text:
Colleen Egan
Director of People, Culture and Endless Possibilities, Clarity Partners, LLC
Colleen started her career as a Nurse, but became frustrated with the slow adoption of technology in healthcare. She had an opportunity to become the operations leader at a public digital agency and that experience became the foundation for the rest of her career.
She founded and served as the Chief Operating Officer for the award winning design and technology company Two Hundred Twelve Degrees | 212° with offices in Chicago, New York and Los Angeles. 212's diverse client list included Orbitz, McDonalds, Nike and pro bono clients like Zula USA. She went on to become the Chief Operating Officer and SVP of Production of Zula USA in Los Angeles, CA where she led the company and the production of the Emmy nominated PBS series The Zula Patrol, which was the first 3D CGI pre-school series on television.
Returning to Chicago in 2006, she was introduced to Akoo USA and became their VP and Chief Operating Officer. She led the design, deployment and support of the largest DOOH network in the country. The proprietary tech platform was awarded patents across the world, was voted one of the best companies to work at by Adverting Age Magazine and a Rising Star Finalist by the Illinois Technology Association (ITA).
In 2012, as a Principal Consultant with her own company Tiger Puppet Studios, she focused her work on Chicago tech start-ups working for clients that included StageBloc, Built In, ThinkCERCA and Catalytic. In 2013, Colleen was selected to participate in StartupBus North America, where her team created the healthcare app MyBestRx. She became its CEO and was selected as a Tech Cocktail hottest startup.
In 2017, she became the Director of People, Culture and Endless Possibilities at Clarity Partners, a management and technology consulting firms that specializes in public sector work. Clarity has been recognized as an INC 5000 fastest growing company for six years in a row, a Crain's Fast 50 for the last two years and a Chicago Tribune "Best Places To Work" company. Clarity has also won numerous awards for their work, diversity and commitment to community.
Colleen was an ITA CityLIGHTS Prominent Woman in Tech Finalist in 2017, serves on several company advisory boards and sits on numerous non- profit boards and committees including Little Kids Rock, Women's Sports Foundation, and Chicago United.
Previously (4):
Women in Tech Breakfast
Join us for this interactive dialogue about how women are succeeding in tech and fostering the next generation of leaders.
Find Work That Matters
Looking for fulfillment or a new direction in your career? Learn how to seize opportunities at the start of the new year to cultivate happiness and pride in your work.
International Women's Day: How She Got There
Hear from female leaders making progressive waves in your city, connect with your community, and make a personal pledge to #BeBoldForChange.
Data as a Powerful Employee Engagement Tool
We all know the importance of an engaged team at work, but how do you measure it? Join GA + HappyMeter for a discussion on the importance of data as an employee engagement tool.


text:
I have listed a new property at 11.5 WALDER AVE in TORONTO.
Urban Contemporary Custom Built Home By Ristic Homes, Energy Efficient Green Designed, Exquisite Quality Materials & Detailing, Over 2300 Sq Ft Of Finished Living Space. Kitchen/Family Imported Limestone Marble Granite, Custom Cabinetry, 2nd Floor Laundry Room, 9' 6"" Ceiling Height, Main Floor, 8' 6"" Ceiling Height On 2nd Floor. Lot's Of Storage Room.**** EXTRAS **** All Brick Exterior, Low E Argon Windows, Programmable Environmental Controls, Dual Flush Toilet Seats, Fiberglass Roof Shingles

subset: commoncrawl


text:
Jacques Ward
(Purple Belt)
Major Awards
- British Open Nogi 2009 – White Bronze
- London Open Gi 2010 – Blue Silver
- British Open Gi 2011 – Blue Silver
- British Open Gi 2012 – Blue Silver
- British Open Gi 2013 – Purple Bronze
- Brritish Open Gi 2015 – Purple Gold
Grading timeline
- Started Nov 2007
- Blue Dec 2009
- Purple Jan 2013
• Black belt Japanese JuiJitsu
Get to Know Jacques Ward
What would you want with you if you were stranded on a deserted island (no mobile or friends/family)?
- Desert island survival book
Describe your perfect Day that does not involve BJJ.
- Early morning gym session, afternoon nap and a pint in the local pub.
Where do you most want to travel apart from the obvious …Brazil, but have never been?
- Japan
What is your favourite memory about training?
- Coming away knowing I had learned something new or had helped someone else on there jiu jitsu journey.
What is your favourite Film? What is your favourite book?
- Harry Potter (Book).
- Any Bruce Lee film.
What was your favourite technique in BJJ/MMA /Wrestling?
- Arm Drag / Arm bar
What has been your biggest challenge in martial arts?
- Learning to control my nerves in a competition
What is your biggest success up until now?
- Learning more each day and achieving the best that I can.
If you could go back in time, what year would you travel to?
- Why travel back? I always like to move foward…. it would also be cool to watch England win the 1966 world cup.
How would your friends describe you?
- Green, big, strong…. and you wouldn't like me when i'm angry.


text:
ЅоЅыЅЁІЅЩЁІЅЕЅЩ (Marquis de Sade)ЁЂЅЩЅЪЅЗЅЂЅѓЁсЅЂЅыЅеЅЉЅѓЅЙЁсЅеЅщЅѓЅНЅяЁІЅЩЁІЅЕЅЩ (Donatien-Alphonse-Francois de Sade(1740ЧЏ6Зю2Цќ - 1814ЧЏ12Зю2ЦќЁЫ
ЩдХЌРкЄЪЩЪЙдЄђЄЗЄПЄШЄЦЁЂВПХйЄЋХъЙіЄЕЄьЄыЁЃ ЙіУцЄЫЄЦЁЂРКЮЯХЊЄЫФЙТчЄЪОЎРтЄђЄЄЄЏЄФЄЋМЙЩЎЄЗЄПЁЃ ЄНЄьЄщЄЯЁЂЅъЅйЅщЅыЛзСлЄЫЮЂТЧЄСЄЕЄьЄПЧиЦСХЊЄЪЛзЪлОЎРтЄЧЄЂЄъЁЂЄоЄПЁЂЖѕСАЄЮЅЕЅЧЅЃЅЙЅЦЅЃЅУЅЏЄЪОЎРтЄЧЄтЄЂЄУЄПЁЃЄНЄЮЄПЄсЁЂ19РЄЕЊЄЧЄЯЖиНёАЗЄЄЄЧЄЂЄъЁЂЄДЄЏИТЄщЄьЄППЭЄЗЄЋЦЩЄрЄГЄШЄЯЄЪЄЋЄУЄПЁЃ 20РЄЕЊЄЫЦўЄУЄЦЁЂЅЗЅхЅыЅьЅЂЅъЅЙЅШУЃЄЫЄшЄУЄЦКЦЩОВСЄЕЄьЁЂСДНИЄЮНаШЧЄЌЙдЄяЄьЄыЄГЄШЄЫЄЪЄыЁЃ-wikipedia.jp
Donatien Alphonse FranЋЎois, Comte de Sade, better known as the Marquis de Sade (June 2, 1740 - December 2, 1814) was a French aristocrat and author of several pornographic books, many of them written while in prison. His name is the source of the word sadism.
Sade was born in the CondЋБ palace in Paris. Initially he followed a military career and participated in the Seven Years' War. In 1763 he married RenЋБe-Pelagie de Montreuil, daughter of a rich magistrate; he would eventually have three children with her.-wikipedia.en


text:
by Champion
From AirgunArena
Things I liked: Self reseting is a great feature. It is very economical when compared to others.
Things I would have changed: Better instructions. Not as simple to set up as expected.
What others should know: Use rifles with higher velocities or .22 cal and up.
Overall rating:
Value for money:
(first | last) View (previous 5) (next 5) (20 | 50 | 100 | 250 | 500)


