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Slutty Wedding Dress , you can see more inspiration below. |
Don't worry about the stress of putting a quality dessert together with little time - instead, make these four decadent chocolate mousses in your Oster® Heritage Blend™ 1000 Whirlwind™ Blender.
Enjoy the flavors of the season by blending delicious smoothies that will help you keep up with all the wonders of autumn.
Satisfy your sweet tooth this season with fun milkshakes inspired by your favorite holiday desserts.
Whether on a lazy weekend morning or snow day, you and your kids will love cozying up to these festive waffle treats.
Try making these three fun recipes with your kids.
A refreshing frosty drink is the perfect way to cool off any time of year.
Try these three recipes for making ice cream in your blender.
From the after-dinner standards to unique takes on classic recipes, your Oster® Brand blender can help you make desserts at home without much hassle or cleanup at all.
Here are a few tips to making cinnamon bread that'll be the envy of everyone you know.
Check out these different waffle toppings that will help you upgrade your brunch game. |
package utils
import (
"crypto"
cryptorand "crypto/rand"
"crypto/rsa"
"crypto/x509"
"crypto/x509/pkix"
"encoding/pem"
"fmt"
"math"
"math/big"
"time"
certutil "k8s.io/client-go/util/cert"
)
const (
certificateBlockType = "CERTIFICATE"
rsaKeySize = 2048
duration365d = time.Hour * 24 * 365
)
// NewPrivateKey creates an RSA private key
func NewPrivateKey() (*rsa.PrivateKey, error) {
return rsa.GenerateKey(cryptorand.Reader, rsaKeySize)
}
// EncodeCertPEM returns PEM-endcoded certificate data
func EncodeCertPEM(cert *x509.Certificate) []byte {
block := pem.Block{
Type: certificateBlockType,
Bytes: cert.Raw,
}
return pem.EncodeToMemory(&block)
}
// NewSignedCert creates a signed certificate using the given CA certificate and key
func NewSignedCert(cfg *certutil.Config, key crypto.Signer, caCert *x509.Certificate, caKey crypto.Signer) (*x509.Certificate, error) {
serial, err := cryptorand.Int(cryptorand.Reader, new(big.Int).SetInt64(math.MaxInt64))
if err != nil {
return nil, err
}
if len(cfg.CommonName) == 0 {
return nil, fmt.Errorf("must specify a CommonName")
}
if len(cfg.Usages) == 0 {
return nil, fmt.Errorf("must specify at least one ExtKeyUsage")
}
certTmpl := x509.Certificate{
Subject: pkix.Name{
CommonName: cfg.CommonName,
Organization: cfg.Organization,
},
DNSNames: cfg.AltNames.DNSNames,
IPAddresses: cfg.AltNames.IPs,
SerialNumber: serial,
NotBefore: caCert.NotBefore,
NotAfter: time.Now().Add(duration365d).UTC(),
KeyUsage: x509.KeyUsageKeyEncipherment | x509.KeyUsageDigitalSignature,
ExtKeyUsage: cfg.Usages,
}
certDERBytes, err := x509.CreateCertificate(cryptorand.Reader, &certTmpl, caCert, key.Public(), caKey)
if err != nil {
return nil, err
}
return x509.ParseCertificate(certDERBytes)
}
|
Cosmonection is the shared project of two parisian producers avid for modern albeit vintage house music. The union of squared rhythms, syncopated percussions, round basses, skyline synthesizers, diverse arpeggios and other subtle vocals, all characterize their productions. Cosmonections' first EP « Evasion » established the first cornerstone of their born career and secured the fidelity of their growingly important audience. |
Gaza City Gaza Strip Israeli attacks News Report Refugees/Immigration
Palestinian Teen Dies From Serious Wounds He Suffered On May 14
The Palestinian Health Ministry has reported, on Wednesday evening, that a teen died from serious wounds he suffered on May 14th, after Israeli soldiers shot him during the Great Return March in Gaza.
The Ministry said the teen, Mahmoud Majed Gharabli, 16, was shot by an Israeli army sniper east of Gaza city.
The teen was shot in the head and remained in a serious condition until he succumbed to his wounds on July 4th.
On the same day of his injury, the soldiers killed sixty Palestinians, and injured 2700, including 27 who suffered very serious wounds, 59 serious injuries, 735 moderate wounds, and 882 suffered light wounds. Several Palestinians died from their critical injuries days, or weeks, after the being shot.
772 of the wounded Palestinians were shot with live rounds, three with rubber-coated steel bullets, 91 with shrapnel, 100 cuts and bruises and 737 suffered the effects of teargas inhalation.
65 of the wounded were shot in the head and neck, 116 in their arms, 48 in the chest and back, 651 in the lower extremities, 52 in several parts of their bodies and 737 suffered the effects of teargas inhalation.
Mohammad's death brings the number of Palestinians, who were killed in the Gaza Strip since the beginning of the Great Return March on March 30th, to 136, including 17 children and two women, as confirmed by the Health Ministry in Gaza.
It also said that the soldiers injured 15501 Palestinians, including 7270 who were treated in field trauma stabilization units, and 8221 who were moved to hospitals.
Among the injured are 2525 children, 1158 women, in addition to 375 who suffered severe wounds, 3819 moderate wounds, and 4027 minor injuries.
The Ministry said Israeli soldiers shot 4024 Palestinians with live ammunition, 428 with rubber-coated steel bullets, 1497 suffered severe effects of gas inhalation, and 2273 suffered various cuts and bruises.
588 of the wounded were injured in the head and neck, 340 in the chest and back, 370 in the abdomen and pelvis, 1011 in the upper limbs, 4161 in the lower limbs, and 1606 in other parts of their bodies.
It also said that 55 Palestinians suffered amputations in their lower limbs, 1 in the upper limb, and 6 suffered amputations of fingers.
The Israeli army also killed two Palestinian medics, identified as Razan Ashraf Najjar, 22, and Mousa Jaber Abu Hassanein, 36, injured 318 others with live bullets and gas bombs, and caused damage to 45 ambulances.
In addition, the soldiers killed two journalists, identified as Yasser Mortaja, 31, and Ahmad Mohammad Abu Hussein, 25.
Settlers Give Shooter of Motionless Palestinian a Hero's Welcome at Crime Scene
Israeli Colonizers Injure Three Palestinians; Soldiers Abduct One, In Hebron
By IMEMC News |
$14.5M Meadow Lane Oceanfront Finds A Buyer
By Paul A. Johnson Sep 17, 2012, 12:45pm EDT
With all the pricechopping going down on Meadow Lane, it's nice to see one of the places actually finding a buyer. This little $14.5M number just clicked over to "In Contract" on HREO.
Situated on 2.5 acres right next to the Ward Bennet contemporary that closed for $17.6M earlier this year, the "6000 s.f., three-level post-modern residence takes advantage of every water view and elevated prospect. A long drive leads to a wide stairway to the wainscoted main level, with four gracious guest suites and ocean-side sunroom." There's also a two-car garage, chef's kitchen and a windowed-elevator...ensuring ocean views even when you're bouncing in between floors. And in case you were worried that it would wash away in the next big storm, the home has been "engineered with piling foundation to meet the latest FEMA codes." Whew! Permits are also in place for a pool and a tennis court, because, well, you know...can't have an oceanfront estate without a pool and a tennis court.
· Listing: Pristine Meadow Lane Oceanfront [Sotheby's International Realty]
Hamptons celebrity homes, mapped A shocking number of actors, musicians, directors and designers have residences out here.
The 25 most expensive properties for sale in the Hamptons The list includes the recently added Meadow Lane compound that's asking $150 million, down to a $39 million Water Mill home. |
Kool Kat of the Week: Hooting, Hollyfesterin' and Cockle-Doodle-Doom with Phil Stair of Grim Rooster
Posted on: Jan 31st, 2013 By: Anya99
Phil Stair, lead vocalist/guitarist of Grim Rooster. Photo courtesy of Phil Stair.
Every year around the anniversary of The Day the Music Died, the Right Reverend Andy Hawley gathers some of Atlanta's best rockabilly and neo-honkytonk talent at the Star Bar for a righteous revival called Hollyfest! This year the fifth annual tribute to Buddy Holly, Ritchie Valens and The Big Bopper is on Sat. Feb. 2, so mark your calendars for a Groundhog Day you'll want to relive with a 14-band line-up conjuring up rock n roll deja vu that includes many groups whose members have been previous Kool Kats from Cletis Reid to Andrew & The Disapyramids, The Stumblers to Rod Hamdallah.
Also on the playlist is Grim Rooster. While the group has only been around for a couple of years, its members include Phil Stair (lead vocals, guitar), Dylan Ross (bass) and Nate Elliscu (mandolin) and Tigerbeat Tony (drums) who have been active in the scene here for many a corn season. Boasting a diverse barnyard of influences that range from Johnny Cash to Rancid, they've already got more than 30 original songs under their belt and the fireball audacity to promise this about their musical menu on Facebook: "just try not to drip any tobacco juice on the floor the first time you feast your ears on this blue-plate dee-light of mother-cluckin' foot-stompin' fun and your jaw drops wide open!"
ATLRetro caught up with Phil to find out how Grim Rooster got hatched, what Hollyfest is all about and just what the hell is honky punk anyway?
So how and when did Grim Rooster get hatched?
Grim Rooster came about in the spring of 2011. My band Rocket 350 was on its last legs, and I was fairly bummed about it. My bass player had moved to Nashville so I wasn't getting a lot of playing time. Also our crowd had finally faded, and it just wasn't worth the effort of getting everyone together. At that point, my buddy Dylan asked if I had any interest in starting some sort of side project. I knew that I wanted to start either a straight punk band or do something very stripped down and roosty. Dylan wanted to play stand-up bass so it was settled. We asked one of neighbors to come play drums, and then I wrote about 20 songs for the project. I really got wrapped up in the music and was very excited to be doing something new. It had been about 15 years since I started a new band.
What's in the name?
Grim Rooster came from a goofy brainstorming session. We wanted to use something with the word "rooster" in it, and that's when we started coming up with ridiculous names. Obviously it's a play on Grim Reaper, and it was meant to be funny at first, but it had a pretty good ring to it. We started coming up with crazy logos and realized we had a winner.
What the hell is honky punk?
We play honky tonk and bluegrass. We have an acoustic guitar, mandolin, upright bass and drums. The ferocity that we play our honk tonk is where the punk comes in. Although we have a real roosty sound, the punk rock still seems to slip in there. This is great when we play places like the Star Bar, but when we play to the bluegrass crowd, a lot of times they get a bit lost. We used to do a cover of Operation Ivy's song "Knowledge," but it never seemed to go over too well even though we really honky-tonked it up.
What's so great about three dead Retro rockers and was it really the day the music died? In other words, what do Buddy Holly, Ritchie Valens and the Big Bopper mean to you personally?
The day the music died will always remind me of the terrible Ritchie Valens movie that they did in the 80s. "Not my Ritchie!!" But seriously I think out of the three, Buddy Holly was the biggest loss. He was a great songwriter, and he did a lot to help shape rock 'n' roll at its very beginning. I will have to say though, that I'm very happy Waylon Jennings did not get on that plane. I can only imagine how terrible this event was when it happened and what a blow to rock 'n' roll it was. It seems like we always lose the great ones, yet guys like Justin Bieber seem to stick around forever. As far as what they mean to me personally, I'm more of an Elvis man myself, but that's a conversation for another day.
The Grim Roosters at Twain's. Photo courtesy of the Grim Roosters.
Have you played past Hollyfests? For the uninitiated, what happens at Hollyfest and makes it special? With all the Star Bar regular bands and Andy organizing, it sounds like it's a big rockabilly/honkytonk homecoming.
I have played many Hollyfests. One with Grim Rooster and a couple with Rocket 350. It is like a big homecoming, or more like the Atlanta rockabilly scene's annual meeting. It's always a great time, and its always great to see friends that I've hung out with for the past 20 years. It's funny. I was sneaking into that place when I was 18, and here I am seeing the exact same folks. Something like that is rare, and I'm glad Andy and the Star bar are keeping it alive.
What will Grim Rooster be playing at Hollyfest – Holly classics or your own songs or both? Any special plans?
We are stripping down for Hollyfest because our drummer won't be able to make it. We will be going string-band style. We are going to bluegrass up "Midnight Shift" and "True Love Ways." Next we are going to do a slow-dance version of "Rave On." Then, last but not least, we are going to do a Roosterized version of Weezer's tune "Buddy Holly."
How did you start playing guitar, and were your first rock influences the classics or were you more of a punk rock boy or a metal-head?
I started playing guitar in 7th grade but quit when I got a Nintendo for my birthday. I stupidly put it down, but hell, I was 12. I picked it back up when I was 19 because I wanted to be in a band and I realized that no one wanted just a singer. I started by trying to play along to punk rock records. It took a few years to start getting the rockabilly licks down. When I finally did, I started Rocket 350.
I would say punk rock boy and metal head, or maybe just a lot of classic rock. I love Guns n Roses and the Ramones, what can I say?! I knew about the classics, but I didn't start seeking out different genres till high school. I originally got into roots music through ska. That scene used to be huge in Atlanta, and there were a ton of shows. That pushed me to seek out rockabilly, and then I was hooked on that for many years. Through all of it though, I would have to say punk rock is by far my favorite music. That is probably my biggest influence. Then there's a lot of old school country and just plain rock 'n' roll thrown in there.
What other bands have you played with?
Rocket 350 has been my main band; that lasted from 1997 to 2011. We went on four US tours and played hundreds of regional shows. We recorded five albums. I have yet to release our last record. Also I did fill in for my buddy's metal band Grayson Manor once. That was fun as hell, but not exactly a good fit.
Other than Hollyfest, what's your most memorable, fun, crazy or satisfying Grim Rooster gig?
We enjoy playing an outdoor venue in Alpharetta called Matilda's. Everyone calls it the poor man's Chastain. They have roots music outside every Saturday during the summer. You play on the porch of an old house, and everyone brings their own food and beer. It's all ages, so all of our families can make it out to the show. Those so far have been my favorite gigs, and they always draw a huge crowd. Just a really great vibe when we play there and a lot of interaction from the crowd. At the end of the day, we do this for fun so when you can get people out and involved, it makes it worth it.
The Grim Roosters shake up Matilda's. Photo Courtesy of the Grim Roosters.
Do you have a day-job?
