A proposed federal law, HR 5571, would reverse the 30% tariff on imported solar panels ordered by President Donald Trump in January. The bill was introduced in the U.S. House of Representatives on April 19 by Representative Jacky Rosen, a Democrat from Nevada, and four co-sponsors.The tariffs were imposed on the recommendation of the International Trade Commission to fend off the flood of cheap solar imports from China and several other countries. Duties are 30% in the first year and will drop incrementally to 15% in the fourth year, according to a fact sheet from the U.S. Trade Representative.The U.S. solar industry did its best to head off the tariffs, claiming they would result in thousands of lost jobs. Rosen’s announcement took a similar line.“Solar energy’s success throughout Nevada has led to new jobs, cheaper power bills, and the growth of a new industry that is diversifying our state’s economy,” Rosen said in a prepared statement. “This Administration directly threatened the stability and financial well-being of our local solar industry when the President decided to impose a 30 percent tariff on imported panels. An attack on solar energy is an attack on the countless hardworking Nevadans who benefit from this growing industry, and my new bill will reverse this damaging decision.”Co-sponsors include Representative Mark Sanford (R-South Carolina), Representative Jared Huffman (D-California), Representative Ralph Norman (R-South Carolina), and Representative Steve Knight (R-California). The bill has been referred to the House Ways and Means Committee. RELATED ARTICLES If the bill is eventually passed, duties would drop back to the rates in effect before Trump’s order, and companies that import solar products subject to the higher duties would get refunds.EnergySage Solar Marketplace, an online service that gathers quotes for homeowners from installers, reported that the tariffs would increase the cost of a 6 kW system by between $600 and $720 in the first year, or between 10 cents and 12 cents per watt. But the impact will be limited as the cost of solar panels continues to fall.“The end result is that the percentage-based tariff, which is already set to fall each year, will be even smaller because it will be applied to ever-decreasing module costs,” an analysis posted at its website said.The president told a gathering of governors in February that the tariffs would revive the sagging solar manufacturing industry in the U.S., but a report posted at Greentech Media suggested that a PV manufacturing boom in the U.S. was unlikely. President Trump Imposes Tariffs on Solar Panels How the Suniva Trade Dispute is Reshaping the Solar IndustryHearings Open on Solar Panel Trade CaseCould a Trade Dispute With China End the U.S. Solar Boom?
Related Posts Why Tech Companies Need Simpler Terms of Servic… A Web Developer’s New Best Friend is the AI Wai… Top Reasons to Go With Managed WordPress Hosting jon mitchell 8 Best WordPress Hosting Solutions on the Market Tags:#apps#web Tech insiders call the successful acquisition of a start-up an “exit.” The implication is that the people who founded the start-up have accomplished their mission, and now they’re out. That hasn’t been the case for the team formerly known as Yobongo. They’re about to release something unique and wonderful for shutterbugs.Six months to the day after Mixbook acquired Yobongo, the former Yobongans are lifting the curtain on Mosaic. It’s an iPhone app for printing physical photo books, turning pixels into atoms. You can sign up for access starting today, and the first 100 RWW readers who click this link will get in early.Mixbook’s Caleb Elston has shown me the app, and when you get your hands on it, it will surprise you. Its every digital surface has been crafted to match the physical book you’ll receive in the mail. And that book will look like a dream object from the future, like a totem from the film Inception, more real than real, all because you made it out of pixels before the atoms arrived at your door. Photo albums have two problems that the iPhone can solve. They don’t start spontaneously, and they take a long time to finish. Because physical photo books take so much work, we tend to reserve them for weddings, anniversaries, and other major life moments. And even then, they’re a chore.Mosaic brings the process right to the place where our photos live: the smartphone. The team learned from Yobongo’s chat rooms that most services need to be rethought entirely to be primarily mobile experiences. When this app launches, it will present you with the chance to compile every day into a physical album if you want to.“People won’t spend 10 hours building a photo album about an everyday thing,” Elston says, “but they will spend 60 seconds.”The team came together to build artisanal software, but they’re loving this opportunity to build physical products. “Whatever I work on next, I want it to be physical,” Elston says. “Taking the digital bits and putting them into physical atoms is where the value came from.”Mixbook is debuting the Mosaic concept today, and the team looks forward to hearing user feedback. If you sign up on heymosaic.com, you’ll get the app as soon as it’s available. And the first 100 RWW readers will get it quicker.
