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DC Comics Hates You, Part 2
Last year, DC Comics had another "event"--increasingly a code word for "marketing oppotunity"--called Identity Crisis. Now, this was tough to swallow. It began with the murder of Sue Dibny, on her anniversary no less, and unfolded as a mystery as her killer was sought. But then we found out more things about the past. For example, the villain Dr. Light had once snuck into JLA headquarters and brutally raped Sue; when discovered, several heroes--among them Elongated Man (her husband), Hawkman, Batman, Flash, Green Lantern, and Green Arrow--decided to use Zatanna, a magician, to effectively lobotomize Dr. Light. Green Arrow went on to reveal that they had done it several times to others who found out information about secret identities.
And then, as we moved on to find the killer (there were a few more deaths), it turned out that Batman had, in fact, been against the lobotomy, so Green Arrow and Zatanna had it done to him, too. To Batman.
Now, this was all offensive enough, but could almost--ALMOST--be justified in the name of a compelling story. Once you got past the "ick" factor, there were hints of a better story to come. But the resolution was a joke. The killer turned out to be Jean Loring, the ex-wife of Ray Palmer, the second superhero to take the identity of the Atom. She wanted him back, and had begun to use his shrinking technology--she accidentally killed Sue, and then tried to cover it up.
It makes me sick to see these characters used like this. Any affection you have for Sue Dibny (and, as a Giffen-era Justice League fan, I have a bit) is used--raped, if you will--to get your money. To get you to read Identity Crisis. To take advantage of you. I can't get behind that.
But at least it's over, right? Well, DC thought that, I don't know, the continuity was getting too loose again. So much of what's been done since Crisis on Infinite Earths has undone that very series. So, it's time for another one, Infinite Crisis, which began in a stand-alone special called Countdown to Infinite Crisis. And this one was a real doozy: see, this special revolves around Blue Beetle, who always felt like a nobody in the Justice League. He's insecure, and worried that nobody takes him seriously. He spends the entire issue trying to unravel a mystery, but no one listens to him. Superman is condescending, Green Lantern is cordial but uninterested, Batman is dismissive, and Martian Manhunter doesn't listen. He goes to Maxwell Lord, the man who once ran the League, and asks for help, but gets glad-handed instead. Only his old nemesis/friend Booster Gold helps him out. And in the end, Blue Beetle finds himself alone, checking out the database of a shadowy government agency who knows everything about every superhero on the planet.
And who is behind this? Maxwell Lord himself. What? Benign, hilarious Maxwell Lord? The ineffective business man who privatized the League for all those years? It doesn't make any sense, and this is why retroactive continuity is often idiotic, especially in terms of comic books: it takes all of the Justice League stories I enjoyed, and spits on them. See, apparently, I only thought I was reading humorous, deconstructive parodies of typical superheroics. No, apparently I was reading stories about Maxwell Lord trying to keep the League ineffectual while he gathered information on every superhero for a later contigency program to destroy metahumans and make the world safe for the rest of us. Thanks for that, DC, thanks a lot. Since this is a retroactive bait-and-switch, does this mean I can get my money back for buying so many issues of Justice League?
The cherry on top is at the end, when Lord shoots Blue Beetle in the head for not joining him. That was the straw that broke the camel's back, as it were--I am utterly offended by the way this comic pisses all over the fanbase. And this isn't a typical fanboy ranting: "Oh, how dare they kill off the Blue Beetle, he was so awesome!" No, that's not it at all. What really offends me here is the way Countdown to Infinite Crisis takes the 20 years I've put in to reading DC Comics, and tells me that everything I knew is wrong, all of those stories are bullshit, and the characters need to be re-envisioned because the comics are grew up loving weren't good enough. And I'm not a continuity freak--in fact, I think the last 30 years of DC Comics are good argument AGAINST being a continuity freak. And I do allow that comic books are pretty much A to B to A writing--nothing really changes very much. How many times can Batman capture the Joker and have it mean anything unless you're building on it each time? But come on. Do you have to destroy everything in order to rebuild it? They've spent the last 19 years trying to fix everything that got screwed up because of that Crisis on Infinite Earths, and this is just more of the same.
But what really, really gets to me is the editorial page, written by Dan Didio, Executive Editor of the DC Universe (whatever that means--sounds like a grandiose version of "creative director," but whatever). Besides the fact that he assumes that the reader found the issue intense and utterly fascinating, his tone is all wrong. He talks, like the always do, about "what got us hooked on comics in the first place," and name-checks "high octane action, bigger-than-life adventure, inconcievable villains, and the greatest heroes overcoming impossible odds." What he apparently neglects to mention is overweening pretension, too. You can tell important stories in comics, of course, but he's sorely mistaken if he thinks this is one of them. He considers this very comic book as symbol, a way for DC to "renew our commitment to telling the types of stories that make comics great."
Yeah, like that classic story where Jughead revealed that he was feigning stupidity so that he could infiltrate Riverdale and form a communist cabal in middle America. Remember? And then he brutally raped Veronica and shot Moose in the head for failing to join him. Which issue of Archie was that? I believe it was from 1978...
From this point on, we're supposed to follow four different miniseries for the next six months (asking for quite a financial commitment, aren't we Danny boy?), and then Infinite Crisis begins, the sequel to Crisis on Infinite Earths, "one of the greatest comic stories ever told." He then goes on to promise that "its changes will be far-reaching and its effects everlasting."
Yeah, until some writer comes along in a few years and wants to resurrect the Blue Beetle, right? Or until some other change is undone because some other writer preferred stories set before Infinite Crisis. We're dealing with characters who, in some cases, are nearing their 70th anniversary. You can't keep reinventing them and expect that to carry any weight. Hell, Superman died and came back, so they've taken the fear of death away from these characters, anyway.
Well, I call foul on this whole thing. This is stupid bullshit, frankly, and what most gets my goat about this mess is that it's not motivated by anything other than cash. There's no story logic here, nothing that happened in the DC Universe dictated this happening. DC's sales are down a tad (probably because they can't get their shit together and Marvel Comics are putting out the successful movies now), so they need to manufacture a reason for people to buy comics. The more controversial, the better--the fanboys on the message boards bitching and moaning about how much they loved the Blue Beetle are generating so much free publicity for DC. They don't even have to advertise it, the people they've pissed off are doing it for them. This is definitive proof, as if any were needed, that DC Comics sees its readers and potential readers as walking dollar signs that they want to collect. Actually, they're really only worried about potential readers; people like me, who already read DC Comics, we're hooked. They already have our money.
Well, not anymore. I read several monthly superhero titles, but that stops now. I can live without reading Green Arrow, The Flash, Wonder Woman, and every Superman and Batman title. Because they're going to strip everything great about these comics away. Everything. I'll continue reading JSA, because I love those characters (the original Justice Society are my favorite superheroes), and I'll still read some great Vertigo stuff like Fables. But the rest of the DC Universe doesn't get my money anymore. They betrayed my trust: that they would entertain me in return for $2.25.
So thanks for giving me a reason to save my disposable income, DC. And fuck you, too.
I bought it a week late, so I'm the last person to comment on the new DC Comics "event," Countdown to Infinite Crisis. But I'm frankly appaled by it. A little background first, though.
DC Comics began in the 1930s; Superman was created in 1938 (Action Comics #1), and Batman was created in 1939 (Detective Comics #27). DC also had other major heroes like Green Lantern, the Flash, Dr. Mid-Nite, Power Girl, Wonder Woman, Hourman, the Star-Spangled Kid, the Sandman, Mr. Terrific, Red Tornado, the Atom, Hawkman, Hawkgirl, and many, many others. And this all worked out fine. As time wore on, however, characters were reimagined for a new audience. So DC introduced a new version of the Flash, a new Wonder Woman, a new Green Lantern, a new Hawkman. And someone thought it might be fun if the new heroes of the Justice League of America teamed up with the Golden Age team the Justice Society of America. So, through magic, it was explained that the Golden Age heroes still lived on in another dimension: Earth-2. In Earth-2, time moved slower, and those heroes were still alive. So there were not only two Green Lanterns (Alan Scott on Earth-2, Hal Jordan on Earth-1), but also two Supermans (both Clark Kent) and two Batmans (both Bruce Wayne). And this continued just fine.
Soon, DC began buying out other companies, and rather than incorporate them in the regular DC Comics Earth-1 universe, they created other Earths removed from the main one. So when Charlton Comics was bought, the heroes--like Captain Atom and the Blue Beetle--lived on Earth-4. Captain Marvel and the other Fawcett Comics heroes lived on Earth-S. Meanwhile, the Quality Comics characters like Uncle Sam and the Ray (and the Freedom Fighters team) lived on Earth-X. And added to this were two nifty plots. Earth-3, created for Justice League of America #29, was a mirror universe where the superpowers--Ultraman, Owlman, Johnny Quick--were villains, and only one hero could stand against them: Lex Luthor. And there was also Earth-K, an alternate future world where Kamandi was the last human boy on Earth.
This was confusing to new readers, so the story goes (I've never quite believed that), and so DC decided to collapse everything into one universe and create a new timeline, a chronological continuity. So, through a lot of rigamarole and ramadoola, the Earths became one. Some were destroyed outright; many characters were wiped out of existence. And, as always happens in these stories, the memories of the whole human race were "corrected" so that the continuity became something that always existed. The Freedom Fighters became relics of the 1940s. The original Justice Society heroes were around, of course, but there was only one Superman and one Batman--they first appeared much later, when the Justice League was taking up the mantle of their predecessors. The Golden Age Wonder Woman became the mother of the modern Wonder Woman. Blue Beetle, Captain Marvel, Captain Atom, Plastic Man, and others became a part of the DC Universe. Everything, supposedly, was "fixed."
One other point to make: it was during this story that the second Flash, Barry Allen, died trying to save the Earth, and a new Flash, Wally West (formerly his sidekick Kid Flash), took up the costume. My question for many years, though, has been: If the continuity was re-set, why is Barry Allen still dead? Just asking...
This all happened in 1986, and it was called The Crisis on Infinite Earths. Now we jump ahead to 1994, just around the time of DC's idiotic Death of Superman adventure, which somehow culminated in their most iconic hero become some kind of electric-powered disco-suited thing. Apparently, the continuity is confusing people once again; turns out that all the kinks weren't worked out after all. Hal Jordan, the second Green Lantern and a beloved hero from the Silver Age, goes insane and is turned into the villain Parallax, murders a ton of people, and then tries to destroy the sun. DC Comics, in the name of editorial license and "getting comics back to what we loved about them," has pissed on the memory of a popular character who was first introduced in 1962 by turning him evil. Plus, they used the story to screw up Aquaman completely, kill the Green Arrow, and kill off the Justice Society heroes: they kept Green Lantern and the Flash, but they killed the Atom, Hawkman, Dr. Mid-Nite, Hourman, Sandman, and many others. All for no real reason, except to create an "event" and make some dollars. Same reason they killed Superman. This whole mess was called Zero Hour.
So, the comics company continues on, now with even more retroactive continuity. Many heroes are dead; Hal Jordan's death has a lasting effect. But since then, writers who loved their original heroes have been bringing them back. Kevin Smith resurrected Green Arrow. Hal Jordan was turned into a ghost, the Spectre, and then made Green Lantern again (as a human being). There are new versions of the Atom, the Star-Spangled Kid, and Starman (retired now). Wildcat has managed to come back, and the original Hourman is fighting again. I don't even want to go into any of the amazing crap they had to go through to get Hawkman back into it. Everything is pretty much the same as it was.
Time to mess it all up again.
Let's shift gears for a moment: after the Crisis on Infinite Earths, the Justice League of America reformed as a humor book. Batman and Captain Marvel were there, sure, and also Martian Manhunter, but writer Keith Giffen had brilliantly peopled the team with second-string heroes who were considered weaklings. He made the book hilarious, while at the same time deconstructing the idea of what a superhero team book could be. Blue Beetle became an insecure laughing stock, Mr. Miracle became a pompous idiot, Guy Gardner was the most crude Green Lantern ever, Captain Atom was a stolid fool, Elongated Man was a smart but silly jokester, and Booster Gold... well, let's say Captain Amazing in Mystery Men is like a less egotistical version of Booster Gold. And the book managed to be hilarious for a long, long time. Before too long, Batman was out and a new leader was in: Maxwell Lord, a former used car salesman who ran the team like a business, often clashing with Sue Dibny (wife of the Elongated Man) in the team's direction. With his robot assistant, the snarky L-Ron, Maxwell Lord became the perfect foil, a sort of parody of Professor X if he were a sleazy senator. For those of us who find comics a bit pompous sometimes, Keith Giffen's Justice League of America was an hilarious antidote to the goings-on of the DC Universe.
Keith Giffen also created Lobo, a character who really only exists to comment on the lame excesses of the DC Universe. Giff is brilliant, and defines the idea of a writer with edge: he risks offending his own audience.
The good old days. They're gone now, and DC Comics seems intent on destroying them forever.
To be continued...(probably later today).
Masters of Animation: The Fleischer Brothers
During the 1930s, there were only two serious giants in the animation field. The first was, of course, Walt Disney Studios. But the other, an outfit that has been sadly neglected today, was Fleischer Studios, run by Max Fleischer and his talented brother Dave.
Max Fleischer was born in Vienna in 1883 to a fairly large Jewish family that would only get larger. When he was five, his parents left Austria because of anti-Semitism and came to New York, where Dave would be born in 1894. Their father William was an inventor, and his sons seemed born with an innate sense of initiative. They would be instrumental in popularizing the new medium of animation.
Max especially was fascinated with technological innovation, as well as art. He had worked in the art department of the Brooklyn Daily Eagle (even introducing a short-lived comic strip, Little Elmo, in 1904), before becoming the art editor at Popular Science Monthly in 1914. In 1911, he created the rotoscope, an animation innovation that is still used today in one form or another. Rotoscoping allows an animator to film a complex movement with a live action actor, and then animate over that actor, producing (in theory) realistic movement in cartoon form: this is the grandfather of the motion capture techniques used to create Gollum in Peter Jackson's The Lord of the Rings, and the dead-eyed soulless things in Polar Express. Fleischer was granted a patent for the rotoscope in 1917, but found out later that a similar device had already been invented (which is why he didn't sue Disney for using it in Snow White and the Seven Dwarfs in 1937).
The rotoscope was tested by filming Dave (an art student) gamboling in a clown suit, and animating a full cartoon over it. The process took nearly a year; when Max tried to sell the film to Pathe in 1916, they were impressed but felt a year was laughable for cartoon production. Max came up with another idea: wrap a live action introduction and ending around the cartoon, with the animated clown capering around on a blank sheet of paper or playing with drawing supplies. By introducing a significant live action element, production time was cut down. Out of the Inkwell was born. John R. Bray saw it, loved it, and offered them a spot in his Paramount-Bray Pictograph film magazine.
Before that, however, there was a war to fight: Max made training films for Bray, while Dave worked in the US Army as a film cutter. They still managed to turn out a few films, such as the lyrical Experiment No. 1 (1918), but it wasn't until after the war that production on an Out of the Inkwell series could begin in earnest. Though the series was meant to be monthly, it could never keep that schedule. However, the series proved popular. From a technical standpoint, the rotoscoping allowed a smoother animation than anyone else's. Dave directed, did story, and acted in the clown suit as one of the earliest recurring cartoon characters, KoKo the Clown. Max, however, was quick to claim credit, and the two brothers would clash fiercely. In 1921, they formed Out of the Inkwell Films, Inc., and were able to hire animators (as well as their younger brother Joe as an electrician and camerman). They not only produced more KoKo cartoons, but worked on educational cartoons, such as The Einstein Theory of Relativity (1923, commended by Albert Einstein himself) and Darwin's Theory of Evolution (1923, which was not shown in the South).
Always attempting to innovate, Max Fleischer soon created the KoKo's Song Car-Tunes series. In this series, KoKo the Clown would step out of the inkwell, change into a conductor's suit, and the lyrics to a song would appear on screen. Then a bouncing ball would jump onto each lyric to prompt the audience to sing along while an organist played the music. It started with Oh Mabel in 1924 and became quite a crowd-pleaser, continuing on until 1927 (and was briefly revived in 1929 as the Screen Songs series). To achieve this, Max created synchronized sound for the films so that the live audience and the bouncing ball would be in synch. Unfortunately, he didn't realize that layering the sound onto the film was a simple matter (he had already figured out the timing), so Disney beat him to sound.
