text:
Q: Modificar datos DataTable Buenas, a ver si me pueden ayudar:
Tengo una petición ajax tal qué:
function getData(){
            $.ajax({
                url: url_serv,
                type: 'GET',
                dataType: 'json',
                success: function(data){
                    imprimir(data);
                }

....
en imprimir me hace lo siguiente:
function imprimir(datos) {
            $('#miTable').DataTable({
                data: datos,
                columns:[
                    {  "data": "id"     },
                    {  "data": "name"   },
                    {  "data": "publish"},
                    {  "render":
                        function ( data, type, row ) {
                            Aquí metere el boton para modificar y que invoque a Dialog.
                            ....código faltante....
                        }
                    }
                 ]
            });
        }

Tengo que añadir una sexta columna que sea un botón para modificar cualquiera de las filas, se supone que al pulsar ese botón, sale un dialogo con la api Dialog de JQuery y los datos (El dialog ya lo tengo creado). Pero para modificar la fila o dato, tengo que utilizar "render"... y luego ahí hacer una petición put al servidor para modificarlo, pero estoy perdido en como hacerlo.
¿Alguien me puede ayudar o indicar un poco por donde tirar?
Código HTML:

    <button id="cargar">Get JSON data</button>

 Modifique los campos:

        <form>
            <fieldset>
                ID:
                <input type="text" name="id" id="id">
                Nombre:
                <input type="text" name="name" id="name">
                Publicación:
                <input type="date" name="publicacion" id="publish">

            </fieldset>
        </form>

A: esta es la columna o el boton que te falta.
{"defaultContent":'<button type="button" class="editar btn btn-link" data-
toggle="modal" data-target=".bd-example-modal-lg">
</button>'
},

seria asi
 function imprimir(datos) {
        $('#miTable').DataTable({
            data: datos,
            columns:[
                {  "data": "id"     },
                {  "data": "name"   },
                {  "data": "publish"},
                {"defaultContent":'<button type="button" class="editar btn btn-link" data-
toggle="modal" data-target=".bd-example-modal-lg">
</button>'
},
                }
             ]
        });
    }

se que quieres agregar el botón. pero no entendí lo demás si te puedes explicar un poquito mas claro de lo que quieres hacer amigo te podría ayudar.


text:
Credit: PictureYouth/Flickr
L.A.'s Internet Service Is Among the Slowest & Most Costly in the World
Dennis Romero November 3, 2014
Some partisans think that no government is good government, especially when it comes to business. A hands-off policy means that entrepreneurs are free to blossom and shoppers are free to chose.
But one downside to Washington's no-show attitude toward some industries is that some businesses become too successful and create near-monopolies. That appears to be the case when it comes to the internet business in cities like L.A., where Angelenos have relatively few choices.
A new report, The Cost of Connectivity 2014, from New America's Open Technology Institute, concludes that L.A. has among the slowest, most expensive internet services in the industrialized world.
Consumers in places like Tokyo, Seoul and Paris can download a movie in seven seconds. In L.A. that same movie will take more than a minute to download, and the cost to do it even that slow is $299.99 a month, the report says.
The only U.S. cities that provided overseas-like internet speed and value—Kansas City, Chattanooga, Tennessee—had local-government-run service. Yeah, the big, bad government does this better than corporate giants, few of which have seen any upside to investing billions in faster networks.
In places like Seoul, the internet is actually subsidized. You know, because it's actually good for the people—and for the rapidly evolving tech business.
The Open Technology Institute says that when local governments get in the internet business, "our research shows that these locally-owned networks tend to deliver better value to their customers when compared on a price-per-megabit basis to competing cable and telecom providers in their own cities."
The report looked at 24 cities in the United States and overseas and found that American towns generally fared poorly. And just think, the internet was essentially invented here (at UCLA, in fact, with the government's help).
Credit: New America
Seoul, Hong Kong and Tokyo were the world's "speed leaders" for internet downloads, according to the analysis. L.A. tied for 12th place.
The price of service for a speed at which you could load a typical YouTube video (1.3 seconds) is nearly twice as much in Los Angeles ($54) as it is in Seoul ($28), ranking L.A. near the bottom by that metric.
For the average price of a 25-to-50 mbps plan, in fact, L.A.'s $69.98 came in second to last place, according to the report.
In 2002 the Federal Communications Commission decided that the internet was not the same as telecommunications and thus would not come under the purview of its regulation.
The apparent result is that there are really only a handful of internet service provider (ISP) choices in cities like L.A., and the service and quality often sucks—for big bucks.
For speedy, broadband service that runs at 25 megabits per second, three-fourths of America homes have one or no options for service, the FCC found last month.
The New York Times recently pondered the role that government hasn't played in the internet business, with Columbia Law School professor Tim Wu concluding this:
It's just very simple economics. The average [American] market has one or two serious Internet providers, and they set their prices at monopoly or duopoly pricing.
This might be a case where you can blame too little government, not too much, for your sluggish internet service.
As Hollywood plugs into the world of streaming movies and television, this could have even deeper implications for an industry town like Los Angeles.
Then again, the big Hollywood players—and keep in mind here, government haters, that we just gave the entertainment industry $1.6 billion of our money—are some of the very same companies (Time Warner, Comcast) that run (or ruin) your internet connection.
Send feedback and tips to the author. Follow Dennis Romero on Twitter at @dennisjromero. Follow LA Weekly News on Twitter at @laweeklynews.

redpajama_set_name: RedPajamaCommonCrawl


text:
Arts + Scene » Stage Matters
Star Shrek
Live magic with Humboldt Light Opera
by William S. Kowinski
Humboldt Light Opera Company Hannah Jones, Tristin Roberts and James Gadd shine in Shrek.
Shrek was a multimillion-dollar animated movie that spawned a multimillion-dollar Broadway show. Humboldt Light Opera Company doesn't have access to that level of support. Nevertheless, its production of Shrek The Musical, now on the Van Duzer Theatre stage at HSU in Arcata, is big, bold, fast and assured. It's also ogre-sized fun.
It's not just that a cast of seemingly thousands fills the stage for the opening number. Before the first act is over we've met a Pinocchio whose nose really grows longer when he lies, a Gingerbread Man imprisoned on a pan, and most spectacularly, a huge dazzling lady dragon who sings like disco queen Donna Summer. There are tap-dancing rats in top hats and tails, three blind mice from Motown and an evil lord who sings his song of woe and ambition while taking a bubble bath.
With one wonder after another, the high-energy first act is especially exhilarating. The romantic tensions and complications of the second act slow the pace and color the mood, but there's still plenty to hold the attention of children as well as adults.
The story of the musical is pretty much the same as the movie: a fairy tale about an ogre and his donkey sidekick, an evil lord and a princess in a tower. It takes several twists and turns before its happily ever after.
Most fairy tales work on several levels, and the best shows for children (from Looney Tunes and the Fractured Fairy Tales through Sesame Street and Mathnet) provide nuggets of satire and knowing humor for adults. Shrek on screen was practically a genial deconstruction of the fairy tale princess monomyth, as well as a contemporary moral reconstruction and redefinition. The musical adds to this with the sly satire of playwright David Lindsay-Abaire's lyrics, and the collision of bright and evocative musical styles composed by Jeanine Tesori.
In addition to the story, even the main voices will seem familiar to young fans of the movie. As Shrek, Tristin Roberts adopts Mike Myers' slightly Scottish accent, and James Gadd does a credible Eddie Murphy as Donkey. Roberts as Shrek acts the part convincingly, carries the action and sings with authority. But even without animated close-ups, stage Shrek is quickly lovable and never threatening — sympathy for the ogre is easy.
For me the revelation of the evening is Gadd as Donkey. Liberated from the constraints of his usual romantic hero roles, he's fully committed to silliness. He writhes and dances wildly, is infectiously funny and sings better than ever.
Hannah Jones is a delightfully complete Princess Fiona, with the traditional virtues of a fairy tale heroine while embodying an anxious contemporary girl whose dreams for the perfect love match include "our pre-nup will be binding."
As the evil Lord Farquaad, Craig Waldvogel plays his physically difficult role with aplomb and sings it with conviction, so he's comically intimidating. HLOC productions are known for the quality of singing, but in this show the singing is as uniformly thrilling as in any show I can recall. That's true of all the singers, notably Cindy Cress as the voice of the dragon, and the two younger versions of Princess Fiona: Haley Cress and Kayla Kossow.
The dancers amplify the bright show-biz energy. As choreographed by Ciara Cheli-Colando (who also dances), they include Daphne Endert, Katie Kitchen, Shelly Harris, Katri Pitts, Fiona Ryder, Lily Ryman and Jake Smith.
This production also has the great advantage of a skilled 15-piece orchestra (conducted by Justin Sousa) that's out front in a real orchestra pit, providing the volume and dynamics of a big musical wave that the voices and movement on stage can ride with confident enthusiasm.
The magnificent 27-foot-tall dragon created by Roger Cyr is a North Coast stage wonder. Set and lighting design by Jayson Mohatt, costume design by Kathryn Masson and Carol Ryder, makeup and hair design by Carli McFarland, and ogre makeup by Carlene and Rachel Cogliati are all excellent contributions. Even more than usual, director Carol Ryder has orchestrated magic.
I'm guessing this production would be an exciting experience for children and a marvelous introduction for first timers to the particular excitement of live theatre. This is the most ambitious HLOC production I've seen, and easily among the best. Even at dress rehearsal it was the most fun I've had at a musical since HLOC's Dirty Rotten Scoundrels.
Shrek the Musical continues at the Van Duzer Theatre for just two more weekends, through Aug. 18.
Nothing new is opening but it's a remarkable few weeks for the number of shows running simultaneously on the North Coast. Apart from Shrek the Musical, the musical Victor/Victoria completes its run this weekend (on Aug. 11) at Ferndale Rep, and the comedy The Tale of the Allergist's Wife plays weekends at North Coast Rep until Aug. 17. Meanwhile, Shakespeare's As You Like It and Sarah Ruhl's Late: A Cowboy Song alternate at Redwood Park in Arcata through Sept. 1, produced by Plays in the Park. l
Stage Matters Shrek the Musical Humboldt Light Opera Company Van Duzer Theatre
Van Duzer Theatre
Humboldt State University (Arcata)