Tags:#Web Trends Top Reasons to Go With Managed WordPress Hosting Related Posts dan rowinski The two tube sites together contain 735,000 videosThe average video play time on the two tube sites was 11 minutesSince launch in 2006, the platforms has reached 93 billion viewsThat is about 13.2 video views per person on EarthThe sites together have collected 158 million ratingsOf those ratings 63% are positiveThe sites are now growing by 22,000 videos every month.Since inception of the two tube sites, people have watched 1.2 million years of porn on the sitesUpdate: This article originally stated 15,000 video views per person on the planet. The number has been updated to 13.2. The most impressive part? Those are just two porn tube sites. It is likely that there are others that are just as heavily trafficked, if not more so. This should not come as a surprise to anyone. The rise of porn into mainstream culture has coincided with the maturing of the Internet. Just as it has been for every medium dating back to Stone Age figurines, porn was pioneering content for the Web. Note that PornWatchers is reporting on its own industry and product. The most surprising number is the 93 billion views between the two porn sites. That is a very, very large number. You could take most large media properties, squeeze them together and aggregate their page views and still not come anywhere close to 93 billion views since 2006. Guess that’s another constant. People really like to watch. Top image courtesy Shutterstock A Web Developer’s New Best Friend is the AI Wai… Several constants dominate the Web. First, someone is going to advertise to you. Second, trolls. Third, and perhaps most important, there will always be pr0n. A lot of it. PornWatchers.com, a search engine for adult tube videos, has released data on two sites (both of which are like YouTube for porn), YouPorn.com and xHamster.com. The numbers are a staggering. (Note, the link takes you to PornWatchers.com, but just to a press release with charts.) Why Tech Companies Need Simpler Terms of Servic… 8 Best WordPress Hosting Solutions on the Market
This uber-successful horror director dives into his latest project and what future directors should expect on set.All images via ponysmasher.Director the recent film Annabelle: Creation and YouTube extraordinaire David F. Sandberg takes us through directing a feature film — regardless of your budget — in this stellar video. The series is full of brilliant insight, excellent behind-the-scenes footage, and industry know-how for filmmakers of all skill levels.Of all the different people working on set, the director is no doubt one of the most important (if not the most important). So, when we ask, “What is it that the director actually does,” Sandberg discusses the one thing any director absolutely must know how to do: communicate.Communicate to other people. What it is you want. What your vision for the film is. What you want it to feel like. What you want it to look like. What you want it to sound like.It’s important to note that if you’re a first-time director or are dealing with cameras you’ve never shot with before, knowing how to work the cameras and which lenses work best isn’t necessarily your responsibility.A director doesn’t necessarily need or have to know all these technical things, but it helps, of course, the more you know about every aspect of filmmaking.Sandberg emphasizes how important it is to establish a good relationship with your director of photography. Working with a reliable DP, with mutual understanding and communication, builds trust. So, if you don’t necessarily know everything about cameras, lenses, or lights, it’s okay. Thats what the DP, gaffer, and DIT are there for — to help you capture your vision. That’s not to say experience and know-how won’t take you further, however, because they will.The director brings focus to the truly limitless possibilities of filmmaking. There are endless ways to shoot every action and scene. Because of this scope of opportunity, as a director, you’ll need to answer a million questions on set. Sandberg reflects on his first directorial debut, Lights Out, when he learned right from the start that he would need to field many, many questions — and quickly. Sandberg encourages directors not to let questions go unanswered and pile up. Even if you’re unsure of the answer and think it might be wrong, give them an answer. You can always correct yourself and fix the problem later.Staging the ActorsOne of the biggest takeaways from these behind-the-scenes videos is how much staging Sandberg does on set. Setting up the shot, positioning actors, determining marks: all these tasks take place while the camera operator and crew prep lighting, props, and extras.When you picture a director on set, you might imagine this weird guy