I do, but I don't want to ruin the illusion. Ha, yes in real life, I have a wife and two kids and live in the burbs. I work as a financial advisor, so me playing music has become a way for me to release a ton of stress. If it wasn't for the release of playing music, I would probably be in the looney bin. I was very lucky to have been able to play music for a living and go nuts. In my late 20s, the writing was on the wall. I realized I wanted other things.
What's next for Grim Rooster?
Just trying to find more gigs. If you know of any, let me know. We do have a big one on Feb. 6 at Smith's Olde Bar. We are opening up for Corb Lund, and we are super excited about it. We will be playing our usual set of originals with a couple covers thrown in. Should be a great night of honky tonk.
Also, Grim Rooster is on Facebook if anyone wants to check us out. We have a three-song demo up there for everyone to listen to and download.
Category: Kool Kat of the Week | Tags: Andrew and the Disapyramids, Andy Hawley, Big Bopper, Buddy Holly, cletis reid, Corb Lund, Day the Music Died, Dylan Ross, Elvis, Grayson Manor, Grim Rooster, Guns n Roses, Hollyfest, honky punk, honkytonk, Johnny Cash, Justin Bieber, Kool Kat, Kool Kat of the Week, Matilda's, Nate Elliscu, Nintendo, Operation Ivy, Phil Stair, punk, Ramones, Rancid, Rev. Andy, Right Reverend Andy, Ritchie Valens, rockabilly, Rocket 350, Rod Hamdallah, roots, Smith's Olde Bar, Star Bar, The Stumblers, Tigerbeat Tony, Waylon Jennings, Weezer
Kool Kat of the Week: Enjoying the Ride With Antsy McClain
Posted on: Apr 21st, 2011 By: Anya99
The zany font, the pompadour, the Jerry Lee Lewis moves and the video from Hawaii complete with ukulele crooning "It's a way cool world that we're living in." Then something about "a fun-loving trailer park femme fatale." ATLRetro barely took a glance at unhitched.com, the Website of Antsy McClain and the Trailer Park Troubadours, playing at Red Light Café on Saturday April 23, before we knew we'd found the unquestionable Kool Kat of this week.
From Route 66 to the Athens Highway, musicians have been eulogizing America's obsession with being "on the road again" since the birth of rock 'n' roll. But for Antsy McClain and the Trailer Park Troubadours, the meaning of life literally is as close as an silver metallic Airstream, fueled by a passion for making people happy and a keenly observant sense of humor. A modern minstrel mixing rockabilly, country, R&B and swing, McClain ousted an award-winning career as an illustrator and designer to follow his bliss about a decade ago, first trying the conventional route with a Nashville record deal and then taking the driver's seat to produce, art design and merchandise his work on his own.
That decision to drive his own destiny was a risk that paid off for the self-employed father of five. His quirky and original "Enjoy the Ride" music quickly attracted a legion of fans who call themselves Flamingoheads, after the quintessential American lawn ornament, and the attention of such music pros as Willie Nelson, David Wilcox, Tommy Emmanuel and Lindsey Buckingham. The latter two have even guested on some of Antsy's albums. Oh and if you aren't convinced yet, music critics have likened him to Doctors Hook and Demento, and his song titles include "Primer Gray Impala," "Wreck of the Bookmobile" and "It Ain't Home Til You Take the Wheels Off." For more reasons, why you aren't a real Retro American if you miss this Saturday's show, here's Antsy…
How did you come up with the idea of staging your live shows from a small, fictitious trailer park called Pine View Heights? You grew up in a mobile home, right?
It was the early '90s, and Sammy Kershaw's "She's the Queen of My Double Wide Trailer" was a big hit on country radio. That song—masterfully written by one of Nashville's underdog songwriters and one of my favorites, Dennis Linde—was everywhere that summer. The lyric, "he's the Charlie Daniels of the torque wrench" just floored me, rhyming with park bench. The lyrics are funny, but they're also good, tight poetry, and I admire that.
Well, I had written a few songs along the same lines and was just starting to try my hand at performing. I was also familiar with Garrison Keillor's fictitious Lake Wobegon and tried meshing all the influences together. Seeing that so many artists take themselves so seriously, I wanted to be the antidote to that in Nashville and beyond.
Category: Kool Kat of the Week | Tags: Airstream, Americana, Antsy McClain, Bee Spears, Charlie Daniels, country, David Wilcox, Dennis Linde, flamingoheads, Garrison Keillor, Gary Houston, Guy Clark, Lindsey Buckingham, mobile home, Nashville, Randall Knife, Red Light Cafe, rockabilly, Sammy Kershaw, Tommy Emmanuel, Tommy Smothers, trailer, trailer park troubadours, Waylon Jennings, Willie Nelson |
This strong Special Edition Schmiere arises from the latest coup of the Schmiere raven: A barbershop opening on the German "Reeperbahn". The three feathered fellows Chester, Steve and Bob run this traditional business with their dexterous passion which is the base for their day job and of course their subsidiary occupation. Chester is the brain behind the gang and pulls the strings. Let yourself be professionally pampered at Chester's Barbershop. But be on the watch: You could get the trio's plaything for one of their master strokes too.
Scissors are the passion of Steve McScissors which he discovered during many autopsies of human bodies. When others need a scalpel for precision Steve leads scissors in every size and shape with a calm and competent hand. After his dishonorable discharge from the FBI due to drugdealing by cooking autopsy reports he's now part of Chester's gang. With his background knowledge and his dexterity he's a big help for Chester the Brain. Customers of Chester's Barbershop are pleased about his precise haircuts - In contrast the crook duo Chester and Bob is pleased about his clever and promising tactics.
The Special Edition Barbershop Pomade strong by Schmiere has a strong hold. It has a orange-yellow colour and smells appetizingly like marzipan. A small pinch of "italian liquor" is responsible for this very special flavour. The printed and elaborated tin can houses a 140 ml content. Of course this variety by Schmiere is made in Germany also. The Schmiere Pomade Barbershop strong is sold seperately, but is also available in a fantastic Triple Set - packed with a cool raven wobbler. |
You're probably thinking that marketing your business in the digital world should go something like this – develop a strategy, implement, reap the rewards and done. Friends, if only it were that simple.
Successful marketing is never as simple and straightforward as you think it's going to be. Every business, no matter how big or small, encounters hiccups and setbacks within their marketing strategy that forces them to step back and reassess.
This means looking for the "why". Sometimes, no matter how hard you look, the only place you're going to find the answer is by looking in the mirror.
Yes, you. Not only are most small business owners not marketing experts, but there's also a level of emotional involvement that can cloud your best judgement.
You deserve success and growth, so stop sabotaging your own marketing efforts starting today. If you're not quite sure what we're talking about, here are 4 ways that business owners hurt their own marketing efforts, often without realizing it.
There's a sense of urgency that comes with promoting your brand in the digital universe. You want to get your name out there and it needs to happen yesterday. In response you just start doing "stuff" because you think it's what you're supposed to be doing.
For example, say you've put a ton of effort into building content, but you did it without any real idea of the goals you're trying to achieve. Content that's focused on building brand awareness is going to be different from content aimed at nurturing a lead further down the funnel.
The solution is to step back, assess what you want to achieve with your marketing, in both the long and short term, and then develop a strategic approach that helps you reach those goals.
Data is a big buzzword in marketing, and there's a good reason for it. If you haven't made the effort to utilize data and analytics to really target in on the right audience, much of your effort is in vain.
A business might put a ton of effort into building brand awareness of Facebook because that's where they think their audience is. In fact, they think that's where everyone's audience is, so it's guaranteed that they'll hit the mark.
However, if they looked at demographics and other key data, they might find that much of their audience can be found on another platform, or maybe they're best reached on social media at certain time or day.
It's never smart to make assumptions about your audience. Take the time to get to know them, learn where they're found and discover what makes them tick.
From a business point of view, it's understandable that you have a ton of responsibilities being shuffled around and sometimes marketing gets pushed to the bottom of the list. The problem here is that your audience doesn't care.
It isn't that don't care about you, but if you're inconsistent with your marketing approach then you're just not going to be on their minds. Businesses that make a point of maintaining a reliable presence online are more likely to get noticed. There's also a trust factor that comes with consistency. If someone subscribes to your video channel or newsletter, they're expecting to have something delivered on a regular basis.
Failing at this means you're going to lose their attention.
The key to succeeding in marketing is to never get too comfortable. Have you found something that works at helping you achieve goals? Good for you, but what works today might not work tomorrow. It's important to always test, analyze, test again and be willing to adapt to the changes as your business and the world of marketing grows.
Don't become your own worst enemy by unintentionally sabotaging your marketing efforts. Sometimes, a little outside perspective, like that of a professional digital marketing team, is in order. You've worked too hard building a business to let something completely avoidable get in the way of your success.
Tabitha Jean Naylor is the owner of TabithaNaylor.com and a certified Inbound Marketing Consultant with close to a decade of experience in both B2B and B2C markets. A self-described digital marketing machine, she prides herself in her ability to craft text that generates action. Her intimate knowledge of how sales and marketing go hand-in-hand has resulted in a variety of successful campaigns for start-ups through NASDAQ traded companies. Connect with her on Twitter @TabithaNaylor or visit TabithaNaylor.com. |
Knowledge Unlatched Pilot is given Department for Employment and Learning backing
Knowledge Unlatched (KU) is pleased to announce that the Department for Employment and Learning (DEL) has agreed to make a grant of up to £550 to universities in Northern Ireland who participate in the KU Pilot.
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This grant contribution will be used to reduce the participation fee paid by university libraries in Northern Ireland by 50%.
Employment and Learning Minister Dr Stephen Farry said: "We are pleased to support this new and timely model. It is essential that the Department supports innovation in scholarly communication as part of our wider aim to maximise the dissemination of publicly funded research. This project is a good example of how we might move forward to sustainable academic publishing and open access."
The financial backing from DEL will enable university libraries in Northern Ireland to secure the benefits of participating in the KU Pilot. Full details of how to pledge can be viewed on the Jisc Collections website where universities are invited to sign up.
Frances Pinter, Executive Director of KU, added: "We're delighted to see this support coming from Northern Ireland with DELNI enabling university libraries to participate in facilitating open access for books."
This grant will be available to higher education institutions in Northern Ireland who sign up to the KU Pilot Collection. The deadline for signing up is 28 February 2014.
1. The Department for Employment and Learning aims to promote learning and skills, to prepare people for work and to support the economy. Further information on Department and its programmes can be found at: http://www.nidirect.gov.uk/skills-to-succeed or http://www.delni.gov.uk/
2. Jisc Collections supports the procurement of digital content for education and research in the UK. Jisc is managing the pledging process of the KU Pilot for UK participants.
3. Knowledge Unlatched is committed to changing the current business model for publishing to one with libraries sharing the costs of scholarly books. Knowledge Unlatched believes that by working together libraries and publishers can create a sustainable route to Open Access for scholarly books and secure long-term cost savings for their own institutions by sharing the costs of making HSS monographs available on a Creative Commons licence. |
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Firake NN, Bangal GB, Gutal GB (1994) Effects of contour planting of mataki with subabul on soil moisture and fodder yield. Journal of Maharashtra Agricultural Universities 19(1), 141-142.
Flores M CM, Madriz I PM, Warnock de Parra R, Trujillo de Leal A (2005b) Plant height and yield components of six genotypes of the Vigna genus in two locations of Venezuela. Revista de la Facultad de Agronomía, Universidad del Zulia 22(4), 351-364.
Ford CW (1982b) Accumulation of O-methyl-inositols in water-stressed Vigna species. Phytochemistry 21(5), 1149-1151.
Fox CW (1993) A quantitative genetic analysis of oviposition preference and larval performance on two hosts in the bruchid beetle, Callosobruchus maculatus. Evolution 47(1), 166-175.
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Frenken G, Hornetz B, Jaetzold R, Willems W (1993) Actual landuse advice in marginal areas of SE-Kenya by atmosphere-ocean-telecommunication. Tropenlandwirt 94(April), 3-12.
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Fujihara S, Abe H, Yoneyama T (1995) A new polyamine 4-aminobutylcadaverine: occurrence and biosynthesis in root nodules of adzuki bean plant Vigna angularis. Journal of Biological Chemistry 270(17), 9932-9938.
Fujihara S, Terakado J, Nishibori N (2006) Accumulation of an aromatic amine, β-phenethylamine, in root nodules of adzuki bean Vigna angularis. Plant and Soil 280(1/2), 229-237.
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Fujine O, Akino S, Kondo N, Naito S (2003) Toxic activities of bud cell culture filtrates of Fusarium oxysporum f.sp. adzukicola to calluses of adzuki bean cultivars. Memoirs of the Graduate School of Agriculture, Hokkaido University 25(2), 195-202.
Fujita I, Nishimune A, Watanabe K (1978) Studies on the application of slow-release nitrogen fertilizers to the main crops in the brown andosol of Tokachi district. 1. Effect of slow-release nitrogen fertilizers on the main crops at a standard nitrogen supply. Research Bulletin of the Hokkaido National Agricultural Experiment Station(120), 51-74.
Fujita K, Ofosubudu KG, Ogata S (1992) Biological nitrogen-fixation in mixed legume-cereal cropping systems. Plant and Soil 141(1-2), 155-175.
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Fujita S, Kondo N, Shimada H, Murata K, Naito S (2007) Re-evaluation and selection of adzuki beans to breed cultivars resistant to new race of Phialophora gregata f. sp. adzukicola, the causal agent of adzuki bean brown stem rot (BSR). Breeding Research 9(3), 87-95.
Fujita S, Murata K, et al. (2002) A new adzuki bean variety "Syumari" with soil-borne disease resistance and excellent processing quality. Bulletin of Hokkaido Prefectural Agricultural Experiment Stations(82), 31-40.
Fujita S, Shimada H, Aoyama S, Murata K, Chiba I, Matsukawa I (2005) A new white Adzuki bean "kita-hotaru" with excellent processing quality and soil-borne disease resistance. Bulletin of Hokkaido Prefectural Agricultural Experiment Stations(88), 13-24.
Fujita S, Shimada H, Murata K, Aoyama S, Chiba I, Matsukawa I, Minami M (2003) A new Dainagon-brand adzuki bean "Toyomi-dainagon" with excellent seed quality and soil-borne disease resistance. Bulletin of Hokkaido Prefectural Agricultural Experiment Stations(84), 25-36.
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• Read a story together. Buy two copies of your favorite book or story (or borrow them from your library) and spend the evening discussing it. You may both learn things you didn't know about the story (and each other).
• Team up on a new recipe. Instead of going out to a restaurant, delve into your cookbooks and find a meal to collaborate on. Choose something different and challenging, and enjoy the results.