text:
Francis, (Frank) O. A. Haviland , d. 1912
Portrait of Sir Herbert Beerbohm Tree (1852-1917)
Portrait of Sir Herbert Beerbohm Tree
"Beerbohnm Tree as John Jasper/ His Majesty's Theatre/ Jan 6th 1908" and further signed " Frank Haviland"
pencil , charcoal and monochrome wash on card
33 x 22.50 cm. (13 x 9 in.)
The Late Robert Hardy CBE, FSA, 1925 – 2017, Actor
Sir Herbert Beerbohm Tree, [real name Herbert Draper Beerbohm] (1852–1917), actor and theatre manager, was born on 17 December 1852 at 2 Pembridge Villas, Kensington, London, the second of the four children of Julius Ewald Beerbohm (1810–1892) and his wife, Constantia Draper. His father, a London corn merchant, was German-Lithuanian and his mother was British. Sir Henry Maximilian (Max) Beerbohm was his youngest half-brother, from his father's second marriage.
Beerbohm received his education at various schools in England, including Mrs Adams's Preparatory School at Frant, Dr Stone's school in King's Square, Bristol, and Westbourne collegiate school in Westbourne Grove, London; he then attended the school where his father had been educated, Schnepfeuthal College in Thuringia, Germany. At the age of eighteen he joined his father's business, but he spent his free hours performing with amateur theatrical groups, and after eight years he left his clerical job to pursue a vocation as an actor.
During the late 1870s he assumed the name Herbert Beerbohm Tree, and performed with amateur groups. After a successful appearance as Grimaldi in Boucicault's The Life of an Actress at the Globe Theatre (1878), he began his professional acting career when he joined the Bijou Comedy Company for a brief provincial tour. In the autumn of 1878 he secured his first London engagement, at the Royal Olympic Theatre under the management of Henry Neville. Except for an occasional metropolitan stint, by 1880 his experience had been limited mainly to provincial productions of foreign melodramas and farces in which he played German barons, French marquesses, and other eccentric members of the foreign gentry. One such provincial performance, the old Marquis de Ponstable in Madame Favart, garnered Tree an invitation from Genevieve Ward to enact Prince Maleotti in a revival of Forget-me-Not at the Prince of Wales's Theatre during April and May 1880. For the next four years he continued touring the provinces and had a few unremarkable performances in London theatres. On 16 September 1882 he married an actress, Maud Holt (1863–1937), with whom he had three daughters. Treeenjoyed his first major success on the London stage in March 1884, when Edgar Bruce, the manager of the Prince of Wales's, commissioned him to play the Revd Robert Spalding in Charles Hawtrey's adaptation of The Private Secretary. Immediately afterwards, Tree took the part of Paolo Marcari in Hugh Conway's Called back, and the contrast between the timid parson and the dashing Italian spy helped to establish his reputation as a versatile character actor. His career then ebbed, and from late 1884 to 1886 his London appearances in such plays as Pinero's The Magistrate and W. S. Gilbert's Engaged were commonplace and lacked the distinction of his earlier successes. In the autumn of 1886 Tree joined Frank Benson's company for a week at Bournemouth, where he played Sir Peter Teazle and Iago. After this provincial run he returned to London and the Haymarket Theatre, and his career rallied when he turned his minor role of Baron Harzfeld in Charles Young's Jim the Penman into a main feature of the production.
By the spring of 1887, aged thirty-four and with nine years of both amateur and professional experience, Tree had secured a sufficient reputation to embolden him to venture into theatre management, and in April he took over the Comedy Theatre in Panton Street. He inaugurated his managerial career with a successful run of W. Outram Tristram's Russian revolutionary play The Red Lamp, in which he played Demetrius. In the autumn of 1887 he became the lessee and manager of the more prestigious Haymarket Theatre, where he not only raised the theatre's distinction as a major London playhouse (a status it had lost with the departure of the Bancrofts in 1885) but also secured for himself a reputation as one of London's leading actor–managers. During his ten-year management of the Haymarket, Tree produced and acted in approximately thirty plays, mainly melodramas and farces which were standard nineteenth-century fare, such as Trilby and Captain Swift. Trilby, indeed, was the popular sensation of 1895, running to 260 performances. Tree, unlike many West End theatre managers, who eschewed contemporary and potentially controversial social plays, recognized the importance of the new drama, staging Maeterlinck's The Intruder(1890), Wilde's A Woman of No Importance (1893), and Ibsen's An Enemy of the People(1893). And in an effort to support new playwrights and plays with artistic rather than commercial value, he instituted special 'Monday night' performances restricted to the production of new dramas, essentially emulating Grein's work at the newly established Independent Theatre. He also elevated the Haymarket's status as a Shakespearian playhouse, and his productions of The Merry Wives of Windsor (1889), Hamlet (1892), and Henry IV, Part 1 (1896) earned him recognition not only as an accomplished actor–manager capable of producing a wide range of genres but also as a solid competitor to Henry Irving and the Lyceum Theatre.
Tree's successful career at the Haymarket enabled him to amass sufficient funds to finance in part construction of a new theatre, Her Majesty's Theatre (renamed His Majesty's with the accession of Edward VII in 1901), which opened on 28 April 1897 with Gilbert Parker's The Seats of the Mighty. During his management of Her Majesty's, from 1897 until his death in 1917, Tree staged approximately sixty plays, and the diversity of his repertory revealed his interest in classical drama as well as popular genres. In addition to producing contemporary poetic drama, such as Stephen Phillips'sHerod (1900), Ulysses (1902), Nero (1906), and Faust (1908), he staged plays by prominent British playwrights, including Henry Arthur Jones's Carnac Sahib (1899) and the London première of Shaw's Pygmalion (1914). Tree also produced and performed in a number of stage versions of popular nineteenth-century novels: Sydney Grundy'sMusketeers, an adaptation of Dumas's novel (1898); Henri Bataille and Michael Morton's remake of Tolstoy's work, Resurrection (1903); Morton's dramatization of Thackeray's novel The Newcomes entitled Colonel Newcome (1906); and three Dickensian adaptations, Oliver Twist (1905), The Mystery of Edwin Drood (1908), and David Copperfield (1914). In addition he offered his patrons adaptations of foreign plays, such as Louis Parker's Beethoven, a reworking of the play by Réné Fauchois (1909), Henry Hamilton's English version of Adolph Glass's A Russian Tragedy (1909), and W. Somerset Maugham's adaptation of Molière's Le bourgeois gentilhomme entitled The Perfect Gentleman (1913). The repertory at Her Majesty's included the classics, such as The School for Scandal (1909), as well as numerous melodramas, farces, and romantic comedies.
While Tree built Her Majesty's Theatre's solid reputation on the successful productions of a variety of dramas, he earned his theatre the international reputation as the premier playhouse for Shakespeare in Britain during the Edwardian era, and it is for this dedication to the production of Shakespeare that his career was most celebrated. During his twenty-year tenure at Her Majesty's he worked indefatigably to popularize Shakespeare with the general theatregoing public, and his success is evinced by an impressive production record unmatched by any West End manager: he put on sixteen Shakespeare plays which averaged initial three-month runs, many of them successful enough for periodic revivals during subsequent seasons, and he instituted an annual Shakespeare festival which featured more than two hundred performances by Her Majesty's Theatre company and other acting corps during its nine-year existence (1905–13). At a time when most theatre managers believed that Shakespeare's plays lacked commercial viability and spelt financial ruin, Tree proved that Shakespearecould be made accessible and appealing to large numbers of patrons. Fittingly, his initial Shakespearian production, Julius Caesar, was his first commercial success at Her Majesty's, and during its six-month run (22 January to 10 June 1898) it enjoyed 165 consecutive performances and attracted 242,000 spectators. His next revival, King John, ran from 20 September 1899 to 6 January 1900 and brought in 170,000 patrons, and he followed this with one of his most famous and successful comedies, A Midsummer Night's Dream, which played to 220,000 spectators from 10 January to 26 May 1900. Tree's longest running revival, Henry VIII, was a record breaker, receiving 254 consecutive performances from 1 September 1910 to 8 April 1911. Most of the Shakespeare revivals at Her Majesty's enjoyed equally unprecedented runs. Treesucceeded in popularizing Shakespeare with his audiences because he staged the plays in ways that appealed to spectators' taste for elaborate spectacle and realistic scenery and scenic effects. Working in the tradition of pictorial realism which dominated the nineteenth- and early-twentieth-century theatre, Tree brought this scenographic method to its apogee, staging the most spectacular Shakespearian revivals in British stage history. At Her Majesty's, audiences experienced unprecedented realistic stage pictures, such as the replica of a fourteenth-century list in Richard II (1903), the woodland glade with a shepherd's cottage and babbling brook in The Winter's Tale(1906), the storm-tossed sixteenth-century vessel in The Tempest (1904), the set of an authentic Renaissance ghetto in The Merchant of Venice (1908), or such interpolated scenes as Anne Bullen's coronation in Westminster Abbey and King John's granting ofMagna Charta. Tree's work with Shakespeare also involved four film projects that spanned his career at Her Majesty's: the opening shipwreck from his 1904 revival of The Tempest, captured on film at His Majesty's in 1905 by Charles Urban; a five-scene version of Henry VIII, based on his 1910 production featuring himself as Cardinal Wolsey, and filmed in February 1911 at William Barker's Ealing studio; a 1916 Macbeth, bearing no direct resemblance to his 1911 stage version, filmed in California by D. W. Griffith with Tree playing the title role; and, though not as extensive as the others but certainly the most important historically, three brief segments from his King Johnrevival filmed in 1899—Tree's initial cinematographic venture and the very first record of Shakespeare on film.
Tree excelled in character roles, and was considered by many to be the best character actor of his day. He possessed an exceptional mimetic genius that enabled him to enact a wide range of roles in which he gave each a unique and differing individuality, and he excelled especially in those characters with idiosyncratic and eccentric natures on which he could build strong, vivid parts, such as Svengali, Fagin, and Falstaff. His greatest strength was his inventiveness in delineating a character by the use of external details. As an expert with make-up, he could transform his nondescript, protean face into myriad roles which made the actor behind them virtually unrecognizable. Tree also had equal mastery over his facial expressions and body. He had remarkably expressive eyes which could project varying emotions within the character, from the dreamy languor of Hamlet during his moments of reflection and the baleful hatred of Shylock towards his persecutors to the nervous fear of Richard II during his surrender at Flint Castle. His hands were extraordinarily eloquent, and the gestures he used were always significant, telling, and illustrative. In addition, he could radically change his carriage and stature to effect a complete physical transformation into a character. Tree was tall, lanky, and graceful in gesture, but for his performance as Beethoven he transformed into a short, pudgy, bull-necked man with an awkward stride and jerky gestures. In selecting his Shakespearian roles he capitalized on these acting strengths by choosing parts that offered definable, observable, or atypical traits which could be made into strong character roles. His Malvolio was a swaggering and conceited fool, King John a superstitious and deceitful coward, and Macbeth a neurotic and self-torturing monarch. Tree built his characters slowly, allowing inspiration to suggest to him the appropriate business and external details, and he relied on that inspiration during performances, which could lead to inconsistent interpretations of a given role. Moreover, impatient and restless by nature, he easily tired of characters after a brief run, and, in an effort to sustain his own interest in a role, he continually added business and details to the part, which in turn led to further inconsistencies in his portrayals of a character over an extended time. The restlessness that spurred him on in his search for new, challenging, and various roles resulted in a degree of histrionic versatility that went unmatched by any of his contemporaries.
As a manager, Tree was regarded as Irving's successor and heir. Tree's theatre, built and decorated for him in the tasteful Louis XV style and deemed the handsomest playhouse in London, was, as Macqueen-Pope described it, 'the very essence of the Edwardian theatre' and 'the last word in everything theatrical at that time' (Carriages at Eleven, 31). Her Majesty's epitomized the cultural milieu of the Edwardian era in its opulence, and Tree's productions, with their elaborate and expensive scene designs, costumes, and properties, mirrored the Edwardian taste for luxury and extravagance. Towards the end of his career, Tree's production methods were being criticized by practitioners who favoured the new stagecraft of Appia and Craig's non-illusionistic sets and Poel's Elizabethanism, but Tree, one of the last major actor–managers to work along the lines of pictorial illustration, adamantly rejected the new scenography and defended his methods by referring his critics to the unprecedented attendance records and length of runs set at his theatre. His impressive managerial career at Her Majesty's, however, was not due solely to the spectacular scenery, for Tree offered his patrons a wide range of productions which could suit the different sensibilities and tastes of most Londoners. Most importantly, he appreciated the need for a strong acting ensemble, and, unlike Irving, he commissioned the best actors to join his company. His productions featured such renowned performers as Constance Collier, Ellen Terry, Madge Kendal, Julia Neilson, Violet Vanbrugh, Oscar Asche, Arthur Bourchier, and Lewis Waller. In every aspect of production Tree hired the most expert artists available, including designers (Lawrence Alma-Tadema, Joseph Harker, Walter Hann, Percy Anderson) and musicians (Raymond Roze, Arthur Sullivan, Coleridge Taylor) who helped create, under his direction, some of the most magnificent and artistic theatre productions of the Edwardian era.
Tree's management at the Haymarket and Her Majesty's was aided by his wife, Maud, who viewed their union as a theatrical partnership as well as a personal one. In addition to acting in numerous revivals under her husband's direction, Maud Tree lent encouragement and advice on many of his projects and productions, and her support was a significant contributing factor to his continued success. The professional success earned by their partnership gained them and their three daughters entrée into London's élite society: the Tree family became intimately acquainted with some of the most socially prominent and politically powerful members of Edwardian society, including members of parliament and the peerage, as well as London's coterie of élite intellectuals and aesthetes, 'the Souls', particularly the family of Violet Manners, duchess of Rutland. Viola, Felicity, and Iris Tree were fully absorbed by aristocratic society: Iris married Curtis Moffat, becoming Countess Ledebur, and Felicity married Sir Geoffrey Cory-Wright, third baronet. Viola followed the family profession, and eventually married Alan Parsons, a theatre critic.
Tree made significant contributions to the growth of the British theatre and the advancement of theatre art. In 1904 he established the Royal Academy of Dramatic Art, which remains one of the most prestigious schools for stage training in the world. He also served as president of the Theatrical Managers' Association and worked in various capacities for the Actors' Benevolent Fund and the Actors' Association. For all these contributions, as well as for his work at Her Majesty's, he was knighted by Edward VIIin 1909. His renown in the theatre world earned him invitations to tour his revivals in America, which he did on numerous occasions, and brought him a special invitation from the German Kaiser, to which he responded by performing with his company in various Shakespearian plays at Berlin's Royal Opera House (1907). He also received invitations to lecture on theatre in Great Britain and America; during the war years, he used these opportunities to deliver patriotic addresses. He wrote several books in which he discussed the importance of the theatre and the arts in modern society.
Sir Herbert Beerbohm Tree died on 2 July 1917, at a London nursing home at 15 Henrietta Street, Marylebone, from pulmonary blood clots after undergoing surgery for a leg injury. He was survived by his wife and three daughters, and also by six children from his liaison with (Beatrice) May Pinney (later Reed): among these children were the film director Carol Reed and Peter Reed, the father of the film actor Oliver Reed. His body was cremated and his ashes were placed in Hampstead cemetery.
B. A. Kachur DNB
Frank Haviland was a painter of miniatures, figure subjects and portraits. He lived in London and exhibited at the Royal Academy from 1894-1910