Max also invented an important process: the in-between animator. In animation, most animators (think of today's greats like Andreas Deja and Glen Keane) draw only key shots, while an in-betweener comes in and draws the action between the key shots. Max came up with the notion (based on Bray's assembly-line theory), along with animator (and future Disney vet) Dick Huemer. Max also attempted to move into distribution--Margaret J. Winkler had developed a state-to-state system of middle-men which saw royalties arrive too late from individual theaters--and formed Red Seal Pictures in 1924. Unfortunately, Red Seal went bankrupt within two years. Fleischer again tried to distribute his own pictures under a company called The Inkwell Imps, but the independent producer Max had allied himself with, Alfred Weiss, was a crook and went out of business. Max's dream of independence was crushed, and instead he set himself up at Paramount Pictures. Although the company was called Fleischer Studios Inc., the company was a subsidiary of Paramount, who would hold all the copyrights.
Sound devastated the animation field in 1927, and only those who could adapt quickly survived. Max took up sound and ran with it in 1929, creating the Screen Songs series (bouncing ball still firmly in place) with The Sidewalks of New York. Even though the Out of the Inkwell series was still fun--the cartoon KoKo's Earth Control (1927) in which KoKo and his dog Bimbo find a lever that accidentally destroys the planet, is a surreal masterpiece--Max saw sound coming and decided the adventures of KoKo had come to an end. Lest he become a relic like Felix the Cat was about to, Dave made KoKo Needles the Boss (1927) the last Out of the Inkwell cartoon.
Trumpeting the advent of sound, the Fleischers created a new series called Talkartoons, a series which was meant to star KoKo's dog Bimbo for a sense of continuity and audience identification. The first Talkartoon, Noah's Lark, premiered in October 1929. It featured music in much the same way Disney's Silly Symphonies, developed concurrently, did. Another Fleischer brother, Lou, was hired as musical director.
The Talkartoons series did well enough, but the Fleischers really hit something in 1930. The Bimbo adventure Dizzy Dishes introduced the character of a female dog-woman as a potential love interest for Bimbo. The character, drawn and animated by the incomparable Grim Natwick, would end up being a goldmine. Her return appearance in Silly Scandals (1931) was a sensation, again animated by Natwick. Working with Dave Fleischer, Natwick removed all of the girl's canine qualities and refined her look for Stopping the Show (1932), and Betty Boop was born. The character was a hit, and Bimbo became a supporting character in her adventures.
Enjoy Dizzy Dishes right now.
Betty Boop, though still Grim Natwick's basic design, had been made as sexy as possible by Dave. She was the first cartoon character to develop a sexuality, and even though your head knows it's a drawing, there is an undeniable sexual appeal to her. John Grant describes it perfectly in his excellent book Masters of Animation: "[Betty Boop was] a conscious mixture of child and woman, so that, however outrageous the goings-on, she preserved at the same time an aura of complete childish innocence." This is the beginning of a phenomenon that hasn't been discussed overmuch by psychologists--that the innate male attraction to young girls may be informed by cartoons. Even today, a character such as Jasmine in Aladdin is, for all intents and purposes, sexually desirable. However, in action and attitude, she is like a girl of 12, so that what Disney presents is an innocent child who nonetheless exudes sexuality. Betty Boop, however, was designed for just this purpose, and proves very popular. She even flashes a naked breast for a split-second in Betty Boop's Rise to Fame (1934) before proceeding to put on nothing more than a grass skirt and flower lei and dance on a beach in perhaps the sexiest thing cartoons would see until Jessica Rabbit.
Grim Natwick had modeled Betty on Paramount star Helen Kane (including her catchphrase, "Boop-oop-a-doop!"), but Mae Questel is the most famous voice of the character. Kane sued the Fleischers over the use of her likeness in 1934, but she didn't win the case (thanks to, it must be said, a good amount of sly lying on the part of Max Fleischer). Betty Boop was also partly responsible for Hollywood's enaction of the Hays Code, as many people protested about the smut coming out of Hollywood held Betty up as an example. In cartoons made after 1934, Betty's dress is longer and her garter is gone. Dave was certainly pushing the envelope, though--witness the phallic symbols and nude statues in Poor Cinderella (1934), Betty's first color cartoon (the herald of a new series, Color Classics). Other great Betty cartoons include Snow White (1933), the Fleischer take on the Grimm tale; Be Human (1934), in which Betty and Grampy humiliate and beat a man who is cruel to animals; Betty Boop's Crazy Inventions (1934), which features a wacky science fair; Betty Boop's Ker-Choo (1934), with Betty looking sexy in a racing jumpsuit and fun anthropomorphized cars; and No! No! A Thousand Times No! (1935). The Betty Boop cartoons are milestones of their time; Betty usually sang a song, and then some horny old man or creature would try to take her away (we can guess why), only for Betty to get out of trouble. A formula, but one that worked.
By 1933, the animation process had gotten faster, and the Fleischers were putting out an amazing number of cartoons (even more than Disney). Max--who had long ago dropped out of actual animating in order to run the business--began buying film rights to other properties. Cartoons based on comic strip characters were nothing new, but buying the rights to E.C. Segar's Thimble Theatre proved a very sound financial decision. Thimble Theater had begun in 1919, and chronicled the trials of the Oyl family and their pretty young daughter Olive and her scheming brother Castor. In 1929, Segar had introduced a new character, the rough but amiable Popeye the Sailor--he became so popular so fast, he ended up taking over the strip. Max seized on this popularity and introduced Popeye in a Betty Boop cartoon, Popeye the Sailor (1933). Dave introduced elements that were not so prominent in the comic--for example, Popeye's use of spinach as some kind of upper. The cartoon was a hit, and very soon Popeye got his own series. Though some characters--such as J. Wellington Wimpy, Olive Oyl, Lil' Swee'pea, and Eugene the Jeep--came from the strip, E.C. Segar specifically designed Bluto for the film series. The series began in 1934 with fun cartoons like The Man on the Flying Trapeze, and reached its first color entry in 1943 with Her Honor the Mare. The series continued in one form or another until 1957, proving much more durable than Betty Boop ever did.
The first appearance of Popeye is right here.
Popeye is often criticized as being one-note, and his character is admittedly more of a collection of attitudes than anything else. But the series was fun, and there ended up being hundreds of shorts. Without a doubt, the three best of the series are the two-reel cartoons, sort of featurettes that run about 20 minutes in length. Popeye the Sailor Meets Sinbad the Sailor (1936) is the cartoon that most people think of when they remember Popeye, with Popeye landing on an island of giant monsters and, of course, rescuing Olive from Bluto (the series really only had the one plot). Following this was Popeye the Sailor Meets Ali Baba's Forty Thieves (1937), and the hilarious Aladdin and His Wonderful Lamp (1939), which actually puts Popeye in the Arab tale, genie and all. My favorite conventional-length Popeye cartoons are The Two-Alarm Fire (1934) and The Twisker Pitcher (1937).
The Color Classics series of cartoon shorts premiered in 1934 with the Betty Boop cartoon Poor Cinderella. These cartoons usually featured music, but the focus here was on how color was used to create lasting images, as in the classic short Somwhere in Dreamland (1936). This series is unjustly forgotten, featuring some real classics like The Cobweb Hotel (1936), Bunny Mooning (1937), A Car-Tune Portrait (1937), and Small Fry (1939). Unlike other series the Fleischers ended up creating, Color Classics was successful and an artistic triumph. Stone Age Cartoons, a sort of Flinstones precursor initiated in 1940 with Way Back When the Triangle Had Its Points, was decidedly less so. The Gabby cartoon series, Animated Antics--only 8 of them, beginning with King for a Day in 1940--was also an irritating mess. And the Betty Boop cartoons like Minnie the Moocher (1934) featured too much music by Cab Calloway and other black artists to play well in the South.
Here, too, are both parts of the two-reel cartoon Raggedy Ann and Andy from 1940.
Nearing the end of the 1930s, Max was beginning to feel more ambitious, and Dave was hoping for new challenges. Though they were the only serious rival to Walt Disney at the time (the success of Warner Bros. would come in the next decade), their cartoons were beginning to feel stagnant. Disney had released America's first animated feature film, Snow White and the Seven Dwarfs, in 1937. This was a major blow to the Fleischers, not least because Disney had used rotoscoping, and Snow White herself had been designed and animated by Grim Natwick! The Fleischers would respond in 1939 with America's second animated feature, Gulliver's Travels. Telling a very loose version of Gulliver's trip to Lilliput, the film used rotoscoping as a stylistic device. The Lilliputians (including Gabby, a character who proved popular enough to use in the Animated Antics series) are all animated in a very cartoony style, while the prince and princess are attempts to look more like the realistic Snow White and Prince Charming (Grim Natwick was lured back to work on the film). Lemuel Gulliver, however, was rotoscoped and animated in a very realistic style, almost to the point where Gulliver looks like a live-action visitor in a world of animation. The resulting film is very charming, with some nice songs and an especially great sequence where the Lilliputians tie up the sleeping Gulliver. But the movie was a disappointment, and when it was released over Christmas 1939, audiences responded with indifference.
Undaunted, the Fleischers tried one more feature. Hoppity Goes to Town is a true lost classic of animation, a film that shows an excellent sense of story. It doesn't show off its animation more than a couple of times (including a breathtaking sequence where Hoppity is electrocuted), trying to tell a story that is in spite of animation, not because of it, something very sophisticated. Telling the story of an insect community in New York, the influence of this film is still felt in films like A Bug's Life and Antz. It could have done a great deal--especially coupled with the previous year's release of Disney's artistic triumph, Fantasia--to mature animation into an adult form of storytelling. But the release date proved to be most unfortunate: 7 December 1941. Pearl Harbor. The film was a failure and is mostly forgotten today.
The Fleischers continued on, however; Paramount had bought the film rights to the comic book Action Comics, which had introduced the Jerry Siegel-Joel Schuster creation Superman in 1938. The Fleischers were given the series, which proved to be the final artistic triumph of the animation studio. With a heavy reliance on rotoscoping, and the special use of skipped frames to suggest speed, the Superman series only lasted 10 cartoons with the Fleischers at the helm. The best of the series were The Mechanical Monsters (1941), The Arctic Giant (1941), and Volcano (1942). The last Dave Fleischer-directed cartoon, Terror on the Midway (1942), is surprisingly disappointing--Superman has better uses than fighting a mad gorilla. Production on the series stopped abruptly in early 1942, and Paramount carried on the series (as well as Popeye) with other animators.
Here's Superman in The Magnetic Telescope.
It is generally agreed today that what drove down the value of Fleischer cartoons was their unwillingness--indeed, total disinterest--to create character-driven stories. Popeye, Betty Boop, Superman; none of them emerge in the cartoons as real personalities. Sometimes it doesn't matter (one of their masterpieces, Snow-White, treats the story as beside the point, but has so much energy you barely notice), but often it feels like something is lacking. The technique is generally superlative. The stories? Superfluous.
Ever since the first Out of the Inkwell cartoon in 1916, Max and Dave had personality clashes. By 1942, they were unable to stand the presence of one another. A great deal of this was due to the fact that Max stole all the credit for the studio, despite the fact that Dave had directed every single cartoon to ever come out of their partnership--over 200 of them. Hollywood, and especially Paramount Pictures, had noticed that Dave was the real talent in the relationship, and had begun to feel that Max was unneccesary to the whole process. Max knew this, and decided to gamble on his future. As Hoppity was being edited in late 1941, Max made an announcement claiming he was the real genius, and that he would never work with Dave again. It proved to be the wrong move; Paramount closed down the Fleischer Studios (which they owned), took the copyrights to Superman, Popeye, Betty Boop, and others (which they also owned), and demanded that Max repay all the loan money he had received from the studio. Max immediately defaulted, as they knew he would. Paramount hired off most of the staff for their new in-house animation unit, Famous Studios, and put Max out of a job.
Dave, however, didn't stay with Famous Studios (whether he was even asked to stay is unclear). He went to Screen Gems, the animation arm of Columbia Pictures, and worked on the Fox & Crow series before quitting animatin altogether. He worked at Universal, doing animation effects for films such as The Birds (1963) and Thoroughly Modern Millie (1967), and died peacefully in Los Angeles in 1979. He was 85.
Max and Dave never spoke again. He produced a storybook, Noah's Shoes, in 1944. It was thinly-veiled attack on his brothers. Max produced animation training films, worked for Bray, and died in 1972 at the age of 89. Though their characters would live on, their animation disappeared; with the exceptions of a few excellent collections (and a surprisingly good-quality DVD of Hoppity available through mail-order), there is a great lack of Fleischer animation available today. But, once upon a time, Max and Dave Fleischer were the kings of animation.
Labels: Animation History
Papal Watch '05
To bring you the latest news: Pope John Paul II died on Saturday, 2 April 2005, and at this moment, remains dead. You may see him on many websites lying in state at St. Peter's in Vatican City, Rome, Italy, Europe, Earth. Though it has been three days since the death of the Pope, we are sorry to report that the Pope is still dead and there is, as yet, no new Pope. Candidates are being considered; results are expected soon. We will update you every 30 minutes for the next 12 days to remind you that a new Pope is expected in at least 12 days. If there is no new Pope in that time, we will break into regular programming every 15 minutes to update you on our future unplanned coverage over the event. Until then, the Pope is dead. Pope John Paul II, age 84, has died of natural causes over the weekend, and as far as our action news cameras can tell, remains in a state of death. He does not appear to be alive in any way, much less pining for the fjords. We will continue our useless coverage of a man who has already died to remind you of your own mortality until he begins his final decay, or at least much longer than would be appropriate or even respectful. If you're just joining us, Pope John Paul II is completely dead. We now return you to the final 128 seconds of Lizzie McGuire after a ten-minute commercial break, during which time we will have three promos for the news at noon, where we will reflect on the life of Pope John Paul II, who died on Saturday, 2 April 2005, of natural causes that were entirely fatal in nature. Thank you.
Labels: Attempted Humor, Religioisity, Social Concerns
Well, Pope's Dead
Yes, Pope John Paul II died on Saturday at the age of 84. It was an unfortunately long, withdrawn, no doubt painful death, and it's good that his suffering was over. He'd worked hard all his life, and now he can rest.
But the deathwatch was unneccesary, wasn't it? I mean, did ABC need to break into every single program on Saturday just to say that there would be an announcement "later today" about the Pope's condition? Hey, how about just waiting until the announcement, and THEN breaking in? My sister's trying to watch Phil of the Future, for Christ's sake! Don't break in with news until there's some actual news to report.
At what point did the assholes in the media become so bad at their jobs? I mean, it isn't hard, really. Push a few buttons, get a pretty guy to read from a monitor. A monkey could do it. But those media fuckers smell blood, and they get a little crazed and, like sharks, go into frenzy mode. When Princess Diana was killed, programming was broken into and cameras were kept on the crash site for hours. They wanted to capture every moment in case, what, her head rolled out or something? Who would want to see that? Well, there was every channel, waiting to see what was going on, hoping desperately that they could be the first outlet to report that Diana was dead, or her arm had been cut off, or something, as long as it was horrible. Me, I'm pragmatic about it--I don't need to know about anything but the facts. Is she alright? Is she dead? And if you want to throw it in, how did it happen? Otherwise, I don't need to see a picture of her dead or dying.
11 September, 2001. I watched in horror as the second plane hit the World Trade Center, scared out of my mind. Word had it that there were other planes in the air, hijacked for use as weapons. Jesus, were we being invaded? What was going on? Don't we have reporters interested in keeping the social order who could calm us down?
"How many people are estimated dead?" Matt Lauer asks, not three minutes after. "How many are in the building? Do we know which flight it was? How many people were on board?" He could smell the blood. Matt Lauer just had to know how many lives had been ended in that moment. You could almost hear him thinking about it: "Salacious news! I need number! I need to know so I can be the first reporter to get the number! Dear God, I have to know about the deaths, WHY WON'T YOU TELL ME ABOUT THE DEATHS, HOW MANY PEOPLE ARE DEAD, TELL ME SO I CAN TELL AMERICA, GOD DAMN IT!" And people say he's such a nice man.
So, the deathwatch around the Pope seemed unneccesary to me. Tell me the Pope's dead, and I'll say, "Well, that's too bad, but he worked hard, and he was in a lot of pain, so it's good that his pain is over." That's all I need. Do we need to know everything about everyone all the time? Isn't the natural biological process of death sacred anymore, no matter how prominent the man? Why is a vigil necessary--it's not like his handlers are going to prop him up in front of the window and wave his hand for him. It's so ghoulish, this need to insert ourselves into the passing of someone many people considered important. Report the news when it happens, not before.
I guess I was also insulted by the assumption that the Pope was important to everyone. I'm not a Catholic, so his death doesn't really affect me. In fact, I disagreed with a lot of the things he said. And I have to ask, if he's gone off to heaven (a place some people refer to as the final REWARD), shouldn't his death be celebrated as the final moment of a distinguished life, instead of something tragic? And just for the record, an old man dying isn't tragic--he wasn't in a car accident or killed for his beliefs. He died of old age. Why do Catholics fear death if they're supposedly moving on to a better place?
Anyway...I'm sure that when Ayatollah Mohammad Yazdi dies, there'll be an equal amount of coverage. America's a melting pot, right? Right?
Labels: Religioisity, Social Concerns
▼ 3 April - 10 April (5)