• Visit a museum. Your town probably has a museum (or two) that you've never been to before. Or a landmark you haven't seen yet. Select someplace new and check it out together.
• Go ice skating. If you live in a cold climate, find an ice rink nearby and go out for an hour or two of gliding—or falling—around together. Most rinks will rent skates for a minimal fee. |
I have VM 3.2.4 running on Joomla 3.8.1 and have used SP transfer to transfer the products/categories/custom fields etc across to the new site. I have then copied the USPS Shipping plugin across and configured it however on the checkout page I am getting the error 'No shipment method has been configured'. The plugin its self appears to be functioning fine in the administrator section of the site.
Any idea's what the issue may be or what I can do to attempt to fix this? Could this be a problem with the plugins compatibility? Or the clients USPS account?
Turn on VMdebug to see what is happening.
You may transfer the whole website and later procceed to updates. |
VISTA, CA – January 20, 2021
TEMPO LAUNCHES FIBER & EXRACTION TOOL
Tempo Communications today announced the launch of the Insertion and Extraction Tool (TCEXT) for fiber applications. The Paladin-branded TCEXT is used to remove and insert LC, SC and similar connectors into bulkheads where the technician's fingers may not fit especially in congested cabinets.
Aside from being rugged, durable and easy to use, the TCEXT features include a secure clamping mechanism to seamlessly insert and remove connectors as well as an ergonomic and lightweight design to promote precise alignment. And, because it carries the Paladin name, the TCEXT comes with a limited Lifetime Warranty. Paladin hand tools, manufactured by Tempo Communications, remain an industry favorite when only the best will do.
Tempo's TCEXT reaffirms its commitment to developing relevant fiber solutions that are easy to use and simplify the technician's job, enabling them to provide exceptional service and exceed customer expectations. It is the perfect addition one of Tempo's re-stocked fiber tool kits, which contain all the essential fiber tools the fiber technician needs to get the job done right the first time.
Tempo is an industry leader in delivering relevant, comprehensive test and measurement solutions at a variety of price-points to ensure that every technician has the tools and equipment to get the job done right the first time. To learn more about Tempo Communications, including its innovative fiber products, go to TempoCom.com, or call 800-642-2155. Follow Tempo on social media at @TempoComms.
About Tempo Communications
Tempo Communications, Inc. (formerly Greenlee Communications brand) offers a complete line of reliable, industry-leading test and measurement solutions to address all stages of network deployment, enabling the development, installation, and maintenance of xDSL, Fiber, Cable, Ethernet, Wireless and Irrigation networks. Tempo also sells professional grade Paladin hand tools and the DataShark line which is directed at the do-it-yourselfer. The Tempo Communications North American headquarters remains in Vista, CA, with its European HQ in Cwmbran, UK.
By dev February 5, 2021 |
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published by at . Nowadays we're delighted to announce we have discovered an awfullyinteresting nicheto be pointed out, that is Some people trying to find information about and certainly one of these is you, is not it? |
Compared to New York, Monroe has a very low population density. Monroe is perfect for those who like a quiet city.
Monroe, LA is a great place to live. It has its pros and cons like any city, but with a quality of life rating of 8/10 and an overall value of 7/10, it's no surprise why so many people choose to live here.
Population density is a way of determining how crowded an area is. Monroe has a population density of 1,772, with 50,811 current residents.
Out of the 50,811 current residents, 46% are male and 54% are female. 43% of the residents are married and 57% are single.
As for living in Monroe, the air quality is 63% and the weather, on average, is 58% sunny, 52% rainy, and 1% snowy. The average temperature is 64°F.
Whether you're looking to buy or rent a home in Monroe, you should know that 44.3% of homes are owned while 44.8% of homes are rented, and 10.9% of homes are vacant. The median price of a home is $108,400, the median age of homes is 40 years, the annual home appreciation is 2.24% and the annual property tax is 2.49%.
When looking at the community of Monroe, it's important to determine the crime rate. Monroe's crime rate is 6 total number of crimes reported per 100,000 total population. The average age of residents in Monroe is 31 years and the breakdown of political affiliations is 36.90% Democratic, 62.07% Republican, and 1.03% Independent.
When looking at Monroe, it's important to understand employment statistics. 7.80% of residents are unemployed in Monroe (which does not include the percentage of residents who are no longer in the labor force). Of the employed Monroe residents: 11.3% of employed residents work in the management and business field, 21.62% are in the arts and sciences field, 22.1% are in the customer service field, 28.9% are in the sales field, 0.11% work in farming, fishing, and forestry, 6.4% of employed residents work in the construction field, and 9.6% work in production. When it comes to education, the ratio of teachers to students is 1:15. The percentage of residents who have graduated high school is 74.89%, 3.06% of residents have an associate's degree, 16.85% of residents have a bachelor's degree, and 10.63% have a master's degree.
If you plan on commuting to work in Monroe, you should be aware that the average commute time is 19 minutes, compared to the national average commute time of 26 minutes. When it comes to commuting, residents of Monroe have a few different options. 76% of commuters use their own cars, 15% of commuters carpool, 3% of commuters use the transit system, and 1% of residents work from home.
I am looking for a bid to paint my mothers house and shed. Please let me know when you will be going there and I will call my mom.
Found mold on wooden bed frame underneath my bed. There appears to be some on the rug below as well. I am worried about my mattress getting infested/hoping my mattress is completely fine. |
Q: How to HTTP POST a Blob to a different domain? I have some Blob() object. I want to upload somewhere else (a website that handle user upload through forms).
I can put them in a FormData and send them through an XMLHttpRequest object, but then I can't read the ajax response, because I'm blocked by the same origin policy of the ajax call.
How can I get around this? Is there some way to do a regular upload without using ajax? Is there a way to deal with that "same origin policy" that will work on recent versions of Chrome and Firefox?
edit: Not sure this is a duplicate: I don't control the server being posted, so I'm not OK with just "setting the same origin policy on both domains".
A: In most cases when someone is trying to use AJAX across domains but is blocked by the same origin policy, it is recommended to AJAX to your own PHP page, and then use cURL to send that data to a different site.
http://curl.haxx.se/
|
Liban Haji Mohamed, a naturalized U.S. citizen born in Somalia, has been named to the FBI's list of Most Wanted Terrorists, and a reward of up to $50,000 is being offered for information leading to his arrest and conviction. Mohamed is charged with providing material support and resources to al Qaeda and al Shabaab, a Somali-based terrorist organization.
Traveling with his U.S. passport, Mohamed is thought to have left the United States on or about July 5, 2012. Before his departure, the 29-year-old lived in the Northern Virginia suburbs of Washington, D.C., where he worked as a cab driver.
A federal warrant for Mohamed's arrest was unsealed today by the U.S. Attorney's Office in the Eastern District of Virginia. In addition to today's announcement adding Mohamed to the terrorist list and offering a reward for information leading to his arrest and conviction, the FBI is publicizing the case on social media channels in Somalia and elsewhere to encourage people to come forward with information about the fugitive.
Shortly after leaving the U.S, the international police organization Interpol issued a blue notice for Mohamed to collect additional information about his identity, location, and activities. On August 15, 2014, Interpol issued a red notice to seek him as a wanted fugitive.
Mohamed speaks English, Somali, and Arabic. He is black, 6 feet tall, weighs about 194 pounds, and has black hair and brown eyes. He could be using aliases including Abu Ayrow, Shirwa, Shirwac, Qatiluhum, and Qatil. Mohamed was a close associate of convicted terrorist Zachary Chesser, who was sentenced in 2011 to 25 years in prison for attempting to provide material support to al Shabaab.
There are currently 31 individuals on the FBI's Most Wanted Terrorists list. Those on the list have been charged in the U.S. for their alleged involvement in various terrorist attacks or planned attacks around the world against U.S. interests or persons.
The FBI also announced today it is seeking information about another individual, Ghazi Nasr Al-Din, regarding fundraising efforts on behalf of the terrorist group Hizballah (see sidebar).
Anyone with information about Liban Haji Mohamed or Ghazi Nasr Al-Din should contact the FBI or the nearest American Embassy or Consulate. Tips can be submitted anonymously online. |
plundered art
a perspective from the Holocaust Art Restitution Project
"Christ carrying the cross," by Girolamo di Romano
Christ Carrying the Cross Dragged by a Rogue, Girolamo Romano
Source: New York Times, Arts Beat
Mary Brogan Museum of Art and Science (Tallahassee, FL)
Shortly after noon, on November 4, 2011, a group of Immigration and Customs Enforcement (ICE) agents entered the Mary Brogan Museum of Art and Science in Tallahassee, Florida. Armed with a seizure warrant signed by US Attorney, Pamela Marsh, the agents removed a painting by Girolamo di Romano (also known as "Romanino") entitled "Christ carrying the cross", on suspicions that the painting was stolen property belonging to the heirs of Federico Gentili di Giuseppe, an Italian Jewish patriarch who had lived in France and had died there in 1940 shortly before the German invasion of May 1940.
The painting was part of a major loan exhibit from the Pinacoteca di Brera in Milan, Italy, that had graced the walls of the Tallahassee museum since March 2011 until the show closed on September 4. All the works returned to Milan except for the Romanino.
Anonymous ICE Official at Seizure
Source: ICE
The Pinacoteca had acquired the Romanino painting on the private art market in 1988, obviously without due consideration for the provenance of the work itself.
In 2001, the Gentili di Giuseppe heirs petitioned the Italian government and the Pinacoteca to return the painting to their family, in vain. Aware that the painting was being exhibited in the United States, Gentili di Giuseppe's grandson, Lionel Salem, contacted Chucha Barber, director of the Mary Brogan Museum, to discuss the painting and to notify her of his belief that this was the same painting that had been illegally sold by the Vichy government in 1941 and was thus subject to restitution.
Several comments are needed here:
Firstly, no one in the press has pointed out that the Pinacoteca and the Italian government had been aware for over a decade of the questionable origin of the Romanino painting. Hence, when the Pinacoteca agreed to send the painting to Tallahassee, the Italian government authorized its export, despite the fact that a potentially stolen cultural asset was leaving the borders of Italy, entering United States territory and thus transferring the risk to the host, the Mary Brogan Museum of Art and Science.
Secondly, neither the Pinacoteca nor the Italian government deemed it necessary to alert Ms. Barber that there might be some complications arising from the presence of the Romanino painting on its walls. A sign of arrogance? Who knows?
Let's turn to the case itself:
In 1941, the Fascist government of Benito Mussolini became concerned that the property of its nationals of Jewish ancestry was falling into the hands of the Vichy government so that the French government could liquidate it and pocket the proceeds of the sales. Mussolini's diplomats in Vichy repeatedly petitioned the Pétain government to lay off the assets of its nationals and to allow Italy to initiate proceedings for repatriating Italian Jewish property back to the homeland. In other words, the Fascist message to Pétain was clear: don't mess with our Jews.
The Gentili di Giuseppe family was among those listed whose confiscated assets should be repatriated to Italy. That did not happen.
Hence, the proof of confiscation is explicit since, one way or another, the Gentili di Giuseppe family's belongings were targeted both by Vichy and by Fascist Italy.
Fast forward to the present:
In July 2010, I had the extraordinary pleasure of chatting informally with Italy's State Attorney Maurizio Fiorilli, after a conference held in Amelia, Italy, regarding illicit cultural property. To be honest, I spotted him at a local restaurant where I was finishing up lunch. Fiorilli was seated nearby. I took a deep breath, introduced myself and requested the pleasure of asking several questions, which he agreed to do. At first, he spoke in Italian and a woman at his table translated his words into English. Soon, he switched to English once we discussed the Gentili case.
Paraphrasing his words, Fiorilli indicated that even if the Gentili di Giuseppe family was able to get its painting back—the Romanino!-- it had to remain in Italy, as cultural property.
Cultural property? Does that mean that a XVIth century Italian painting is treated like an antique vase dug up from Roman ruins? How does that happen? Cultural property applies to cultural objects and artifacts extracted from the earth, not to Holocaust-era cultural assets that were forcibly removed from the homes and businesses of Nazi and Fascist victims. In other words, Fiorilli was playing a dangerous game, using cultural property laws to prevent Holocaust victims from recovering their assets.
Could it be that Fiorilli considers the Romanino painting as part of Italy's patrimony—patrimonio culturale, patrimoine culturel, cultural heritage? If that is the case, the Italian government is pre-empting the rights of individuals to recover what is rightfully theirs, by invoking abstract concepts of cultural heritage and the greater good of the nation.
Both arguments—cultural property and cultural heritage—are self-serving, opportunistic gambits to ignore individual rights to ownership of cultural assets. Hence, the Tallahassee case extends far beyond the restitution of an Italian Old Master painting to the rightful heirs of Gentili di Giuseppe. It brings into question the dubious practices of governments in preventing restitution of stolen cultural assets by invoking abstract and ill-defined concepts of cultural heritage and misusing notions that apply to antiquities by conflating them with Holocaust-era losses.
As far as we know, the Gentili di Giuseppe family has had a rough time dealing with American museums. The compromises that it was forced to accept with cultural institutions such as the Princeton Art Museum were not aimed at returning their property to them, but at negotiating financial settlements to allow those museums to maintain so-called good title to the Gentili property. ICE's action might be the first step in a long process that might actually give the Gentili di Giuseppe heirs a taste of justice on American soil and maybe teach the Italian government a lesson or two about the Holocaust and restitution.
Princeton University Museum of Art
Maurizio Fiorilli's comments at the 2010 ARCA Conference in the Palazzo Petrignani in Amelia, Italy:
Maurizio Fiorilli, ARCA 2010, Part I
Association for Research into Crimes against Art (ARCA), 2010
http://www.youtube.com/watch?v=97SvrwtfTVo
Maurizio Fiorilli, ARCA 2010, Part II
http://www.youtube.com/watch?v=wt5hGIkDT3U
Maurizio Fiorilli, ARCA 2010, Part III
http://www.youtube.com/watch?v=C7LPJTm7BXc
Maurizio Fiorilli, ARCA 2010, Part IV
http://www.youtube.com/watch?v=7DO7hn3hKPY
Posted by the Unknown at 08:38
Keywords: Chucha Barber, Gentili di Giuseppe, Girolamo Romano, ICE, Italy, Mary Brogan Museum of Art and Science. Pamela Marsh, Pinacoteca di Brera, Princeton Art Museum, Vichy
Pearls from Brazil
São Paulo, Brazil, boasts one of the finest art museums in the Southern Hemisphere, something to make its friends in Buenos Aires squirm.