text:
Stephanie Swift
Stephanie Swift
Stephanie Swift at AVN Expo 2008
|Other names
|China Cat, Melody[1]
|5 ft 1 in (1.55 m)[1]
|110 lb (50 kg)[1]
Stephanie Swift (born February 7, 1972) is an American former pornographic actress who starred in over 300 adult movies between 1995 and 2009, when she was diagnosed with breast cancer and left the industry. She is a member of both the AVN[2] and XRCO Halls of Fame.[3] Swift now works with XXXchurch.com, a Christian outreach group that offers to help pornographic actors leave the industry and help compulsive porn users overcome their porn addiction.[4][5]
Early life[edit]
Swift spent her childhood in Louisiana. She is one-quarter Filipino.[6] Between the ages of one and fourteen, she suffered sexual abuse at the hands of family members.[5] At the age of 19, she lived in San Diego, California and worked as a stripper for six months at a club called The Body Shop[7]
After earning her degree, she posed in nude modelling photographs for five years and was featured in Club International.[7][8] Swift segued from nude model work to Southern California's adult film industry, where she began her career in 1995.[7] Her first softcore scene was in Playboy TV's Up Close and Dangerous.[7] Her first hardcore sex scene was in Space Sirens.[7] She went on to win several awards, including the AVN Female Performer of the Year Award in 1998.[9] She was, for a period, a contract girl with Wicked Pictures.[7]
She has made appearances on the exotic dancing circuit as a featured performer.[10] In 2004, she launched her own production company called Swift Entertainment, in which she was a director, screenwriter and producer.[7]
Swift was inducted into the AVN Hall of Fame[2] in 2006 and the XRCO Hall of Fame in 2008.[3]
In 2011, Swift released a video filmed for XXXchurch.com in which she said her cancer had been in remission since March 2010, and she explained her decision to quit the adult film industry. She said the industry gives a "false sense of accomplishment." She is currently working with the church in their efforts to reach out to pornographic film actors.[4][5]
Personal life[edit]
An August 2009 XBIZ press release announced that Swift had been diagnosed with breast cancer in her left breast and asked for donations to help with her medical bills.[11] Later that month, she had a double mastectomy.[12] By March 2010, she had completed chemotherapy and scheduled lymph node surgery.[13]
- 1997 F.O.X.E Award – Video Vixen[14]
- 1998 F.O.X.E. Award – Female Fan Favorite[citation needed]
- 1998 AVN Award winner – Female Performer of the Year[9]
- 1998 AVN Award winner – Best Actress, Video (Miscreants – Extreme Video/Elegant Angel Productions)[9]
- 1998 XRCO Award – Best Girl-Girl Scene (Miscreants) with Tiffany Mynx & Jeanna Fine[3]
- 1999 AVN Award winner – Best Couples Sex Scene, Film (Shipwreck – Vivid Entertainment Group) with Mickey G.[15]
- 2006 AVN Hall of Fame inductee[2]
- 2008 XRCO Hall of Fame inductee[3]
- ^ a b c d "Pornstar Profile – Stephanie Swift". AVN. Archived from the original on June 19, 2009. Retrieved February 14, 2010.
- ^ a b c "AVN Awards Past Winners – HALL OF FAME". Archived from the original on April 15, 2009. Retrieved September 15, 2014.
- ^ a b c d "X-Rated Critics Organization (XRCO)". XRCO. Archived from the original on May 14, 2011. Retrieved February 14, 2010.
- ^ a b "Stephanie Swift". xxxchurch.com. Fireproof Ministries. 2011. Retrieved March 15, 2011.
- ^ a b c Stephanie Swift (2011). Stephanie Swift: Cancer Saved My Life. XXXchurch via Subsplash. Retrieved September 15, 2014.
- ^ Lim, Gerrie (2006). In Lust We Trust: Adventures in Adult Cinema. Monsoon Books. p. 99. ISBN 978-981-05-5302-9.
- ^ a b c d e f g "Stephanie Swift: About Me". Official Site of Stephanie Swift. Archived from the original on February 28, 2009. Retrieved February 14, 2010.
- ^ "Wicked Pictures bio". Wicked Pictures. Archived from the original on February 12, 2010. Retrieved February 13, 2010.
- ^ a b c "1998 AVN Awards Show – History". Archived from the original on January 15, 2014. Retrieved September 15, 2014.
- ^ "The 2004 Exotic Dancer Fan Fair Review". Las Vegas Strippers. Retrieved February 14, 2010.[dead link]
- ^ Hunter, Tod (August 13, 2009). "Performer Stephanie Swift Diagnosed With Breast Cancer" (Press release). New York: Adnet Media. Retrieved September 15, 2014.
- ^ Rodriguez, Ariana (October 9, 2009). "'Sex at the Shore' Benefit Set for Tomorrow" (Press release). Long Beach, CA: Adnet Media. Retrieved October 22, 2009.
- ^ Garrett, Wade (March 3, 2010). "Mile High's Nica Noelle to Host Stephanie Swift Cancer Benefit" (Press release). Los Angeles: AVN Media Network. Retrieved March 10, 2010.
- ^ "Adult Video Awards". CanBest.com. Archived from the original on May 19, 2007. Retrieved April 19, 2007.
- ^ "1999 AVN Awards Show – History". Archived from the original on December 30, 2013. Retrieved September 15, 2014.
- Stephanie Swift Interview at Adult DVD Talk
- Stephanie Swift (2013). Stephanie Swift: Cancer Saved My Life. XXXchurch via Viddler. Archived from the original on 2014-09-15.
External links[edit]
|Wikimedia Commons has media related to Stephanie Swift.
- Living people
- 1972 births
- American female adult models
- American women film directors
- American pornographic film actresses
- American pornographic film directors
- American pornographic film producers
- Film directors from California
- People with cancer
- Pornographic film actors from California
- Pornographic film actors from Louisiana


text:
REMi, courtesy of Niche Productions.
Remi Kolawole, the Melbourne MC better known as REMi, is fairly new to the game- though that didn't stop him winning the biggest unsigned band competition in Australia, Triple J Unearthed, last year.
In this interview with Emma Smith, REMi talks about how he came to the rap game, the myriad of influences that inspire his long-ish time producers Sensible J and Dutch, and why it's time to speak up about racial discrimination in Australia.
Artist: REMi
Song:Nigerian Sunrise, Melbourne Sunset,Tyson, Ode To Ignorance
Composer: Remi
Album: Raw X Infinity
Label: House of Beige


text:
Business Insurance
As a contractor or business owner it can be daunting to know if you have the right coverage.
At Reliable Insurance Network, we know commercial insurance. We represent more carriers to make sure that we have a policy that is tailored to your specific needs. Our agents and representatives have the commercial expertise and education to provide the right combination of coverage and company for your business.
No Matter What You Do... ...We can insure your business
We can insure your business no matter what you do. Here are just some of the categories of companies we insure in the areas of liability, workers comp, property, buildings, and group health:
Condo Associations
We offer a broad line of products to meet your business insurance needs. Products and services include:


text:
Gender and the movement
While I was living in Bangkok, Thailand I heard about an organization that helps combat human trafficking by offering women in the red light district (Patpong) alternative work such as making jewelry. Women from the organization would go into the clubs and begin talking to the girls, building a rapport with them and eventually offering them an alternative lifestyle. This sounded like excellent work, so, I sent them an email asking if they needed any help. What I received back from them was a message telling me that the only work they had available for me was in administration work. I then realized that, as a male, it isn't as simple as going into clubs and helping girls get out. The dynamics revolving around gender and the movement are complicated and need to be carefully considered.
Going into clubs in Thailand and trying to help victims of trafficking as a male (especially without fluency in Thai) was a foolish thought that I didn't hold for long. Nothing was wrong with my intentions, but practically speaking it just wouldn't work. As a male going into such situations much more caution needs to be taken. Not only would I be addressing the issue of human trafficking, but I would be challenging traditional gender roles. After all, the majority of the sex trade is perpetuated by my gender.
I believe that a big part of helping a victim of trafficking feel comfortable and safe is them being able to relate to those trying to help them in some way. How significant it is, I can't be sure, but I do believe that a sort of 'female solidarity' exists that creates a means of breaking through barriers between victim and those looking to help. It seems like women would be more comfortable sharing their feelings and emotions with other women rather than a male.
Now, I'm not saying that a male can't do all of these things, I just believe that it is more difficult and may take more time. From the first moment a female being forced into sex slavery sees a male that has come to their business they judge him as a customer. That means that, as a male, that viewpoint/judgment must first be addressed before you can begin really communicating with the victim. If a victim who was working saw a female come into their business they would be less likely to have that judgment. Also, often victims of human trafficking are told by their captors that they can't trust law enforcement
This has only been a discussion on the difficulty of being an interventionist in situations of sex slavery as a male. I am by no means saying that men can't be interventionists in the manner previously discussed, just that it may be more difficult. There are more barriers that you must break through before you can make a difference. However, breaking barriers and challenging traditional gender roles in order to break about more equality between the sexes is precisely what we need to do.
Even in countries that claim to have egalitarian gender roles, there is still a need to address and discuss gender ideology, such as the objectification of women that is one of the reasons the sex trade exists. Whether you're male or female there is an endless amount of work you can do to help the movement, but it is important to always consider the gender ideology and roles of yourself and the culture you are working with/within.


text:
Or it might have had something to do with horseback riding.
Women sat sidesaddle to the left, so buttons on the left prevented wind from getting in. Contrastingly, men rode on the left side of the road with their swords on their left hips, so having buttons on the right kept it from getting caught in their clothes.


text:
My idea of romance is very intimate and closed Richa Chadda
My idea of romance is very intimate and closed
Richa Chadda is the latest art-house pin-up girl. After the successful Fukrey she will be seen next in Sanjay Leela Bhansali's Ram Leela.
What is the real Richa Chadda like?
I am fairly soft and shy and I take my time to open up to people. I have very few friends, but I am quite close to the friends that I have. I am private to a large extent and I think I am fiery only when there is an extreme need to be.
If you had to choose between a Dibakar Banerjee and a Karan Johar film, which one would you choose?
I'd ask them to get into a co-production and thereby work with both, where one directs and the other produces.
What is your style mantra?
My style mantra is comfort with a hint of sensuality and quirkiness. You don't have to be a label whore. Do what looks good on you, your body type, your complexion and your culture as opposed to following some Milan trend blindly. Do what you can rock.
What is the craziest thing you have done so far?
The craziest and the naughtiest thing I've ever done was in high school, when one of my teachers got upset with me. I was a good mimic, so I called up other teachers and with teacher A I pretended to be teacher B, with Teacher B, I pretended to be teacher C and called them all to attend the funeral of the teacher who was mad at me. It was insensitive but fun and we students attended the funeral too.
What is your idea of a romantic date?
My idea of a romantic date is a really cosy room with a fragrant candle, nice upholstery, DVD, some nice lounge music, maybe some red wine and home-cooked meal, which is really intimate as opposed to going to a fancy restaurant, where everybody is minding their table manners. My idea of romance is very intimate and closed.
If not an actress, you'd be…?
I would have been a photographer or a writer. I'd be a photojournalist… that would be ideal!
What do awards mean to you?
The best moment of my life was holding the Filmfare Award in my hand for my first movie.
Tell us about Ram Leela?
There's very little I can say about Raseela, my character in Ram Leela, except that she is someone with a lot of sensuality, feminity, and a lot of grace and elegance. She has all the qualities that I think are there ideally in a woman.
Do you have a wish-list of directors?
I have an incredibly long wish list of directors. Raju Hirani, Imtiaz Ali, Zoya Akhtar, Farhan Akhtar, Neeraj Pandey, Homi Adjania, Shekhar Kapur, Mira Nair, and Abhishek Kapoor are all good.
Any message for your Follo'ers.
I feel very humbled when I discover that I have any followers at all. My message is just believe in what you are doing and do it with single-minded passion. It doesn't matter if others don't believe in your passion.
Richa Chadda


text:
Currently reading
Fever 1793
Laurie Halse Anderson
Sixteen: Stories About That Sweet and Bitter Birthday
Megan McCafferty, Sarah Dessen, Jacqueline Woodson, Carolyn Mackler, Steve Almond, M.T. Anderson, Julianna Baggott, Cat Bauer, Emma Forrest, David Levithan, Sarah Mlynowski, Sonya Sones, Zoe Trope, Ned Vizzini, Joseph Weisberg, Tanuja Desai Hidier
Fat Vampire: A Never Coming of Age Story
Adam Rex
Let's Pretend This Never Happened: A Mostly True Memoir
Jenny Lawson
Front and Center (Dairy Queen Series #3)
Recently added
13 Little Blue Envelopes
8:00 pm 24 August 2013
First off, to any author who doesn't have a social media presence, let me just tell you, at this point? That's a big mistake. I'm not super-sociable, and tend towards the shy, so I can see how it would be intimidating to put yourself out there, but the ONLY reason I read this book is because I follow Maureen Johnson on Twitter. (And John Green, who also mention Maureen Johnson, etc) She is hilarious and weird and wacky, and I knew I should track down something she wrote. So: score points for Twitter presence, but don't worry if you're not as wonderful at it as Maureen at first - just be there, say hello, you'll figure it out, and people will find you. Now, on to the actual book: If you had a mysterious and flamboyant favorite aunt, who died suddenly, but left behind 13 little blue envelopes with clues that would take you who knows where (and the money to follow the clues), wouldn't you drop everything and go? I'm about ready for an adventure myself, and 17 year old Ginny decided her aunt's instructions were definitely worth following. And while she follows them, she finds out a lot about her mysterious aunt, the life she led while she was among the missing, and what it's like to not know what your next step will be until to you take it. Spontaneity was definitely the winner of the day, here. (I am not good at spontaneity, for various uptight-ish and health reasons, but that doesn't mean I can't enjoy it vicariously.) Now there's a certain amount of suspending disbelief that goes along with this book, because 1)if anybody (let's just say me, for argument's sake) attempted to do this in real life, there would be a certain amount of missed connections, a few more 'oopses' than occur in the book. and 2) It just seems like an 'only in a book' kind of thing, to this completely boring 34 year old cynic. But hey: that's just me, and maybe I lack the adventurous soul of Ginny, who drops everything and grabs her backpack and flies all over the world and back - Either way, I enjoyed being along for the trip, and I'm going to pick up the next book, see what secrets that last, lost, little blue envelope held.
Powered by BookLikes © 2015