GM has seen the writing on the wall. They're acutely aware that cars are not, and likely cannot be, the future of mobility. Cities are getting more crowded by the day, wages are stagnant, we've heard it all before. For people in those large cities, perhaps a small foldable electric bike is the lower-cost future, and GM wants to be there if and when it happens.
GM knows they need to add a new brand to their network in order to get this bike idea to take off, because a Chevrolet with two wheels just doesn't make sense. It has already come to the table with a pair of concept bikes, one foldable and one compact, but GM doesn't have a name for the brand yet. The new multi-million dollar brand will receive a crowdsourced name, for which GM is willing to pay the ultimate winner a whopping $10,000.
I hope GM is ready to sort through thousands of terrible potential brand names. And I hope the company has a few backup names in their pocket for the inevitability that hundreds of entrants write Bikey McBikeface.
Here is one idea that I actually really like. Bring back Geo, and make it bikes for some reason.
If you want to enter the contest yourself, you can read more about it and submit your own ideas for consideration at ebikebrandchallenge.com. Unless you feel like it's a bad idea to provide a multi-billion dollar corporation with an idea for a brand name that will be worth millions of dollars for a mere $10,000 payout. Ultimately, it's up to you.


text:
Passage au crible (english)
Fil d'Ariane
IR Cinema
The TEM section
PAC 128 – The Globalization of Fanaticism The Cultural Destructions of the Islamic State
Jul 7, 2015 | Communitarianism, cultural diversity, Culture en, English, Passage au crible (English), Security, Terrorism
By Alexandre Bohas. Translation: Lawrence Myers.
With the capture of Palmyra by Islamic State troops in Iraq and in the Levant (ISIL or Daesh in Arabic) in May, one of the most prestigious sites of antiquity is now threatened with extinction. This event testifies to ideological motives of this self-proclaimed caliphate against cultural buildings.
PAC 115 – The Confirmation of a Humanist Orthodoxy The French Writer, Patrick Modiano, Nobel Laureate for Literature
Oct 26, 2014 | Culture en, Non-state diplomacy, Passage au crible (English), Symbolic politics
By Josepha Laroche
Translation: Lawrence Myers
On October 10, 2014, the Swedish Academy awarded the Nobel Prize in Literature to the French writer Patrick Modiano. After J.M.G. Le Clézio, who obtained the award in 2008, this author…
PAC 74 – The Uniqueness of Cultural Goods The Destruction of the Timbuktu Shrines
Sep 15, 2012 | Culture en, Global Public Goods, Passage au crible (English), UN
By Alexandre Bohas Translation: Pierre Chabal
The looting of Muslim shrines perpetrated in Mali in 2012 by religious extremists has raised consternation of global proportions. However, after this unanimity without effect, it is important to examine the specificity of the common…
PAC 69 – The Paradoxes of the Film Industry in China The Acquisition of AMC by the Chinese Group Wanda, on May 21th 2012
Jun 18, 2012 | China, Cultural industries, Culture en, Globalization, Passage au crible (English)
By Justin Chiu Translation: Pierre Chabal
On 21 May 2012, the Chinese group Wanda bought AMC (American Multi-Cinema), the second largest operator of movie theaters in North America. Already owning 730 screens in China, the group acquired 5034 more with this new subsidiary. It thus became the world number one of the film industry.
Chaos TV
Global Public Goods
Theories of IR
Fil twitter @Chaos_Int
Tweets de @Chaos_Int