MASP - Museu de Arte de Sao Paulo
Source: Flickr via Fernando Stankuns
Seal of Sao Paulo
Founded in 1947, or two years after the end of the Second World War, the Museu de Arte de São Paulo (MASP), acquired works by Old and New Masters alike until it can now brag that it holds more than 8000 objects in its collection.
Currently on display at MASP are portraits and self-portraits by the likes of Goya, Manet, van Gogh, Modigliani, Renoir and others of equal esthetic caliber.
Any desire to know more about these works—their history, their previous owners, past exhibitions, publications in which they appeared—leads to … nothing. Anyone curious to find out additional information must undertake the research using available tools… like the Internet.
Let's see what we get:
Le Gamin au Képi, Vincent Van Gogh, 1888
Source: ArtFinder
On May 1, 1995, Christie's in New York sold a painting entitled "Jeune homme à la casquette," produced in November-December 1888, by Vincent van Gogh, for $13,202,500 as "the property of a European gentleman." The provenance is fairly well fleshed out. It tells us that K. Neumann, from Barmen, acquired the painting from Justin Tannhauser on July 17, 1923. The next owner is Dr. Fritz Nathan, of Zurich, Switzerland, a leading art expert, appraiser and collector in his own right. He bought it in 1947 from K. Neumann. The K. Neumann most likely refers to Karl Neumann who, at the time, had owned another painting by van Gogh entitled, Landscape near Arles, which is now at the Indianapolis Museum of Art, in Indianapolis, IN. Neumann had sold this painting to Tannhauser between 1918 and 1927. This Mr. Neumann lived in a town called Barmen, outside of Wuppertal in Western Germany. The neighboring city of Wuppertal absorbed Barmen in 1930.
The only question to ask here is: how did Karl Neumann hang on to a van Gogh painting for the entire period of the Third Reich? We do know that the Nazi regime investigated all transactions by Jewish dealers, especially as regards to objectionable works like those by Impressionists, Post-Impressionists, and Expressionists.
Portrait of Suzanne Block, Pablo Picasso, 1904
Although the provenance is impeccable, the history of the painting is worth a short documentary. "Suzanne Bloch" was one of the first works to be acquired by the MASP in 1947, with financial assistance from Walter Moreira Salles, the founder of Unibanco. Sixty years later, on December 20, 2007, thieves made off with the painting. The Sao Paulo police recovered the painting undamaged one month later.
Walther Moreira Salles
Source: Instituto Moreira Salles
Keywords: Barmen, Brazi, Christie's, Justin Tannhauser, Karl Neumann, MASP, Museu de Arte de Sao Paulo, Pablo Picasso, Sao Paulo, Vincent van Gogh
Landscapes of cultural plunder revisited
Vue de la zone entre la porte de Clignancourt el la porte Montmarte, 1943-1944
Source: BHdv / Roger-Viollet / Direction technique de la voirie parisienne via Patrimoine numérique via Bibliothèque de l´Hotel de Ville de Paris
Today's truism: history is geographic. Every event can be broken down into an infinite number of particles that become data points which can be translated into a longitude and a latitude.
So what???
Viewed through another lens, the study of history is as complex as you want it to be. Depending on the scale at which you approach it, it can be lofty and very top-down, "small-scale" as geographers would put it, or extremely "granular", from the ground up, or "large-scale" if described by our friends in geography departments.
When working with loot, plunder, and its inevitable yield, each looted or plundered item is a potential data point. How can that be?
If you ask the following questions, you might actually begin to understand:
Where was it when it was stolen?
How was it moved?
Where was it taken?
Where did it go from there?
Each one of these questions produces a location. Space separates each location. The stolen object moves from one location to another and, by so doing, evolves through space and across time. All of a sudden, the stolen object adopts a spatio-temporal personality.
We have an object, which moves through space and time. Each movement can be assigned a longitude and a latitude. Each coordinate can be anchored in a time frame. Hence, we can see the object evolve across a time line and a landscape.
Within each location, there is granularity. For instance, was the seized object inside an apartment or a house? If so, what room? What floor? Where was it? On the wall? On the floor? Inside a drawer? The level of detail can be excruciating, but for each level of detail, there is a corresponding scale, which allows the geographer to produce a visualization.
Once the object is removed from its original location, it must reach another site, more often than not a storage facility. How does it reach that destination? The itinerary alone invites all sorts of questions which we can or cannot answer.
Is that useful?
It all depends on what you are looking for.
For example, let's take the database of objects that transited through the Jeu de Paume. Link: www.errproject.org/jeudepaume.
You'll notice that, in addition to object-based information, there are locations and dates assigned to it. That was a deliberate attempt to anchor each object in space and time.
One statistic might interest you: a random study of 18th century French furniture confiscated from apartments across Paris indicated, not too surprisingly, that more than half of this highly-prized period furniture came from five 'arrondissements' of Western and Central Paris. None came from lower middle class and working class neighbors. Again, it might seem obvious to you, but mapping taste can yield a fresh look at the historical and art-historical data.
In the future, whenever that moment might come, we will 'visualize' the peregrinations of stolen cultural objects by type, by author, by medium, throughout the wartime period and even the postwar era. What use does that have for us?
This intellectual exercise produces an instant snapshot of esthetic preferences, the geographic distribution of objects according to taste, the uses and disuses of specific locations for processing and storing looted art, the temporal incongruities by object type and by artist. The visualization of cultural plunder will open new vistas of research and understanding that will inform and revise the current state of research in this emerging field as well as promote new lines of inquiry.
Keywords: cultural plunder, geo-visualizations, geography, granularity, Jeu de Paume, latitude, longitude, looted art, Paris, plunder, scale
Modigliani's "Seated Man with a Cane" up for grabs
by Marc Masurovsky
[Editor's note: This blog piece originally appeared on November 15, 2011. It has been updated to reflect additional news and research regarding the "Seated Man with a Cane," by Amedeo Modigliani, once in 2016, and on June 9, 2018]
Seated Man with a Cane, Amédéo Modigliani
Source: Courthouse News Service
The first day of November 2011 began with a headline-grabbing story about a painting by Amédéo Modigliani, "Seated Man with a Cane." According to the prevailing news accounts in the Anglo-American press, a Frenchman of Jewish descent by the name of Oscar Stettiner had lived in Paris before the advent of the Second World War. Instead of waiting for the Wehrmacht to march into Paris, Stettiner did what a third of the Parisian populace did—he fled. Before going south, Stettiner parted with his property, including works of art, never to see them again.
The plaintiff in this case is Philippe Maestracci who was born in the Dordogne in 1944 where his grandfather, Oscar Stettiner, had sought refuge and remained throughout the Second World War in a small town called La Force.
The news reports indicate that, at some point in 1941, a man by the name of Marcel Philippon became the official overseer of Stettiner's assets as a logical consequence of being of Jewish descent and being specifically targeted for that reason by German and French anti-Jewish ordinances and decrees.
On July 3, 1944, the Modigliani painting was offered up for sale at an auction in Paris.
In 1946, Oscar Stettiner initiated proceedings to recover his painting. He died in 1948.
More than sixty years later, the Modigliani painting was offered up for sale at Sotheby's by its current owner, Helly Nahmad, which triggered the current claim by Oscar Stettiner's sole surviving heir, Philippe Maestracci.
The following text should be viewed as a historical consultation provided free of charge to the parties warring over the painting. If they get no benefit out of this, the fault is entirely theirs.
Before even entering into a critical analysis of the facts as they have been presented to the public, the news reports contradict one another, thereby making it very difficult to develop an accurate version of a now-familiar story of spoliation of Jewish cultural assets, recycling on the wartime art market, and postwar attempts at recovering the stolen cultural property.
Most news reports, which repeat Courthouse News Service and the British Mail, indicate that "the Nazis appointed Marcel Philippon a temporary administrator to sell Stettiner's property…" ArtInfo, on the other hand, gets it all wrong by indicating that the Nazis placed the Modigliani painting "in the care of" Marcel Philippon in 1939, which is a bit nonsensical since the Germans entered Paris in mid-June 1940.
The complaint itself does not shed additional light on what went wrong during the war. However, it does make several historical errors which are not helpful. It alleges that "the Nazis adopted a practice and a policy of despoiling Jewish families of property located in the Occupied Zone by forced sales." It would have been more intelligent to indicate that the Nazi authorities, referred to as the German Military Administration (Militärbefehlshaber für Frankreich) shared the burden of enacting and enforcing anti-Jewish decrees with the collaborationist regime of Marshal Philippe Pétain, whose government was based in Vichy. It was Vichy that enacted the most sweeping anti-Jewish laws, not the Germans. Those laws established a sequence of economic restrictions aimed at ostracizing and impoverishing the Jews living in France at the time of the German invasion. The turnkey moment was the establishment of the "Commissariat Général aux Questions Juives" (The General Commissariat for Jewish Affairs or "CGQJ") in April 1941 whose main purpose was the wholesale transfer of property from Jewish ownership to Aryan hands in consultation with and sometimes in opposition to German dicta.
Le Commissariat général aux question juive, place des Petits-Peres, l´ancenne banque Léopold Louis-Dreyfus
Source: Wikipedia via Bundesarchiv
Where does Marcel Philippon fit into this strategy? According to the complaint, "the Nazis would appointe [sic] a Temporary Administrator ("Commissaire Gérant") to marshal and sell Jewish property and to turn the proceeds over to the Third Reich." This is really where matters get very sticky.
Before the establishment of the CGQJ, the German authorities began to appoint overseers to manage companies and businesses owned by Jews. The individuals appointed in this capacity were known as commissaires gérants. The title should be interpreted literally: their function was to manage businesses whose owners had fled, hence the word "Gérant" or "manager." The ultimate fate of these businesses became entangled in arduous negotiations between the German occupation authorities and the newly-minted CGQJ since the Vichy authorities had laid claim to any assets owned by Jews on French soil, especially if they were French nationals.
The Administrateur Provisoire is an invention of the Vichy government. Loosely translated as interim overseers, their function was to manage confiscated Jewish assets for the purpose of either liquidating them or aryanizing them. In the case of Oscar Stettiner, the complaint raises a number of questions which need to be researched thoroughly:
Stettiner -- assuming that we are talking about the same one--allegedly owned a gallery which had been founded by his family in the second half of the nineteenth century. If his gallery was still active in the fall of 1939, it would have been placed under the care of a "commissaire gérant", assuming that the Germans had gotten to it first. Had they not, the Vichy government would have seized the opportunity and appointed its own overseer, hence the competitive nature of control of Jewish assets between the Germans and the French.
Marcel Philippon, as an interim overseer, had to abide by the instructions of the CGQJ and/or the Germans, depending on who actually appointed him. If he was in charge of both Stettiner's personal and corporate assets, a determination would have to be made about how best to handle the seized property. It could be a mix of transfer of ownership to Aryan hands and outright liquidation through auctions or sealed bid offers. If there is a paper trail, it would be in the records of the CGQJ, archivally known as AJ38, the acronym given to this notorious collection by the French National Archives.
the sale of the Modigliani painting three years after its placement under the management of Philippon is of concern, because it is difficult to understand, although it is not inconceivable, how and why Philippon would have waited for so long to sell the Modigliani, knowing that the wartime Paris market was thriving and that Modiglianis were easy to sell at a fair price due to their desirability both in contemporaneous French and foreign art circles. For reasons of due diligence, both parties should consult the d'Atri records at the Archives of American Art which contain the notes of Mr. D'Atri who was busy assembling a catalogue raisonné of Modigliani's works but failed to complete it. However, his notes and ledgers are enlightening since he presumably inventoried every oil painting produced by the master until his untimely death.
the postwar claim gives me heartburn. Indeed, there is no indication that Mr. Stettiner filed an official restitution claim with the French government. The records of the Commission de récupération artistique (CRA) make no mention of Oscar Stettiner or of his gallery. The records of the Office des Biens et Intérêts Privés (OBIP) make no mention of either Oscar, Maud, or Jacques Stettiner. However, in this particular instance, the current inventories are incomplete. Both parties in this litigation owe it to themselves to contact the Archives of the Ministry of Foreign Affairs at La Courneuve (Ministère des Affaires Etrangères et Européennes or MAEE) and request any compensation or restitution claims filed under the various names of the victims as presented in the complaint. If Oscar Stettiner decided to "go it alone" and seek personal justice outside the sphere of State-sponsored claims through judicial proceedings, the Paris courts and especially the Tribunal de la Seine and the Tribunal de Première Instance might be the proper jurisdictions where a docket might have survived.
forced sales in Vichy France: The French government has never admitted to the existence of so-called "forced sales", assigning that moniker to Nazi ill-doings. Liquidation sales of Jewish-owned property did occur on a weekly basis throughout occupied France, mostly in the Paris region, but the mechanisms used to recycle Jewish-owned property were far more complex than meets the eye, especially when cultural assets were involved. This matter needs to be seriously examined in light of the extensive historical documentation surrounding the wartime Paris art market and the recycling of confiscated Jewish property.
The search for justice through claims for restitution of cultural assets forcibly removed from the hands of owners of Jewish descent requires that those who represent the aggrieved parties should pay close attention to history as it unfolded and reflect that history in their argumentation. Without such scrupulous and diligent attention to the historical truth, history is rewritten and the damage is done in the courts and in the minds of those who must hear these cases and make an informed decision about the validity of the claim brought before them.
That is not to say that the Stettiner issue is invalid. Far from that, but the historical investigative work must be brought to a forceful conclusion in order to allow all parties involved in this and similar conflicts to reach an outcome that is anchored in historical truth and ethical conduct.
Otherwise, much like "Groundhog Day", we keep on repeating history over and over again.
Is it too much to ask that the parties involved in the dispute over the Modigliani painting come together and ascertain the facts as they occurred in the name of history, justice, and the truth? No more, no less. It would be reprehensible for Helly Nahmad to proceed with the sale of the painting because there is a taint on it and that taint must be washed off.
The Toronto-based Mondex Corp. now represents Mr. Maestracci, the closest kin to Oscar Stettiner in its attempt to recover the "Seated Man with a Cane", an oil painting by Modigliani.
The "Seated Man with a Cane" by Amedeo Modigliani has been located in the Geneva Freeport where Swiss authorities ordered its seizure. The shell company under which it was registered is in fact owned by the Nahmad family which means that, by several steps removed, Nahmad is the current possessor. Or so the Swiss prosecutors believe together with US investigators.
The challenge now is to see whether Mr. Maestracci and Mondex can prevail and assert their claim over the Modigliani painting. Its history remains murky.