text:
Mayo, Myriad, and Multi-factor balancing tests
Updated subject matter eligibility guidance from the USPTO
On the same day that the Supreme Court's opinion was handed down in Assoc. for Mol. Pathology v. Myriad Genetics, 133 S. Ct. 2107 (2013), the U.S. Patent Office issued a "memorandum… to provide preliminary guidance" ("memorandum") for Examiners to use in light of the Myriad holding. This memorandum indicated that further guidelines would be coming in the future, and on 4 March 2014 they finally arrived ("guidelines"). These guidelines apply most particularly to inventions that might fall into the "product of nature" and "law of nature" exceptions to subject matter eligibility; the guidelines are careful to make clear (pg. 1) that "[t]here is no change to examination of claims reciting an abstract idea, which should continue to be analyzed for subject matter eligibility using the existing guidance in MPEP § 2106(II)," (emphasis in original). The guidelines supersede the previous memorandum, and answer important questions that the memorandum left unaddressed. The following points are worth noting:
(1) Although the holding of Myriad only specifically addressed "naturally occurring DNA," (Id. at 2111), the logic by which the Court arrived at this conclusion would appear to apply with equal force to other naturally occurring substances, such as proteins, lipids, viruses, etc. The initial post-Myriad memorandum was careful to confine itself only to the subject of nucleic acids (pg. 1, "Examiners should now reject product claims drawn solely to naturally occurring nucleic acids or fragments thereof…" emphasis in original). Indeed, the PTO evidently still believes that Myriad's holding applies only to nucleic acids (guidelines, pg. 1 "the holding in Myriad was limited to nucleic acids…").
Nevertheless, the new guidelines make clear that they apply beyond just nucleic acids (pg. 3, "If the claim recites or involves… something that appears to be a natural product (e.g., a citrus fruit, uranium metal, nucleic acid, protein, etc.), then the claim only qualifies as eligible subject matter if the claim as a whole recites something significantly different than the judicial exception itself," bold/italic in original, underlining added).
(2) The new guidelines provide a flow chart for determining subject matter eligibility, which ends with a multi-factor balancing test that the guidelines liken to the Wands factors for enablement determination. The guidelines strongly favor use of these Wands-like factors (pg. 3, "If there is any doubt as to whether the claim recites a judicial exception… the claim requires further analysis under Question 3. For example, if the claimed product is a protein or a mineral, then the analysis must proceed to Question 3…" emphasis in original).
This is true even when the analysis arguably could stop at Question 2. For example, page 5 of the new guidelines give the example of a claim "A bacterium from the genus Pseudomonas containing therein at least two stable energy-generating plasmids, each of said plasmids providing a separate hydrocarbon degradative pathway." It is at least possible that such a Pseudomonas exists in nature, but the guidelines are careful to make clear (pg. 6) that this possibility is not enough to sustain a §101 rejection. In this respect, the guidelines are following Myriad, where the court indicated in dictum that the mere theoretical possibility that something exists in nature is not enough to bring a claim into the "product of nature" exception. Myriad, 133 S. Ct. at 2119 n.8.
The multi-factor balancing test gives a number of points to consider, no one of which is supposed to be determinative. The points include:
Factors that weigh toward eligibility:
a) Claim is a product claim reciting something that initially appears to be a natural product, but after analysis is determined to be non-naturally occurring and markedly different in structure from naturally occurring products.
b) Claim recites elements/steps in addition to the judicial exception(s) that impose meaningful limits on claim scope, i.e., the elements/steps narrow the scope of the claim so that others are not substantially foreclosed from using the judicial exception(s).
c) Claim recites elements/steps in addition to the judicial exception(s) that relate to the judicial exception in a significant way, i.e., the elements/steps are more than nominally, insignificantly, or tangentially related to the judicial exception(s).
d) Claim recites elements/steps in addition to the judicial exception(s) that do more than describe the judicial exception(s) with general instructions to apply or use the judicial exception(s).
e) Claim recites elements/steps in addition to the judicial exception(s) that include a particular machine or transformation of a particular article, where the particular machine/transformation implements one or more judicial exception(s) or integrates the judicial exception(s) into a particular practical application. (See MPEP 2106(II)(B)(1) for an explanation of the machine or transformation factors).
f) Claim recites one or more elements/steps in addition to the judicial exception(s) that add a feature that is more than well-understood, purely conventional or routine in the relevant field.
Factors that weigh against eligibility:
g) Claim is a product claim reciting something that appears to be a natural product that is not markedly different in structure from naturally occurring products.
h) Claim recites elements/steps in addition to the judicial exception(s) at a high level of generality such that substantially all practical applications of the judicial exception(s) are covered
i) Claim recites elements/steps in addition to the judicial exception(s) that must be used/taken by others to apply the judicial exception(s).
j) Claim recites elements/steps in addition to the judicial exception(s) that are well-understood, purely conventional or routine in the relevant field.
k) Claim recites elements/steps in addition to the judicial exception(s) that are insignificant extra-solution activity, e.g., are merely appended to the judicial exception(s).
l) Claim recites elements/steps in addition to the judicial exception(s) that amount to nothing more than a mere field of use.
As with most multi-factor tests, some factors appear in practice to matter more than others. For composition claims, all the work is done by factors (a) and (g) in the examples. For method claims, factors (b), (c), (h), and (i) appear to do most of the work. In the examples given, factor (e) appears somewhat superfluous (see, e.g. Example E, claim 2, pg. 13 and Example F, claim 1, pg. 14).
(3) Perhaps most significantly, the PTO has reaffirmed that the subject matter eligibility analysis must be conducted on the claim as a whole (guidelines pg. 3, "Question 3"). This is important, because some District Courts read Mayo Serv. v. Prometheus Labs, 132 S. Ct. 1289 (2012) to hold that claims should be broken up into "routine" and "novel" elements, with the "routine" elements playing no role in the §101 determination. See, e.g., Ariosa Diagnostics v. Sequenom, Inc., No. C11-06391, 2013 U.S. Dist. LEXIS 156554, at *27–30 (C.D. Cal. Oct. 30, 2013).
(4) Finally, it is worth considering two examples that the guidelines provide of claims that the PTO considers subject-matter eligible, even in view of Mayo. On pages 7 and 15 the following exemplary claims are provided:
A method of treating colon cancer, comprising:
administering a daily dose of purified amazonic acid to a patient suffering from colon cancer for a period of time from 10 days to 20 days,
wherein said daily dose comprises about 0.75 to about 1.25 teaspoons of amazonic acid.
A method for treating a mood disorder in a human patient, the mood disorder associated with neuronal activity in the patient's brain, comprising:
providing a light source that emits white light;
filtering the ultra-violet (UV) rays from the white light; and
positioning the patient adjacent to the light source at a distance between 30–60 cm for a predetermined period ranging from 30–60 minutes to expose photosensitive regions of the patient's brain to the filtered white light, wherein the exposure to the filtered white light alters the neuronal activity in the patient's brain and mitigates the mood disorder.
The guidelines provide that both of these claims are patent eligible, despite the fact that at their inner-most core, the claims involve a law of nature (viz., the ability of amazonic acid to combat cancer in the first example, the ability of light exposure to treat a mood-disorder in the second). The guidelines explain that the additional limitations, in particular "10 days to 20 days," "0.75 to about 1.25 teaspoons," and "colon cancer" (as distinct from "cancer" more generally) (pg. 8) in the first example and "distance between 30–60 cm" and "filtering the ultra-violet (UV) rays" (pg. 17) in the second example create a significant difference between the claim and the bare recitation of the law of nature.
Therefore, when facing a subject matter eligibility rejection predicated on a law of nature exception, it seems worthwhile to add details such as dosage and disease to the independent claim (provided, of course, that there is written description support for the limitation). Ideally, one could create a series of independent claims that would dominate the entire field, even though each single independent claim would be restricted enough to be subject matter eligible. That is to say, instead of claiming a "method of treating cancer," one can write the application to disclose every known cancer individually, and then claim different cancers in different claims.
CAFC MYRIAD DECISION: This is Not a "Gene Patent" Case
Myriad Disappointments for Biotech, but Hope Remains
THE ORAL ARGUMENT IN MYRIAD, April 4th, 2011
Hold the Mayo: Specific Method of Treatment for Specific Patients using a Specific Compound at Specific Doses to Achieve a Specific Outcome Is Patent-Eligible Subject Matter
The December Sequel to the USPTO's March Guidance
By: Leanne M. Rakers, Principal