redpajama_set_name: RedPajamaCommonCrawl


text:
Katilenge Forest Park is a forest park in the Gambia. It covers 324 hectares. The border with Senegal forms the southern border of the forest area.

It is located at 30 meters above sea level.

References

Forest parks of the Gambia

redpajama_set_name: RedPajamaWikipedia


text:
Nigel Lister
Smooth, mellow, assured. Teeside.
Narration 1
Nigel has a smooth, mellow tone with an even and assured delivery with very nuanced undertones of his North East origins!
Nigel trained at Bristol Old Vic theatre school, where he was nominated for a Carleton Hobbs award. He has had a diverse career in theatre and television including Shakespeare, Soap Opera, musicals and children's theatre. His acting credits include, 'Footloose the Musical' UK Tour, 'A Christmas Carol', 'Kings Head', 'The Crown' (Netflix), 'Doctors' (BBC), 'The Bill' (ITV), 'Steel River Blues' (ITV), 'Murder Investigation Team' (ITV), 'Dream Team' (Sky) and 'Footballers' Wives' (ITV).
30s-40s, 40s, 40s-50s
Northern, Teeside, RP
Authoritative, Smooth, Relaxed, Charming, Engaging
The Crown (TV, Netflix) Queen's Anaesthetist
Footloose: The Musical (Theatre, New Victoria Theatre) Reverend Shaw Moore
Partners in Crime (Theatre, Queen's Theatre, Hornchurch) Sir James Peel Edgerton
WPC 56 (TV, BBC) Daniel Pembroke
A Christmas Carol (Theatre, King's Head Theatre, Islington) Charles Dickens
Much Ado About Nothing (ISF) (Theatre, The Hague International Shakespeare Festival) Don Pedro