text:
Workshop of Peter Paul Rubens (Flemish 1577-1640)
Maximillian, Archduke of Austria, 1621-1640
oil on canvas
36.6 x 30 cm
Gift of Herman Levy, Esq., O.B.E., 1984
To view an interactive image comparison of this artwork:
Harry Axelsohn Johnson, Stockholm
Sven Boström, Stockholm
London, England
Christie's London, "Pictures by Old Masters," 15 April 1966. Catalogued as by Del Mazo, "Head of a Man with Grey Beard and White Ruff," no. 125.
Purchased from Roland, Browse & Delbanco, London, England, 1966
Herman Levy, Esq., O.B.E.
Exhibition History
The Herman H. Levy Collection, McMaster Museum of Art, Togo Salmon Gallery, 11 June 1994 – 9 November 2006
Levy Series, Northern Art in the Age of Cock, Durer, Rubens & Rembrandt, McMaster Museum of Art, Levy Gallery, 10 May – 25 August 2007
The Last Things Before the Last, McMaster Museum of Art, Levy Gallery, 24 May – 18 August 2012
Worldly Possessions: Visualizing Ownership in the Age of the Baroque, McMaster Museum of Art, Levy Gallery, 27 August 2013 – 25 January 2014
Ihor Holubizky
Peter Paul Rubens was born in the German city of Siegen. The family moved to Cologne, where Rubens's father, Jan, died in 1587.[1] Two years later, Rubens's mother and family moved to Antwerp, where Rubens received a humanist education in Latin and classical literature before commencing his painting apprenticeship at the age of fourteen, first with the Flemish artist Tobias Verhaecht, followed by others.[2] To further his education, Rubens lived and worked in Italy between 1600 and 1608, where he studied the work of Renaissance artists and received his first commissions. He returned to Antwerp in 1609, establishing a studio and workshop (the most prominent of his apprentices was Anthony van Dyck). Working in the Baroque style, Rubens produced allegorical and mythological subjects, portraits, history paintings, commissioned altarpieces, and landscapes.[3] As Hans Vlieghe noted, "After his return to Antwerp…Rubens not only created a new, Baroque style of history painting but also liberated the art of portraiture from a certain schematicism which had beset it since the middle of the sixteenth century."[4] His mature period work and "animation by the flesh"[5] has generated the common usage term "Rubenesque." The Rubens workshop also produced copies of paintings by other artists (a popular and accepted practice in the sixteenth and early seventeenth centuries),[6] as well as prints, engravings, and woodcuts from Rubens's paintings, for which the artist established copyright in the Low Countries, England, France, and Spain.[7]
Rubens was an astute manager of his prolific workshop production, and was a collector of art and antiquities, which enabled him to amass considerable wealth[8] and achieve the status of diplomat, a consequence of his connections to nobility and his own personal ambitions beyond art alone.[9] Rubens lived and worked in Spain and England after 1621, before returning to Antwerp in 1630, where he died 10 years later.
The two outstanding questions regarding the McMaster painting are, is it attributable to Peter Paul Rubens and who is the subject?
The sitter's identity was determined through a comparison with a three-quarter portrait of Maximilian illustrated in the Corpus Rubenianum Ludwig Burchard Part XIX (2) (catalogue raisonné no. 122[10]): the subject is Maximilian III, Archduke of Austria (1558–1618). It is described as a copy of Rubens's original (no. 120[11]), which was possibly painted from life in 1615. A subsequent commissioned copy from Rubens (no. 121[12]) was most likely executed in 1619 for Maximilian's successor, Archduke Leopold-Wilhelm.[13] The current whereabouts for both are unknown, and they are presumably lost.
A further comparison between the published and the McMaster painting was inconclusive on several counts. The comparison was based solely on a black and white image, and as the Rubens cataloguer Hans Vlieghe noted for the catalogued copy, "the portrait certainly displays the severity of design characteristic of Rubens's style from c. 1615 to c. 1630 [but] I do not believe this to be an autograph [by Rubens's hand] example [and] I believe the painting to be a studio replica untouched by Rubens."[14] Vlieghe also noted that he had never examined the work, and his assessment was based on a photograph.[15]
The technical examination of the McMaster painting could not establish that it was done prior to Rubens's death in 1640, only that the materials are consistent with the period as well as with paintings done after the artist's time. The "burden" of the attribution, therefore, returns to connoisseurship, and it is complicated, as noted: working from photographic evidence and the recovery of useful documents (the paper trail chase).
We know that Rubens kept the originals of his "political" portraits (as well as other subjects) to be executed by apprentices and, depending on the merit or value of the commission, completed or finished by Rubens himself. They could also be done in variations.[16] The continuing investigation, therefore, turned to the ten catalogued Maximilian "copies"; six of these are paintings (adding to the confusion, no. 122 was included in this list). In due course, black and white photographs were uncovered for copy 3 and copy 5. The former, a same-composition three-quarter portrait, was formerly in the Bavarian State collections, and presumably destroyed in 1943 during the Second World War[17]. Copy 5 was sold from the collection of the 8th Duke of Buccleuch, Scotland, at Christie's London in 1959.[18]
A comparison of the two copies of the three-quarter copy portraits of Maximilian show strong facial similarities (the McMaster painting is the face only), but there are differences in the background details and modelling of the face. Nonetheless, it is possible to suggest that the painters of both three-quarter portraits, if by workshop apprentices, had access to the Rubens original,[19] and the different compositions can be attributed to variations for clients. The unanswerable question is, in which order were they painted?
Other comparisons can be extrapolated from engravings after the Rubens portrait of Maximilian by Lucas Vorsterman (1595–1675), Pieter de Jode II (1606–74), and Jonas Suyderhoef (1613–86).[20] The features of the Vorsterman engraving are the closest to the paintings cited (although it is a reversed image, as a consequence of the engraving print process), and to that of the McMaster work. It offers a tempting connection as Vorsterman worked in Rubens's studio from 1618–21, and therefore he could have had access to the original painting.[21] But the Vorsterman-Rubens working relationship ended with a dispute over copyright, and may offer an explanation as to why the Vorsterman engraving was not published until 1650, ten years after Rubens's death.[22] However, it must be emphasized that the Vorsterman engraving only confirmed the identity of the sitter as well as evidence of facial similarities to the McMaster painting.
The link between the McMaster painting and the Corpus Rubenianum research came unexpectedly. Correspondence with Rubens House in Antwerp (which holds the Rubens catalogue raisonné files) that sought to locate a colour image of no. 122 uncovered an image of the McMaster painting. It is copy 6, whose provenance is recorded as Sven Boström, Stockholm, and a near-conclusive connection to the workshop of Peter Paul Rubens. The dimensions, very close to the McMaster painting, had been noted early on, but this "accidental" discovery gives evidence of the often protracted and circuitous route in research rather than a flawed process or methodology.
Questions still remain unanswered. Why did the Rubens catalogue raisonné research, published in 1987, "end" with the Boström provenance? How did it get to a London gallery, and why was it catalogued as a work by the Spanish painter Juan Bautista Martínez del Mazo in the Christie's sale of 1966, yet suspected to be an early Rubens study by Henry Roland of the London dealers Roland, Browse and Delbanco, who purchased it at auction. Roland presented the work to the trustees of the National Gallery, London, for purchase acquisition shortly after. The offer was declined, and the minutes of the trustees' meeting record the following: "It had turned out not to be a sketch of a head, but apparently had been cut from a larger portrait."[23] This cropping, from a larger work, was also proposed in the technical examination of the McMaster painting prior to the recovery of the National Gallery records. Could the McMaster fragment have been cut from one of the other three recorded copies (whereabouts unknown), or perhaps cut from a yet undiscovered copy?
The research into the McMaster painting, while still unable to establish a definitive answer, is not a failure of the process. It highlights the ever-present challenges in art history: incomplete and fractional records over a long period of time, factors of connoisseurship and the "authority of the eye," and how much data is retrievable from scientific methods. The case is not "closed" on the McMaster painting, but for now it appears to be the only version for which the whereabouts are known of Rubens's 1615 original.
[1] Christopher White, Peter Paul Rubens, Man and Artist (New Haven, CT: Yale University Press, 1987), 1–51; Pierre Cabanne, Rubens (London: Thames and Hudson, 1967), 18–20.
[2] Other artists cited in Rubens's early apprenticeship are Adam van Noort and Octave van Veen. Cabanne, Rubens, 29. Also see White, Peter Paul Rubens, 4–8.
[3] In essence, the majority of Rubens's paintings are commissions, rather than what we think of as "exhibition" works. See Francis Haskell, "Feast Days and Salerooms," in The Ephemeral Museum, Old Master Paintings and the Rise of the Art Exhibition (New Haven, CT: Yale University Press, 2000), 8–9.
[4] Vlieghe, Rubens Portraits, 21.
[5] Cabanne, Rubens, 188.
[6] Jeffry M. Muller, Rubens: The Artist as Collector (Princeton, NJ: Princeton University Press, 1989), 59.
[7] Julius S. Held, Rubens and His Circle (Princeton, NJ: Princeton University Press, 1982), 115.
[8] The 1645 accounting of Rubens's estate amounted to 283,987 florins. Muller, Rubens, 59. A current exchange equivalent is difficult to determine, but it could be in excess of USD15 million, keeping in mind that there were fewer millionaires in seventeenth century Europe in comparison to today's global industrial economy. See "Rubens' Remuneration," last modified March 2012, http://ringlingdocents.org/rubens/dutchmoney.htm. As another comparison, Rubens's inheritance from his mother was 200 florins. Muller, Rubens, 49.
[9] See C. V. Wedgwood, The Political Career of Peter Paul Rubens (London: Thames and Hudson, 1975), 13, where he contextualizes the period: "The span of Rubens's life…covers the latter end of the Counter-Reformation, an epoch in which religious wars, which were always half political and often wholly so, repeatedly involved most of western Europe. [Furthermore] the prolonged power struggle [of] the Thirty Years War covered the latter part of his life and figures prominently in his correspondence." It should also be noted that the status of diplomats and nature of diplomacy had a very different contour in the volatile political scene of Europe in the first half of the seventeenth century. Rubens was knighted by Phillip IV, King of Spain, and Charles I, King of England. In essence, he was a trusted free-agent confidant to many sides. Muller also notes that Rubens's sale of antiquities from his collection to the 1st Duke of Buckingham allowed him the financial independence to pursue diplomatic work. Muller, Rubens, 62. See also "Rubens' First Brush with Britain," Phaidon News, accessed March 22, 2015, http://ca.phaidon.com/agenda/art/events/2011/november/22/rubens-first-brush-with-britain/.
[10] Vlieghe, Rubens Portraits, 135–36. This version is recorded as the collection of Heinz Kisters (1912–1977), a German art dealer and collector who specialized in old masters. The connection between the McMaster painting and the Rubens portrait of Maximilian was first identified by Dr. Jeremy Wood, University of Nottingham, and Dr. Gerlinde Gruber, Kunsthistorisches Museum, Vienna, in correspondence with Nenagh Hathaway in early 2013. Why this seemingly obvious evidence was previously overlooked is addressed in the publication essay "Limits of the Eye and the Engine of Curiosity."
[11] Ibid., 134.
[12] Ibid., 135–36.
[13] In a circa 1641 David Teniers painting of the "gallery" of Archduke Leopold-Wilhelm in Brussels (collection of Staatsgalerie Schleissheim) Rubens's portrait of Maximilian appears in the lower-right corner. Vlieghe, 134, cited as copy (1); illustrated as fig. [14]5.
[14] Vlieghe., 135.
[15] Ibid.
[16] Muller, Rubens, 60; Vlieghe, Rubens Portraits, 31.
[17] Dr. Andrea Christine Bambi, senior curator and head of art provenance research for the Bayerische Staatsgemäldesammlungen, Munich, e-mail message to author, September 9, 2014. Vlieghe records the Munich Maximilian painting as having been "lost since 1945" (Vlieghe, Rubens Portraits, 134), whereas Bayerische Staatsgemäldesammlungen records indicate that it was presumably destroyed in 1943; there was an RAF bombing of Munich in October 1943. The discrepancy in dates can be explained as a "margin of error" on Vlieghe's part.
[18] Christie's London, e-mail message to author, August 1, 2014; Buccleuch Collection archivist, e-mail message to author, September 3, 2014.
[19] The Kisters and Munich paintings are also very close in size 115 x 93 cm and 117.5 x 95.5 cm, respectively. It should be noted, however, that both can only be regarded as "sight measurements" and would have to be remeasured to confirm accuracy, which is, of course, impossible for the lost Munich painting.
[20] The Jode II and Suyderhoef are "identical," although oriented differently. The facial handling differs from that of Vorsterman. Jode II did engraving work for Anthony van Dyck, but there is no other Jode connection to the Rubens workshop. Suyderhoef's first dated engraving is 1641, after Rubens's death. Examples of the Jode II, Suyderhoef, and Vorsterman engravings are in the collection of the British Museum, last modified February 14, 2015, http://www.britishmuseum.org/research/collection_online/search.aspx.
[21] Held, Rubens and His Circle, 114.
[22] Copyright for prints was extended beyond Rubens's death in Spain. See Held, 115.
[23] National Gallery archives: ref. NG1/14 NG, Board Minutes, 5 May 1966. Alan Crookham, research centre manager, the National Gallery, London, e-mail message to author, July 23, 2014. Letters from Henry M. Roland of Roland, Browse and Delbanco Gallery, London, to Herman Levy on April 21, 1966, and on May 10 and 12, 1966 (invoice sent May 6), confirms the purchase arrangement. McMaster Museum of Art files.
Nenagh Hathaway
A gentleman with a white-grey beard and large moustache, depicted against a dark background, stares directly at the viewer (Fig. 1). He wears a fine ruff, the only indication of costume in this portrait. The relatively small work is linked to several other portraits of this sitter produced by the Rubens workshop, including a larger-format painting and an engraving by Lucas Vorsterman, a printmaker who worked for Rubens.
Rubens was a prolific artist celebrated for his monumental history paintings, altarpieces, landscapes, and portraits. While the latter was not a subject he preferred, as is clear from his correspondence, Rubens and his large workshop created many portraits over the course of his illustrious career.[3] The participation of workshop assistants was common, and in surviving documents Rubens himself acknowledges their important role in reference to the cost of his paintings. By employing assistants, Rubens could sell works at a range of costs depending on the degree of his personal involvement in their creation. Assistants and pupils would imitate Rubens's technique quite closely, sometimes to the point that their participation is difficult to discern. The McMaster portrait does not display the characteristic appearance of a mature Rubens portrait, which suggests that if it was produced by an assistant in the master's studio it was probably not intended for one of his wealthier clients.
The portrait depicts Maximilian III (1558–1618), Archduke of Austria and Count of Tyrol. This identification was accomplished through comparisons between the subject of the McMaster painting and other surviving portraits.[4] One such example is a highly similar knee-length picture of Maximilian (Fig. 2). Hans Vlieghe, a noted Rubens expert, considers this portrait, whose current location is unknown, to be a studio replica of a lost original by Rubens.[5] Although the knee-length version is considerably larger than the McMaster portrait, the dimensions of the heads in the two works compare well, and share extremely similar facial features. The remarkably close resemblance between the sitters establishes a connection between the McMaster painting and Rubens's studio.[6] The robust similarity suggests that the painter of the McMaster portrait was well aware of the larger version, or of the lost original by Rubens, which could have served as the model for both.
An engraved likeness of Maximilian III by Vorsterman is also very close to the McMaster portrait, especially when we are reminded that an image engraved in the copper plate becomes mirrored when it is printed (Fig. 3).[7] Vorsterman (1595–1675) was a member of Rubens's studio from about 1617–18 until the early 1620s. Rubens was able to generate additional income for himself from Vorsterman's reproductions. The engraving includes the shoulders and chest of the sitter, which links the work to the larger-format painting. However, it is possible that the McMaster painting originally included these details found in the engraving and the knee-length portrait. The X-radiograph (Fig. 4) reveals significant damages around the edges of the McMaster portrait, which indicates that it was indeed cropped on all sides.[8] However, at the moment it remains impossible to determine the precise relationship between the engraving, the lost Rubens original, the McMaster portrait and Fig. 2.
On close inspection, the dark background of the McMaster painting is actually green-blue in colour. Coincidentally, this colour is similar to Vlieghe's description of the stiffly hanging curtain behind Maximilian in the knee-length portrait.[9] Rubens used this visual strategy for emphasizing the sitters in other portraits.[10] Whether or not the McMaster painting ever featured a curtain behind Maximilian's head cannot be confirmed. A cross section from the area demonstrates that the blue-green paint in the McMaster portrait is original, although it may have darkened slightly over time (Fig. 5).
A version of the knee-length portrait is depicted in the "gallery painting" of Archduke Leopold Wilhelm's collection by David Teniers the Younger (Fig. 6), but it is again unclear whether this represents Fig. 2, the lost original by Rubens, or yet another version. The existence of what appear to be serial reproductions of varied quality attests to the fact that portraits of Maximilian were in high demand. It seems quite likely that an autograph Rubens portrait of Maximilian existed and that this likeness was popularized and circulated by copies—and copies based on copies—in different media.[11] These versions could be distributed to various locations for personal, political, or other motivations. A commemorative function is also possible, which would imply that the portrait was painted after November 2, 1618, the day Maximilian III died.[12]
[1] Hans Vlieghe, Rubens Portraits of Identified Sitters Painted in Antwerp (London: Harvey Miller Publishers, 1987), 134.
[2] The vendor to the Christie's sale in April 1966 was a London gallery, but there are no further details at the time of writing because of a Christie's 50-year confidentiality policy. Christie's London, e-mail message to author, May 18, 2015.
[3] In a letter to Annibale Chieppio, Rubens writes, "Then I should not have to waste more time, travel, expenses, salaries (even the munificence of His Highness will not repay all this) upon works unworthy of me [portraits], and which anyone can do to the Duke's taste." See Ruth Saunders Magurn, trans. and ed., The Letters of Peter Paul Rubens (Cambridge, MA: Harvard University Press, 1955), 38.
[4] This identification was made by Dr. Jeremy Wood, University of Nottingham, and confirmed by Dr. Gerlinde Gruber, Kunsthistorisches Museum, Vienna.
[5] Vlieghe acknowledges that his analysis is based on a photograph and, presumably, the descriptions of others who had seen the work—or a colour image of the portrait—in person. Hans Vlieghe, "Rubens. Portraits of Identified Sitters Painted in Antwerp," Corpus Rubenianum Ludwig Burchard, vol. 19, 2 (London and New York: Oxford University Press, 1987), 135–136, no. 122, fig 146.
[6] Vlieghe also notes a resemblance between the hairstyle and facial expression of the Corpus portrait and a portrait of a (much younger) Maximilian III by Martino Rota (c. 1580) at the Kunsthistorisches Museum, Vienna. Attempts by Ihor Holubiszky to secure a colour photograph of the larger-format portrait resulted in the identification of the McMaster painting as copy number 6 in Vlieghe's Corpus list for CR 121.
[7] Two other prints of Maximilian are known, one produced by Pieter de Jode and the other engraved by Jonas Suyderhoef. These do not resemble either the McMaster or Corpus portraits as closely as the Vorsterman image.
[8] This had been noted around the time of purchase by the Director of the National Gallery, London, Sir Philip Hendy, who also thought the work was created in the early part of Rubens's career. See the archives at the Research Centre, National Gallery London, ref. NG1/14 NG, Board Minutes 5 May 1966.
[9] Vlieghe, "Rubens," 135.
[10] The Infanta Isabel Clara Eugenia at the Prado is a good example.
[11] The Corpus Rubenianum (vol. 19, 134–135) includes three entries for portraits of Maximilian, Archduke of Austria. The portrait of Maximilian catalogued as CR 120 is listed as a work from the Rubens estate of 1640. Vlieghe considers this to be the original Rubens painting from which the other non-autograph works are derived. These copies are found under the entries CR 121 and 122. The provenance description for CR 121 (also Corpus vol. 19, 134) states that the work may have been painted for Archduke Leopold-Wilhelm of Austria in 1619. Vlieghe also inserts a list of copies in the CR 121 entry, one of which (number 6) is the McMaster painting. This list includes paintings, engravings, and drawings.
[12] This also coincides with the presence of Vorsterman in Rubens's studio from about 1617–18.