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Home » letstalkmoney » Do you really need one of the credit card debt services?
Do you really need one of the credit card debt services?
Credit cards, to many are like alcohol. To the person who understand how to partake in a responsible way, they can be a handy tool but to others, they can be a means to financial ruin. Maybe you're one of those victims of the credit card and are now looking for help. There are many credit card debt services who will be happy to take your money and often offer you less than superior service but there's another way: Educate yourself and get out of credit card debt.
A large portion of Americans have a credit card balance of more than $10,000 and pay more than $100 in interest PER MONTH! What would you do if you had an extra $1,200 per year? Can you imagine how your quality of life would improve with just an extra $100? It can be done without the help of credit card debt services.
The first thing you have to do is quit using your cards. That may require that you lower your quality of life for a relatively short time. You can't use your card for anything and cheap food will be needed but you can do it. This will free up to put towards your cards. If you have more than one card, consider paying your lowest balance card off first. This will give you the jumpstart you need to continue in your journey.
The second card you should pay off is the highest interest card. Add the money that you are no longer paying to that first credit card to your payment for the second card. In no time, you will be debt free on a second card.
There's a lot more to this method and luckily, I know where to find the rest of the information you need to be successful with this program.
A friend of mine, Ryan Bauer, has written a great series of ebooks about debt and shows you even more ways to be your own credit counselor just like those credit card debt services. This system is called the Debt Annihilation Formula. He talks about how to get rid of your debt in a practical way. You may have heard that you should pay off high interest credit cards first but Ryan takes it a step further and tells you why only paying the highest interest debt doesn't help you in getting out of credit card debt.
In Ryan's ebook, he gives you more than 60 pages of real ways to make extra money. These aren't those work at home scams. They are real, legitimate ways to make extra money to work off your debt. Can you write articles about topics you enjoy? He shows you how to make extra money working when you have time writing articles on topics of your choice.
One of the best parts of his ebook series is the advice he gives about improving your credit. These aren't those scam or illegal pieces of advice. They are legal, practical ways to negotiate with your creditors. While the credit card debt services may tell you that it will take a long time, with a little discipline, you will have those cards paid in no time.
There are more free gifts included in Ryan's ebook that you are going to find invaluable. Click any of the underlined links above or the Debt Annihilation banners to take a look at this series. I only recommend products that I have reviewed thoroughly. I'm confident that his product can help you tackle your debt.
Do you really need consumer debt solutions?


text: command += testshade("-layer alayer a -layer blayer b --connect alayer CCout blayer CCin")

redpajama_set_name: RedPajamaGithub


text:
Q: How to Call this API (an ASP.NET WebAPI action)? How to call the API which I will mention below? How to assign a value to requestMessage inside the argument?
    [Route("api/studies")]
    public IEnumerable<Dictionary<string, object>> GetStudies(HttpRequestMessage requestMessage)
    {
        var query = QueryParser.Parse(requestMessage.RequestUri);
        var response = _studyQuery.Execute(query);
        return response;
    }

A: With your information we only can know that you need to put your request in a HttpRequestMessage object (https://msdn.microsoft.com/es-es/library/system.net.http.httprequestmessage%28v=vs.118%29.aspx) using this constructor
public HttpRequestMessage(HttpMethod method, string requestUri);

or this one
 public HttpRequestMessage(HttpMethod method, Uri requestUri);

so your code should be like this:
HttpRequestMessage httpRequestMessage(method, requestUri);
IEnumerable<Dictionary<string, object>> response = GetStudies(httpRequestMessage);

Can you give us more info about the API or something to know what kind of request you have to do?

redpajama_set_name: RedPajamaStackExchange


If you feel as though you may have set yourself up for a future of broken sleep, fear not!
If you're expecting, you may think your baby will be born a good sleeper or a bad sleeper, and there's little you can do about it. Luckily, that's not true. You can create the conditions for good sleep by following a few simple steps. If your little one's already arrived—and has picked up some bad habits—take heart. You can reverse the tides!
The very first day of your baby's life is the best time to introduce healthy sleep habits. Your job is fairly straightforward. Just follow safe sleep guidelines, use natural sleep cues and give your baby early "practice" falling asleep independently.
First, make sure your baby is sleeping in a safe location and position. That means always on the back and no bulky bedding/toys, no smoking in the house and have the baby right by your bed for the first six months. It is also important to avoid bed sharing and falling asleep with the baby on a sofa. These are both associated with a major increase in the risk of infant sleep death.
Those are things not to do, but there are also lots of things to do to help your baby sleep safer ... and better!
You may have heard the saying "never wake a sleeping baby", but actually, I recommend you do it … every time you lay your baby down! I'm a huge fan of a counter-intuitive little technique called wake-and-sleep .
Before the last feeding of the night, swaddle your baby and put on strong, rumbly white noise. Then, feed your baby and let them drift to sleep in your arms. Then, with the sound still on, transfer them into bed and gently rouse them until their eyes open. (If she or he fusses, you can jiggle the crib a bit.) After a few seconds, they'll drift back to sleep. In that brief moment of drowsy waking, your baby is practicing the ability to fall asleep independently, a skill that will benefit them for years to come.
It's best to start good sleep habits immediately. Image: iStock.
Only a third of parents use independence-building sleep cues.
Learning to sleep independently is a skill that will benefit you and your baby for years to come. Image: iStock.
Wake-and-sleep (described above). In addition to helping newborns form good habits, this technique helps older babies get back on track. I advise using wake-and-sleep for allnights and naps. Repetition helps new habits sink in.
White noise. White noise is a super helpful sleep cue through the entire first year and well beyond. It drowns out external distractions, like TV sounds from the next room or passing trucks, as well as internal distractions, like mild teething and hunger. That's why it often helps babies wake less often.
Dummies. Sucking is a wonderful comfort to trigger your baby's calming reflex. And, offering your baby a binky at bedtime. And, as a bonus, the dummy also lowers the risk of SIDS. It's a win-win!
Massage. For new babies, touch is as nutritious as feeding! A lovely five-minute massage one or two times a day with some warm oil is a brilliant way to show your love. I promise it will become one of your favourite baby memories.
Loveys. These cuddly little blankets or soft toys comfort babies in their parents' absence. Loveys are safe for babies over nine months (before that, nothing but a dummy should be in bed with your baby) and can help your baby fall asleep confidently and sleep more soundly through the night. Just make sure the lovey you chose is small (about the size of your hand), has no bits like plastic eyes or strips of fabric that can be pulled off and become choking hazards.
You'll still want to cuddle and hold your baby as part of your bedtime and naptime routines, of course. Your quiet time together is perfect for bonding and sharing your love. Adding in steps that nurture independent sleeping will begin to grow your baby's belief in his own abilities, which is one of the greatest gifts a parent can give to a child!