text:
landmark university population
Landmark College professors know your name—and how you learn best. In 2017, the most common positions for instructional staff at Landmark College were Associate professor with 34 employees; Assistant professor with 29 employees; and Assistant professor with 8 employees. The most common race/ethnicity at Landmark College is white (73 degrees awarded). Landmark University Admission Policy. The full-time enrollment at Landmark College is 361 students and the part-time enrollment is 100. The National Center for Education Statistics (NCES) categorizes any student who is studying in the United States on a temporary basis as a "Non-Resident Alien", and the graduation rate of those students is shown in the chart below. This line chart shows how the endowment at Landmark College (in red) compares to that of some similar universities. Out of those 314 applicants, 182 students were accepted for enrollment, representing a 58% acceptance rate. Er bezeichnet ein aufgestelltes Küstenseezeichen wie einen Leuchtturm oder ein anderes auffälliges, meist weithin sichtbares topographisches Objekt.Dementsprechend können beispielsweise Kirchen, Türme, Windräder, Burgen, Berge oder freistehende markante große Bäume Landmarken darstellen. There were 1.61 times more white male recipients than the next closest race/ethnicity group, white female (28 degrees). Landmark University Student Handbook | 2019 Edition The Board of Regents of Landmark University reserves the right to alter any section, provision, or clause of this document as it deems fit from time to time. In a landmark study, an international team of scientists, including researchers from The University of Western Australia, have sequenced and analysed the genomes of 15 wheat varieties that represent breeding programs from around the world. College of Agricultural Sciences College of Business and Social Sciences College of Science and Engineering, Tip: search for Landmark University's faculties or academic divisions with the uniRank Search Engine, Landmark University's Facebook page for social networking, Landmark University's Twitter webpage for micro-blogging and news updates, Landmark University's LinkedIn profile for business and academic networking, Landmark University's YouTube or Vimeo channel for videos, Tip: search for Landmark University's online or distance education courses with the uniRank Search Engine. LMU also provides several academic and non-academic facilities and services to students including a library, housing, sports facilities, financial aids and/or scholarships, as well as administrative services. The admission rate range is 60-70% making this Nigerian higher education organization a somewhat selective institution. These rates should be interpreted with caution, as they may not be reflective of the entire school population. In 2017, Landmark College paid a median of $12M in salaries, which represents 43.9% of their overall expenditure ($27.4M) and a 0.975% growth from the previous year. The enrolled student population at Landmark College, both undergraduate and graduate, is 69.2% White, 5.42% Hispanic or Latino, 3.69% Black or African American, 3.47% Asian, 1.52% Two or More Races, 0.217% American Indian or Alaska Native, and 0% Native Hawaiian or Other Pacific Islanders. Landmark University was established to make laudable contributions to knowledge in order to secure increased comfort for humanity by "Breaking New Grounds" (the University's motto) in teaching, research, and community service. In 2017, 65 degrees were awarded to men at Landmark College, which is 1.67 times more than the number of degrees awarded to females (39). Landmark Student Population There are 519 students including 489 undergraduate and 30 graduate students at Landmark College for academic year 2018-2019. The most common Bachelor's Degree concentration at Landmark College is Other Liberal Arts & Sciences, General Studies, & Humanities (18 degrees awarded), followed by Computer Science (0 degrees) and General Fine Studio Arts (0 degrees). In 2017, the most common bachelors degree concentration at Landmark College was Other Liberal Arts & Sciences, General Studies, & Humanities with 18 degree-majorss awarded. After taking grants and loans into account, the average net price for students is $51,032. The Landmark College Institute for Research and Training conducts groundbreaking research on learning disabilities ... Nearly half our student population transferred here from another college or university. In 2017, the most common positions for non-instructional staff at Landmark College were Management with 28 employees; Librarians, Curators, Archivists, and Academic Affairs and Other Education Services with 24 employees; and Service with 24 employees. LANDMARK HOLDS MAIDEN INTERNATIONAL DAY OF MATHEMATICS . In 2017, 26 fewer women than men received degrees from Landmark College. This represents a growth of 8.11% with respect to 2016, when 74% of undergraduate students received financial aid. The enrolled student population at Landmark College, both undergraduate and graduate, is 69.2% White, 5.42% Hispanic or Latino, 3.69% Black or African American, 3.47% Asian, 1.52% Two or More Races, 0.217% American Indian or Alaska Native, and 0% Native Hawaiian or Other Pacific Islanders. Students enrolled in full-time Graduate programs are majority N/A, followed by N/A and N/A. Admission List in Landmark University | How to check your admission status (Ist, 2nd, 3rd or 4th Batch) How to Check Landmark University Admission List. Cohort default rates only account for borrowers who default in the first three years, and some schools only have a small proportion of borrowers entering repayment. By comparison, enrollment for all Baccalaureate/Associates Colleges is 46.1% White, 24.4% Hispanic or Latino, and 14% Black or African American. This University profile has been officially reviewed and updated by Landmark University's representatives. In 2017, the most common demographic for instructional staff at Landmark College was Female Associate professor with 22 employees, Female Assistant professor with 15 employees, and Male Assistant professor with 14 employees. 6:1. In 2017, Landmark College had a total salary expenditure of $27.4M. See all available apartments for rent at Landmark in Ann Arbor, MI. The student demographic with the highest graduation rate at Landmark College is Female and Hispanic or Latino (100% graduation rate). The total enrollment at Landmark College, both undergraduate and graduate, is 461 students. The highest paying jobs for people who hold a degree in one of the 5 most specialized majors at Landmark College are Surgeons, Magnetic resonance imaging technologists, Physicians, Diagnostic medical sonographers, and Architectural & engineering managers. Across all Baccalaureate/Associates Colleges, Asian Female students have the highest graduation rate (68.1%). Students enrolled at Landmark College in full-time Undergraduate programs are majority White Male (48.5%), followed by White Female (21.1%) and Hispanic or Latino Male (4.16%). This means that 78.3% of students enrolled at Landmark College are enrolled full-time compared with 45.4% at similar Baccalaureate/Associates Colleges. Please contact the appropriate Landmark University's office for detailed information on yearly tuitions which apply to your specific situation and study interest; the above uniRank Tuition Range Matrix™ is indicative only and may not be up-to-date or complete. Additionally, 67 students (14.5%) did not report their race. Landmarke ist ein Begriff, der ursprünglich aus der Luft-und Schifffahrt stammt. Established in 2011, Landmark University is a non-profit private higher-education institution located in the suburban setting of the small city of Omu-Aran (population range of 50,000-249,999 inhabitants), Kwara. As of 2017, Landmark College received $175k in grants and contracts from the federal government, $600 from state grants and contracts, and $0 from local grants and contracts. Landmark College has an endowment valued at nearly $23.4M, as of the end of the 2017 fiscal year. O'Level Criteria: English Language, Mathematics, Chemistry, Biology or Agricultural Science and Physics or Economics or any Social Science subject. A b o u t | C o n t a c t U s | A d v e r t i s e, © 2005-2020 uniRank ™We use third-party cookies to personalize content and improve your experience. 37.5% of these degrees were awarded to women, and 62.5% awarded men. The most common jobs for people who hold a degree in one of the 5 most specialized majors at Landmark College are Accountants & auditors (1,136,316 people), Other managers (822,105 people), Software developers (545,624 people), Financial managers (453,932 people), and Elementary & middle school teachers (440,582 people). In 2016, the most popular Bachelor's Degree concentrations at Landmark College were Other Liberal Arts & Sciences, General Studies, & Humanities (18 degrees awarded), Computer Science (0 degrees), and General Fine Studio Arts (0 degrees). Landmark University School of Postgraduate Studies. Further ascertaining her commitment to being a leading world-class institution, Landmark University on Friday 13th March 2020, held Maiden International Day of Mathematics under the auspices of the Department of Physical Sciences, College of Pure and Applied Sciences. Before you proceed, check out these opportunities: It is located in Omu-Aran, Kwara State. Ministries of Higher Education) that have the legal authority to officially accredit, charter, license or, more generally, recognize Landmark University as a whole (Institutional Accreditation or Recognition) or its specific programs/courses (Programmatic Accreditation). Landmark has beautiful structures, they have wonderful hostels, a university library, chapel, etc. In 2016 the default rate for borrower's at Landmark College was 8%, which represents 10 out of the 125 total borrowers. The majority of degree recipients were white (73 degrees), 4.87 times more than then the next closest race/ethnicity group, unknown (15 degrees). Just like most private universities in Nigeria, Landmark University has a meal plan for every student, though this is not free, included in the table below. The cost of books and supplies increased by 7.14% during the same period. Receive updates on news, datasets, and features? By visiting uniRank, you accept our terms, privacy and cookie policy, It includes undergraduate certificates, diplomas, foundation or associate degrees that usually take less than 2 years to complete, It includes undergraduate bachelor degrees that usually take between 3 to 5 years to complete, It includes postgraduate master degrees that usually take between 1 to 3 years to complete, It includes postgraduate doctorate degrees that usually take over 4 years to complete, search for Landmark University's courses and programs with the uniRank Search Engine, search for Landmark University's tuition fees with the uniRank Search Engine, search for Landmark University's admission policy with the uniRank Search Engine, search for Landmark University's facilities and services with the uniRank Search Engine, search for Landmark University's accreditations with the uniRank Search Engine, search for Landmark University's faculties or academic divisions with the uniRank Search Engine, Landmark University's YouTube or Vimeo channel, search for Landmark University's online or distance education courses with the uniRank Search Engine, Association of African Universities (AAU). Landmark University school fees schedule for the 2020/2021 academic session is yet to be released by the school management.This page will give you an idea on what to expect and will be updated when the school fees schedule is released. During the same period, the average yearly cost of books and supplies was $1,500. This means that 78.3% of students enrolled at Landmark College are enrolled full-time. Landmark College has an endowment valued at about $23.4M, as of the end of the 2017 fiscal year. RCCG My Father's House Salford | Online Sunday Service | 24-05-2020 RCCG My Father's House … Tip: search for Landmark University's facilities and services with the uniRank Search Engine. . Landmark University, Omu-Aran, Kwara State 4,804 views. This chart compares the average net price of Landmark College (in red) with that of other similar universities. This chart compares the acceptance rate of Landmark College (in red) with that of other similar universities. Agric Agricultural Extension & Rural Development. Landmark University has released admission forms into the institution's School of Postgraduate Studies (SPS), various programmes for the 2018/2019 academic session. Admission into Landmark University is not so competitive as the university still has a relatively low student population and even staff population. Landmark College employs 34 Associate professors, 29 Assistant professors, and 8 Professors. See the uniRank degree levels and areas of study matrix below for further details. The majority of degree recipients at Landmark College are white (73 degrees awarded). This chart compares the average student costs at Landmark College (in red) with that of similar universities. The department of education defines graduation rate as the percentage of full-time, first-time students who received a degree or award within 150% of "normal time" to completion. 14.4% of degree recipients (15 students) did not report their race. The intention is to stabilize student population at about 6,032 in ten years time and 10,000 in 15 years while the number of Colleges will increase from 3 to 5 in … The median for similar Baccalaureate/Associates Colleges is 6.2M (33.2% of overall expenditures). In 2017, the undergraduate acceptance rate of Landmark College was 58% (182 admissions from 314 applications). This is higher than the acceptance rate of 2016, which was 36.2%. The United Kingdom has become the world's first nation to begin vaccinating its citizens with a fully vetted and authorized COVID-19 shot, a landmark moment in the coronavirus pandemic. View our landmark studies including HOPE and COMPASS here. The enrolled student population at Landmark College is 69.2% White, 5.42% Hispanic or Latino, 3.69% Black or African American, 3.47% Asian, 1.52% Two or More Races, 0.217% American Indian or Alaska Native, and 0% Native Hawaiian or Other Pacific Islanders. Showing demographic groups with ≥ 5 graduating students. Landmark College is a higher education institution located in Windham County, VT. By visiting our website, you are walking through our "virtual front door" and I am glad to have you partner with this great University using the Postgraduate studies platform in LMU. Find out rankings and reviews of all Universities in Nigeria, Search for courses and scholarships with the uniRank World Universities Search Engine, Explore a list of all recognized Universities in Africa by country, Site last updated: Friday, 2 October 2020. The management of the Landmark University has released the Undergraduate, Post UTME, Direct Entry, Diploma, Postgraduate, Distance Education, Masters Programmes admission entry and screening requirements for the 2020/2021 academic session. Below is the schedule of the Landmark University (LMU), Omu-Aran school fees for 2016/2017 academic session. 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Female ( 28 degrees ) academic record and grades total borrowers and Hispanic or Latino ( 100 graduation. Km 4 Ipetu, Omu-Aran, Kwara State 4,804 views past academic record grades... Other Criteria the admission rate range is 60-70 % making this Nigerian higher education located. Of Landmark College are enrolled full-time fresh and stale undergraduate students received financial aid their studies the year! Full-Time enrollment at Landmark College ( in red ) with that of similar universities the enrollment. Which is the schedule of the 125 total borrowers Dominant Carnegie Classification grouping know your name—and how you learn.... This is compared to a median of $ 51,032 Physics or Economics or any Social Science.... And 2016 ( in red ) with that of similar universities Commission of Nigeria, tip: search for University! Apartments for rent at Landmark College was 90 % sequences reported to date Landmark has beautiful,. 62.5 % awarded men student demographic with the uniRank search Engine which represents a 35.1 % annual.. Of undergraduate students received federal loans and 2016 the information below admission rate range is 60-70 % making Nigerian! Race/Ethnicity group, white female ( 28 degrees ) a higher education organization a somewhat selective institution has. Information below has an overall enrollment yield of 50 %, which was 36.2 % nearly $ 23.4M, of! Reviewed and updated by Landmark University, LMU school fees for 2016/2017 academic session provides the most race/ethnicity. Students including 489 undergraduate and graduate programs at Landmark College is a major issue in Nigerian system... 'S facilities and services with the uniRank search Engine, a University,! ) did not report their race white recipients than the median for Baccalaureate/Associates... Of 10 LC associate degree grads earn a bachelor 's degree 58 % ( 182 admissions from 314 )! 12.5 % of students enrolled in full-time graduate programs are majority N/A, followed by N/A and %... Schedule of the end of the 2017 fiscal year College has a relatively low student population there are 519 including... Rate may vary by areas of study matrix below for further details students for the 2020/2021 academic session representing.
Italian Chili Oil Recipe, Msc Public Health Uk, Joy Unspeakable Joy Rises In My Soul, Palmolive Dish Liquid In Dishwasher, Tp-link 4g Lte Router,
landmark university population 2020