Meanwhile....
The provenance of the "Seated Man with a Cane" raises questions, which beg for more meticulous and forensic research:
Repeated inspections and examinations of the records of Alfredo d'Atri, an art dealer and collector based in Paris, France, who was an expert on Modigliani's life and works, failed to produce any tangible information on "Seated Man with a Cane." The only reference to the painting was a photograph of the painting when it was loaned by a Mr. Stettiner to the 1930 Venice Biennale. D'atri's ledger of paintings by Modigliani does not include any information on this work nor does it mention it.
In other words, there is a 14-year gap between the only public display of the "Seated Man with a Cane" and the purported sale of the painting in wartime Paris on July 3, 1944. It needs to be "filled."
"Seated Man with a Cane"
Page from the Venice Biennale catalogue, 1930
Note: the black and white photograph of the "Seated Man with a Cane" and the page from the 1930 Venice Biennale catalogue where the painting was exhibited come from the Archives of American Art, in Washington, DC.
Update from June 9, 2018
On April 18, 2018, New York State Judge Eileen Bransten denied Nahmad's motion to dismiss the case against him for the Modigliani painting. On June 5, 2018, Helly Nahmad, current possessor of the "Seated Man with a Cane," by Amadeo Modigliani, filed a request for judgment with the New York State Supreme Court to dismiss Mr. Maestracci's complaint against Nahmad, and to award monetary damages to Nahmad in the event of a ruling favorable to Maestracci equal to the value of the painting at time of purchase plus interest.
Source: Verified answer and counterclaim re "George W. Gowen as Limited Ancillary Administrator of the Estate of Oscar Stettiner, against Helly Nahmad Gallery, Inc., Helly Nahmad, (New York) individually, David Nahmad, and International Art Center, SA." NYSCEF Doc. No. 1819.
Keywords: Amédéo Modigliani, CGQJ, Commissariat Général aux Questions Juives, CRA, Marcel Philippon, OBIP, Oscar Stettiner
Safeguarding art in Nazi Germany for the greater good: an outline
For as long as museums have existed, one of their cardinal raisons d'être has been to preserve the finest specimens of "CULTURE" for the greater good, for us, the general public. Although the old yarn remains true, which is to say that most museums with items within their collections more than a century old are comprised of objects of plunder, we forgive their sins for they embody the best of what the civilized world has to offer us, which is beauty embodied in objects of outstanding aesthetic and historical significance in their own right. Or so we hope or think. Not every museum is born equal, and as the world becomes increasingly digitized, the function of these august temples of culture shifts dramatically in emphasis. Should they continue to display objects or should virtual renditions suffice? After all, we sate our thirst for knowledge through Internet searches where we view, admire, study these objects. What we know as modern and as art become increasingly more complex and difficult to tease out as "art" or as "representation" or both. And should we be so picky? And who picks? But then, we are getting ahead of ourselves here.
Back to our museums as temples and guardians.
War and conflict are ideal scenarios during which everything is under threat of destruction and theft. Therefore, if the mission consists in salvaging as much as possible from a culture or a society under direct threat of enslavement, subjugation or, worse, annihilation, museums will, more often than not, become repositories of salvaged objects to be preserved for us and for the aggrieved.
We are now in the 1930s in Germany. As modern art comes under ruthless attack from the New Nazi Order, effective winter of 1933, tens of thousands of works of art are under threat of an unpredictable fate, especially at the hands of roaming bands of Brown Shirts or Sturm Abteilung (SA), eager to cleanse German towns and cities of all that is unhealthy, Jewish, Bolshevist, communistic, antithetical to the New Think.
Museum curators and directors, from as far away as the West Coast of the United States, are watching these troubling events very carefully. American, British, French, Dutch, Swiss cultural institutions have forged close ties with their counterparts in what has now become the Third Reich. Many of their German colleagues are now out of a job, fired because of their support of condemned artistic forms, like Expressionism, Impressionism, Cubism, "Jewish" art. Untold numbers of artists can no longer exhibit their wares, and gradually their creative activity is being regulated before being completely prohibited.
Non-German museums and galleries send scouts and agents scurrying across Germany on a salvage mission. They have expense accounts with which to acquire all that they feel is 'salvageable' and worthy of incorporation into their paymasters' collections. Auctions of collections belonging to the Reich's political opponents and to recently dispossessed Jews are taking place with increasing frequency even in auction houses run by Jews like Paul Graupe's famed boutique in Berlin. Opportunities abound as paintings, drawings, prints, sculptures, furniture, disappear from apartments, houses, and galleries and enter the market like a gushing torrent. Hungry artists and dispossessed collectors are only too happy to sell their cultural possessions to be able to survive until making the fateful decision to emigrate. They sell to the agents and scouts of non-German museums and galleries. Enterprising brokers like Richard Zinser travel back and forth between Germany and the United States carrying works on paper, both classical and modern, in portfolios that they show to museum officials up and down the East Coast. Their provenance? Needy refugees only too happy to sell.
As Nazi cultural policies force out of museums onto the open market an increasing number of undesirable works, non-German museums and galleries are only too happy to collect them, through various Reich institutions like the Goebbels Ministry of Propaganda and Cultural Enlightenment. Salvage operation or crime of opportunity?
Whether they are the Saint Louis Museum of Art, the Carnegie Institute's Museum of Art in Pittsburgh, or the newly-minted Museum of Modern Art in New York, all are on the lookout for 'salvaging' works of art from the Nazi maelstrom. How noble!
The salvaged works are either shipped directly to the United States or they transit through Switzerland, France, Belgium, Holland, and the United Kingdom.
Let's pause here. What does "salvage" actually mean? In plain English, it is akin to a rescue. Hence, the non-German collecting world is eagerly sending emissaries throughout the Reich who meet with German officials, artists and dealers, to rescue works for their collections. Who could even criticize such laudable behavior? Nevertheless, shouldn't we wonder where salvage ends and opportunism begins? What intentions must we lend to these heralds of Western culture embarked on an altruistic mission to 'salvage' what is museum-worthy from the clutches of the Nazis?
There are two kinds of 'salvage' operations: those which cast a very wide and undiscriminating net to rescue as many works as possible, regardless of their quality, and there are those "salvage" operations that place quality above quantity and focus solely on what our non-German museum and gallery scouts and agents deem to be of the best quality worth saving. The rest can be consigned to its fate.
In the latter case, salvage takes on the contours of a commercial cultural operation specifically geared to enhance the collections of the institutions that are underwriting these rescue efforts from a land torn by a cultural revolution of sorts, stoked by a racially-inspired political movement.
When we fast forward to the first decade of the twenty-first century, the non-German art world's "salvage" and "rescue" operations of art disgorged by the Nazis becomes scrutinized anew as heirs of victims of those whose collections ended up on the open market as a direct result of the New Order's "Kulturkampf" are now suing for recovery of what they view to be their property, forced out of their hands by unscrupulous Nazi officials.
Those works which are not coming under fire are those which were forcibly removed as objectionable or "degenerate" from dozens of State-owned museums and galleries under the same wave of cleansing of the Reich's cultural assets to suit the new ideology. And there are thousands of these "salvaged" works that were disgorged from German cultural institutions, which are now spread out across the globe, mostly in Western Europe and North America.
Strangely enough, the non-German art world has accepted the official Nazi mantra which, after 1945, became the official German view, that the ideologically-driven removals of undesirable art objects from German State collections were legitimate de-accessioning acts and, as such, should not be viewed as illegal. Since that time, those "de-accessioned" works have entered the most prestigious collections in the world, including, but not limited to:
The Museum of Modern Art of New York
The Solomon Guggenheim Museum of Art
The Brooklyn Museum of Art
The Cincinnati Art Museum
The Carnegie Institute's Museum of Art in Pittsburgh, PA
The Philadelphia Museum of Art
The Boston Museum of Fine Arts
The St-Louis Art Museum
The San Francisco Museum of Art
The Tate Gallery
The Thyssen-Bornemisza Collection in Madrid, Spain
Museums and galleries in the United Kingdom, Canada, France, Belgium, Holland, Denmark, Sweden, Austria, Switzerland, the Czech Republic, Italy, and so forth, and so on.
It would be nothing short of an earthquake if, all of a sudden, those thousands of "salvaged" works of art were to become subject to restitution and sent back to Germany to resume their place in the collections whence they came. However, the day that the German government decides to overturn one of the few Nazi laws that it has upheld with the unwavering support of postwar Allied powers will surely be a day of reckoning for the international art world and an obvious ethical and moral victory for the victims of Nazi persecution and, especially, for those artists who were hounded, ostracized, and, in many cases, eliminated, and their Jewish art dealers and collectors who either fled into exile or perished in the Reich.
Wishful thinking...
Keywords: Carnegie Institute, de-accessioning, Goebbels, Metropolitan Museum of Art, MFA, MOMA, Nazi, Paul Graupe, Richard Zinser, Thyssen-Bornemisza
When the gloves come off, does this mean WAR?
As we say in the United States, 'them's fightin' words'! True, they are. Perhaps, they deliver more bang than bite. But they emerge from the deepest recesses of my fractured soul, enraged at the inability of our leaders, our representatives, our specialists, our experts, all of them, no exceptions made, to come up with solutions that make it possible for the victims of the Holocaust and the Second World War and the Third Reich and the Axis powers in Europe, North Africa, the Near East, and Asia, writ large, to find some measure of justice in the aftermath of global genocidal and ethnocidal conflict, to recover what was ripped from the bosom of so many as the extensions of their souls and likes. After all, it is said that beauty is in the eye of the beholder. If this is true, the loss of cultural assets feels like the forcible removal of light from the eyes of the victims to benefit those who feel anointed to possess what is not rightfully theirs. At a larger scale, one can argue that the rights of individuals are trumped by the arrogance of groups and the States that lend succor to their racial and expansionist ambitions by which they impose their ideological and political will through force of law and arms. In short, the victims of cultural plunder—Jewish, Catholic, Protestant, Muslim, atheist, agnostic, Buddhist, e tutti quanti….—are united in theory and principle under a single banner. Unfortunately, the trauma of loss through confiscation, requisition, outright theft, incarceration, and exploitation, was not sufficient to bring the victims under one flag, regardless of origin, race, ethnicity, creed, and belief.
The cynics tell us that this is what makes us human, that division is a prelude to conquest. Divide and conquer has always been the motto of those who wage war against their own people and those of other nations. Divided, we were at the end of the Second World War, made to rely on our communal groups, political parties, and national governments, to "do the right thing" for us all. By the way, the "we" and the "us" are used symbolically since my parents had not even met at V-E Day while I was an errant molecule in search of a home. The "we" and the "us" reverberate across generations, starting with the unmarked graveyards and mass burial pits of the former Soviet Union, the ash piles of Birkenau, the burial mounds of Katyn, the massacred villages of Northern Italy, Yugoslavia, and the thousands of unnamed places of death and destruction that pockmark the map of a warring planet.
Divided…. Why should we be divided in the first place? That is my question to all of you who read these pages. What is the benefit of arguing from one's narrow communitarian interest? Better, more effective representation? Some of you might feel that there is nothing else that can be done and we should simply move on. That is definitely an option. But, if moving on is an option, then we should shutter down these pages and no longer discuss restitution as a basic human right of the victims of cultural plunder. As some cocky military leaders have repeatedly stated on the battlefields of history, surrender is not an option.
Not surrendering is an acknowledgment of a will to fight, to struggle, to advocate, to press, for something as vague and ambiguous as "justice." Is it to be justice for all ? Or will it be justice for me? How about justice for you? Or is it really justice for them? Should justice be meted out in equal measures or in proportionate measures? Justice that is proportionate to the crime? How much is too much? How much is too little? What does it take to sate a broken soul and allow it to "move on", to "find closure"?
Reality is altogether different. As history shows us repeatedly, the scars of trauma induced by all forms of violence are transmitted from one generation to the next. The degree to which the successive generations absorb and internalize the legacies of abuse and cruelty wrought upon their parents and grand-parents can determine whether or not they will act to avenge them or "act out" these inherited scars—to wit: most internal civil conflicts can be linked to the absence of meaningful settlements between members of divided communities. This is as old as history. But does it have to continue to be that way?
Looking ahead at the advent of 2012, how do we ensure that the crime of cultural plunder is appropriately punished and its victims fairly treated, across the board, regardless of who they are and where they live and what they represent? Yes, indeed, regardless of social class, status, rank, socio-economic standing, color-blind, community-blind, religion-blind, idea-blind. Blind to division and schism, solutions that are for all, not for the few, or the select.
I must tell you that nothing will be accomplished without an explicit recognition that cultural thefts cut across all boundaries, because the end result is the same—the rape of culture, way beyond that of "Europa" as Lynn Nicholas has postulated. We have to recognize that cultural theft violates the basic rights of all human beings living in a social and cultural matrix. Once we can recognize this basic fact, we can actually get to the next level. Cultural crime is a universal crime against all peoples, it is a crime which drives deep stakes into the specificity of what makes us who we are, which targets our identity as members of specific groups. Depending on the severity of the crime, it can result in an outright attempt at genocide or ethnocide. To acknowledge and accept the specificities of these crimes as bounded by cultural, social, and oftentimes religious matrices, is vital to our ability to move forward if we are to unite under one flag and fight for what is legitimately ours, that is the right to culture, our cultural rights, our right to own and display cultural assets without the fear of taking, without fear of forcible removals, because of who we are and what we are and where we live and for whom we vote or do not vote and what we speak or pray to, especially during times of internal or external conflicts.
The next level consists in agreeing that cultural plunder is a crime against humanity, perpetrated against individuals and the groups to which they belong.
Once we reach this particular point, the big question emerges: what is to be done?
What next? In all cases, national governments will endorse but not enforce the explicit righting of cultural crimes against individual citizens, arguing that these are the facts of life, and their citizens should settle for what they can. Moreover, statutes of limitations, problems associated with current possession of stolen cultural assets which are condoned as inalienable aspects of life in a civilized society—to the current possessor go the spoils!—will prevent or forestall any possible semblance of justice.
Hence, the only conceivable strategy to address the crime of cultural plunder is the international community of nations and groups that have a vested interest in righting the wrongs wrought against their cultural rights and to press for restitution of ill-gotten cultural assets.
I will leave you with this thought. As the strategy for global redress unfurls, you will hear more in these pages. Stay tuned as 2012 might become a very interesting year. After all, we have not much to lose and everything to gain.