Characteristics: Taurus people are true friends, once they have made that decision. They can be counted on to be the way they have always been- steady, strong, patient, slow to anger, grounded, and usually very practical.
Conscious: These people help ground everyone in practicality. They are the accumulators of the zodiac, helping to bring together the resources needed to accomplish a project. They are also excellent with growing things- they have a very fertile energy.
Unconscious: The symbol of the bull is an appropriate sign for Taurus. These are people who would generally like to be left alone. Inertia is a good keyword. They are not self-starters, needing to be prodded to change direction. Taurus gets attached to people and things in their lives, frequently coming to regard people as possessions that somehow offer a measure of security by their presence. It does not matter what the real-world value of something is- if a Taurus is attached to it, it is extremely important to keep. Frequently these people are quite attached to possessions. They often enjoy the finer physical pleasures- good food, pleasant surroundings, and nice clothes. They are also the most sensual and sexual of the twelve signs (in spite of the reputation attributed to Scorpio).
Early Life: Having a feminine sign, these are people who are mother-oriented. They are loyal to the death. However, they demand to be accepted exactly as they are, as they have difficulty in consciously initiating change. More often, things happen that force them to let go of people and possessions.
Mother, too, is a very loyal person who has a hard time letting the child grow up and leave the nest. What the child learns is that survival means being able to be just as stubborn and resistant to change or be run over by the power of his parents. His security is being able to hold on tightly to those things and people that matter. Taurus people are more practical than intellectual, so ideas are less important than being able to see, feel, and touch.
Relationships: Involvement with one of these people can be extremely satisfying if you are looking for a strong commitment. They are uncomfortable with people who need a lot of space.
Challenges: A hard lesson for Taurus to learn is flexibility. However, once they see the value of it, they exhibit a strength of will and character that can be the bedrock and reference point for focusing a wide range of energies into some positive, tangible creation.
Issues: Flexibility, detachment, willingness to change and share, openness to new ideas.


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Opinion: Occupy Wall Street's First Anniversary
Filed Under:1%, 99%, Barack Obama, economy, financial industry, NYPD, Occupy Wall Street, taxes, Unemployment, Wall Street
A protestor affiliated with Occupy Wall Street holds a sign fashioned as a birthday cake on September 17, 2012 in New York City. (Photo by Mario Tama/Getty Images)
Today is the first anniversary of Occupy Wall Street, a protest movement that began in Zuccotti Park in New York City's lower Manhattan location in Wall Street's financial district on September 17, 2011. Adbusters, a Canadian activist group started the movement which quickly went global. Most every large city – especially in the United States – had its own Occupy organization mimicking the messages from the iconic New York City original organization.
The main purpose of the Occupy Wall Street movement has been to spotlight the financial inequality as well as wealth distribution in the United States between the wealthiest citizens and the remainder of its citizens. Commonly, the wealthy have been referred to as the 1% while the non-wealthy have labeled themselves the 99%.
Though the initial protest began September 17, 2011, plans were in the works for the organization months before. Kalle Lasn and Micah White – of Adbusters publication which focuses on anti-consumerism – are credited with the thought processes that started the movement. The movement's website, OccupyWallStreet.org was registered on June 9, 2011 by Lasn, and on July 13, 2011 the Adbusters website emailed the site's subscribers regarding the initial steps in a peaceful occupation of America's Wall Street to spotlight a global crisis of monetary collapse via a growing discrepancy in wealth.
Though the movement gained in momentum through the following months of its inception with its throngs of animated participants, the movement has greatly lost momentum in recent months. Though a branch of the organization will occasionally be mentioned in a sidebar to protests of all types – from new school year teachers' strikes to business opening and closings that are of concerns to consumers – the headlines Occupy held through last fall and winter have subsided substantially.
The group has never regained its total strength since New York City police disrupted participants last year at their camp site due to public health concerns. That disruption occurred about a month-and-a-half after the protesters occupied the Brooklyn Bridge in which 700 persons were arrested. To date, that is about half of the total number of persons New York City's police have arrested in relation to the Occupy Wall Street movement.
In an effort to revive the passion for the Occupy movement, there is a plan for Occupy Wall Street's peaceful protesters to reunite at New York City's lower Manhattan Wall Street financial district again on Monday – the first anniversary.
According to reports, Occupy Wall Street activists will be in force, making themselves known to the masses again. The plan is to circle the New York Stock Exchange at 7:00 a.m. Monday morning. The New York Stock Exchange, the world's largest stock exchange by capitalization of its listed companies at just over $14 trillion as of December 2011, is located at 11 Wall Street in New York City. It is an impressive financial location to be noticed, indeed. For the purpose of being noticed, as in the past, the activists hope to tie up traffic – a terrific way to get noticed in a large city on a Monday morning during rush hour. The efforts to snarl traffic include sit-ins at intersections in the area.
The Monday morning event is following a weekend-long array of activities in New York City and other locations where there are still an "Occupy" presence. The events over the weekend included Wall Street-topic seminars, peaceful demonstrations, and music.
Over the weekend, some 300 marchers engaged in the preliminary activities where several arrests were necessary according to New York police.
Should the first year anniversary be a success in Occupy terms, there could be more arrests as there were in the past because permits have not been obtained, according to Occupy Wall Street organizers. The New York Police Department says it is prepared for the demonstration even though a permit has not been sought. The NYPD claims it is prepared to accommodate peaceful protests, but is also ready to make arrests for any unlawful activity. Of course, while that seems more than fair, one has to ask what is fair anymore.
There is an obvious irony in the fact that many who have fought the financial corruption on Wall Street have been – and will be – subjected to time in jail while the allegedly-corrupt individuals at the financial institutions being protested against are still walking the streets of New York with their American-given freedom.
How much good the Occupy Wall Street movement has accomplished and whether it warrants continuation for the inroads it has made is a question that is answered differently – depending on who one talks to about OWS. Additionally, whether or not OWS's first anniversary is a happy anniversary for the movement depends on who's answering the question, too.
In terms of results, OWS made the world aware of Wall Street's nearly-obscene inequities. But, unfortunately, that has been about it. How much has really changed because of the 12-month-old movement?
For one thing, it seems the movement was afraid of getting "political", and that kept many people disinterestedly away. Whether OWS would have been totally pro-current U.S. government by totally supporting President Obama and his financial policies or against Obama, it would have been more of a "stand" for people to grab a hold of. There was never this "political" tie-in to issues that are obviously very "political".
OWS attempted to divide a nation that has been historically 50%-50%, via politics by being Republican or Democrat, into a 1%-99% economic division hasn't translate as comprehensively as it needed to for total success. The "politics" needed to make the movement forge ahead has been cautiously avoided.
I believe the reason for OWS not going as political as the movement needed for lasting success is because OWS refused to call-out Obama for his economic policies. Playing it safe and not offending Obama and his supporters was their biggest downfall.
Praise Washington, D.C. when it makes the right moves – and blast the hell out of the current administration when it fails.
Then, of course, there was the image problem which is nearly impossible to deny. Showing up to peacefully demonstrate against an institution is something many would do. However, setting up camp in parks like homeless people and running the streets is not an image many Americans would ever consider endorsing. While the unemployment rate is high and the economy is atrocious, the fact is that most Americans – by far – do have jobs and would never even consider missing work or their beds at night to camp out with Occupy Wall Street's troops.
OWS is a piece of Americana that many of us do not want to let go of yet.
However, for the movement to sustain life beyond its first anniversary, OWS needs to get more "politically-aggressive" – and the participants need to go home at night and, in the morning, either go to work or look for a job before being an activist on their own time. "Politics" will make the entire movement more relatable to Americans, and "going home at night" will improve the movement's image for the essential universal-acceptance needed for survival.
About Scott Paulson
Scott Paulson writes political commentary for Examiner.com and teaches English at a community college in the Chicago area. The views and opinions expressed in this post are those of the author and do not necessarily reflect the official policy or position of CBS Local.
Best Places To Watch Each Pro Football Team In Tampa


Our new beer is a refreshing cross between a lager and a real ale. Light gold in colour with hints of lemony citrus and a dry finish. Above all and most importantly brewed with British ingredients. Because it's a 4% ABV it's light and easy drinking and so it is very thirst quenching and great with food or just on it's own.
Available initially in cask and bottle with keg to follow soon.
Ordering – go to the shop tab to order & pay.


Photos courtesy of Memorial Maria Luisa - The awards for the 20th annual competition have now been decided. From thousands of photographs the Jury has selected 104, with the ones shown here being the most memorable of the 2009 edition. You can view the entire selection now at memorialmarialuisa.com, although the real moment to enjoy them will be during the audiovisual presentation to be made at the prize giving ceremony in Oviedo, Spain on the 27th of February, 2010.