yelling at the actors and giving them weird poetic directions, and doing like a hundred takes. I’m sure those directors exist, but for me casting is crucial. To find people who really know how to get into these characters so you don’t have to drag that out of them on set. Because on set you will have a lot of technical stuff to figure out, so your job will be so much easier if your actors just know their characters and are able to go into that.Be Open to EverythingOf the director’s many responsibilities, knowing and adhering to the script might be number one. However, directors should never feel beholden to the words on the page or how they hear the lines in their own heads.Sandberg stresses that directors should never oppose new directions or performances simply on principle. Just because the actor delivered a line differently than you were expecting doesn’t necessarily mean you need to keep shooting take after take. Let the actors give their characters lives of their own, and learn to trust the relationship you’ve built with them.Actors aren’t parrots . . . What an actor needs to know most of all, is why. Instead of telling an actor to look sad, you have to let them know why the person is sad.It’s all about what feels right for the actor. Making them as comfortable as possible will lead to well-rounded and believable performances.An Average DayOne of the first things to do on the first day of shooting is to walk through the scenes with your actors. No camera crew, no props, no crafty — just you and your actors. By doing so, you can figure out what will work and what won’t, and maybe even determine some new directions the scene could take.A big question many aspiring directors have is how many takes they should shoot and how long scenes should take to film. Sandberg advises you go with your gut, and don’t push your actors into frustration.Then you’re ready to do your first take, and then if that doesn’t feel right, you’ll do another take. I think, as a director, it’s important to know when to let go. Because its pretty easy to just keep chasing that perfect take that you’re never going to get. For me, I feel that usually the best take is like the third or fourth take.Because of this minimal approach to takes, Sandberg can cut down time between scenes, takes, and shots. Setting up lights and props (and the camera) takes forever, and you never have enough time while filming a movie, so the more time you can steal, the better.Another way he reduces time for breaking down equipment for new camera setups is by avoiding shooting coverage. Shooting coverage is a certain way to bore your actors and limit the number of shots you complete in a given day.My ideal way of shooting a scene is you have a long take, that can sort of can start as a master and go into a two-shot. Getting the coverage you need in one long take, and then turning around and shooting from the other direction, so you have something to cut to.Shooting a OnerOne of the oldest techniques in the book, shooting a long take, has been a filmmaking staple since the art form’s inception. Sandberg speaks out about his love for shooting a oner and how often he includes the camera trick in his arsenal. However, oners can limit you in the edit. This might seem obvious, but many filmmakers don’t think about the editing process while on set, and they often can’t go back and reshoot the scene. So if you decide to shoot a scene in one take, make sure you at least get a few shots to cut to, just in case.Sandberg’s YouTube channel is an excellent resource for all things filmmaking, offering professional insight into the many directions your career can take. His latest, Annabelle: Creation opens August 11th.For more tips and tricks for filmmaking professionals, check out our past coverage:Last Chance U Director of Photography Gabriel PatayBehind A24’s Menashe with the Director and DPBehind the Scene’s with YouTube’s Binging with BabishInside Atomic Fiction: An Exclusive Interview with a VFX Powerhouse
New Zealand beat Zimbabwe by 10 wickets in their World Cup Group A match at the Sardar Patel Stadium in Motera, Ahmedabad, on Friday. Score Barring experienced opener Brendan Taylor, who top scored with 44 (57 balls, 4×4) and rearguard action from Prosper Utseya (36) and Graeme Cremer (22), the top-order batsmen put up an insipid show to leave Zimbabwe tottering at 89 for 7 after 27 overs on a strip that was good for batting.Apart from Taylor, who was the sixth batsman to be dismissed, only Craig Irvine (11) got into double figures among the top six against a determined and efficient New Zealand. The Black Caps’ bowling was backed up by some splendid fielding.Former captain Utseya who made 36 in 65 balls with the help of 3 boundaries showed more gumption than their more accomplished front-line batsmen barring