dockerComposeFile: './docker/docker-compose-test-azure.yml'
      action: 'Run a Docker Compose command'
      dockerComposeCommand: 'up -d'
  - script: sleep 15
  - script: sudo netstat -antp
  - script: cd docker && docker-compose ps && cd..
  - script: mysql --user=root --password=<PASSWORD> --host=127.0.0.1 --port=3307 --execute="show databases;"
  - script: mysql --user=root --password=<PASSWORD> --host=127.0.0.1 --port=3308 --execute="show databases;"
  - task: Maven@3 # see help https://docs.microsoft.com/en-us/azure/devops/pipelines/tasks/build/maven?view=azure-devops
    inputs:
      mavenPomFile: 'pom.xml'
      javaHomeOption: 'JDKVersion'
      jdkVersionOption: $(CUSTOM_JDK_VERSION_OPTION)
      jdkArchitectureOption: 'x64'
      publishJUnitResults: true
      testResultsFiles: '**/TEST-*.xml'
      goals:'verify'
      options: '-P test-mariadb,coverage,ci -B -U'
The whole idea of `expert` and `expertise` fills me with unease and immediately makes me feel like a charlatan. I am experienced in motivating people; experienced in enabling people to maximise their performance, to connect with their bodies, their passions, their creative core and their natural strengths.
I am a very experienced `asker`of questions; in making and bringing performances to life.
I am always fascinated with the performer-audience transaction, in all its guises and contexts. I grew up in New York, on a steady diet of great, history-making performances, artists, master classes and ground-breaking schools of thinking and `movements` in the arts.
Several things always stay with me in relation to these formative years. One is the explicit, but elusive, thrill of witnessing performances that you know you will never forget. These are the performances that you know in the moment of experiencing, that you will see the world differently, forever; that every strand of you is alive and inspired and resonating with passion, intellect and sensuousness. These performances combine great `invisible` technique, communication with an audience and some kind of extraordinary, rigorous vulnerability on the part of the performer(s). Whatever `it` is, inspirational performances make you jump up from your seat and cheer. You have experienced a new key in your life song. You feel `more` in every way: more hope; more resolved; more motivated; more alive and more faith in mankind.
I also find the arena of `rehearsals` extraordinary. This is a place where the really exciting, profound, and poignant things go on - where performers explore, `fail` in ways that are magnificent and which lead to the heart of the work. Likewise, I am fascinated with the process of brainstorming, think tanks and intensive collaborations. In these creative and consuming arenas, anything is possible.
I am also interested in the productive and lucrative exchanges of values that could be forged between the arts and business, the creative processes that are at work in these worlds, and the ways in which artists and innovative leaders dont just `push the envelopes`, but create the envelopes as well.
I think about how I `walk my talk`, in how my values are reflected in my work and in the kinds of conversations and relationships I have: the notion of `fierce conversations` - the idea that the quality of relationships is located within in the quality of each conversation.
A change of heart; an honouring of masculine and feminine values in balance; a change of scale (small is beautiful); a greater sense of ownership for the workforce; an enabling of peoples` creativity; investment in social capital and well being; the environment; friendly and visionary thinking.
It is helping to shift the paradigm of `fear, time and bottom line` in business to one of trust, imagination and a call for more sustainable forms of inner leadership.
Social responsibility begins with ourselves - having connected, aware bodies turning up and tuning in, allowing ourselves and enabling each other to shine. The quality of our attention influences all our interactions.
When we are fully present and receptive, we connect to ourselves and to others with compassion, humanity and creativity. The creative and social processes from theatre and performance that I use as a coach and facilitator, help people to tune in to this and can have a profound impact on personal growth and the motivational health of businesses.
I eloquently coax, nudge, push, pull, seduce, trick, argue, laugh, wrestle, grapple, feed, fuel, persuade, inspire, cheer, exhaust, motivate, intimidate and entertain.
The Abbey Theatre, Gate Theatre, Royal Court, Samuel Beckett Centre.
Director of Movement Studies, Samuel Beckett Centre, Trinity College, Dublin.
Partner in a consulting company that combines theatre with management.
Published author and journalist in the arts."If you're going to do something, function as the best"
Yamaha Motorcycles, under this motto, employing all its creativity, along with an extremely strong spirit of challenge, became what it's now: one of the biggest players from the worldwide motorcycling scene.
But Yamaha's history doesn't commence with motorcycles...
It can be last 1877 that Torakusu Yamaha began with the Nippon Gakki Company that later would become Yamaha Corporation: an essential manufacturer of proper instruments.
Because company grew, they explored several fields of opportunity from the textile industry while others.
In the The second world war, the company generate a factory to create airplane propellers. This plant played an important role in Yamaha's use of the motorcycle industry because you see.
Following the war, Yamaha Corporation were required to find new how to operate the tooling and experience which had been accumulated on their times inside the airplane industry, also it ended up being when Yamaha Motor Corporation was founded.
It is advisable to point out that even though this new company was just another branch of Yamaha Corporation, it had been placed under a completely independent management. In this instance, within the guidance of Ginichi Kawakami; which turned out to be an excellent move.
Before producing their first motorcycle, Ginichi Kawakami traveled a whole lot establishing what might be very beneficial relationships. Also, he sent out his engineers to Europe together them learn to build motorcycles, particularly from DKW; whom with they kept an underground and unofficial long lasting relationship.
One proof of this really is that nowadays, the sole two manufacturers in the realm of mass-produced five side-valve engines are Yamaha an Audi (DKW - Auto Union).
Just about the most important legacies from this international relationships were all the abilities learnt by Yamaha's engineers on two stroke engines know-how. Other manufacturers as Suzuki may not get to the same degree of rise in the bradenton area till seven years later.
Never to wonder why the initial bike from Yamaha Motorcycles the 125 YA-1 was fairly a faithful copy with the 1949 DKW RT 12. The only real two important differences were some speed gearbox rather than original three speed gearbox, plus a gear transmission replacing the key chain drive.
More information about https://www.gozilla.com.tw/pages/yamaha-ec-05 check this useful web portal.It's a shame people don't like iron man 3.

I loved iron man 3. I thought it was creative and had a distinct directors vision on the film that's different from everything else in the mcu. People say it's a good Shane black movie but a bad mcu film. That's what actually makes it good is that it actually has a distinct vision and personality where it doesn't feel like a manufactured product with no vision like Antman 2 or Captain Marvel or Doctor Strange. People just dont want different takes on franchises. Shane black did an alright Predator film and people hated his take on it for his comedy people just like for iron man. Iron man 3 is an iron man movie with his own take on the Mandarin and Extremis.  It's just like if people dislike Zack Snyder's DC films you either like his take or you don't.Gender equality in Britain: how far have we really come?
In February 1918, the women’s suffrage movement had cause to celebrate; after years of relentless campaigning, women won the right to vote.
The law that was passed allowed only those over the age of 30 and who met a property qualification to vote – excluding 60 per cent of the total female population – but it was still a hugely significant moment in the battle for gender equality. Women over 21 did not receive the same rights until 1928.
A century on, the women’s rights movement has shifted focus. Today prominent issues are the gender pay gap and fighting sexual violence with campaigns such as the #MeToo movement.
&gt; want to compare actors and actresses? compare the top paid.

And when I did, I noticed the same tendency. There are more hunks, partially because super hero and action movies bring in lots of money and, as I've already talked about, they have a heavier focus on these things to begin with.

But again, look this list from Forbes over the most highly paid men and women