This homemade body scrub recipe will save you a lot of money.
It is so easy to make and takes just a minute or so.
I make up a batch every month and use different herbs or essential oils as I prefer. You can infuse fresh or dried herbs in the oil.
It will make a lovely gift for friends or family and is simple enough for the children to do with your supervision. Use a mason jar with a pretty ribbon to make it look extra special.
Try using different oils - jojoba for instance. If you use coconut oil, it will become solid in colder weather, but will soon melt again when you put it on your hands.
This super body scrub recipe can be made in next to no time.
I'm using lavender essential oils in this but you could use fresh herbs or dried herbs if you prefer.
The instructions for making it with fresh herbs are linked at the bottom of the page - Homemade Body Scrub photo.
You will need around 30 mls (1/4 cup) olive oil.
Essential oil of your choice - here I'm using lavender.
Add about 30 drops of lavender and put it into the microwave for 30 seconds - this begins to release the fragrance.
Use fine sea salt for this recipe.
It's important to use something soluble like salt or sugar - some people like an oatmeal body scrub, but that doesn't dissolve in water and will block your drains over time.
Weigh out 100 grams (1 cup) of the sea salt.
Make sure your bowl is dry - water dissolves the salt.
Gently pour the warm olive oil - you may not need all of it.
Mix it with an ordinary table fork until it's all incorporated.
Pour the body scrub into a plastic container.
This recipe makes enough for around 4 or 5 goes.
It takes so little time to make, that I don't mind making one every two or three weeks.
Use the body scrub after a bath or shower.
Just rub it into your skin with your hands and rinse off.
Your skin will feel silky smooth.
Be sure to wash the soles of your feet before you try to move or you might slip!
Quick and easy body scrub recipe for you to make either for yourself or as a gift.


Metropolitan Rly 4-4-0T No 23, London Transport Museum, Covent Garden, Sun 1 April 2012 1. Built by Beyer Peacock in 1866 for the Paddington - Farringdon Street section of what is now the Circle Line, the world's first underground railway. It had opened in 1863, initially using Great Western locos and rolling stock and then, after a dispute, others hired from the Great Northern until the Met's own equipment was delivered. The line was soon carrying 25,000 passengers per day.


text:
Dante Alighieri Society of Washington
Your Door to All Things Italian
Italian Language Classes
Class Descriptions & Schedule
Language Program Staff
Italian Language Certification – PLIDA
Italian Language Classes FAQ
Dante Society
Upcoming Events and Announcements
La Voce Newsletter
Italian Classes Begin October 4
by Giuseppe Tassone | Sep 7, 2022 | La Voce, Language Program, Notices
Italian Classes Resume October 4
by Giuseppe Tassone
The 38th school year of the Italian Language Program at the Dante Alighieri Society of Washington resumes on Tuesday, October 4th, 2022. There is not a better time to start or advance your learning in our Italian language program.
Absolute beginners must register in the fall in order to start from the very beginning.
Fall Quarter registration is still open for levels A1, A2, B1 and B2. Registration closes at the end of September. Each level lasts 3 quarters (fall, winter and spring). Classes meet online from 7:00 to 8:30 p.m. (PT) on Tuesdays and Thursdays. Classes are filling up quickly, so register soon to ensure your seat in class.
If undecided about your level, contact the director Giuseppe Tassone for an assessment and/or a placement test.
For more information and to register, go to Italian Language Classes.
Italian Language Classes Resume October 5
by Giuseppe Tassone | Jun 7, 2021 | Language Program, Notices
Congratulations to our students for completing their third quarter of Italian and thank you to our instructors for their dedication and success.
We have decided not to offer Summer review sessions this year to give our instructors a much needed break and to regroup for next school year. Therefore, language Classes will resume in Fall Quarter, with classes beginning October 5th and will once again be offered only online.
Registration is now open for students at all levels. Absolute beginners should register for Level A1 in Fall Quarter.
Buone vacanze e buon riposo.
Spring Quarter Classes Begin March 30
by Giuseppe Tassone | Mar 17, 2021 | La Voce, Language Program, Notices
Italian Classes Resume March 3oth
Congratulations to our students for completing their second quarter of Italian and thank you to our instructors for their dedication and success. Spring Quarter resumes on Tuesday, March 30. Registration is still open for students who completed their previous quarters and for new students interested in joining an ongoing class. Absolute beginners should wait for Fall Quarter.
Summer Quarter Classes
by Giuseppe Tassone | Jul 1, 2020 | La Voce, Notices
New Online Review Classes starting on July 7th & July 11th
The Dante Alighieri Society of Washington – Italian Language Program, after the positive experience of our spring quarter online classes, is offering for the first time two summer online review sections. These classes are for students who with some previous exposure to the Italian language. During the summer sections, students will solidify what they learned in level A1 & B1 (fall, winter and spring) before advancing to the next level of Italian in the fall of 2020. Special attention will be given to improve speaking and listening comprehension skills.
Students with no experience of Italian should enroll in Level A1 beginning in the Fall. The 2020-21 school year will start October 1st. Students who completed levels A1, A2 and B1 in the spring can enroll to the next level independently from the participation to the summer section. The registration deadline for Summer is July 3, 2020.
Language Program News
Language Program Director Giuseppe Tassone
Jeffrey Freiberg is one of the students in our Italian Language Program. He joined the Italian Language program in the fall of 2020 with the beginning level A1 and successfully completed his first year of Italian. Last November, Seattle-Perugia Sister City Association awarded Jeff with a scholarship to study for a month in Perugia. His trip was postponed until next summer but he found in our program a place to fulfill his passion for Italy and the Italian language. Here is Jeff''s experience in his own words.
Jeff Freiberg on the right with director Giuseppe Tassone and instructor Roberta Punzi at the end of fall quarter 2020 celebration.
Italy in Seattle with the Dante Alighieri Society – Italian Language Program
By Jeffrey Freiberg
Ciao a tutti, my name is Jeffrey Freiberg and I am thrilled to be heading to Perugia, Umbria next summer to continue my Italian journey. I've always been intrigued by Italian culture, due to having a grandmother whose family is from Palermo, Italy, to growing up in a city with a large Italian population – Philadelphia, to falling in love with calcio during the summer World Cup of 2006. It led to me selecting an Italian class with my two free elective classes while studying at Temple University ten years ago, and it culminated in my first trip to Italy last April. My wife and I got married at a villa in the small town of Poppi with our closest friends and family present, and then we spent the next 10 days touring 12 cities/towns mostly in central Italy. We fell in love with the playful spirit of the Italian people, the melodic language, the beautiful scenery and architecture, and of course, the heavenly food and drinks.
We immediately looked for ways to recapture that feeling we had in Italy once we got back to Seattle. Thankfully, we found the Dante Alighieri Society of Washington and the Seattle Perugia Sister Cities Association. Dante Alighieri offered two A1 classes this past year with two wonderful professors. Damiano Pinton and Laura Ciori are extremely skilled in helping all their students find an entry point into the language, no matter what their starting point is. They make class fun and social, and modify the textbook and curriculum to make it relevant to modern day Italy. I recently had the pleasure of meeting students from the advanced classes at an end-of-quarter social gathering in December and now I'm even more eager to continue through the classes at Dante Alighieri! Whether you just want to learn some basic phrases or become conversationally fluent, Dante Alighieri can get you there with their amazing professors.
DAS were quick to react to the COVID situation this winter and spring, leading to classes being held on Zoom. As a teacher myself, I know there's no substitute to learning in person, but I'm amazed at how seamlessly and effectively our classes transitioned to Zoom. Luckily for me, DAS is offering a special summer session of classes where we will review the skills we've learned this year before we advance to the A2 classes starting this fall.
The application process for this scholarship was pretty straightforward. After filling out your scholarship application, Seattle Perugia Sister Cities Association (SPSCA) does a round of interviews before recommending their selections to their board. The interview was very informal and felt more like a fun casual conversation with others who share your passion for everything Italy related. SPSCA is a very welcoming community who shares Dante Alighieri's mission of bringing people together to celebrate and explore Italian culture. Similar to Dante Alighieri, SPSCA also holds special gatherings and events throughout the year that are a great way to meet new people and enjoy various elements of Italy.
I am currently a classroom teacher at Bailey Gatzert Elementary School in the Central District. While I love my job and cherish every day with my students, it's hard for me to deny that I'm in full countdown mode for next summer!
Dante Alighieri Society News
CANCELLED: Jan 25 Italian Meeting on ZOOM January 24, 2023
Dante January 25 and 27 Zoom meetings - register now! January 20, 2023
January Collaborative Events coming up! January 16, 2023
OLIVES in the NEW WORLD: An Agricultural Perspective; Heather Stoven January 6, 2023
January Dante Seattle La Voce January 3, 2023
Festa di Natale Potluck this Wednesday December 14! December 11, 2022
Dante Festa di Natale Potluck and Tombola December 14! December 6, 2022
October Dante Seattle La Voce December 1, 2022
SIFF Cinema Italian Style - updates and discount code! November 10, 2022
Corrected Date: NOVEMBER 9 for ABRUZZO presentation November 4, 2022
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Laura Ciroi
Laura was born in Palmanova, in Northern Italy, a star shaped fortress built by the Serenissima Republic of Venice to protect the territory from the invasions of the Hapsburg and the Ottoman Empires. She was raised speaking Italian, French and Friulano (her native Northern Italian dialect). Laura received a Laurea in Linguistics from the Università di Udine where she specialized in Spanish and English literature. Since then she has lived and worked in Holland, Switzerland, Spain, England, America, and Italy. In addition to teaching in our program, Laura is authorized to cover the role of intervistatrice in our PLIDA Examination Board.
Giuseppe Tassone moved to Seattle from Italy in 1993. He has been the director of the Italian Language Program of the Dante Alighieri Society of Washington since 1998 and the PLIDA coordinator since 2011. He is a language educator, coordinator, and advocate of Italian language and culture. He has a background in economics and finance (B.A. in Economics), but chooses to specialize in Italian language and culture (M.A. in Italian Studies). He has 20+ years of experience teaching, developing curricula, coordinating, testing, and assessing in public and non-profit organizations (e.g. Seattle University, University of Washington, Shoreline College). Giuseppe reviewed and/or contributed to several Italian language textbooks, such as Da Capo, Oggi in Italia, Avanti, Piazza and Sentieri. He is the author of Ricordati di me, Buongiorno Notte – Italian Films Series by Edizioni Farinelli and Un buon Affare – Italian for Business by Hackett Publishing Company available in print (2016) and e-book (2019). Giuseppe teaches at Seattle University and heads the Italian Section in the Department of Modern Languages and Cultures. Personal interests are: reading, traveling, cinema, economics, politics, playing and listening to music, swimming, biking, gardening and cooking.
E-mail: tassone@danteseattle.org
Francesca Giambartolomei
Francesca is an Italian native, born in Cremona, northern Italy. She holds a laurea in Biology from the University of Padua and Masters of Biology from Eastern Michigan University. She left Italy in 1994 and has lived in New Zealand and the United States. She has a passion for teaching her native language, as a way of maintaining and exploring the Italian language and culture with different eyes. She has taught privately and in many institutions to students of different proficiency levels groups. Francesca is interested in literature, art and design, and in her free time, she likes reading, cooking, and making ceramics.
Email: francesca@danteseattle.org
Damiano Pinton
Damiano is a native of a small countryside town in Northern Italy, about 17 miles away from Padua, a city famous among other things for its university, the fifth-oldest surviving in the world. He received his B.A. and M.A. Cum Laude in Japanese language and culture from Ca' Foscari University of Venice, while specializing in linguistics and translation. He lived in Japan for three and a half years, where he continued his studies and his sociolinguistic research on (im)politeness in language. While in Japan, he also started working as an Italian teacher, discovering his passion for conveying the beauty of the Italian language and culture abroad.
Email: damiano@danteseattle.org
Roberta Punzi
Roberta was born in Salerno a city located in the region of Campania in Southern Italy where in the ninth century flourished the renowned Schola Medica Salernitana; the forerunner of the modern university medical schools. She holds a Master's Degree in Economics and Management for Arts, Culture, Media and Entertainment from the Luigi Bocconi University, and a Master's Degree in Piano from the Giuseppe Verdi Conservatory of Music in Milan. Roberta has been working in the field of arts management since 2008. She has served as a project manager, fundraiser and arts administrator in high-profile nonprofit organizations and music festivals in Italy. She has taught music and Italian language in middle schools, and has held lectures in performing arts management as a teaching assistant at the University of Milan and at the Accademia del Teatro alla Scala. She has performed many solo and chamber music recitals across Italy. She loves classical music, visual arts, reading, traveling, hiking and of course teaching Italian.
E-mail: roberta@danteseattle.org
Valentina Robles
Valentina was born in Bitonto, a small town in Puglia, South of Italy. She has a Laurea in Lettere (Degree in Humanities) and a Laurea Specialistica in Scienze dello spettacolo e della produzione multimediale (Master degree in Media Studies). During her studies, she spent seven months in Spain where she was a tutor for Spanish students enrolled in Italian classes. Her passion for the theatre and cinema brought her to work in the production department for several projects for media, theatre, and live concerts.
Email: valentina@danteseattle.org
Paola Alberti
Paola is from Padova, north-east Italy, and has been living in the US for the past few years: the Sunshine State first and recently the Pacific Northwest.
She has a degree in Foreign Literature and Languages, English and Spanish, at the Ca' Foscari University in Venice, a city that she loves. She has taught English as a second language and worked in fashion and hospitality in Italy, London – UK, and US.
During her spare time she loves traveling, eating good food, shopping and reading.
Email: paola@danteseattle.org
Nicla Riverso
Nicla is a native of Napoli, Italy. She has a Laurea in Materie Letterarie (degree in humanities) and a Laurea in Pedagogia (degree in Education) from the Università degli Studi di Cassino. She earned her M.A in Italian and her PhD in Comparative Literature from the University of Washington. She has published articles and book chapters on gender and theater as well as politics and religion in Counter-Reformation Italy and in the last years, has been teaching Italian literature, language, and culture in different institutions. In addition to teaching in our program, Nicla is authorized to cover the role of esaminatrice and intervistatrice in our PLIDA Examination Board.
Giorgio Calanni
Giorgio is a native Italian who grew up in the outskirts of Milan. He holds various university degrees including a doctorate in aerospace engineering from the Georgia Institute of Technology. He works on engineering research and development projects in the fields of aircraft performance and commercial aviation. He became passionate about teaching and sharing his knowledge of Italy in response to the welcoming and inspiring interest in the Italian language and culture he witnessed and experienced while living in the United States. Throughout the years, Giorgio has taught Italian courses as well as privately tutored business professionals and students from various age groups.
In his free time, Giorgio enjoys photography, hiking, history and mathematics, museums and fine arts, theatre performances, and traveling.
Email: giorgio@danteseattle.org