text:
When one of our readers nominated "Mrs Skeels" for the April 7th slot of the Amsterdam Birthday Blog, I have to admit my first reaction was tinged with a bit of trepidation. Not because there was any question she deserved to be recognized because I knew she did. My problem was that I'm Trish Skeels brother-in-law and I knew from experience that her treatment of me as the husband of her sister did not give me the sort of inside-the-classroom-perception I needed to explain to you all why she was such an outstanding elementary educator.
Now granted, I've been with her countless times, mostly in Capital District shopping malls when she and my wife would be headed to yet another store and we'd hear someone screech "Mrs Skeels, Mrs Skeels!" Her husband Richard and I would then patiently wait while whoever did the screeching hugged her, told her how much they loved being in her classroom and then discussed what they had been doing during the twenty or so years since. This type of encounter has happened so many times, one didn't have to be a genius to figure out that Trish Skeels was a much loved teacher, but I needed details.
Then I remembered Michela. She's my oldest daughter who not only had Mrs Skeels as a fifth grader at Bacon Elementary, she went on to become an elementary teacher herself. I called her earlier today and asked her to explain why her aunt was such a gifted teacher. Michela said it was the…
You can read the rest of my story about this former Amsterdam educator in my new book "A Year's Worth of Amsterdam Birthdays." To order your copy, click here.