Keywords: Birkenau, crime against humanity, cultural plunder, genocide, Holocaust, Katyn, plunder, Second World War, Soviet Union, Third Reich
Nazi looted art conference at Lafayette College, Easton, PA: a debriefing (II)
Day 2: October 27, 2011
Source: Lafayette College via Flickr
Lafayette College is a small architectural jewel nestled in a set of rolling hills not too far from Allentown. Every building on its tightly designed campus does not conform to any cookie-cutter design. In some sense, a student of architecture would have a genuine 'field day' at Lafayette College.
Source: Lafayette College Art Collection
The college is home to several cultural institutions which are always enjoyable to visit because their contents give the visitor an insight into the tastes, proclivities and priorities of the curators, the art historians and the administration. One of the biggest surprises can be found at the College Library in the form of two large-size Tiffany stained glass windows that adorn different parts of the library and project at different times of the day a strange array of hues onto those who read and loll in their midst.
It is also in the Library where some of the lectures were staged on Day Two of the Conference. The room where the talks occurred was framed in a glass-encased corner of the Library which gave the proceedings a natural openness filled with the filtered light of a typical October day, not enough to compete with artificial lighting, not enough to prevent you from viewing projected Powerpoint slides.
The room was full of undergraduate students, faculty, staff, and out-of-town visitors, which lent the presentations a well-earned level of attention that one can only find on college campuses. This is a good time to take a break and muse on this intriguing phenomenon. Why do so many people who have never heard of "looted art," "cultural plunder", "degenerate art", "restitution", "Washington Principles," "provenance research," flock to these events? Granted, interested professors flog their flock into attending these presentations on pain of reprisals at exam time (joke!). However, the phenomenon is widespread and unexplainable when contrasted by the sheer indifference displayed by policymakers, so-called art experts, even historians themselves. It's as if one senses a thirst to know more, to learn, to find out the details, to search for meaning, a thirst that is left unquenched by the strictures and preconceptions of academicians and professionals alike. So much for the soap box.
The presentations went well. Victoria Reed of the Boston Museum of Fine Arts provided a well-thought out description of how the MFA has treated claims for works and objects in its collections in recent years. A major cultural institution better known for its irascible refusal to restitute anything, especially antiquities, the MFA has gradually adapted to the complexities of art restitution and the circumstances under which objects might have changed hands illegally owing to racial and other forms of persecutions against their rightful owners. Although there is a long way to go still, the MFA has demonstrated that, when called upon to make the difficult choice to restitute a claimed object, thereby de-accessioning it, the benefit of the doubt is being given to the claimant, thereby reversing a decades-old tradition of invoking traditional legal defenses to forestall restitution.
"Portrait of a Man And Woman In An Interior" by Eglon van der Neer
Source: Museum of Fine Arts, Boston
The two keynote lectures of Day Two were scheduled for the evening in a large amphitheater-like room where the "Rape of Europa" had been screened the previous evening. The first keynote was delivered by Jonathan Petropoulos, who teaches at Claremont-McKenna College in California, followed by Lucian Simmons, who heads up global restitution efforts at Sotheby's in New York.
Jonathan Petropoulos, Phd
Source: Claremont McKenna College
The two presentations were remarkable for one reason only: they were both anchored in personal experience. Jonathan Petropoulos chose to regale the audience on how his interest in Nazi cultural policy morphed into a lifelong quest to come to grips with Nazi looted art and to "do the right thing" for claimants. On the other hand, Simmons unapologetically built on the fact that he was at Sotheby's to optimize returns for "the house"—it is a for-profit operation after all!—and if art restitution can serve the interests of his employers while doing some good along the way, so much the better for it. Sure!
For those who love redemption stories, Petropoulos' presentation was a case in point. Charming, articulate, deeply versed in his field, entertaining at times, the tall, soft-spoken professor from Claremont McKenna put forth the image of an honest do-gooder who, in the course of his crusade to get to the bottom of the looted art problematic, got in way over his head at times, risking his professional career, his reputation and, god forbid, even the safety of his family! No comment…well, yes, there will be comments, but not what you might expect.
Aside from being well-published, Jonathan Petropoulos came to prominence in the budding world of restitution of Nazi loot when, in the late 1990s, he stumbled on evidence that a painting by Claude Monet on loan at a museum in Boston had been pilfered in Paris by local agents of Nazi Foreign Minister, Joachim von Ribbentrop. That particular painting once belonged to the legendary Parisian Jewish art dealer, Paul Rosenberg. The painting was returned to the Rosenberg heirs, all was well and Jonathan was now a player in the art restitution field.Le Quai Malaquais, Printemps (1903)
We bumped into each other while serving as directors of research at the Presidential Advisory Commission on Holocaust-Era Assets (PCHA) in 1999 and 2000. While I focused on looted gold, Petropoulos took on the charge of investigating looted art. The final report of the PCHA speaks volumes (a thin one, to be honest) on its overall accomplishments. I will leave it at that.
"Le Quai Malaquais, Printemps (1903)" by Camille Pissarro
Source: Artinfo
Years later, Petropoulos' name and fortunes became indelibly linked, by his own making, to a notorious Nazi war criminal, master plunderer SS Captain Bruno Lohse, deputy commander of the Einsatzstab Reichsleiter Rosenberg (ERR) operation in German-occupied Paris, and, for a short time, actual head and master coordinator of anti-Jewish cultural plunder in German-occupied France, before his retreat to Germany in the summer of 1944, his brief incarceration, trial and conviction by a French military court (very light sentence), before becoming a very successful art dealer in … you guessed it!.... "degenerate art" and Impressionists from his luxury apartment in Munich. His business operations extended mainly to Switzerland and Lichtenstein. In short, Petropoulos had befriended Lohse and maintained a decade-long relationship with the former war criminal until Lohse's death in 2007. The public perception of Petropoulos and Lohse centered on a complicated attempt at restituting a famed painting by Claude Pissarro (Quai Malaquais), the property of the Bermann-Fischer publishing fortune and the subject of a forced sale in Vienna before ending up in Lohse's private collection. The claims and counterclaims are ugly and should be the subject of a separate article. Suffice it to say that the painting was finally sold at Christie's in 2009.
Petropoulos came out of his keynote speech as a selfless crusader for the cause of claimants seeking to recover looted art. Someone in the audience asked him: "Why do you do it?" He replied that this is his life's work and he must. Sigh!
Lucian Simmons
Source: Sotheby's
Lucian Simmons is a character. Witty, refreshingly light on his feet, impeccably-dressed, he cuts a very appealing figure while describing in a most understated way (oh! So British!!) his daily schedule busy brokering restitutions, recoveries, sales of recovered items, fending off Russian pseudo-mafiosi-like characters, while babysitting elderly women in upstate New York, all in a heartbeat, seven days a week. And, of course, in the midst of all of this, his Christmas days are routinely disrupted by restitution crises. Oy gevalt! Who would have known?! The trouble is that Lucian does very well for the house with the trade in recovered stolen cultural property. Trouble, I say? Well, yes, it is troublesome to think that one can earn so much money off of historically-centered cultural larceny with genocide and persecution as its moral backdrop, layered by failed and flawed recoveries in the postwar world, complicated by supposedly bona fide acquisitions which would transform current possessors into victims on par with Nazi victims! Well, yes, I have a problem with this, but that's just me.
Restitution? How does one broker a restitution while working at Sotheby's? More often than not, it is the result of a complex discussion between the consigner, the claimant, and "the house." The goal is the sale. The outcome: who will profit from it? This is referred to as restitution. I call it a financial settlement that upholds the rights of the current possessor. And Lucian is a master at this craft. Not to fault him for it, but one must admit that it is a skewed vision of the overall framework that informs the global debate on cultural plunder and its legal and ethical consequences at the point of sale.
Nevertheless, after a hard day at the office, Simmons finds a way of trumpeting the positives of his heady job, emphasizing that good things come of these intersections with history.
Needless to say, one can take only so much from self-scripted redemption to unabashed optimization in the same evening. So much for the current state of affairs as pertains to Nazi looted art and current efforts at restituting plundered items to their rightful owners.
Keywords: Bruno Lohse, Claremont-McKenna College, Claude Monet, Jonathan Petropoulos, Lafayette College, Lucian Simmons, MFA, Sotheby's, van der Neer, Victoria Reed
Nazi looted art conference at Lafayette College, October 26-28, 2011: a debriefing (I)
From left to right: Rachel Davidson, Diane Ahl, Radu Pribic
Courtesy: Lafayette College
It has now been close to two weeks since Lafayette College in quaint Easton, PA, hosted a first-ever conference on Nazi looted art. Starting from scratch, the organizers of the conference, Professors Diane Ahl and Radu Pribic, brought together a group of speakers who represented different perspectives on the issue of looted art and art restitution.
The conference opened on a screening of "The Rape of Europa", a freewheeling adaptation of Lynn Nicholas' landmark work of same name which detailed the Nazi-orchestrated plunder of works and objects of art across Europe, while focusing most of its attention on the Allied—read American—civilian and mostly military response to those exactions and the means taken to repair the damage caused by Nazi thefts.
This was my third viewing of "The Rape of Europa" The first time was on television, the second time was at the National Gallery of Art in Washington, DC, during a Jewish Film Festival. That screening was memorable only because I ran into Lynn Nicholas looking a bit lost in the line of viewers waiting to see the film being shown in the East Wing. When I asked her what she was doing there, she said simply that she wanted to be there in case anyone had questions about the movie. What? You mean you weren't invited to speak at your own movie? No, was the answer. The third screening was in Easton. At the second screening, I noticed three things:
someone intimately involved with production and scriptwriting decided to go for the schmaltz factor by inserting several high points of art restitution in the United States—the return of Marie Altmann's famed paintings by Gustav Klimt, and the recovery of a painting by François Boucher from a Utah museum which had belonged to a member of the Paris-based heavily splintered Seligmann family. The true schmaltz occurred when a German citizen was featured as self-anointed rescuer of Judaica from his small town, the name of which escapes me completely. Not having anything to do with the "Rape of Europa," it did, however, take on a life of its own by injecting the personal into the political, thus illustrating how a complex topic such as cultural plunder can transform daily lives into a quest for justice and, for others, redemption.
the Russians were very emotional and steadfast about their desire to equate their policy of no-return of so-called 'trophy art' and the humanitarian catastrophe wrought upon them by the Wehrmacht, the SS, and the Luftwaffe against the former Soviet Union, especially during the years-long siege of Leningrad. Interestingly, and memorably, one of the hard-line ministers of culture who was interviewed in what is now Saint-Petersburg dropped a portentous hint, indicating that his countrymen would be willing to discuss the return of trophy art in 20 years or so. Since the movie was produced in the late 1990s, that would place a potential return date… within six to eight years. Now, that's a sign of hope!
the "Rape of Europa" spends an unnecessarily long, long time on the siege of Monte Cassino in Italy. That accursed monastery drew hellfire for weeks without harming German defenses, but managing to erase a major cultural monument and killing close to a thousand civilians huddled for safety in what they had rightfully viewed as a 'sanctuary' from the horrors of war. Needless to say, I cannot blame your average GI Joe for wondering why ten thousand men had to die for that rock.
The third screening reaffirmed what I had long suspected, that the subject of art looting per se was given short shrift throughout this award-winning documentary. Although well-illustrated in its broadest possible strokes, the "Rape of Europa" goes very light on the very complex and very heavy on the not-so-clear. To wit: the actual plunder of collections in occupied Europe was a complicated affair brought about by conflicting interests within the Nazi hierarchy (Goering, Hitler, Himmler, Goebbels, Rosenberg, von Ribbentrop, to name a few) and the plethora of local opportunists that the Nazis encountered in countries that they occupied, who were only too willing to provide their assistance, support and expertise in exchange for a cut of the booty. Too heavy on the not-so-clear is evidenced by the French episode on the Jeu de Paume and Rose Valland, the iconic heroine of art restitution in France on the verge of attaining sainthood should anyone pay close attention to the myths that have been designed around her career as an unwitting curator of the Musée du Jeu de Paume in downtown Paris during the period of German occupation and as the lead postwar restitution officer for a succession of failed French governments up until the early 1960s.
Myth #1: Rose Valland volunteered for her mission to spy on the Germans at the Jeu de Paume; myth number two: she risked her life every day while taking copious notes on the ins and outs of looted works entering and leaving the Jeu de Paume; myth number three: no one knew that she spoke German. These are some of the many details that have filtered out into postwar revisionist history of cultural plunder in France.
Producers of "Rape of Europa": Richard Berge, Nicole Newnham, and Bonni Cohen
Source: Rape of Europa
On the plus side, I was delighted to finally meet up and converse with Nicole Newnham, one of the producers of the "Rape of Europa" who spoke candidly of her experiences making this beautifully-filmed and edited documentary on a subject that resonates even more today than it did a decade ago and which, for some corny reason, brought me close to tears, more so because we are still so far away from reaching a far-reaching solution to the long-term effects of the continental-wide plunder of cultural items during the Third Reich and the postwar occupation of Germany and Austria by Allied forces. It's not so much the Rape of Europa as it is the rape of the cultural heritage of the victims of Nazism and Fascism, writ large.
Keywords: Diane Ahl, Gustav Klimt, Lafayette College, Lynn Nicholas, National Gallery of Art, Radu Pribic, Rape of Europa, Rose Valland, Seligmann, trophy art
Confessions of an art looting "expert" (II)
Here's a question: How did I get here?
Well, I will do my best to answer this impudent query of mine.
Main Gate at Birkenau
My story begins in the summer of 1967 when I visited Auschwitz-Birkenau with my parents while trekking through Poland in a red 2 CV Citroen, which was a real hit amongst our esteemed Polish friends. While I was astounded and fascinated by the massive concentration camp, my parents wanted to leave as quickly as possible. Needless to say, I was marked for life. I should take a short break here and tell you that both my parents are/were American expatriate artists who sought the Bohemian life in 1950s Paris after escaping from New York City and their respective families. They settled down in and around Montparnasse on the left bank and spent their lives painting, drawing, socializing, and plying their craft until death did them part.
Fast forward to the 1970s: I spent my adolescent years cutting my teeth on the hardscrabble political turmoil of the Parisian student movement. Not much needs to be said about three long years dodging nasty neo-Fascist gangs. That was enough for my political awakening and a constant reminder that some people take their Fascist politics very seriously even three decades after the death of Adolf Hitler and the onset of the Cold War.