Taylor.Zimbabweans added 40 runs for the last two wickets as New Zealand were left to score the runs at an asking rate of 3.26.In their six head-to-head meetings, New Zealand have won five times while one match didn’t yield any result.Zimbabwe, opted to bat first received an early jolt when opener Charles Coventry was run out for a duck in the second over of the day.Coventry drove a Tim Southee delivery to mid-on and set off for quick single. However Hamish Bennett showed brilliant anticipation as he hit the stumps with a smart under-arm throw as Coventry was still short of his ground.The New Zealand bowlers then stuck to a disciplined line as the batsmen found it difficult to score runs. As Zimbabwe batsmen perished due to poor shot selection, it was Taylor who showed a lot of common sense in his approach before he was adjudged leg before off Scott Styris.Wickets fell at regular intervals. Tatenda Taibu, who scored a fine 98 in their 175-run victory over Canada, was trapped leg before by an in-cutter from Southee as the batsman tried to play it down the leg-side. The wicket-keeper made just 8 in 18 balls.Inside 25 overs, more than half of the side were back in the hut as Daniel Vettori’s men had firm grip over the proceedings.New Zealand skipper Vettori grabbed two wickets in the space of three deliveries in his very first over to leave Zimababwe tottering at 46 for 5 inside of the first two Powerplays.Prior to that Kyle Mills, had sent back Craig Ervine as the batsman slashed one straight to Jesse Ryder standing at backward point. Mills (two for 29) returned to the side to play his first match in the World Cup after recovering from his back injury that forced him to miss action for one month.advertisement- With PTI inputs
Striker Harry Kane sees himself as one of the leaders in the current England side, the 23-year-old has said ahead of his first senior appearance under Gareth Southgate in Saturday’s World Cup qualifier against Scotland.Premier League Golden Boot winner Kane has scored five goals in 17 appearances for the Lions and the Tottenham striker is already looking ahead to taking on more responsibility.”I see myself as one of the leaders now in the team and I’m looking forward to it,” Kane said at a sponsorship event.”I’m only 23 but I feel that there are a lot of younger players in the team compared to me and I have a good relationship with them.”Kane said the presence of Tottenham team mates helped them build stronger bonds.”I have a good relationship with all the players, the older, the younger and there are quite a few Spurs boys in there as well,” Kane said.”It helps as we play with each other, train with each other day-in, day-out, so we know each other very well on the pitch, but off the pitch also.”If someone is feeling a bit down, or if they’re not quite right then we are there to know that and help them out.”England travel to Scotland for the Group F World Cup qualifier and Kane expected a tougher encounter than their 3-0 win in the reverse fixture in November.”It is a massive game; everyone knows how big England versus Scotland is with the rivalry that we have,” he said.advertisement”We know it will be a bit tougher doing it away from home but, with the team we have got and the confidence we have got, we know we just have to go out there and not get too caught up in the moment.”
“If Mike Trout walked into your neighborhood bar, would you recognize him?” The New Yorker’s Ben McGrath raised that question in a provocative essay last month.I’m reasonably certain that I would recognize the MLB outfielder if he walked into One Star. But McGrath’s point is well-taken. Despite being (as McGrath aptly calls him) a “once-in-a-generation talent,” Trout is relatively anonymous. Based on Google search traffic so far in 2014, Trout is only about as famous as Henrik Lundqvist, the New York Rangers goaltender. He’s one-fifth as famous as Peyton Manning — and one-twentieth as famous as LeBron James or Lionel Messi.Trout’s also much less famous than Derek Jeter, a shortstop who hit .256, with four home runs, this year.That Jeter fellow, as you may have heard, played his last baseball games Sunday. Jeter’s case for being a once-in-a-generation talent is weaker than Trout’s. Jeter never won an MVP (although he probably should have won one in 1999). He rarely led his league in any offensive category. He was one of the best baseball players for a very long time — but he was not clearly the best player at any given time. In that respect, he’s more similar to Pete Rose or Nolan Ryan or Warren Moon or Patrick Ewing or Nicklas Lidstrom — great players all — than generational talents like Peyton Manning or LeBron James or Willie Mays or Ted Williams.Jeter, however, was probably the most famous baseball player of his generation.Google Trends maintains