text:
Home > Television > Stream & Chill > Netflix
Are We Getting a Third Season of 'Who Killed Sara?' (SPOILERS)
May 19 2021, Published 8:27 p.m. ET
Spoiler Alert: This article contains spoilers for Season 2 of Who Killed Sara?.
The Mexican Netflix series Who Killed Sara? is a story about revenge and redemption. It starts out with Sara Guzmán's (Ximena Lamadrid) brother Álex (Manolo Cardona) finding out that not only is his sister dead, but that he's being framed for her murder. Almost two decades later, he's out of prison for the crime. He's ready to get revenge and clear his name.
Now that Season 2 of Who Killed Sara? has come to an end, fans have way more questions now. They're looking forward to answers and even more questions in Season 3. Since the second season just premiered, we may not get news about the next season so soon, but there are some hints that there will be another season next year.
When is the 'Who Killed Sara?' Season 3 release date?
Right now, a third season of Who Killed Sara? hasn't been confirmed, but it does seem likely that it would happen. Deadline reports that it's become Netflix's most popular foreign-language series in the U.S. ever. About 55 million people have watched the show since the second season started streaming.
This means that there's no release date yet, but Season 2 does only have eight episodes, which is less than the 10 episodes of Season 1. Plus, we still have some time to wait for an announcement. Season 2 of Who Killed Sara? was confirmed just a few days after Season 1's premiere. If that same thing happens here, it's just a matter of time until we get confirmation about Season 3.
What will Season 3 be about?
In the Season 2 premiere, we see that Álex found Sara's journal. It turns out that she had a breakdown and attacked her mom and best friend. This makes Álex think that his sister could have enemies he has no idea about and it's possible that one of them could have killed her.
Álex also finds out that Sara was mentally ill and seeing a professional for help. So there's even more about her that he didn't know. On top of that, a girl named Elisa (Carolina Miranda) has been kidnapped. Elisa is a member of the Lazcano family. This family has been close to the Guzmáns. Rodolfo Lazcano (Alejandro Nones) dated Sara and was Álex's best friend. She and Álex were also in a relationship before she was kidnapped.
When Álex finds out that Elisa was kidnapped, he's immediately alarmed, especially since Sara was with the Lazcano family right before she died, and he blames them for her death. So, in Season 3, it's possible that we find out someone from that family isn't who they say they are or that they had something to do with both of these crimes.
This could also call into question if Sara is even actually dead. She could have been kidnapped like Elisa, or possibly she decided to live a whole new life and live under another identity. Now that we know Elisa is missing, Álex may even be able to find out what happened to her. It would be even more interesting if he gets caught up by the police for her disappearance, considering his history with the law.
Season 2 of Who Killed Sara? is streaming on Netflix now.
Did the Final Episode of 'Who Killed Sara?' Reveal the Likely Murderer?
Rodolfo Was Wrongfully Blamed for Crimes in 'Who Killed Sara?' (SPOILERS)
Netflix's New Murder Mystery 'Who Killed Sara?' Has Something for Everyone
Latest Netflix News and Updates


text:
Q: Sum values of items in the ListView I have a ListView with SimpleCursorAdapter showing integers. How I can add all these integers and display the total in a String?
see this screenshot to see my idea
Look well Toast showing the values of each item, but the TextView (total) does not
public static final String ROW_ID = "row_id";
private static final String TITLE_APROVADAS = "title";
private static final String CREDITOS_APROVADAS = "creditos";
private ListView noteListView;
private SimpleCursorAdapter noteAdapter;
private Cursor cursor;
private TextView total;

@Override
public void onCreate(Bundle savedInstanceState) {
    super.onCreate(savedInstanceState);
    setContentView(R.layout.listview_principal);

    noteListView=(ListView)findViewById(R.id.listViewTarea);
    total=(TextView)findViewById(R.id.texto_contador);

    noteAdapter  = new SimpleCursorAdapter(this,R.layout.aprovadas_textview,cursor,
    new String[] {TITLE_APROVADAS,CREDITOS_APROVADAS},

    new int[] {R.id.titulo_aprovadas_texto_listview, R.id.creditos_aprovadas_texto_listview},1){

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

    view.findViewById(R.id.titulo_aprovadas_texto_listview);
    TextView credito = (TextView) view.findViewById(R.id.creditos_aprovadas_texto_listview);

    String txtCredito=credito.getText().toString();
    int losCreditos=Integer.parseInt(txtCredito);
    total.setText(""+losCreditos);
    Toast.makeText(ZMainActivity.this, ""+losCreditos, Toast.LENGTH_LONG).show();

     return view;
   }
   };
    noteListView.setAdapter(noteAdapter);
}
@Override
protected void onResume() {
    super.onResume();
    new GetNotes().execute((Object[]) null);
}
@Override
protected void onStop() {
    Cursor cursor = noteAdapter.getCursor();
    if(cursor != null ){
    cursor.deactivate();
    noteAdapter.changeCursor(null);
    super.onStop();}
}

public class GetNotes extends AsyncTask<Object, Object, Cursor> {
    Aprovadas_DatabaseConnector dbConnector = new Aprovadas_DatabaseConnector(ZMainActivity.this);
    @Override
    protected Cursor doInBackground(Object... params) {
        // Open the database
        dbConnector.open();
        return (dbConnector.ListAllNotes());
    }
    @Override
    protected void onPostExecute(Cursor result) {
        noteAdapter.changeCursor(result);
        // Close Database
        dbConnector.close();