text:
I made a stool named Chess - Chair.
Step 1: Data Creation
I created graphic data with 123D disign and moved the data to 123DMake.
It is a chair that imaged chess pieces.
From the gap of the figure you can see the shape of a continuous rhombus.
This chair tells us that there are various options in our life so that chess has various goal processes.
Step 2: Processed With Illustrator
PDF data of 123 DMake was processed with illustrator.
Line type(color): red(cutting line)
green(character line)
Line width : 0.001mm
Step 3: Trial Cut
I sent illustrator data to the laser processing machine and cut parts of the chair in order to cut the parts of the chair.
I was able to cut the board properly.
Step 4: Cutting
I will cut the MDF with a laser processing machine.
Step 5: Confirmation of Parts
I will list all the parts and check the parts that have been cut off.
I cut it additionally because I was missing.
Step 6: Assembly Work
We will assemble all parts together.
I made parts in advance and covered the parts that are difficult to assemble.
Step 7: Assembly Continuation
To assemble.
Step 8: Final Assembly
When you do not understand, check 123 Dmake.
Step 9: Assembly Is Over
Assembly finished.
Interesting design! How comfortable is the top, in terms of weight distribution on the grid-like finish? Increasing the number of pieces slotted together would help with that, though it'd also lead to more parts to cut.


text:
THE QUEBEC SCHI:M4 OF CONFEDtRATION. 279
against it by a vote of more than four to one. New Brunswick also seemed strongly against Confederation, for in the general election, which occurred in ;March, before the plan had been submitted to the assembly, most of the men in favotir of union lost their seats, and an " anti-confederate government " was formed. All this chilled the enthusiasm of Nova Scotia, which had once seemed so eager for union; and the assembly, instead of supporting the Quebec scheme, passed resolutions in favour of going back to the plan of a union of the Mari-time Provinces alone.
But Canada was determined to carry out the scheme if at all possible ; and earlv, in 1865 four of the ministers, Macdonald, Galt, Brown, and Cartier, went to England to make arrangements for Confederation. The' British government used even- means in its power to persuade the _Maritime Provinces to consent to the plan. The lieutenant-governor of Nova Scotia, who had been strongly against it, was recalled. In his stead was appointed the gallant soldier, Sir Femvick Williams, and he used all his influence to convince his countrymen of the wisdom of Confederation.


text:
Why Choose Family Homes?
We are a cost effective organisation who are willing to go that extra mile.
How can you offer such a low charge?
The cost experienced in running a traditional estate agents are directly related to their overheads such as high street premises, staffing costs and company cars etc. The enormous advances in technology now mean that we are able to deliver the details of your home quickly, efficiently and above all economically to thousands of potential buyers without incurring crippling overheads; allowing us to pass great savings onto yourself offering you a genuine alternative to the traditional high cost way of selling your home.
Are there any hidden costs?
There are no other costs incurred in the selling. We will offer our FREE market appraisal of the value of your property. Our Promise to you is No Sale, No Fee and No Hidden Costs.
Will I be offered the same level of service even though I am paying less?
Certainly. You will be looked after every step of the way right through to completion by our experienced, dedicated and professional team. No Sale, No Fee and no Hidden Costs, so it's imperative that we sell property whilst still maintaining the optimum value. We cut cost not corners!
How will you advertise my property?
Your property will be advertised every week in the local Newspaper and on all the major property websites, including our own website familyhomes.co.uk, Zoopla, Prime Location, Find a Property.
Where is Family Homes Sales and Letting Specialists?
Our offices are located at 25a West Street Sittingbourne, Kent, ME10 1AL. We can be contacted on 01795 47 94 34 or on firstname.lastname@example.com. Please feel free to give us a call, drop us an email or pop into the office to have a chat.
How long does it take for a sale to go through?
There are many factors governing this. In a simple property transaction, i.e. where there is no chain, and where a survey does not reveal anything untoward, the average period of time between an offer being accepted and contracts being exchanged is 4 – 6 weeks, with completion taking place some 4 weeks thereafter. It can take less, of course, and it can take a lot longer – it all depends on the circumstances, and the level of cooperation between the parties involved.
Do I have to pay stamp duty?
Stamp Duty – What has changed?
Rates from 4 December 2014
Previously, SDLT was charged at a single rate for the entire price of a property. From 4 December, SDLT is charged at increasing rates for each portion of the price.
You can choose to pay SDLT at the old or the new rates if you exchanged contracts on or before 3 December 2014, and completed on 4 December or later.
Residential properties
You'll pay:
- nothing on the first £125,000 of the property price
- 2% on the next £125,000
- 5% on the next £675,000
- 10% on the next £575,000
- 12% on the rest (above £1.5 million) Example If you buy a property for £275,000, you'll pay £3,750 of SDLT. This is made up of:
- nothing on the first £125,000
- £2,500 on the next £125,000
- £1,250 on the remaining £25,000Use the HM Revenue and Customs (HMRC) SDLT calculator to work out how much you'll pay.
This was taken from https://www.gov.uk/stamp-duty-land-tax-rates
How much should I pay a solicitor?
Conveyancing charges vary from firm to firm, of course, and we would be pleased to recommend any one of the local firms of solicitors which we deal with. They will quote clients of ours a very favourable charge for carrying out the conveyancing in the sale and/or purchase of a property.
What about surveying a property?
There are different types of survey available. There is a very brief type of survey, referred to, in a mortgage application, as a mortgage valuation. This, essentially, is limited to a brief inspection of the property for any obvious faults and provides an assessment of its value. The Homebuyer's report will go into more detail and will provide a fairly extensive report with appropriate summaries and valuation. The full structural survey and valuation is an in-depth report that looks at the fabric of the property as well as its overall condition and will make appropriate recommendations and suggest a valuation.We have links with associated firms which are able to provide this essential, professional service. Many buyers are happy to rely on the survey or valuation report carried out in their mortgage application. However, for the cautious, or where there is no mortgage involved, and subject to the age and condition of the property involved, choosing one of these reports should provide the required amount of information.
How will I know what people think of my home following viewings?
Family Homes will make it a priority to follow up every viewing by calling the potential purchasers to see if they are interested in making an offer. The feedback we get from these calls, whether positive or negative, will subsequently be passed on to the vendors.
Do I have to display a For Sale Board?
'For Sale' boards are often the way in which the successful buyer finds your property, so in some instances they have proved to be very important. However, we do understand that there may be a number of reasons why you would prefer not to have a board at the property, which is fine too!
How long does it take to get my property onto the market?
When you choose to market your property through Family Homes, we will arrange a mutually suitable time to visit your property to take the photographs and write the description of the property. Provided that there is a valid Home Information Pack, we can usually get your property uploaded to the internet within 24 hours. Full glossy brochures typically take 3 or 4 days to prepare, as we will always allow time to get the text checked by the vendors before printing.
Why do I need to show you my ID before you can market my property?
In 2004 the government extended the Anti – Money Laundering Legislation requiring estate agents to verify the identity of their clients. This formality is conducted with the minimum of inconvenience.
When is the best time to go on the market?
Obviously some home sales are forced by circumstances that need immediate action for example a change of job or a divorce. But if you can choose when you go on the market then start the selling process when the largest numbers of people are looking. Spring-summer is the favourite time to move, but there is usually a spurt after Christmas. If you have a hunch that interest rates are going through the roof or you have inside knowledge that stamp duty may rise yet again then try to get in before these events occur.
If you are selling your home and hoping to buy another, you have to think carefully about at what stage you want to start looking for a new house. There are three ways to do this:
You can buy and sell simultaneously. It will save you storage and rent costs but it can put you in the stressful position of being at the whim of a chain.
You can sell your house and then rent while you find another – though property prices may rise while you wait.
You can sell your house but request several weeks between exchange and completion in order to find yourself a new property however, this may compromise your buyer. Whichever way you choose, it is best to at least have an offer on your own property before looking for a new one – bridging loans are expensive and should be avoided at all costs.
When do I need to arrange buildings insurance?
Unless the building insurance is being arranged by your lender or it is a leasehold property and the insurance is dealt with by the freeholder, you must arrange buildings insurance from exchange of contracts as the property will be at your risk from that time. The amount of cover should be the estimated cost of re-building the property if it burns to the ground which is not necessarily the same as the current market value. If you had a survey or you are obtaining a mortgage, your surveyor or the lender's valuer will usually have suggested a minimum amount of cover in their report.
COMPLETION – REMOVAL DAY – Who Does What?
The Solicitor – Once the buyer's solicitor has received the mortgage advance and purchase monies, this can be sent to the seller's solicitor through the CHAPS system (a means of transferring monies between banks).
The seller's solicitor should notify the buyer's solicitor to confirm monies have been received and that the keys can then be collected.
The seller's solicitor will contact the estate agent, if they are holding the keys, to confirm they can be released.
The Estate Agent – If the estate agent is holding the keys they will be notified by the seller's solicitor to release them, only when the purchase monies have been received and cleared.
The Seller – The seller should notify the estate agent prior to completion as to whether the keys will be delivered to the agents office for collection by the buyer or if they are to be handed over directly, at the house.
The Buyer – Once your solicitor has confirmed the monies have been received by the seller's solicitor, contact the estate agent and make arrangements to collect the keys.
Be aware, Bank Holiday periods and Fridays are the most popular days for moving. Check with the estate agents that they have been authorised to release the keys by the seller's solicitor and make arrangements to collect the keys.
What's the difference between a 'Freehold' and 'Leasehold' property?
Simply put, Leasehold means that you do not own the land that the property stands on, usually applicable to a flat or maisonette. Freehold property means you own the property and the land that it is built on. Under the terms of a Lease maintenance insurance and ground rent are usually payable to the Freeholder (or their agent) which can sometimes be owned jointly between the leaseholders. Freehold property can also include maintenance payments (for private roads, gardens etc.) so get your solicitor to carefully check your liabilities.
What's the difference between a sole and multiple agency?
A sole agency is where one agent is appointed. A multiple agency is where two or more agents are instructed – you usually only pay the successful agent – just be wary of the agency terms particularly sole selling rights agreements. Most sellers (and agents) prefer a sole agency where they can act to get the best sale for the client not just the first!
What are sole selling rights?
This is where and agency agreement entails the agent is paid their sales fee regardless, even if you sell to a relative. This type of agreement is becoming more common as more information on houses being sold is put on the internet. Occasionally sellers may be tempted to argue that buyer who knocked on the door was a private sale!