text:
Q: How do I optimise this java script code with document.? I'm newbie in JS and don't understand how do..while and etc work here. How do I optimise this code? Is it even right what I'm doing (setting variables a[...], b[...] inside every element with id a1-7? I have a list group with list items inside with #a1-7, #b1-7. What I'm doing is setting data-value with value to replace data-target (other text element) with data-value.
document.getElementById('a1').setAttribute('data-value', a[0])
document.getElementById('a2').setAttribute('data-value', a[1])
document.getElementById('a3').setAttribute('data-value', a[2])
document.getElementById('a4').setAttribute('data-value', a[3])
document.getElementById('a5').setAttribute('data-value', a[4])
document.getElementById('a6').setAttribute('data-value', a[5])
document.getElementById('a7').setAttribute('data-value', a[6]);

document.getElementById('b1').setAttribute('data-value', b[0])
document.getElementById('b2').setAttribute('data-value', b[1])
document.getElementById('b3').setAttribute('data-value', b[2])
document.getElementById('b4').setAttribute('data-value', b[3])
document.getElementById('b5').setAttribute('data-value', b[4])
document.getElementById('b6').setAttribute('data-value', b[5])
document.getElementById('b7').setAttribute('data-value', b[6]);
$('[data-target]').on("click", '[data-value]', function() {
  const clicked = $(this).addClass("actived");
  clicked.siblings(".actived").removeClass("actived");
  $(clicked.parent().data('target')).text(clicked.data('value'));
})

Also, is there any way to optimise this (there are really much of this)? Maybe some script to fulfill those..?:

<?php
    echo print_r($tempa[0]["name"], true);
    ?>

<?php
    echo print_r($tempa[1]["name"], true);
    ?>

<?php
    echo print_r($tempa[2]["name"], true);
    ?>

A: You want to use a loop:
const a = ['val0', 'val1', 'val2', 'val3', 'val4', 'val5', 'val6']

for (const i in a) {
    document.getElementById('a' + i).setAttribute('data-value', a[i])
}

Also, you can create simple function to make your code a little bit more clean if you need to iterate over several arrays:
function setDataValue(id, value) {
    document.getElementById(id).setAttribute('data-value', value)
}

const a = ['val0', 'val1', 'val2', 'val3', 'val4', 'val5', 'val6']

for (const i in a) {
    setDataValue('a' + i, a[i])
}

In your PHP code you need to do it the same way:
<?php foreach ($tempa as $key => $value): ?>
    <li class="list-group-item" id="a<?php echo $key + 1; ?>">

        <?php
            echo $value["name"];
        ?>

<?php endforeach; ?>


text:
Eugene Theodore Booth, Jr. (28 September 1912 – 6 March 2004) was an American nuclear physicist. He was a member of the historic Columbia University team which made the first demonstration of nuclear fission in the United States. During the Manhattan Project, he worked on gaseous diffusion for isotope separation. He was the director of the design, construction, and operation project for the 385-Mev synchrocyclotron at the Nevis Laboratories, the scientific director of the SCALANT Research Center, and dean of graduate studies at Stevens Institute of Technology. Booth was the scientific director of the SCALANT Research Center, in Italy.

Education
He was born on 28 September 1912 in Rome, Georgia

Booth studied physics at the University of Georgia, where he received his Bachelor of Science (1932), Master of Science (1934), and Doctor of Philosophy (1937) degrees. In 1934, he was a Rhodes Scholar.

Career

Booth joined Columbia University faculty as a lecturer. He also helped professor John R. Dunning with his cyclotron construction and research. Thus began Booth's lengthy professional collaboration with Dunning.

In December 1938, the German chemists Otto Hahn and Fritz Strassmann sent a manuscript to Naturwissenschaften reporting they had detected the element barium after bombarding uranium with neutrons; simultaneously, they communicated these results to Lise Meitner. Meitner, and her nephew Otto Robert Frisch, correctly interpreted these results as being nuclear fission. Frisch confirmed this experimentally on 13 January 1939. In 1944, Hahn received the Nobel Prize for Chemistry for the discovery of nuclear fission. Some historians have documented the history of the discovery of nuclear fission and believe Meitner should have been awarded the Nobel Prize with Hahn.

Even before it was published, Meitner's and Frisch's interpretation of the work of Hahn and Strassmann crossed the Atlantic Ocean with Niels Bohr, who was to lecture at Princeton University. Isidor Isaac Rabi and Willis Lamb, two Columbia University physicists working at Princeton, heard the news and carried it back to Columbia. Rabi said he told Fermi; Fermi gave credit to Lamb. It was soon clear to a number of scientists at Columbia that they should try to detect the energy released in the nuclear fission of uranium from neutron bombardment. On 25 January 1939, Booth was a member of the experimental team at Columbia University which conducted the first nuclear fission experiment in the United States, which was done in the basement of Pupin Hall; the other members of the team were Herbert L. Anderson, John R. Dunning, Enrico Fermi, G. Norris Glasoe, and Francis G. Slack.