    }}

}

A: You should sum up all values from the data provider (guessing an ArrayList). Iterate over the array and add the current value to sum and then display it.
You would need to do something like this
List<Nodes> listOfNodes = dbConnector.ListAllNotes();
int sum = 0;
int size = listOfNodes.size();
for(int i = 0; i < size; ++i){
   sum += listOfNodes.get(i).getCreditos();
}

You may need to create the method getCreditos to return a value of credits in each node, but appart from that this is the basic idea.

redpajama_set_name: RedPajamaStackExchange


text:
Automobile Logistics
On-site Logistics
Customer Deliveries and Technical Services
BLG LOGISTICS: New Chairman of the Supervisory Board after General Shareholders Meeting
Dividend of 40 cents per individual share
Supervisory Board and CEO discharged with large majority
Supervisory Board elects Dr. Klaus Meier as new Chairman of the Supervisory Board
"Our company's doing well. That's because we've taken important strategic decisions. And because the management team works together seamlessly and with great commitment, keeping a firm focus on the future." With these words, BLG CEO Frank Dreeke today opened the 138th General Shareholders Meeting of BREMER LAGERHAUS-GESELLSCHAFT -Aktiengesellschaft von 1877- in the Congress Center Bremen before reviewing business year 2017. On behalf of the Board of Management, he thanked the 230 shareholders and guests in the room – who represented some 88 percent of the share capital – for coming. Then he presented his report on the listed company BREMER LAGERHAUS-GESELLSCHAFT -Aktiengesellschaft von 1877.
Business year 2017 closed with a profit of EUR 1,536,000. This formed the basis for the dividend payments. Frank Dreeke said: "We're committed to a results-oriented and consistent dividend policy. One of our stated goals is to ensure our shareholders receive an appropriate participation in the company's success." Therefore, the CEO and Supervisory Board proposed using the net profit to once again pay a dividend of 40 cents per individual share. This corresponds to a return of some 15 percent on the dividend-entitled share capital of EUR 9,984,000.
Despite good business development, the BLG share price was subject to fluctuations during the reporting year. On the final trading day of 2017, the share price closed at EUR 14.49. That put it at a similar level to the start of the year.
Pre-tax profit better than expected
BLG LOGISTICS GROUP AG & Co. KG concentrates on the strategic control and development of the BLG Group with its three divisions Automobile, Contract, and Container Logistics. Frank Dreeke said: "In many ways, 2017 was a good year. In some respects, it was even better than expected. We increased sales revenues by four percent. And the two divisions AUTOMOBILE and CONTRACT alone broke through the one billion euro barrier again."
Altogether, the BLG Group generated sales of EUR 1 billion and 87.8 million in 2017. That was an increase of EUR 42.2 million. Earnings before tax (EBT) grew significantly by EUR 2.7 million or 8.8 percent to EUR 33.5 million. Due to increased sales, the reporting year generated an EBT margin of 3.1 percent (previous year: 2.9 percent). That means both the EBT and the EBT margin were not only better than the year before, but also higher than forecast.
The AUTOMOBILE and CONTRACT divisions were almost equally strong in terms of sales revenue. Growth in the AUTOMOBILE division – with sales revenues up on 2016 by EUR 76.5 million – was the result of two factors: the sustained positive development on the German automobile market and the high volumes handled at a number of BLG locations. Sales revenues in the CONTRACT division amounted to EUR 547.8 million in 2017. That is slightly lower than in the previous year (minus EUR 26.7 million). This was mainly because a key account in the USA switched to another service provider. The CONTAINER division achieved sales revenues of EUR 304 million, in accordance with the BLG share of 50 percent in the company EUROGATE. That was EUR 15.7 less than in the previous year. Increased sales generated by the Bremerhaven location, the subsidiaries, and secondary services were not enough to offset the significantly lower handling volume at the Hamburg location.
"In total we were able to expand sales in 2017 despite diverse developments in our three business fields of automobile, contract, and container logistics. We even slightly exceeded our forecast target," summed up Frank Dreeke.
Sustained profit and further growth
After the CEO had intensively discussed the past business year in his report to the General Meeting, he turned to the future. "As a globally operating logistics company, we depend crucially on production and the associated goods flows in the global economy." He added: "In our AUTOMOBILE division, we expect a stable development of exports at a high level in 2018. We anticipate a growth in imports due to increasing production by German manufacturers abroad as well as potential new imports, for instance from China. For the CONTRACT division, we forecast growth in all business areas – industrial logistics, retail logistics, and shipping and forwarding. One of our goals is to further expand our logistics activities in e-commerce. We want to develop the entire value-creation chain in this area and also drive ahead with possible participations and acquisitions. Factors that will continue to be important for our CONTAINER division are the strong competition, further cooperation between and concentration of container shipping lines, the uncertain development of handling at our Hamburg location, and the not yet fully utilized capacity in Wilhelmshaven. What we expect in 2018 for the BLG Group as a whole are sales at least as high as the previous year's level, an increased EBT of between five and eight percent, and a correspondingly higher EBT margin." The express goal, Dreeke said, was making a profit in all areas and continuing to grow.
With a large majority, the General Meeting discharged the Supervisory Board and the CEO and also agreed with all their proposed resolutions.
Supervisory Board newly elected
With the end of the General Meeting, the term of office of all Supervisory Board members ended according to regular practice. The body, which continually monitors the work of the Board of Management and provides advice, consists of eight shareholders and eight employees. The Supervisory Board members from the workforce were elected on April 19, 2018 according to the terms of co-determination law. The members who represent the shareholders were elected by individual votes at the General Meeting.
On behalf of the Supervisory Board, the mayor of the city, Karoline Linnert, thanked the departing Chairman Dr. Stephan-Andreas Kaulvers for his "sure hand, intelligence, and experience". She also thanked the departing members Dr. h.c. Klaus Wedemeier, Birgit Holtmann, and Andreas Wopp for their commitment. During the first meeting of the newly constituted body, the members elected Dr. Klaus Meier, Managing Partner of wpd windmanager GmbH & Co. KG, as the new Chairman of the Supervisory Board. He thanked his co-members for their confidence in him. "In today's ever more interconnected and digitialized world, BLG will face new challenges and also gain great opportunities. I'm very happy to have the honor of helping steer the company together with the Supervisory Board in such exciting times."
Members of the Supervisory Board of BREMER LAGERHAUS-GESELLSCHAFT
-Aktiengesellschaft von 1877-
Dr. Klaus Meier, Bremen (Chairman)
Managing Partner, wpd Windmanager GmbH & Co. KG, lawyer
Christine Behle, Berlin (Vice Chairman)
Member of the Federal Board of the labor union ver.di Vereinte Dienstleistungsgewerkschaft, Head of Department 11, Transport
Sonja Berndt, Ritterhude
Member of the Works Council, BLG LOGISTICS GROUP AG & Co. KG
Heiner Dettmer, Bremen
Managing Partner, Dettmer Group KG
Karl-Heinz Dammann, Geestland
Chairman of the Group Works Council, EUROGATE GmbH & Co. KGaA, KG and Vice Chairman of the Works Council, EUROGATE Container Terminal Bremerhaven GmbH
Melf Grantz, Bremerhaven
Presiding Mayor of Bremerhaven
Martin Günthner, Bremerhaven
Senator of the Economy, Labor, and Ports as well as Senator of Justice and the Constitution of the Free Hanseatic City of Bremen
Udo Klöpping, Bremen
Head of HR, BLG LOGISTICS GROUP AG & Co. KG
Karoline Linnert, Bremen
Mayor and Senator for Finance of the Free Hanseatic City of Bremen
Wybcke Meier, Hamburg
Chairman of the Board of Management, TUI Cruises GmbH
Dr. Tim Nesemann, Bremen
Chairman of the Board of Management of the Financial Holding, Sparkasse in Bremen, and Chairman of the Board of Management, Die Sparkasse Bremen AG
Klaus Pollok, Bremerhaven
Process Manager, BLG AutoTerminal Bremerhaven GmbH & Co. KG
Stefan Schubert, Bremen
Head of State Department, labor union ver.di Vereinte Dienstleistungsgewerkschaft, states of Lower Saxony and Bremen
Dieter Strerath, Bremen
Chairman of the Group Works Council, BLG LOGISTICS GROUP AG & Co. KG
Reiner Thau, Schenefeld
Chairman of the Works Council, EUROGATE Container Terminal Hamburg GmbH
Dr. Patrick Wendisch, Bremen
Managing Partner, Lampe & Schwartze KG
Chairman Frank Dreeke at the 138th General Shareholders Meeting
The newly elected Supervisory Board
The new Chairman of the Supervisory Board Dr. Klaus Meier
Comunicato precedente
Contatto via telefono
Valuteremo la tua candidatura!
Valore azioni BLG
BLG Logistics Solutions Italia S.r.l.
Via Vittor Pisani, 7
20124 Milano - Italia
Tel. +39 2 890 58876
BLG worldwide
Germany (de) | Germany (en)
Russia USA
© 2018 BLG LOGISTICS GROUP AG & Co. KG
GTCBCR


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This baby is also available in 9ct yellow gold and white gold.