In 1980, several years after graduating from Antioch College, in Yellow Springs, Ohio, I became a consultant for the Office of Special Investigations at the US Department of Justice in Washington, DC. Although my main duties were to help with lawyers' investigations into the past activities of war criminals living in the United States—mostly Belorussians—I also focused on the postwar recruitment of Nazi war criminals by Allied intelligence, and especially American agencies. I found myself more often than not sifting through documents in the dusty stacks of the National Archives at 7th street and Pennsylvania Avenue, NW, in downtown Washington. There, every day, I would peruse documents drafted by agents and analysts of the Office of Strategic Services describing how war criminals were escaping detection in the mid-to late 1940s and finding freedom and refuge in safe havens across Europe, the Middle East and the Americas. This was my first introduction to looted art—the trading of plundered art by Nazi criminals and collaborators to obtain exit papers, visas, forged identities, passports, so that they could enjoy the fruits of their plundering ways in faraway places. I was hooked, I was fascinated, I could not stay away.
Alphonse d'Amato
Fast forward to 1995: The Swiss banks are being pummeled by Edgar Bronfman, the scion of the Seagram's fortune and a leader of the American Jewish community. He has recruited Senator Alphonse d'Amato to lead the charge against these banks for their systematic misappropriation of funds and assets deposited by individuals of Jewish descent during the 1930s and early 1940s in the vaults of hundreds of financial institutions across Swiss territory. Many of the account holders died during the Holocaust or never reclaimed their accounts and the bankers made away with their money and valuables. The Swiss bank litigations re-opened the wounds of the failed restitutions of the postwar era. And they paved the way for art restitution claims. A key element of the negotiations with the Swiss banks was the exclusion of cultural assets deposited in those banks from any settlement reached between the plaintiffs' lawyers and the banks' representatives. I joined a committee of experts at the law firm of Cohen, Milstein, Hausfeld and Toll, to come up with a realistic estimate of the Swiss banks' liability towards Holocaust victims. I was in good company: Willi Korte, the doyen of looted art investigations in the US; Sydney Zabludoff, a former CIA analyst specializing in black markets and money laundering; Fritz Oppenheimer, a Swiss banking specialist who taught us how to bill law firms; and Cees Wiebes, a Dutch expert on corporate cloaking during the Second World War. Three months of hard work yielded the following result: Swiss banks would have to pay 10 billion dollars in compensation to Jewish victims. The ultimate settlement reached several years after our finding: $1.25 billion. In other words, a toothbrush settlement.
In the spring of 1997, Willi Korte and I thought it would be a great idea to house a looted art database project at the US Holocaust Memorial Museum in Washington, DC. The answer that we received was a resounding "NO" qualified as: "This project does not fit within the mandate of the US Holocaust Memorial Museum." Dejected but not defeated, we turned to Ori Z. Soltes, then director of the Klutznick National Jewish Museum at B'nai B'rith. We met with his board members and they greeted us with open arms. What a relief! The Holocaust Art Restitution Project (HARP) was born.
Robert Morgenthau
No sooner had we announced publicly in early September 1997 HARP's creation than Ronald Lauder made a similar announcement and established the Commission for Art Recovery (CAR) under the auspices of the World Jewish Congress, of which he was the Secretary-Treasurer. Four months later, Lauder, in his capacity as chairman of the board of the Museum of Modern Art, faced the wrath of two Jewish families whose paintings were on loan from the Leopold Collection in Vienna, for an exhibit of Egon Schiele's works at MOMA in late 1997. In early January 1998, spurred by HARP's research into the provenance of those works and the odd way in which the show had been mounted, the New York Police department was ordered by then District Attorney of Manhattan, Robert Morgenthau, son of the late Henry Morgenthau, Roosevelt's Treasury Secretary, to seize the two incriminated paintings by Egon Schiele—Night City III and Portrait of Walli—and prevent them from leaving the United States so as to give the aggrieved families a fair hearing and a reasoned shot at pleading their case for restitution.
The Walli case dragged on for another 13 years while Night City III returned to Austria. However, the seizure of the two paintings struck the Austrian government broadside and provoked an unprecedented debate about cultural plunder and restitution in the homeland of Ruth Jarai, rightful owner of "Walli" and of Marie Altmann, rightful owner of "Portrait of Adele Bloch-Bauer" by Gustav Klimt. The seizure led to the enactment of a series of restitution laws aimed at righting some of the wrongs of Austria's post-Anschluss Nazi past.
"Of course I'm back: I just nipped out for a bit of wall decoration"
Art Theft, Stanley Arthur Franklin, 1967
Source: The Book Palace
Direct action—Drastic circumstances require drastic remedies even if it means forcing the hands of foreign governments, shaking up the international art market but not enough to rattle it into compliance. After several years, the status quo returned quickly, all was well, the fear of subsequent seizures waning as lawyers and diplomats ran roughshod over the renewed debate on restitution of looted cultural assets.
Although the Washington Conference of December 1998 had convened representatives and delegates from more than 47 countries to discuss how to resolve these decades-old problems of property returns to Jewish victims, the pundits went home, satisfied that they had done their duty to pledge to 'do something.' National commissions emerged in many European countries to investigate the wrongs of that war with limited impact on the quest for historical truth and the imposition of equitable remedies for spoliated families and their heirs. In the absence of meaningful public policies aimed at righting those historical wrongs, national governments across Europe and the American government, left it to the 'market' to adjudicate the merits of Holocaust-era cultural claims, thus handing over to the legal community an inherently political debate requiring political solutions. In the United States, the Clinton Administration was beholden to its donors and was reluctant to investigate the ill-doings of American museums during the life of the Presidential Advisory Commission on Holocaust-Era Assets (PCHA) which had been voted into existence by an act of Congress in June 1998. The Commission proved quickly to be ineffectual in carrying out its Congressional mandate and, in essence, violated the terms of the legislation that had empowered it, content to rehash the usual mantras of wartime plunder and avoid the thorny questions of looted cultural assets entering the United States. Those stolen, unrecovered assets entered countless museums, which receive substantial Federal fiscal advantages in the form of tax-exemptions. A largess unmatched in the rest of the world where cultural institutions are mostly run by national governments. Surprisingly, the PCHA ruled that there was no looted art problem in the United States and that further research would be needed to ascertain the opposite. How convenient! The Commission went out of business in the spring of 2000, as quietly as it had come into existence.
Fast forward to the Holocaust-era Assets Conference of June 2009 in Prague: this follow-up to the 1998 Conference in Washington, DC, was born to fail, especially as pertains to the question of looted art. Pre-conference planning was secretive, heavily politicized, did not involve claimants and their representatives, nor did it tap into the pool of international experts in art restitution matters, relying instead on government representatives overseeing questions pertaining to looted art or trophy art in their respective countries. Hence, despite some token input from groups like the European Commission on Looted Art (ECLA), the fate of claimants' cultural assets rested almost exclusively in the hands of museums' representatives and government civil servants with international Jewish organizations unwilling to commit themselves to a meaningful strategy aimed at restituting looted cultural assets. Not a pretty picture. The end result is well-known: a diluted declaration of intent known as the Terezin Declaration which serves as a basis for future discussions. It is left up to each conference stakeholder (governments and NGOs) to interpret and apply the Declaration as they see fit, which is not saying much at all.
Hopeless? Maybe. Really hopeless? Not quite. But much time and energy has been lost in endless, sterile debates which do not address the core issues centered on the identification and restitution of looted cultural assets.
The offspring of the June 2009 Prague Conference is the European Shoah Legacy Institute (ESLI), based in Prague and overseen by the Czech Ministry of Foreign Affairs. After muddling along for two years, ESLI has finally gotten a sense of itself as an organization with a mission that has 46 foreign stakeholders and NGOs to bring about proposals for lasting solutions to reach some form of closure regarding the compensation of Holocaust victims, the restitution of looted art and Judaica, the provision of care to needy survivors, and the settlement of immovable property questions especially in Eastern Europe.
Source: WRJO
Its advisory council is comprised of five working groups that address those areas, including one for looted cultural assets and one for Judaica. The mission of ESLI is open-ended and it will be as effective as its participants are willing to make it despite the fact that there is great skepticism as to its capacity to survive and make any meaningful contribution to the general state of things.
At this point, ESLI is the only organization of its kind in the world which can address issues pertaining to Holocaust-era looted property within the framework of an international forum. Its reach can be wide and extensive only if its members allow it to be. We will see.
Meanwhile, restitution efforts continue to be focused on expensive works of art, a small unrepresentative percentage of the vast numbers of works and objects of art still to be identified and located around the world.
True, it is true that for the past ten years or so dozens of very expensive works of art have been returned to their rightful owners. More often than not, though, settlements have been reached with the current owners who retained title to those stolen cultural items with cash allotments to the victims' families as compensation. Hence, the new justice, cloaked under the pretense of restitution, has become a vehicle for accommodating current owners at the expense of the claimants' rights to recover their property. That's what happens when governments fail in their fiduciary and humanitarian duties to come to the aid of those who need it the most.
Here we are in late 2011 wondering if mechanisms can be put into place to ensure that victims of Nazi thefts of cultural assets can and will have their day in court to recover what is rightfully theirs.
The complication lies mostly in the identification of those looted cultural items. Indeed, with the passage of time and the disappearance of those who witnessed or suffered directly from the thefts, the subsequent generations have lost the knowledge that their families had owned works of art, objects of art, furniture, accessories that had been forcibly removed from former residences in troubled Europe. Thus, the tables have turned. It is not so much up to claimants to speak up about their losses, but instead, the onus falls on those whose task it is to research those cultural crimes and uncover the identity of the stolen objects. In other words, the knowledge of these crimes has waned from the memories of the victims and the responsibility to ensure that those crimes are documented and brought to justice falls on those whose specialty it is to uncover the evidence and study the circumstances under which those crimes were committed, the paths taken by those objects from owner to owner and the possible whereabouts of those stolen objects. The research is overwhelming and cannot be accomplished by lone individuals. It must be grounded in an institutionalized, international undertaking whereby archival materials are systematically searched, analyzed, and relevant data are extracted from them and placed in digital repositories which allow for sophisticated searches of objects, owners, collectors, perpetrators, locations of thefts, dates, and descriptions, to name a few of those categories.
In other words, the future of art restitution efforts lies in systematic historical research and analysis. The research produces the information on unrestituted objects of art which triggers investigations and the search for victims' heirs. Until such research efforts are put into place, the most effective tools of restitution at the disposal of claimants, at least in the United States, is for Federal authorities to intervene on their behalf, seize objects from current owners and return them to the rightful owners, assuming, of course, that the research underlying the cases is flawless.
An uncompromising position, you might say? What is the alternative then? More of the same? Upholding the sacred rights of current possessors when everyone knows that theft does not convey good title to the next owner? As Steven Bibas wrote in his thoughtful 1994 essay on statutes of limitations, traditional legal defenses as invoked by current owners only abet art thefts at the expense of the rights of claimants. Justice trumps all other considerations when it comes to righting the wrongs wrought by acts of genocide more than seven decades ago. There is no statute of limitations on genocide or any other forms of mass slaughter and crimes against humanity. That's the plain truth.
Keywords: Adolf Hitler, Antioch College, Commission for Art Recovery, Edgar Bronfman, Egon Schiele, ESLI, HARP, MOMA, neo-Fascist, Night City III, Office of Special Investigations, Paris, Prague, Walli
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Confessions of an art looting "expert" (I)
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npGREENWAY envisions a trail system providing access to and along the Willamette River enveloping the north riverfront from the Steel Bridge in downtown Portland to Cathedral Park near the St. Johns Bridge and extending through Baltimore Woods to Kelley Point Park.
Our goal is to link North Portland neighborhoods with the Willamette River for recreation and access to jobs. This expansion of the Willamette River Greenway will include a network of trails used for activities such as walking, running, cycling, skating, skateboarding, fishing, boating and wildlife viewing. The North Portland Greenway trails will connect with the existing Willamette River trail system serving residents and visitors throughout the region.
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There have been a number of interlocking fraternal orders known as the beavers. The Fraternal Order of Beavers was created in 1911. The relationships between these and the Beavers Reserve Fund Fraternity, Beavers National Mutual Benefit and the National Mutual Benefit is complex. The North American Order of the Beaver was founded in 1990.
Beavers Reserve Fund Fraternity
The earliest "beaver" fraternal order was the Beavers Reserve Fund Fraternity founded in 1902, and initially based in Stoughton, Wisconsin. It was later based in Madison. It only operated in the state of Wisconsin and had 16,900 members as of Jan. 1, 1923.
Beavers National Mutual Benefit
The Beavers National Mutual Benefit grew out of the above group in 1916. Members of the Beavers Reserve Fund Fraternity who felt that the latters flat rate assessment policy was insufficient were allowed to transfer their policies to the new organization. That same year the new organization absorbed the Fraternal Order of Rangers and the Supreme Assembly of the Defenders. In 1919 it absorbed the National Fraternal League. The group discarded its ritual and became National Mutual Benefit in 1931. This order absorbed two further organizations, the Farmers Life Insurance Association, in 1931, and the United Danish Society of America in 1945.
As of January 1, 1923 this incarnation of the Beavers had 9,626 members in 244 lodges spread across Wisconsin, Illinois and Florida and was headquartered in its own building in Madison, Wisconsin It had 80,000 members in 1979. The group had 60,000 members in 1994. Though it no longer has the Beavers appellation, or the ritual, its local lodges were still known as "Colonies" in the mid-1990s. It remains headquartered in Madison, Wisconsin.
Fraternal Order of Beavers
The Fraternal Order of Beavers was founded in 1911 and reorganized in 1919. This order admitted all men who believed in a Supreme Being, ages eighteen and older, but otherwise did not question candidates religious, political or national background. This Order had 12,000 members in 53 lodges in the early 1920s, and was headquartered at the Liberty Building in Philadelphia.
The Fraternal Order of Beavers' ritual was centered around the beavers of the Valley of Turquemanau and their conflict with the Iroquois and involved the candidate being taken as an "Algonquian captive" "through the rapids in a canoe to Ahmeek, King of all Beavers."
Most benefits and activities were administered on the local level and included building and loan associations, employment bureau, contingency funds for members in distress, bands and degree teams. Funeral benefits were handled by the "Funeral Benefit Association of Beavers lodges only", which was apparently the same organization as the Beavers Benefit Association, also located in the Liberty Building. This was founded in 1919 and had 6,000 members in 32 lodges in the early 1920s.
North American Order of the Beaver
The North American Order of the Beaver was founded as a Masonic body in 1990.