text:
By Pat McLean
Read Online or Download Aint Gonna Bite My Tongue No More PDF
Similar love poems books
During this compelling memoir, advised via prose and poetry, Nancy Arroyo-Ruffin walks during the fireplace to stand her so much painful thoughts and does so brazenly and truthfully. Raised at the ruthless streets of Brooklyn, long island within the 1980's, Arroyo-Ruffin takes us on an exhilarating voyage of affection, loss, and heartbreak.
Blues of a Love Junkie is a love tale. that is all. it is a tale that's easy, but complicated; actual, but demanding to think; tender and delicate, but tough. The poems during this booklet were weaved jointly to inform a narrative of these who stand bare and unafraid to inform their tale. The blues have continuously been used to inform tales, even if the singer used to be unhappy or fantastically satisfied simply because blues musicians have continuously identified that love is the foundation of all tales.
This can be a choice of poems normally written through the interval April 1997 to March 2005, among the a while of 16 to twenty-four of my lifestyles, which marks the real transition from youth to maturity. The poems could be labeled into 4 vast different types, particularly Nature, Love and Friendship, lifestyles, and the folk who made a distinction in my lifestyles.
You're Doing Just Fine: Prose and poetry from a past that was never present
"Take a bath, wash off the day. Drink a pitcher of water. Make the room darkish. Lie down and shut your eyes. discover the silence. discover your middle. nonetheless beating. nonetheless battling. You made it, finally. You made it, one other day. and you'll make it yet one more. You're doing simply fantastic. " Named after the poem that has been shared over 500,000 instances on Tumblr, this can be the third booklet from younger writer and songwriter Charlotte Eriksson.
- Flesh and Other Fragments of Love
- Letters, To The Men I Have Loved
- The Rushton Initiative:: A Poetic Journey. (The Language of The Englestead Book 7)
- Falling in Love or Loving in Fall?
- High Poets Society
Additional info for Aint Gonna Bite My Tongue No More
Example text


text:
Juno 106
We get a lot of these, Roland made loads of them and they were reasonably priced. This was the updated MIDI version of the Juno 60, with software envelopes and LFO and the addition of Portamento.
The most common problem with the 106 is the "dying voice module" syndrome. The filter and ouput VCA are built onto a ceramic circuit board as a vertically fitted module called the 80017A. The 106 has 6 of them.
The symptoms vary depending on what part of the module has failed, but voices stuck on and strange resonance behaviour are among the most common. Replacement modules are available from several sources but needless to say are expensive.
Other fairly commonly found problems are faulty switches, broken or worn out sliders and broken pitch benders. All of these are available as new cloned parts from the far east.
The 106 is a great sounding synth, it's MIDI spec is very good for the time, and its value has been steadily climbing for the last few years. Many of the 106's we get are from abroad but most can be readily converted to EU or Semko standards to work with standard IEC mains leads at 230VAC.
Juno 106 Voice Board and the famous dead voice module
There are a lot of these in Ireland, we see them regularly. Due to the external Wall-Wart many of these have damaged internal power supplies due to incorrect external power supplies. Badly corroded battery terminals are also quite common (even alkalines will corrode eventually).
The most common serious problem is the demise of the Curtis CEM3340 oscillator chip, the symptoms are obvious, the synth makes no sound apart from the noise generator. The CEM3340 is becoming a rarer and rarer chip these days, as so many synths worldwide used it and it has been out of production since the mid 80's. Expect to pay €50 these days just to get hold of one of these chips.
Other issues are worn out sliders and dodgy keyboard contacts.
Despite the above, the SH101 is a very reliable synth, it is well built, sounds very good and the far east yet again can supply a lot of the otherwise unobtainable spares.
An SH101 on the workbench


text: First "endless" college campus theater theme fashion line 7.7 CGWR score novice card booking | endless theater area lead: went to school season, the new semester school don't go, we see the playground! NetEase 3D MOBA "endless" action theater will go on 3 sets of epic theme fashion in the campus tomorrow updated version, respectively is the school sports meeting — extension positions, in – Li Leah, offering graduation dream — fuluola. At present, these three sets of new fashion is ready to log on to the mall, like the campus style players do not miss oh! "Endless" campus theater theme publicity for the original fashion to meet this year's school season, buy campus theme fashion during the September 1st -9 month 7 days will receive a 40 percent off discount, put on uniforms, with a good fight! The school sports meeting — extension warehouse campus theme fashion story: students, now jump to the podium is a ninja Ninja class team, a class will take part in the school sports meeting in the high jump, fencing and wood three events. Let us use warm applause to welcome them, and I wish the Ninja students will not jump into the arena of others, thank you! The theme of fashion in Campus — Li Leah campus theme fashion story: wearing the same clothes, does not have the same life. The lonely little girl, the little girl with the strange windmill, was still lonely, even if someone sent her to school. Campus theme dream — offering Graduation Fashion fuluola campus theme fashion background story: in the dream, flora and all ordinary children like reading, examination, and graduation; in the dream, flora and all the young soul as running, shouting, looking for the sun; in the dream, flora a perfect graduation offering, starry, snowflakes, flowers fly into the sky into pieces. Campus theme fashion [endless theater] endless war zone is developed by NetEase Inception studio 3D action MOBA. Game combined with the future of science fiction elements, including a huge amount of time and space in different groups of heroes and groups. In battle mode, "the dual mode of operation with the traditional MOBA" endless war zone of different TPS+ACT, and even the original QTC real-time combat system, and provide experience for the game player combat action. In addition, the game also innovative into 3D three-dimensional battlefield and air GANK strategy competitive elements, more creative tactics and team routines for you to experience! Sina statement: sina.com.cn posted this article for more information to pass, does not mean that agree with their views or confirm the description.相关的主题文章:


text:
Mother's Day Shuttle Bus Tours
Mother's Day Shuttle Bus Tours has been added to your travel planner!
This event has been removed from your travel planner!
Date: Sunday, May 12
Time: 1-3pm (CT)
Venue: Indiana Dunes Visitor Center
Address: 1215 N. State Road 49, Porter, IN 46304
Phone: 219-395-1882
Admission: Free admission
Join a ranger for a two-hour tour of Indiana Dunes National Lakeshore in one of the park's heated, 15-passenger shuttle buses. This is a great way to see the park's amazing winter landscapes without getting cold. Reservations are required. Space is limited. Call 219-395-1882.


text:
There are total 9 letters in Quarriers, Starting with Q and ending with S.
Quarriers is a scrabble word? Yes (18 Points) Quarriers has worth 18 Scrabble points.
An Anagram is collection of word or phrase made out by rearranging the letters of the word. All Anagram words must be valid and actual words.
Browse more words to see how anagram are made out of given word.
In Quarriers Q is 17th, U is 21st, A is 1st, R is 18th, I is 9th, E is 5th, S is 19th letters in Alphabet Series.
Copyright © Word Creation 2017. All Rights Reserved


text:
Posted: July 16, 2015 in Events Management, Public Affairs, News, JT News, Media Relations
JT and Crowdcentric, the global organizers of Social Media Week (SMW), will partner to produce Social Media Week Chicago, which is scheduled for November 16-20, 2015. Social Media Week Chicago offers a unique program that explores the intersection of social technology and creativity with a week of panels, presentations, demos, workshops, talks, conversations, and interactive…
Posted: May 13, 2015 in Public Affairs, Events Management, Events, Digital Strategies & Engagement, Client Impact Stories, Video, Video, Public Affairs, Media Relations
On May 12, 2015, in communities across the city and suburbs, Chicago-area residents came together in small groups to share a meal and discuss ways they can work together to make our communities stronger, safer and more dynamic. Kicking off The Chicago Community Trust's Centennial year, On the Table 2015 was an imaginative public square…
Posted: May 7, 2015 in Events Management, Public Affairs, Media Relations
On May 6, JT provided media and event support to Blessings in a Backpack – a national nonprofit that mobilizes communities, individuals and resources to provide food on the weekends for elementary school children across America who might otherwise go hungry – for an event at St. Malachy School on the city's near west side.
Posted: March 9, 2015 in Events Management, Client Impact Stories, News, JT News, Media Relations
JT was proud to play a role in University of Chicago's announcement of five urban labs, meant to tackle some of the toughest urban challenges through study and action
Posted: October 30, 2014 in Public Affairs, Events Management, Events, Digital Strategies & Engagement, Media Relations
On Wednesday, October 29, 2014, the Latino Policy Forum hosted its fourth annual policy breakfast. The event informed hundreds of key civic and corporate leaders about the importance of Latinos in the state of Illinois.
Posted: October 23, 2014 in Public Affairs, Events Management, Events, Client Impact Stories, Public Affairs, News, JT News, Media Relations
JT was proud to work with Susan G. Komen Chicago, the Metastatic Breast Cancer Network and Pfizer on a three-city dialogue with patients, doctors, elected officials and advocacy organizations around support and resources needed for those living with metastatic disease.
Posted: October 16, 2014 in Public Affairs, Digital Strategies & Engagement, Client Impact Stories, Public Affairs, Media Relations
Today marks the grand opening of the Chicago Innovation Exchange (CIE), a new innovation hub in Hyde Park that will provide resources for University of Chicago faculty and students and local entrepreneurs to turn their ideas into real-world solutions.