data on Google search traffic since 2004, a period that captures the second half of Jeter’s career. Google searches aren’t a perfect proxy for popularity — as you’ll see, infamy can also get you a lot of Google traffic — but they’re a reasonably objective approximation of it.I looked up the search traffic for Jeter, along with that for every other baseball player to post at least 30 wins above replacement (WAR) from 2004 through 2014. (Jeter’s WAR, controversially, was only 31.4 during this period; about 50 players rated ahead of him.) I also included every MLB MVP winner since 2004 — along with Trout, who might finally win an MVP this year. The chart below lists everyone else’s search traffic relative to Jeter’s.Jeter leads in Google traffic. The only players within 50 percent of him are Alex Rodriguez, Barry Bonds and Ichiro Suzuki.Rodriguez and Bonds, of course, have made news in recent years, mostly for their use of performance-enhancing drugs. Suzuki is a better comparison, but most of his search traffic is because of his extraordinary popularity in Japan. In the United States, Jeter generated five or six times as much Google interest as Suzuki did.Otherwise, Jeter laps the field. Based on the Google numbers, he’s been about nine times as famous as his Yankee contemporary Mariano Rivera. He’s been about five times as famous as David Ortiz, another legendarily “clutch” performer. He’s been about 30 times as famous as Jimmy Rollins, a fellow East Coast shortstop and one who did win an MVP award.Jeter’s also considerably more famous than today’s best-in-a-generation players. Even in 2013 — when he was hurt and played in only 17 games — Jeter was about as popular as Trout, Clayton Kershaw and Andrew McCutchen combined, at least according to Google.Playing in New York almost certainly had something to do with this. Lots of Yankees and Mets rank high on the Google list. Robinson Cano, the former Yankee, has gotten twice as much search traffic as the Philadelphia Phillies’ Chase Utley though the two are highly similar statistically.But I hope that Trout, Kershaw, McCutchen or Bryce Harper does something extraordinary this postseason and begins to build a legend of his own. It’s not healthy for a sport when its most popular player is 40 years old.
For us, that’s a challenge. If The New York Times Magazine is putting Nicki Minaj on its cover or T Magazine is putting Rihanna on its cover during the same cycle as us, we want to make sure that the way we’re covering that story is innovative, unique and high quality. For us, having Rihanna on our cover at the same time as Vanity Fair and T Magazine, I feel like our story really held up. That’s what this year has been about for us, challenging ourselves not to just be a good music magazine or a good looking magazine, but to be one of the best culture magazines out there. Folio: There was a time when a huge, global pop star like Rihanna might have only wanted to appear on the cover of Vanity Fair, for example, and it seems that’s no longer the case. Is that reflective of a changing landscape in magazine media? Folio: Going back to the digital growth—where are you seeing all this new traffic coming in from? Folio: For starters, to what do you attribute all of this growth in digital? Is there anything you’ve been doing differently? Some of our biggest stories in the past year have absolutely been magazine stories. We had an amazing run with Fader 100 where we had two incredible cover stories, but also just a ton of excellent content that we created for the magazine that’s all done really well online. We had an exciting cover story with Zayn Malik, which for The Fader was kind of a departure, but also super in line with the history of the best stuff The Fader does, which is to talk to an artist early on in a project and take time to learn where their head is at. That Zayn story was a classic Fader story, and we were happy to bring the Fader approach to a new audience with that one. For music and culture magazine The Fader, the end of 2015 saw the release of the brand’s landmark 100th issue, the digitization of its complete archive through a partnership with BitTorrent, and unprecedented digital growth. Combined traffic across desktop and mobile jumped 33 percent year-over-year, and October 2015, the month the 100th issue was released, was the highest-traffic month in the magazine’s sixteen-year history. Our goal has been to move away from that MP3 blog model. We saw so much potential in The Fader’s brand and the way that The Fader has always looked at music, which is using music as a prism to learn more about the entire world and youth culture and technology. It’s been a process both of staffing up and working with everyone here to improve day-to-day writing and editing skills. We’re still a small staff and