During World War II, Booth was a member of Columbia's scientific staff in the Division of War Research. During the Manhattan Project, Dunning conducted pioneering work at Columbia University on gaseous diffusion to separate uranium isotopes; others working on the project included Booth, Henry A. Boorse, Willard F. Libby, Alfred O. C. Nier, and Francis G. Slack.

After World War II, Booth was director of the project for the design, construction, and operation of a 385-MeV Synchrocyclotron at the Nevis Laboratories in Irvington-on-the-Hudson. The project was a collaborative effort of Columbia University, the United States Atomic Energy Commission, and the Office of Naval Research.

He died on 6 March 2004

Legacy
A middle school in Woodstock, Georgia named after his father E.T. Booth was opened at 6550 Putnam Ford Drive, in Woodstock, his home town.

Honors
1941 — Fellow of the American Physical Society
Citation from the United States Atomic Energy Commission for his accomplishments in nuclear physics.

Selected publications

E. T. Booth, M. W. Johnson, R. W. Schubert, H. C. Beck, W. E. Hovemeyer, W. F. Goodell, Jr. Cyclotron Report: 1950 - 1951, Report Number NP-3045, 52 pages (1950). Institutional citation: Nevis Cyclotron Labs., Columbia University.

Notes

External links
Eugene T. Booth – Photograph, American Institute of Physics

20th-century American physicists
American nuclear physicists
American Rhodes Scholars
Fellows of the American Physical Society
Manhattan Project people
1912 births
2004 deaths
Columbia University faculty
University of Georgia alumni
Alumni of Christ Church, Oxford
People from Briarcliff Manor, New York
People from Rome, Georgia
Scientists from New York (state)

redpajama_set_name: RedPajamaWikipedia


The Crane is the oldest preserved portal hoisting system in Europe.In June 2002 an exhibition was held inside the wheel: 'Gdansk from the 16th to the 18th century - the life of a port town'.
The Crane is the oldest preserved portal hoisting system in Europe. It was built in 1442-4 in the form of two brick towers with a wooden pulley system placed between them. It had a triple function: a cargo hoist, defensive fortification and a city gate.
The hoisting mechanism of the Crane, initially using one wheel, was progressively modified to its present two pairs of treading wheels. The lower pair of wheels performed the task of loading the cargo, while the upper pair hoisted up the ship's mast. The wheels were set in motion by workers walking inside the wheel.
In June 2002 an exhibition was held inside the wheel: 'Gdansk from the 16th to the 18th century - the life of a port town'. The next parts of the exhibition were: 'Navigation in the old port of Gdansk', 'Loading Techniques', 'The buyer's counter', 'A room in a bourgouis home', 'Fight to the Finish' as well as 'The Art of Boat-Building'.
A pass entitling you to visit all CMM places in Gdansk - 18 zl full price and 10 zl discount.


For other people named Pedro Lopes, see Pedro Lopes (disambiguation).
Pedro Miguel de Santana Lopes GCC (Portuguese pronunciation: [ˈpedɾu sɐ̃ˈtɐnɐ ˈlɔpɨʃ]; born 29 June 1956), a Portuguese lawyer and politician, who most notably served as Prime Minister of Portugal from 2004 to 2005.
Pedro Santana Lopes was born in Campo Grande, Lisbon, to Aníbal Luís Lopes (b. Lisbon, São Sebastião da Pedreira, 17 February 1933), a company administrator whose maternal grandfather's maternal grandfather was a relative of João Brandão, and wife (m. Lisbon, São Sebastião da Pedreira, 27 February 1954) Maria Ivone Risques Pereira de Santana (Lisbon, São Sebastião da Pedreira, 3 May 1931 – Lisbon, 23 March 1999), a half-great-great-great-niece of the 2nd Baron of Brissos.
He graduated as a Licentiate in Law from the Faculty of Law of the University of Lisbon, where he was Leader of the Student Union, becoming a lawyer.
He joined the Social Democratic Party (PSD) in 1976. There he started his career as a Deputy to the Assembly of the Republic.
In 1979, he became a legal advisor to Prime Minister Francisco Sá Carneiro, and has identified himself as a follower of his for all his political life.
In 1986, he became Assistant State Secretary to Prime Minister Aníbal Cavaco Silva, an office he left the next year to lead to PSD list to the European Parliament, where he remained for two years of his five-year-term.
In 1990, Cavaco Silva appointed him to the government post of Secretary of State for Culture. He left the office in 1994, in disagreement with Cavaco, and returned to law practice. In the 1997 local elections, he ran successfully to become Mayor of Figueira da Foz. He decided not to seek a second term there, and instead ran to Mayor of Lisbon in the 2001 local elections, defeating the incumbent João Soares and becoming one of the biggest surprises of the electoral night.
When José Manuel Durão Barroso resigned in July 2004 to take up the Presidency of the European Commission, Santana Lopes became the President of PSD. At the time, his party had a coalition government with the CDS - People's Party, which held a parliamentary majority, and therefore he was nominated Prime Minister of the XVI Constitutional Government. His term as Mayor of Lisbon was automatically suspended, with his deputy Carmona Rodrigues taking over his duties.
The leadership of Santana Lopes was marked by a number of inherited economic and political problems. When his party took power, after the 2002 legislative elections, the country's economy was in a poor state, with a rising government-spending deficit, partially because of policies focused on public expenditure by the previous governments (led by António Guterres of the Socialist Party) and the early 2000s recession. According to the Economist Intelligence Unit, "Portugal became the first country to breach the EU's 'excessive deficit' rule with a budget deficit of 4.4% of GDP in 2001, well above the 3% of GDP ceiling set by the EU's Stability and Growth Pact." The situation inherited by Santana Lopes was a little better, as the previous government led by Barroso had been able to comply with European Union directives regarding the deficit by selling State assets.
Santana Lopes himself failed to gain a reputation as a competent Prime Minister. His unusual rise to power, as Barroso's successor rather than by election, contributed to these difficulties, despite his nomination being entirely constitutional.
The short career of Santana Lopes as Prime Minister began with some members of government being shuffled between departments on the same afternoon as the government was being inaugurated. His Minister of Defense Paulo Portas looked surprised during the ceremony when he was announced as the Minister for National Defense and Sea Affairs. Portas' look of surprise when the name of his office was announced was broadcast live on television.
Santana Lopes' period in office was also marked by chaos in the allocation of teachers to schools (more than a month after classes officially started, and resulting from alleged incompetence of the IT provider (designated during the previous Government); the problem was swiftly solved by another small provider), and by claims of pressure exerted on the press, including arranging for the replacement of the information director of the public television channel RTP, and pressing private television channel TVI to tone down the criticism of him by a political commentator, Marcelo Rebelo de Sousa, a former leader of his own party, who consequently left the channel.
The government of Santana Lopes received its death sentence on 30 November 2004 when President Jorge Sampaio, a member of the opposing party, announced that he was calling an early Parliament election for February 2005, from which a new government would be formed, after Henrique Chaves, a Santana Lopes loyalist, resigned after four days as Minister for Sport, claiming that Santana Lopes lacked "loyalty and truth".
Santana Lopes announced the resignation of the government on 11 December so that his Government would assume just a caretaker role until the election. He went on to be defeated in the 2005 legislative elections which was won by the Socialist Party led by José Sócrates. Santana resigned as party leader two days later, although he still briefly assumed the informal position of Leader of the Opposition, until the election of Luís Marques Mendes as new party leader.
Despite his defeat in the 2005 legislative elections, Santana Lopes retained his seat at the Assembly of the Republic. He would also resume his functions as Mayor of Lisbon, which had been suspended since he took office as Prime Minister. However, he decided not to seek another term on the 2005 local elections, being succeeded by his deputy, Carmona Rodrigues, who had replaced him during his premiership. In October 2007, after the election of Luís Filipe Menezes as leader of the Social Democratic Party, he was invited to lead the PSD Parliamentary Group, a position he held until Menezes' resignation in June 2008.
On the 2009 local elections, Santana Lopes ran again for Mayor of Lisbon, supported by his party and by the CDS - People's Party, the Earth Party and the People's Monarchist Party. This coalition was, however, unable to prevent the Socialist Party, led by António Costa, to achieve a big victory. Santana Lopes assumed the position of Leader of the Opposition in the municipality.
In September 2011, Santana Lopes was nominated by Prime Minister Pedro Passos Coelho to assume leadership of Santa Casa da Misericórdia de Lisboa, a charity that runs Portugal's national lottery. In March 2016, the new Prime Minister, António Costa, nominated Santana Lopes for a new term.
In October 2017, Santana Lopes announced the intention to run again for the leadership of the Social Democratic Party. He resigned leadership of Santa Casa da Misericórdia de Lisboa in order to do so, but was defeated by Rui Rio. After the internal election, both Rio and Santana tried to cooperate on several levels within the party, an effort which was not successful from Santana's point of view. He grew increasingly disgruntled with the course of action imposed by Rui Rio, and in June 2018 he announced he would be ending his 42 years of party membership and would seek to create a new political party.
On 18 August 2018, it was revealed the new party headed by Santana Lopes was to be called Alliance (Portuguese: Aliança). The party underwent the legal registration process with the Constitutional Court and was officially registered on 23 October.
After resigning as Secretary of State of Culture, Santana Lopes successfully ran for president of Sporting CP. Despite being in office for less than a year, the club won the 1994/1995 Taça de Portugal in football under his leadership.
^ Paul Ames (January 12, 2018), Thomson and Thompson battle for control of Portuguese right Politico Europe.
^ ""Aliança". O novo partido de Santana Lopes já tem nome e começa a ganhar forma". observador.pt (in Portuguese). Observador. Retrieved 19 August 2018.
^ a b c d e "Cidadãos Nacionais Agraciados com Ordens Portuguesas". Página Oficial das Ordens Honoríficas Portuguesas. Retrieved 28 January 2017.