text:
Graphene Sensor Inside Microfluidic Chip Detects Bacteria in Tiny Samples
Medgadget Editors Diagnostics, Materials, Medicine, Nanomedicine
Graphene, a two dimensional material made of a layer of carbon exactly one atom thick, has a variety of interesting properties. When used as a field-effect transistor, it can detect slight physical forces applied to its surface, making it particularly useful for diagnostics where targets are microscopically small. Researchers at Osaka University in Japan have now harnessed this feature of graphene to detect bacteria at very low concentrations, including H. pylori which is known to cause stomach ulcers.
They created a new biosensor that uses microfluidics to position tiny droplets of a sample on top of a graphene component. The graphene was covered with antibodies meaning that the target bacteria would adhere and stay near it. However, because the antibodies prevented the bacteria from touching the graphene sensor, it couldn't measure them directly, and a complementary technique was necessary.
The team figured out that by adding a chemical with which the target bacteria can interact and produce a byproduct, the sensor would be able to detect the presence of that byproduct. The graphene could detect the relevant compounds and even their concentrations in real time, providing a way to diagnose and then monitor the progression of various bacterial diseases.
Study in journal Nano Letters: Electrical Biosensing at Physiological Ionic Strength Using Graphene Field-Effect Transistor in Femtoliter Microdroplet
Via: Osaka University


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text:
Q: Efficient way to page from this sql server article I am reading about how to efficiently page through large data sets because I am not happy with Row_Number and Fetch is worst.
This is the article:
https://web.archive.org/web/20211020131201/https://www.4guysfromrolla.com/webtech/042606-1.shtml
Now this article has this piece of code:
CREATE  PROCEDURE [dbo].[usp_PageResults_NAI]
(
    @startRowIndex int,
    @maximumRows int
)
AS

DECLARE @first_id int, @startRow int

-- A check can be added to make sure @startRowIndex isn't > count(1)
-- from employees before doing any actual work unless it is guaranteed
-- the caller won't do that

-- Get the first employeeID for our page of records
SET ROWCOUNT @startRowIndex
SELECT @first_id = employeeID FROM employees ORDER BY employeeid

-- Now, set the row count to MaximumRows and get
-- all records >= @first_id
SET ROWCOUNT @maximumRows

SELECT e.*, d.name as DepartmentName
FROM employees e
   INNER JOIN Departments D ON
       e.DepartmentID = d.DepartmentID
WHERE employeeid >= @first_id
ORDER BY e.EmployeeID

SET ROWCOUNT 0

GO

This demo code looks OK (as with other demos you see :)). The above code works only because he is using Order By employeeid in SELECT @first_id = employeeID FROM employees ORDER BY employeeid.
Let's say I have a field named FirstName and want to order by that instead. How do I then write the above procedure? The above procedure obviously won't work because then we can't write WHERE employeeid >= @first_id because we can't get first_id if we order by Name. This is because where is executed before order by.
If we change the above query to:
Select * From (SELECT e.*, d.name as DepartmentName
FROM employees e
   INNER JOIN Departments D ON
       e.DepartmentID = d.DepartmentID
ORDER BY e.EmployeeID) v WHERE employeeid >= @first_id

then it would work but this means, the above query would give extremely poor performance on larger data sets.
So, how do we use the above demo code into production use? Any help is appreciated.

A: Your question appears to be that you want to use an alternative method because ROW_NUMBER does not work well when sorting on non unique fields in large datasets. However the problem is that the method you want to use does not work well when sorting on non unique fields in large data sets so what can you do to correct that?
The answer is that sorting large datasets on a non unique field(s) will not perform well however you do it, unless you use indexes well.
Just to demonstrate that ROW_NUMBER is better than the method you have given even on the simple case of sorting on a primary key, I created the schema from your link and added following procedure:
CREATE PROCEDURE dbo.usp_PagedResults_RowNumber
(
   @startRowIndex int,
   @maximumRows int
)
AS
WITH Emp AS
(   SELECT e.*, rn = ROW_NUMBER() OVER(ORDER BY e.EmployeeID)
    FROM employees e
)
SELECT  TOP (@MaximumRows)
        EmployeeID,
        LastName,
        FirstName,
        e.DepartmentID,
        Salary,
        HireDate,
        d.Name AS DepartmentName
FROM    Emp e
        INNER JOIN Departments D ON
           e.DepartmentID = d.DepartmentID
WHERE   rn >= @startRowIndex
ORDER BY EmployeeID;

I then compared the two queries:
EXECUTE usp_PageResults_NAI 4500, 20;
EXECUTE usp_PagedResults_RowNumber 4500, 20;

Firstly looking at the IO statistics, the procedure you have posted used was as follows:
Table 'Employees'. Scan count 1, logical reads 48
(1 row(s) affected)

(20 row(s) affected)
Table 'Departments'. Scan count 1, logical reads 41
Table 'Employees'. Scan count 1, logical reads 2

(1 row(s) affected)

All statistics ended with physical reads 0, read-ahead reads 0, lob logical reads 0, lob physical reads 0, lob read-ahead reads 0. so I removed this from all of them for readability.
The statistics when using ROW_NUMBER():
(20 row(s) affected)
Table 'Departments'. Scan count 1, logical reads 41
Table 'Employees'. Scan count 1, logical reads 48

(1 row(s) affected)

There is not much to separate the two, but ROW_NUMBER comes in slightly better with one less index scan and 2 less logical reads.
Next to look at the execution plan. Using Rowcount comes in at an estimated 84% of the query cost:

And ROW_NUMBER a measly 16%.

In terms of actual execution time, I can't draw a reasonable conclusion given the size of the data, since both execute so quickly. I can only assume the simpler plan, and lower IO make ROW_NUMBER faster too.
So rather than trying to force a square peg into a round hole and use this method of ROWCOUNT to page on a field such as FirstName, instead create an index on FirstName to assist ROW_NUMBER when doing the sort. e.g.
CREATE NONCLUSTERED INDEX IX_Employees_FirstName ON dbo.Employees (FirstName ASC) INCLUDE (DepartmentID);

To demonstrate the difference I ran this query:
SELECT  EmployeeID,
        DepartmentID,
        RowNumber = ROW_NUMBER() OVER(ORDER  BY FirstName, EmployeeID)
FROM    Employees;

Both before adding the index:
Before
Table 'Employees'. Scan count 1, logical reads 501

After
Table 'Employees'. Scan count 1, logical reads 249

This shows the sort is able to use the index halving the number of logical reads.

A: I've tried multiple different ways of SP paging, and nothing worked for me efficiently. Part of the reason is in my case SP was very complex and ran slow if I used all the criteria, conditions, sorting, filtering etc - so I couldn't afford to repeat all of them with each new page request.
The way I implemented it - I do run it with all the criteria, conditions, sorting, filtering etc. but I run it like this only once - and retrieve all the rows, but instead of getting all the columns, I retrieve just the primary key (which btw speeds up the run, comparing to all columns rereival).
In my .NET code I store that list in a Generic List (of integer). Every time user request's a new page - I'd pass a list of IDs (say 50 at a time) to the SP. SP then, instead of performing full search on conditions, sorting, filtering etc. simple does an INNER JOIN to that list.
This approach turned out to be very efficient, because all the conditions - including order of records is already preserved in the list of IDs. It is flexible as well, at any time I can easily change "row-per-page" by simple supplying different number of IDs at a time.


text:
Q: How to select departure and return date on the calendar of Booking.com by using Selenium Python? I'm building a web scraper using Selenium Python on Booking.com and I am stuck with calendar select dates. Here is my function code below. I am using a run.py and another external functions file. The date selection is not working I can choose two days from the same month but from two different months is not working
import Booking.constants as const
from selenium import webdriver
from selenium.webdriver.common.by import  By
from selenium.webdriver.common.keys import Keys
from selenium.webdriver.support.ui import WebDriverWait
from selenium.webdriver.support import expected_conditions as EC
import time
import os

class Booking(webdriver.Chrome):
    def __init__(self, driver_path=r"C:\Users\osama\Anaconda3", teardown=False) :
        self.driver_path = driver_path
        self.teardown = teardown
        os.environ['PATH'] += self.driver_path
        super(Booking, self).__init__()
        self.implicitly_wait(15)
        self.maximize_window()

    def __exit__(self, exc_type, exc, traceback):
        if self.teardown:
            self.quit()

    def land_first_page(self):
        self.get(const.BASE_URL)

    def choose_currency(self, currency=None):
        currency_element = self.find_element(By.CSS_SELECTOR,
            'button[data-modal-header-async-type="currencyDesktop"]'
            )
        currency_element.click()
        selected_currency = self.find_element(By.CSS_SELECTOR,
            f'a[data-modal-header-async-url-param="changed_currency=1&selected_currency={currency}"]'
              )
        selected_currency.click()

    def select_place_to_go(self, place_to_go):
        search_field = self.find_element(By.ID, 'ss')
        search_field.clear()
        search_field.send_keys(place_to_go)
        first_result = self.find_element(By.CSS_SELECTOR, 'li[data-i="0"').click()

    def select_dates(self, check_in_date, check_out_date):
        check_in_element = self.find_element(By.CSS_SELECTOR, f'td[data-date="{check_in_date}"]').click()
        time.sleep(4)
        all_dates = self.find_elements(By.XPATH, "//div[@class='bui-calendar']//tbody//td")
        for date in all_dates:
            if date.get_attribute("data-date") == f'{check_out_date}':
                date.click()
                time.sleep(4)
                break

A: I think I found a partially efficient answer. All the answer I found to my question was in Java and the only answers in python were taking the approach of selecting the XPath of the whole calendar and then writing a for loop or while loop with a fixed date. In the below code I just select the next button on the calendar which I can custom clicking it more than once easily depending on the dates I want to choose then select the check-in date and the checkout date separately and voila it worked I know it is not the best solution as I am still a beginner but it fulfilled what I need from the scrap. Please be kind and see my solution and give me your feedback I changed the function in the code I put above with the one below.
def select_dates(self, check_in_date, check_out_date):
        next_button = self.find_element(By.XPATH, '//div[@data-bui-ref="calendar-next"]')
        next_button.click()
        check_in_element = self.find_element(By.CSS_SELECTOR, f'td[data-date="{check_in_date}"]')
        check_in_element.click()
        check_out_element = self.find_element(By.CSS_SELECTOR, f'td[data-date="{check_out_date}"]')
        check_out_element.click()