we will lean on each other to create most of the content. To some extent, we’ve just been in blogging boot camp all together, and trying to do magazine-quality stuff every day. Folio: caught up with Naomi Zeichner, editor-in-chief, to get a glimpse of what’s behind The Fader’s growth and what’s next for the brand. Folio: Looking back at that Fader 100 issue, was featuring well-established stars like Drake or Rihanna a departure for the brand? Naomi Zeichner: We’ve been doing everything differently over the past year or so. I don’t mean to say we’ve switched our entire approach or model, but The Fader at its inception and for many years on the internet was a great MP3 blog; that was the bread and butter of our business, and then we had this separate magazine that we were doing, and those stories would also always go online, but there were only so many of them. Zeichner: The Fader has always been all about balance. I don’t think The Fader has ever shied away from pop music. Drake and Rihanna are both established artists, but also artists who constantly have their hands in what’s next in culture and are supporting or feeding off of young artists, so they’re very much in our world. It was about looking back, but we also think those artists are really vital and interesting right now. It was the same for Zayn; Zayn was a pop star who was actively trying to wheel himself back into a smaller, more meaningful world. We thought that was an interesting story and it says a lot about the status of the boundaries between indie and pop. Zeichner: Yes, we have each issue up for free download as part of our bundle now, and then you’ll be able to purchase the entire archive. I went to an art show recently where these kids had created a whole wall out of Fader photography that they got from the archive bundle when it was free, and that was a really cool moment for me. Some of our early magazines still exist in this office only on compact discs as quark files, so knowing that the archive was digitized and made available is really amazing. Zeichner: This year, we have a fuller stable of editors than ever. A joke that I make with my deputy is that we taught each other “folk journalism.” We aren’t people who went to journalism school, but all of a sudden we have this infusion of people who have worked at amazing places and are some of the best editors in the business. Their specialties aren’t only in music. They’re people who love music and love culture, but also are really ambitious writers about politics, sports, technology, identity—things like that. I’m looking forward to those editors both improving the overall quality of our magazine stories and also making sure that we have more non-music, high-quality stories that we’re breaking in our magazine, as well as just bringing in more freelancers and more people into the Fader network. Folio: Your BitTorrent partnership resulted in over one million downloads for the Fader 100 issue. Can we expect more promotions like that in the future? Zeichner: Not exactly, but we are thinking about how to use social platforms for native content. These days, when an artist visits the office, what we’re doing with them for our Snapchat story is one of the first things we think about. A few years ago when we did our redesign for our site, we built it mobile-first, and we’re going to introduce a couple of tweaks to the mobile design in a couple weeks, making sure that all of our articles—whether it’s a long-form magazine article or something that’s more newsy or more listy—is really pleasant to read on your phone, and that you’re able to easily navigate around the day’s content on your phone. That sort of user experience is really important to us, but we aren’t necessarily tailoring content towards social. Folio: What are some ways in which that affects your editorial strategy? Are you tailoring content for different social platforms? Zeichner: Just like other publishers, we’re seeing a ton of traffic directly from Facebok. For us, I would say Twitter is a larger audience than for some other publications, I think because music readers still hang out on Twitter, which is awesome. We’ve seen a huge increase in mobile traffic. We also see a lot of direct traffic, which is coming from people texting each other links, or when people put links in their Instagram bios, which for us is an exciting metric. Folio: So what’s next? How will you top those numbers in 2016? Zeichner: Absolutely. I think a print magazine cover at this point is such a feather in the hat. There are so few print magazine covers, and we’re just really proud that people still feel that a Fader cover, as a symbol, is a currency that they want to be a part of, and that it still means something. These distinctions between a high-brow thing and a low-brow thing, or a popular