text: Yesterday was a moderately busy Cubs news day. However, none of the items figure to swing the 2017 NLC standings at all. I'll go over a few of the items here, and the main one is the addition of Joey Martarano to the fold. Martarano was a two-way player in college, and decided to attend Boise State on a football scholarship. However, as Boise State doesn't have a baseball program, Martarano was eligible for the draft the next season. The Cubs pounced adding him in the 22nd Round in 2014. He Cubs Add A Linebacker 3-9-2017 Tim Huwe 03/09/2017


text:
Article 35A uncertainty muddies political waters in J&K
At a time when the Centre is trying to restart the political process in Jammu and Kashmir by urging the apex court to put off its hearing on the contentious Article 35A of the Constitution till the local body polls are over, National Conference President Farooq Abdullah is stirring the pot. Since the state is under governor's rule with the Assembly under suspended animation after the BJP withdrew support to the Mehbooba Mufti-led PDP government, it was incumbent on the Union home ministry to restore the rule of law and kindle political aspirations.
The Centre began by installing a veteran politician in Raj Bhawan, shaking up the bureaucracy, controversially replacing Director General of Police S P Vaid and announcing the local body poll schedule— not necessarily in that order.
With the situation on the ground no better than what it was during Mehbooba's tenure, National Security Advisor Ajit Doval's claim last week that a separate constitution for J&K was an aberration, gave Farooq an opportunity to tap into the popular resentment in the Valley. He first said his party would boycott the civic polls till the Centre spells out its stand on 35A and escalated it by threatening to stay away from the 2019 general elections as well. That put the PDP in a bind.
A few days later, Mehbooba echoed Farooq.
But the Centre has partially articulated its position already on 35A, with Additional Solicitor General Tushar Mehta telling the SC last week, "It can't be denied that there is an aspect of gender discrimination in it." Article 35A, incorporated in the Constitution by a 1954 Presidential Order, accords special rights and privileges to J&K citizens. Among other contentious issues, it denies property rights to a woman who marries a person from outside the state.
With the saffron brotherhood pushing for 35A to be struck down, the Modi government cannot possibly take a different stand. It can at best opt to stay neutral in the SC like it did with Article 377, which was subsequently read down in a landmark judgment. Would that help?


text:
Graded Technique classes are for dancers age 9 and up who love to dance. Advancement is based on correct placement, skill mastery, and instructor recommendation-not by age-which means all classes have a variety of age levels. Students spend an average of two years at each level before mastering the skills to advance. Students receive annual skills tests. In addition to Graded Technique classes, extend your dancing experience with Specialty Classes.
Expand your performance opportunity with Performance Company.
Miss Kylie returned to MDU in 2015 after graduating from Belhaven University with a Bachelor of Fine Arts in dance and a minor in accounting. She is the Director of our Award Winning Performance Company! She has worked with choreographers associated with Complexions, Ad Deum, Inaside Chicago, and Limon Dance Company. Her favorite dance role was in Pitch Perfect 2.
Miss Tiffany grew up dancing at MDU and has many teaching since 2008. She is an award winning choreographer. Miss Tiffany is proficient in all styles of dance and has a passion for seeing students develop their God-given talents in a nurturing environment.
Miss Krisa is another MDU grad who returned to the studio following college graduation. She is a jazz and hip hop specialist and the former coach of the award winning UW-Green Bay dance team. She has been teaching at MDU since 2007.
Miss Beth has been dancing for 20 years. Her favorite genres include tap, musical theatre, and contemporary. Beth shared her love for performing for many years as a member of MDU's Performance Company. She is a 2013 graduate of the University of Minnesota with a degree in Elementary Education and Spanish. She has danced with Ingredients Dance Company in Texas and has taught at MDU since 2014.
Mr. Dennis grew up studying ballet at Maple Conservatory of Dance in California. He graduated from Belhaven University with a BFA in dance and has danced professionally with Ballet Mississippi and Filter Dance Company. Additionally, he has four years of experience in Martial Arts. Mr. Dennis has taught at MDU since 2015.
Bio coming soon!
Miss Alex has been teaching at MDU since 2012. She is a ballet and tap specialist with a love for children. She is a graduate of Winona State University. She is also a rehearsal assistant for Ballet La Crosse.
Miss Alexia has studied various styles of dance, but has a special love of Hip Hop and Lyrical. She is a former member of MDU's Performance Company and currently leads our Steps of Praise program in which dancers can share their love of God through dance. Miss Alexia enjoys working with children of all ages to help them grow as dancers and individuals. She has been teaching at MDU since 2014.


text:
Support: Thin Lizzy / Vengeance & The Panther Queen
"As you may have heard I had a little accident. I'm learning what I can and can't do. I hope you don't mind me moving less than usual, although I'm probably moving a whole lot more than I was the last time I was here…" Axl (17/05/12 - Dublin)
Ok was I really going to do this again? Just 20 months since their disastrous appearance at this very venue I was here again to see Axl Rose and Guns n Roses. Was I mad? Some of my friends thought so as not only was I going to go through this again but I was flying solo as well. I couldn't persuade any of my friends that it would be worth the price of a ticket. In truth I think some of them wouldn't have come tonight even if it was free; indeed I myself swore that I wouldn't bother with Guns again…I really felt let down back in September 2010. However tonight's line up was a crowd pleasing one and a very Irish crowd pleasing one at that. With Thin Lizzy as the main support and up and coming Irish act Vengeance & The Panther Queen on first then maybe a few bridges were been built...
I made sure to be at the 02 in time for Thin Lizzy. Ok let's face it, like GNR, this is not really Thin Lizzy. Lizzy without Phil Lynott is not really Lizzy. However with Brian Downey (original member), Scott Gorham and Darren Wharton in place this is a pretty fine version. Lead vocals are handled by Ricky Warwick who I have seen a few times down the years both as a solo artist and as lead singer of The Almighty. He has never disappointed and tonight he showed what a great front man he is. With songs like Jailbreak, a barnstorming Whiskey In The Jar, and of course Boys Are Back In Town it was a cracking way to get the crowd in high spirits.
Now for the wait…with Lizzy finishing around 9.20, I was expecting a 10pm start to the main event…however it was 10.20 before they came on stage…funnily enough pretty much the same time as they came on in 2010. The difference this time is that the crowd was in good humoured high spirits and I certainly didn't detect any tension in the crowd, yet it was still a relief when Chinese Democracy finally started up. Love that song, the title track from the last album, which many overlooked, is a guitar heavy rock song of the highest order. I actually think the Democracy album is great, although yes, it is way too over produced. Next up was Welcome To The Jungle and now the bodies started jumping…no more so than me. It can look a little odd when you are on your own and start bouncing to every song…luckily the majority of the crowd were doing the same thing…including the 5 foot girl next to me whose toes I trod on once or twice. Apologies for that.
It's So Easy, Brownstone, Sorry, Rocket Queen, Live and Let Die…what a start. Axl was in form and the crowd responded in kind. One downside for me was the amount of solos (at least 5 and a few jams), don't get me wrong they were all good, in fact they were all excellent, including a Dizzy Reid piano solo of Baba O'Reilly. Therewas just too many of them. I guess it gives Axl the breaks he needs these days but yet he did look noticeable better than a few years ago. Pretty good for a 50 year old rocker in fact.
Sweet Child, November Rain, Better, Don't Cry were all excellent but the standout section of the night started with a cracking cover of Whole Lot Of Rosie, a quite phenomenal Estranged and great versions of Knockin On Heaven's Door and Nightrain. Estranged especially was excellent and proved to me what vastly underrated musicians this version of Guns are.
Next up was the encore. By this time the clock was getting close to 1am and some had left. Axl never seems to care about such things though. The majority of people stayed however and were treated to a rare There Was A Time, a superb Civil War and of course the biggest classic of them all Paradise City.
City is a song that in 1989 introduced me to this great band. In fact they, along with the Bon Jovi, New Jersey era, laid the foundations for my love of rock and the book I am attempting to write (it will be finished one day…one day I tell ya). Queen was my first love but those two bands introduced me to the thrill of live music. There was nobody as exciting as Guns n Roses back then. Ok so I don't quite get that thrill watching this version of the band and still maintain that vague hope of a 30th anniversary comeback tour but I realise that isn't going to happen. Hell will be frozen by then.
My watch said 1.10am when the final note was played. Never been at a gig that late before. The body was aching; the sweat was rolling down; my face was as redder than Axl's hair; and I was stinking. Who cares though. After 2 hours and 50 minutes of great music I had completely forgotten I was on my own. And yes Axl I agree, "thankyou for not throwing shit" was spot on.
In 2010 I thought Axl was struggling for fitness and at times for breath. Tonight I think the set was paced better. Yes those solos and jams meant he got the breaks but when he sang I was transported back to those days twenty years before. I'm delighted I came tonight. It has made me love Axl again. He is a one of the great rock frontmen. Yes a highly flawed one but a great front man nonetheless. Leaving aside the baggage there are few that come close to him even now.
Ticket: May 17th 2012
Ticket Price: €69.50
Set Lists:


text:
1. What are the goals for the web site? What needs to be achieved?
2. Is "cutting edge" preferred over "lowest common denominator"? Keep in mind that while most people are viewing at the same level of technology, not all browsers have the capability to see the latest and greatest technology.
3. What is the most important element of a web site to you?
4. Who is your target audience?
5. Do you need a logo designed or re-designed?
6. Do you have a preferred color scheme? (Exact RGB or hex numbers?)
7. How many pages do you think site will need? Ex: Homepage, about us, contact us, articles, products organized in sections, merchandise descriptions, policy & terms?
8. Do you need an online email form?
9. Do you need an online store or purchase capabilities? (Future item?) If so, how many items? Shopping Cart/Credit Card Payments?
10. Will you supply text content and photo content? Will you be able to email text content as a .txt or .doc files and images as .jpg file?
11. Any features on other sites that might work for your site?
12. Any features you don't care to use?
13. Will you need animations? Flash?
14. Do you need a database designed/programmed?
15. Do you foresee your budget limiting what can be accomplished with this project?
16. Time frame for designing and implementing the web site? Do you have a target date?
17. Who are your competitors?
18. Any associations we can link from to your site?
19. Do you need a Domain Name or Domain Transfer?
20. Do you need web hosting for your domain? Are you happy with your present web host?
21. Will the basic registration process with the Internet Search Engines be adequate, or will extended services be required? Google AdWords, PPC, etc.
22. In order to create your site to allow for future additions, what do you envision future updates to include?
23. How did you find us? Did someone recommend us?


