will be well confirmed. This is a must-see experience for anyone interested in the real world around them, especially if they are not part of the African American community.


text:
Dischistus mystax är en tvåvingeart som först beskrevs av Christian Rudolph Wilhelm Wiedemann 1818.  Dischistus mystax ingår i släktet Dischistus och familjen svävflugor. Inga underarter finns listade i Catalogue of Life.

Källor

Svävflugor
mystax


text:
Literacy and Basic Skills
Literacy in Multilingual and Multicultural Contexts: Effective Approaches to Adult Learning and Education
The UNESCO Institute for Lifelong Learning (UIL) has launched a new publication on successful youth and adult literacy programmes entitled Literacy in Multilingual and Multicultural Contexts: Effective Approaches to Adult Learning and Education (PDF 4,8 MB). This compilation of case studies will be shared with literacy stakeholders on the occasion of the 50th anniversary of International Literacy Day on 8 September 2016.
The publication showcases examples of effective and promising educational programmes which offer literacy opportunities by providing instruction in mother-tongue as well as in minority-languages.
Importance of multilingual and multicultural approaches to literacy
The programmes included in this compilation indicate that bilingual or multilingual approaches to teaching and learning function as crucial elements for the acquisition of literacy and numeracy skills among youth and adults. These approaches also strengthen cultural identity and support the empowerment of local communities in linguistically and culturally diverse societies.
All the 21 programmes presented in the compilation draw on the experiences of groups of people, including indigenous groups, minorities, migrants and refugees, with the aim of reaching lifelong learners with literacy, numeracy and basic skill initiatives which support their personal development and that of their communities.
The publication also calls for the provision of contextualised bilingual or multilingual literacy programmes in order to effectively support the implementation of the 2030 Agenda for Sustainable Development in different regions of the world.
The case studies featured in this publication can also be found in the UNESCO Effective Literacy and Numeracy Practices Database (LitBase).
Author/Editor: Ulrike Hanemann; Cassandra Scarpino
UNESCO Institute for Lifelong Learning, 2016
Available in: English, French
'Providing access to learning opportunities in mother tongue for youth and adults will help us develop and provide literacy programmes which are conducive to achieving the targets set in the 2030 Agenda for Sustainable Development.'
Arne Carlsen Director of the UNESCO Institute for Lifelong Learning
Related Publications (Series)
Fostering a culture of reading and writing: Examples of dynamic literate environments
Harnessing the Potential of ICTs: Literacy and Numeracy Programmes Using Radio, TV, Mobile Phones, Tablets and Computers
Learning Families: Intergenerational Approaches to Literacy Teaching and Learning
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LitBase celebrates 10 years!
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Literacy Database revamped
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Recognizing excellence: Sharing best practice in literacy
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2016 UNESCO International Literacy Prizes
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UIL launches four new publications for International Literacy Day


Forget special treatment and put an end to online gambling.
These are two of Rodrigo Duterte's first marching orders to the members of his Cabinet as he spelled out his plan of government to them hours after he took his oath as the 16th President of the Republic.
"Not because of anything, I don't want to be treated as important. We should treat ourselves just like any other Filipino traveler," Mr. Duterte told his Cabinet secretaries at their first meeting in Malacañang.
"I don't want special treatment. There's no stopping of activities just because of somebody," he said in English and Filipino.
As if mimicking his predecessor's "no wangwang" (no siren) policy, Mr. Duterte ordered Transportation Secretary Arthur Tugade to instruct the Civil Aviation Authority of the Philippines to scrap the "no-fly zone" protocol at the airports to accommodate presidential flights.
A 30-minute delay in the flights to give way to an inbound or outbound VIP flight may lead to the cancellation of other flights, particularly in airports that don't have nighttime runway operations, he said.
"If anyone of us is given priority to takeoff, then we should thank them. But we should also share everyone's travail. We should fall in line," he added.
The President said he planned to take commercial flights in going around the country. He said he was not keen on buying a private plane despite offers from some supporters.
Mr. Duterte told Tugade to study the possibility of building a new road network to make travel from Metro Manila to Clark Field, in Pampanga province, faster.
He said some domestic flights may be diverted to Clark International Airport "so that flights will not flood" Ninoy Aquino International Airport (Naia), the country's premier air gateway.
Like his previous late-night press briefings, Mr. Duterte's meeting with his Cabinet, the first few minutes of which was aired live by the state-owned People's Television Network, was a freewheeling discussion on a hodgepodge of topics.
From talking about the sorry plight of the country's airports, Mr. Duterte shifted to his experiences in bringing assistance to Leyte province after the province was flattened by Supertyphoon "Yolanda" (international name: Haiyan) in November 2013.
He said he was dismayed at the government's response to the disaster, noting that not one of the Navy's vessels was deployed when he arrived in Tacloban City a few days after the powerful typhoon struck.
"What really surprised me, bewildered me, was when I met a soldier who asked me, 'Mayor, do you have water?' I knew then that it was the problem," Mr. Duterte said.
Mr. Duterte then went on to discuss his plan to curb online gambling and the activities of "fixers" in government agencies, particularly the Land Transportation Office (LTO).
The President said he would order the Philippine Amusement and Gaming Corp. (Pagcor) to rescind the permits that the previous administration had awarded to companies operating online gambling.
"Online gambling must stop… I don't want the proliferation of gambling in the country," he said.
"There's no way for the government to collect taxes from online gambling anyway. How do you collect tax [from online gambling]?" he asked.
The President also reiterated his disgust at the sight of people lining up at government offices to submit documents or ask for state assistance.
Instead of wasting their time lining up, he said, stubs should be given to people who are submitting documents or applying for permits.
The President disclosed his plan to set up emergency hotline 8888, which would be manned by 10 telephone operators tasked to assist people during emergencies.
Among the Cabinet officials who attended the meeting were Executive Secretary Salvador Medialdea, Foreign Secretary Perfecto Yasay, Finance Secretary Carlos Dominguez III, Justice Secretary Vitaliano Aguirre II, Agriculture Secretary Emmanuel Piñol, Public Works Secretary Mark Villar.
Education Secretary Leonor Briones, Labor Secretary Silvestre Bello III, Defense Secretary Delfin Lorenzana, Health Secretary Paulyn Jean Russel-Ubial, Trade Secretary Ramon Lopez, Social Welfare Secretary Judy Taguiwalo, Agrarian Reform Secretary Rafael Mariano, Environment Secretary Regina Paz Lopez.
Interior Secretary Ismael Sueño, Tourism Secretary Wanda Corazon Teo, Transportation Secretary Arthur Tugade, Science and Technology Secretary Fortunato de la Peña, Budget Secretary Benjamin Diokno, Energy Secretary Alfonso Cusi, National Economic and Development Authority Director General Ernesto Pernia, Information and Communications Technology Secretary Ramon Salalima, presidential spokesperson Ernesto Abella.
National Security Adviser Hermogenes Esperon Jr., presidential legal counsel Salvador Panelo Jr., Presidential Adviser on the Peace Process Jesus Dureza, Cabinet Secretary Leoncio Evasco Jr., special assistant to the President Christopher Lawrence Go and Presidential Communications Office chief Martin Andanar.