thing and an underground thing, might go away. Lots of publications are now operating with that understanding. Last year we saw huge traffic growth when we were able to meaningfully weigh in on a cultural moment. When Meek Mill and Drake were fighting, we had a million posts that were different from posts that you’d see elsewhere on the internet, and that’s where we really saw growth. Looking at things like the election, and even the Grammy’s coming up, we want to make sure that we have the best coverage and all different types of coverage. Now we have coverage coming from our UK office, and we also have someoene in Canada starting, so we’re looking forward to broadening the types of stories we tell. More on this topic The Fader Releases Full Archive on BitTorrent A Look at The FADER’s Expansion Plans Folio: Week in Review – January 30, 2016 How Runner’s World is Connecting with Audiences Like Never Before Inside Harvard Business Review’s Plans to Boost High-Frequency Traffic Selling Positivity: A Look Inside Condé Nast AuroraJust In Shanker Out, Litterick In as CEO of EnsembleIQ Four More Execs Depart SourceMedia in Latest Restructuring BabyCenter Sold to Ziff Davis Parent J2 Media | News & Notes The Atlantic Names New Global Marketing Head | People on the Move Meredith Corp. Makes Digital-Side Promotions | People on the Move This Just In: Magazines Are Not TV NetworksPowered by
News Ultra China Lineup Announced music-festivals-2017-ultra-china-lineup-announced Facebook Ultra China will feature performances by Armin van Buuren, the Chainsmokers, Carl Cox, Martin Garrix, Nicky Romero, and more. The festival will take place Sept. 9 and 10 on two stages at Shanghai Expo Park in Shanghai. According to the Ultra website, the phase 2 performer announcement is coming soon.EMBED Ultra’s Facebook post:This announcement comes just days after the Recording Academy announced its plans to bring the first ever GRAMMY Festival to China in 2018.Early bird tickets for Ultra China are already sold out, with general admission tickets going on sale soon, Billboard reports.Read More: David Guetta To Skrillex: Who Are The Highest Paid DJs?Read more Twitter Music Festivals 2017: Ultra China Lineup Announced NETWORK ERRORCannot Contact ServerRELOAD YOUR SCREEN OR TRY SELECTING A DIFFERENT VIDEO May 15, 2017 – 1:50 am The Chainsmokers: GRAMMY Red Carpet Interview Email The international dance festival brand premieres its party in Shanghai this September with world-class DJs in towNate HertweckGRAMMYs Aug 11, 2017 – 6:23 pm GRAMMY.comUltra Music Festival has announced expansion into a 23rd (yes, 23rd!) country, China, along with phase 1 of the lineup.
BNP secretary general Mirza Fakhrul Islam Alamgir addresses a public rally protesting at the incarceration of party chairperson Khaleda Zia in front of the National Press Club on Monday last. Prothom Alo file photoBangladesh Nationalist Party (BNP) secretary general Mirza Fakhrul Islam Alamgir on Friday alleged that the Awami League government is creating smokescreen over the issuance of Khaleda verdict copy.BNP chairperson and former prime minister landed in jail on 8 February after a makeshift court had sentenced her to five years’ imprisonment.Since then, Khaleda’s lawyers have been waiting for the certified copy of the verdict to file an appeal against the verdict.“The government is intentionally creating a smokescreen over [the issuance of] of the verdict copy. She is being denie the copy unlawfully. It’s a total breach of law,” Mirza Fakhrul told newsmen after a meeting of the party’s Standing Committee with a group of pro-BNP lawyers at the BNP chairperson’s Gulshan office in the capital.“As per rules, the certified copy of a verdict should be issued five days inside the pronouncement of the verdict, but she [Khaleda] is not yet given the copy although eight days have elapsed [since the verdict],” said the BNP leader.He went on to say, “It shows that the government in a planned manner takes law in its own hands and is resorting to unlawful acts in order to delay the release of the leader [Khaleda].”The BNP leader also alleged that these efforts of the government are aimed at keeping Khaleda away from politics and general elections. “But, the people will give a befitting reply to this through a street agitation.”In response to a journalist’s query, Bangladesh Supreme Court Bar Association president Zainul Abedin, who was standing next to Mirza Fakhrul, said as per the criminal rules, the certified copy of a verdict shall be issued five days inside the pronouncement of the verdict.He said the court is telling them that it is examining the verdict. “There is nothing to examine [in the verdict]. Once the verdict is pronounced, there is no scope to change or examine the verdict or even to change the language of the verdict.”