text:
Happy New Year!
I hope if you are back in school it isn't too traumatic and if you are still off are enjoying your remaining PJ days!
I'm going to use my first post of the year to kick-start "Writing Prompt Wednesday". Here I'll provide three writing prompts which will hopefully inspire some GCSE writing. They can be used as a full narrative writing task or as short burst, low-stake 200 word challenges. I hope you find them useful.
- You're walking in the forest and stumble upon an old rusted hatch door. You wipe the moss off the door and it says "DO NOT OPEN". As you are walking away you hear a small voice.
- The year is 2025. The first astronauts have landed on Mars. They find a cave with a single human skeleton and four words written on the wall.
- Write about a damsel in distress who is actually a villain that captures the heroes that have come to "save" her.
If you have any writing prompts that have inspired your classes, it'd be great if you could share them below.
Writing Prompt Wednesday


text:
A lot of new traders worry about falling for a scam. These are rare, thankfully, but they do exist. Luckily, there are things that you can do to avoid these for the most part. The combination of doing your own research and relying upon other people's will help you to narrow down which brokers are reputable, and which are not. This might take some time to accomplish, but in the end, saving yourself from being cheated is far more important than the couple hours that you might spend looking things up for yourself.
Where to Start
The best place to start is with what has already been done. Hundreds of people or more have already researched this topic for you, and many of them have put their findings on the web. Read what they've written, but make sure you do it with a discerning eye. We don't want to spend our time on implicit advertisements, but rather, factual reports of what a brokerage site is really like. Independent reviews are your best bet, and although they may be a little tough to find at first, they are out there. The truth is, the vast majority of sites are not going to scam you. But some definitely have more favorable trading conditions than others. As you read about the different sites available, you will see that while some are not directly bad, they do not really have your best interests at heart. Take this information and apply it to your decision making.
Look for Yourself
The next step is to look at the sites you have determined to be trustworthy and top notch. Now spend some time on their web pages and look around. Anyone can make a pretty looking website nowadays, but we have an internal way of telling sometimes if something feels off. If you have this feeling, don't bother with the site. It might be nothing, or it might be something. Either way, it will create doubt in your mind, and this should be avoided. Doubts lead to mistakes in the end, and mistakes equal lost profits. So, even if it is a mental thing, it still has a real impact upon the quality of your trading. Just the idea that you are being scammed can cause you to lose money.
Protecting Yourself
Always protect yourself. It is your money that we are talking about, after all. Trading is an inherently tough thing to do at times to begin with, you don't want to make it harder on yourself by putting your cash in a place where it's in danger.
This can be tough to overcome at first because of the fact that many sites now offer a welcome bonus. That means that on your first deposit, you are given extra cash to trade with right away. You don't get to keep the cash right away, but if you trade enough, it's yours. This can be misleading, and it shouldn't have a huge impact on your decision, especially since most sites now offer this. Because really, what good does having an extra $1,000 deposited into your account do if you don't actually get it? Look for reputable sites first, and focus on maxing out bonuses as an after thought. Never deposit more than your are comfortable and think of anything you get as a gift–something unexpected. Depositing too much into a less than reputable site is only going to allow you to lose everything–free money and your own money. In other words, the bonus can be a way to get the site into forcing you to look past their scam and pay them anyway. Again, this is rare, but it is possible.
When in Doubt
If you are ever unsure, you can always call the site's customer service line and talk to a real person on the phone. This will give you a first person look at the site's professionalism and let you see how they really treat their customers.


text:
Overriding the Default Numeric Types
If you assign 1 to a variable, Scala assigns it the type Int :
scala> val a = 1
a: Int = 1
The following examples show one way to override simple numeric types:
scala> val a = 1d
a: Double = 1.0
scala> val a = 1f
a: Float = 1.0
scala> val a = 1000L
a: Long = 1000
Another approach is to annotate the variable with a type, like this:
scala> val a = 0: Byte
a: Byte = 0
scala> val a = 0: Int
a: Int = 0
scala> val a = 0: Short
a: Short = 0
scala> val a = 0: Double
a: Double = 0.0
scala> val a = 0: Float
a: Float = 0.0
Spacing after the colon isn't important, so you can use this format, if preferred: val a = 0:Byte
According to the Scala Style Guide, those examples show the preferred style for annotating types, but personally I prefer the following syntax when assigning types to variables, specifying the type after the variable name:
scala> val a:Byte = 0
a: Byte = 0
scala> val a:Int = 0
a: Int = 0
You can create hex values by preceding the number with a leading 0x or 0X , and you can store them as an Int or Long :
scala> val a = 0x20
a: Int = 32
// if you want to store the value as a Long
scala> val a = 0x20L
a: Long = 32
It's helpful to know about this approach when creating object instances. The general syntax looks like this:
// general case
var [name]:[Type] = [initial value]
// example
var a:Short = 0
This form can be helpful when you need to initialize numeric var fields in a class:
class Foo {
var a: Short = 0 // specify a default value
var b: Short = _ // defaults to 0
As shown, you can use the underscore character as a placeholder when assigning an initial value. This works when creating class variables, but doesn't work in other places, such as inside a method. For numeric types this isn't an issue - you can just assign the
type the value zero - but with most other types, you can use this approach inside a method:
var name = null.asInstanceOf[String]
Better yet, use the Option / Some / None pattern. It helps eliminate null values from your code, which is a very good thing. You'll see this pattern used in the best Scala libraries and frameworks, such as the Play Framework.
Share this article with your friends.


text:
The execution and clearing of orders by one member of a stock exchange for the account of another member. For example, investment dealer A is a small firm whose volume of business is not sufficient to maintain a trader on the exchange. Instead it gives its orders to investment dealer B for execution and pays a reduced percentage of the normal commission.
Joint account
An account in which two or more individuals act as co-owners of the account.
Joint and survivor pension
A pension payable for the lifetimes of both the plan member and his or her spouse or common-law partner. This is required to be provided as an option when a member retires. Under the PBSA, payments to the survivor may be reduced by a maximum of 40% after the member's death, but a plan may provide other options.
Joint Forum of Financial Market Regulators
Includes representatives of the Canadian Securities Administrators (CSA), the Canadian Council of Insurance Regulators (CCIR) and the Canadian Association of Pension Supervisory Authorities (CAPSA). The mandate of the Joint Forum is to coordinate and streamline the regulation of products and services in the Canadian financial markets.
Junior bond issue
A corporate bond issue, the collateral for which has been pledged as security for other more senior debt issues, and therefore ranks behind these prior claims.
Junior debt
One or more junior bond issues.
Junk bonds
Bonds with a credit rating of BB or lower. Because the term has a negative connotation, issuers and holders prefer to call the securities "high-yield bonds." Junk bonds are issued by companies without long track records of earnings, nor strong credit history. They tend to finance high-risk activities and corporate restructuring and therefore appeal to risk-oriented investors.
Back To Top
Quick Navigation
Portfolio Design
Investment Costs
Investment Type
Investment Costs
Follow Us |
How to Get Started:
Financial Planning & Budget:
Tools & Calculators:
- Net Worth Calculator
- Household Budget
- Education Expense Budget
- Loan Consolidation
- Mortgage Calculator
- Family Inventory
Other Resources:


text:
Golden Circle
North Park's Golden Circle is an honor extended to all graduates when they reach their 50-year class reunion. This very special milestone is not only a great chance to catch up with former classmates and celebrate your collective lifetime of achievement, it's an honor for the University to recognize and celebrate you, as well.
Please contact Alumni Relations via email or at (773) 244-4750 with any questions.


text:
Sarah Moon was born in 1941, in Paris, to a Franco-American father and a German-Algerian-French mother, both Jewish. As the Nazis arrived in the city of light, so the family escaped to England, where the photographer spent her early years.
She studied drawing and started out as a model. She moved behind the camera in 1970 when she was already 29. That late start seems to have provided time and space for her exotic style to develop in private, untrammelled by the world's demands. Her tonal palette is restricted and gated, though lush and original. "I don't really like colour," she has said. "To make it work for me, I have to mess with it. I believe that the essence of photography is black and white. Colour is but a deviance."
More than any other photographer, she shaped the visual atmosphere of fashionable London in the period between the demise of its swinging sixties and the rise of punk. In her pictures, there was a child-like playing with historical imagery — of the 1930s and the 1890s, in particular — and a fragility to the models. "Fresh little foals with long legs, bright faces and round dolly eyes" in the words of Barbara Hulanicki, founder and creator of Biba, the women's fashion outlet for which Moon was almost house photographer. She took the same look and feel — of slightly drugged and bruised delicacy — into her editorial work.
In 1972, she became the first woman to photograph the Pirelli calendar. She shot in Paris, at the Villa des Tilleuls, in a rich, blurry colour reminiscent of Degas' paintings of ballerinas. The models are small women, childlike, with rosebud lips and dressed, mostly, in archaic underwear. What little bare flesh there is seems accidental — and quite unvoyeuristic. The pictures are certainly sensual but quite unsexual. The air is of a fin-de-siècle brothel in which the customers and bosses have gone home, leaving the girls to themselves. The Villa des Tilleuls was the Paris headquarters of the Gestapo.
Hers is a world of young women — girls, almost. The few men in it are hidden, sometimes behind animal masks. Her fascination is with shapes. "The curve of the neck, the balance of the hips, the gesture of the hand. It's not always the face that dictates." A child from above, caught and framed by a thump of light. A 1977 picture, 'Nu'— a naked woman, seated, with her head and face torn from the image. Dramatic, narrative-laden, quite unsalacious. An unprecedented and radical take on the 3000-year history of the Western nude.
Her pictures were the public face of Cacharel for twenty years. She worked for French Elle, Italian Vogue and shot campaigns for Comme des Garçons, Chanel, Rykiel, Miyake and Lacroix. She moved on from the fashion world, though, particularly after 1985, into art galleries and the film world. She even made a pop video, for Khaled's Aïcha.
She lives in Paris, in no little style, in the 14th arrondissement and is married to Robert Delpire, an art publisher.