References
External links
North American Order of the Beaver Official website
National Mutual Benefit Official website
Fraternal orders |
package de.martinreinhardt.jee.controller;
import java.util.logging.Logger;
import javax.annotation.security.PermitAll;
import javax.ejb.Stateless;
import javax.enterprise.event.Event;
import javax.inject.Inject;
import javax.persistence.EntityManager;
import de.martinreinhardt.jee.domain.Member;
/**
* Controller for the member registration process.
*
* By using the stateless annotation the transaction is automatically ended
* (implicit)
*
* @author mreinhardt
*
*/
@Stateless
@PermitAll
public class MemberRegistration {
@Inject
private Logger log;
@Inject
private EntityManager em;
@Inject
private Event<Member> memberEventSrc;
public void register(Member member) throws Exception {
log.info("Registering " + member.getName());
em.persist(member);
memberEventSrc.fire(member);
}
}
|
In the months and days leading up to the year 2000, many grew alarmed that a computer bug would collapse networks and bring down economies and global stability in its wake. Did we narrowly avoid the apocalypse because of some world-saving last minute de-bugging? Or was the worldwide panic just way off base? |
Butter – What's for Dinner Moms?
Looking for something to brighten up your weekday breakfasts or Sunday brunch? For the most post we are not big breakfast eaters. Once in a while we will do a big breakfast on the weekend but during the week my son is really the only person that eats breakfast. Usually it is cereal or oatmeal…. |
In keeping with its rich traditions, Tyler Junior College pledges to maintain a civil campus climate in which students, employees and visitors can experience a safe, mutually supportive, academically encouraging, egalitarian and tolerant community.
Tyler Junior College expects all students, faculty and staff members and groups to exercise civility. Civility has been defined as "good citizenship or orderly behavior" (Oxford Dictionary).
"Civility is characterized by an authentic respect for others when expressing disagreement, disparity or controversy. It involves time, presence, a willingness to engage in genuine discourse and a sincere intention to seek common ground." ("Perceptions of Civility," Lynn M. Disbrow & Carolyn M. Prentice).
TJC does not tolerate the subjection of another person, group or class of persons to inappropriate, abusive, threatening, or demanding actions. |
Plant & Share Tumbled Crystals are some of the best quality stones available on the market. All stones will vary slightly in colour, shape and size. They are approximately 10mm x 25mm in size.
Each crystal comes with a Crystal Learning Card that has information about their meanings and a positive affirmation.
USE: Place stone over the area (listed below) and hold for approximately 15 minutes.
Clear Quartz – hold in your hand and meditate for clarity.
Amethyst – at bed time hold over your Third-Eye (located between on your forehead) and let it calm your mind and open up your intuition.
Blue Agate – hold over your Throat Chakra to bring emotional, physical and intellectual balance, easing tension and bringing self-confidence.
Blue Lace Agate – hold over your Throat Chakra, to easy your mind and reduce stress and anxiety, helps you you to speak your truth.
Rose Quartz – hold over your Heart Chakra and connect with the energy of unconditional love.
Green Howlite – hold over your Heart Chakra to help remove feelings of anger, aggression and negative self-talk.
Citrine – hold over your Solar Plexus Chakra (located on your abdomen, above your belly button) to bring feelings of positivity, joy and optimism to your life.
Yellow Jasper – hold over your Solar Plexus Chakra (located on your abdomen, above your belly button) to bring feeling of happiness, soothe anxiety, learn unconditional love, forgiveness and compassion.
Carnelian – hold over your Sacral Charka (located on your lower belly) to bring confidence, vitality, sexuality and action.
Red Jasper – hold over your Base Charka (located at the base of your spine) to bring stamina, energy and vitality, supporting your to chase your dreams.
Tigers Eye – hold over your Base, Sacral or Solar Plexus Charkas to enhance your perception, judgement and focus, helpful to use when clarity is needed when making decisions. |
University Park, IL–(ENEWSPF)– Governors State University is hosting Veterans Appreciation Day on Thursday, September 6 at its main campus in University Park. All events are free and open to the public.
A Veterans Employment Workshop will take place from 8:30 a.m. to 2 p.m. in Room D1246. Veterans will get tips to help them find or change jobs, and learn about programs that are available to them.
From 10 a.m. to 2 p.m., a Veterans Resource Fair is planned in GSU's Hall of Governors. The fair will showcase resources for veterans.
At 2:15 p.m., GSU's new Veterans Resource Center will be dedicated. GSU President Elaine P. Maimon will speak at the ribbon-cutting ceremony. The Veterans Resource Center will be a one-stop location for veteran services at GSU.
Governors State University is located at 1 University Parkway, University Park, Illinois. All events are sponsored by the GSU Office of Veterans Affairs. Interested persons should RSVP to Keith White, Coordinator of Veterans Affairs, at (708) 235-2223 or [email protected]. |
We envision a more efficient video industry.
That we can have tools that help us speed up the video production and post-production processes, not slow it down.
The popularity of video is growing rapidly and so are the demands and expectations for quality, low cost and speed.
Post-production isn't without its challenges. Workflows are complex and constrained by the industry's long-held beliefs. Many professionals follow workflows and practices that they've known for years, but the fact that it's known does not mean it's effective.
We've designed Cinedeck to provide flexible and versatile multi-channel video recorders. Work on any project, regardless of how big or complex it is. Cinedeck allows greater control over video recording live events and multi-cam projects.
We've developed cineXtools to redefine post workflows. We aim to eliminate complete show exports and QC sessions to make tiny fixes. cineXtools enables editors to make changes to shows not in hours or days, but in minutes. Directly edit the flat files with no exporting or QCing needed.
Let us empower you with the tools you need to speed through your deliverables, and we'll change the video industry together!
About Cinedeck
About cineXtools
Cinedecks are multi-channel video recorders. We've developed them to make video recording easier, more flexible and versatile.
Cinedeck multi-channel recorders make multi-cam productions faster and smoother.
We've designed features with workflow flexibility in mind. Our recorders support a wide variety or codecs, wrappers, formats, and resolutions. You can record and map up to 32 audio channels per input and even record closed captions. Record two master files and two proxies per channel, simultaneously. Control all the settings right from the display of the recorder, or with our Multi-Channel Control app. And finally, use our built-in quick QC tools like histograms, graph overlays, and other features to make sure that the video you want is the video you get.
Does it sound like a Cinedeck recorder may be the only recorder you would ever need? We're glad it does. We designed our video recorders with that in mind.
We want you to be able to work on any project - no matter the size or scale. We want the sky to be your limit, not your video recorder. Learn more about Cinedeck here.
CineXtools is a media-file and deliverables management application. It's designed to save you hours of work and speed you through your deliverables.
It is professional video editing software that helps you make fixes to flat files. CineXtools allows you to edit new video, audio, and captions without re-exporting. Yes, that's right. You don't have to re-QC or re-render the same project again, but focus only on the changes you need to make. Just like working on film!
cineXinsert, the main module, enables overwriting specific data at the essentials' level. You can set specific in and end points and change only the section between them. Everything else about the video file remains the same.
cineXtools consists of several modules each with its unique functions. You can read more on all its features here.
We highly value outside-of-the-box thinking. It allows approaching things from a different perspective and defying the status quo. It's paramount for innovation and especially important in the tech world. Because of how rapidly our industry evolves, we think differently to stand out and gain a competitive edge.
Time is one of our most valuable assets. We value it and aim to create efficiencies wherever possible – both in how we work and what products we develop. We are a responsive, dynamic, and agile software development company and we design our products to be the same way. Spend less time on tedious tasks, and more on those that matter.
Boldness
It's important to us to be unafraid of change and be willing to go against the grain. It allows us to think independently, come up with new ideas, and embrace new possibilities.
They all are important for us to deliver the best possible value to our customers.
Cinedeck's roots date back to 2009. It was founded in New York City by a group of cinematographers. With plenty of experience in video production, they were dissatisfied with the hardware available. They wanted the simplicity of a tape recorder with varied digital capabilities.
As a result, they designed an innovative multi-channel recorder unit for video production. It offers on-set monitoring, playback, and quality control. The recorder supports multiple codecs, format, resolution, and audio channels. It also unifies filming and production workflows- all in a single device.
The recorders were well-received by the industry. The team released several models, each with its unique specifics.
Then, they decided to move further… To revolutionize the video editing industry as well.
Post-production is a tedious and time-consuming process. Especially, if you notice an error in a show that's already exported and QCed. Fixing even tiny mistakes, such as a misspelled title, requires re-exporting and re-QCing, often more than once. That costs companies a lot of time and resources.
In 2016, Cinedeck released cineXtools, their first standalone software application. cineXinsert, its main feature, allows file-to-file insert edit. It works much in the same way as editing on film.
Yet, the challenge was to persuade the industry that insert-edit was even possible. Because industry professionals had grown familiar with workflows they'd been using for years.
Despite the resistance, Cinedeck has proven that it's not only possible—but very efficient.
An example of a successful project is helping Sky TV rebrand 400 assets.
A traditional transcode workflow would have taken them 600 man-hours to re-render and re-QC. That's over a month of saved man-hours! CineXtools managed to cut the time almost 40 times. So, they spent only 16 man-hours with our video editing software instead.
Other clients include BBC, Showtime, Envy Post, Cartoon Network and more.
Cinedeck's also developed CineX API and CineX plugins. They continue working on offering clients an even wider array of options.
Charles Dautremont, CEO and Founder
Charles D'Autremont is the founder and CEO of Cinedeck LLC. Charles holds a BS in Architecture from Cornell University. He started his career in the media and entertainment industry in Los Angeles. He was the Technical Director at Rhythm & Hues, an award-winning visual effects and animation studio.
Then, he co-founded a New York-based branding and creative agency, named Dbox. That is when he discovered his true calling: photography and aerial cinematography.
Having accumulated work experience and skills, Charles founded Cinedeck. He is also the inventor of Cinedeck record, monitoring, and playback systems, Insert-Edit technology and cineXtools.
Jane Sung, COO
John Harris, Director of Sales and Marketing |
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Join the brave explorer as he travels through the remains of a nearly extinct civilization. You need to solve the puzzle and choose the correct door or else, you will lose a fraction of your current IQ Score. How Smart Are You is provided to you by FunLand.com and is categorized into our puzzle games. This game was played 3,125 times and currently has a rating of 4.00 out of 5.00 after 12 votes. |
Professor Weinbaum's research interests are in empirical asset pricing and derivatives. For example, one of his current projects investigates how informed option traders trade around news announcements and another analyses the pricing of jump and volatility risk in international stock markets. Weinbaum has published in several leading journals in finance, economics, and accounting, and his research has been cited in major news outlets including the Financial Times, U.S. News and World Report, and the Wall Street Journal. He teaches investments at the undergraduate level and has taught managerial finance and valuation in the online MBA program. In 2016, he received the Whitman faculty teaching award. He was previously on the faculty of the Johnson Graduate School of Management at Cornell University, where he won the Globe award for excellence in teaching. Weinbaum worked as a swap trader at BNP Paribas before earning his PhD at NYU Stern.
Professor Weinbaum's research interests are in empirical asset pricing and derivatives. For example, one of his current projects investigates how informed option traders trade around news announcements and another analyses the pricing of jump and volatility risk in international stock markets. Weinbaum has published in several leading journals in finance, economics, and accounting, and his research has been cited in major news outlets including the Financial Times, U.S. News and World Report, and the Wall Street Journal. |
Home > HS2 launches first TBMs names vote
HS2 launches first TBMs names vote
Written by Tris Thomas on 15/05/2020 in News
The UK's HS2 has launched a national vote to pick the names of the first of 10 TBMs that will excavate more than 56km of tunnel on the first phase of the UK's new high speed railway between London and the West Midlands.
The public is being invited to go to https://www.hs2.org.uk/tbmvoting/ and vote for their favourite name, from a shortlist of three chosen by local school children and inspired by female scientific and medical pioneers.
The names are:
Cecilia– named after Cecilia Payne-Gaposchkin, the Astronomer and Astrophysicist born in Buckinghamshire who became Chair of Astronomy at Harvard University in the United States. Suggested by students at Chalfont Community College in Buckinghamshire.
Florence– named after Florence Nightingale, the founder of modern nursing, who spent many years in Claydon, Buckinghamshire where she wrote numerous books on nursing. Suggested by students at Meadow High School in Hillingdon.
Marie– named after Marie Curie, the first woman to win a Nobel Prize, and the first person and the only woman to win the Nobel Prize twice. Suggested by students at Maple Cross JMI and Nursery in Hertfordshire.
The name with the most votes will be given to the first TBM, due to be launched from a site close to the M25 early next year. The 2,000 tonne, 170m long machine will be one of two that will bore the 16km long Chiltern tunnels.
The second machine, due to be launched a month later, will be given the second most popular name in the public vote.
The TBMs will be operated by HS2's main works contractor, Align JV – a joint venture formed of three companies: Bouygues Travaux Publics, Sir Robert McAlpine, and VolkerFitzpatrick.
The machines are being built by Herrenknecht in Germany. Their names are being chosen now so they can be fixed to machines during their manufacture, ready for when they emerge out of the factory.
After completion the first two machines will be disassembled before beginning their long journey to England. Once they have arrived on site, each TBM will be reassembled, ready to begin their life underground.
Together the TBMs will spend around three years digging what will be the longest and deepest tunnels on the project, stretching from just inside the M25, to South Heath in Buckinghamshire.
Daniel Altier, Align Project Director said: "I would like to thank the pupils and teachers at the three local schools who suggested these three pioneering and inspirational women. Align would be very proud for our TBMs, that will incorporate the very latest technology and innovation, to bear their names."
Align is responsible for the C1 section of the route, including the Chiltern Tunnels and Colne Valley Viaduct.
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Final tunnelling contract awarded on Sydney Metro West
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British Tunnelling Society Conference 2022
Tunnels are central to sustainable development. That was the message from International Tunnelling and Underground Space Association (ITA) president Arnold… |
Yesterday we took an impromptu trip to New Smyrna Beach, about an hour and fifteen minutes from our house in Orlando. My in-laws rented a condo there over the summer and Carly spent some time there with them. They had a great lunch at Cafe Verde and Carly wanted me to check it out.
Cafe Verde is just off the main beach drag - Flagler Ave. It has an eclectic menu with lots of vegan and vegan-izable options. They serve beer & wine and several house brewed teas.
I was hungry when we got there so I ordered these yuca fries with mojo dipping sauce for a starter. They were well seasoned and the sauce was spectacular.
My main lunch - vegan tacos! Corn tortillas with tofu, pico de gallo & avocado cream sauce. Really delicious!
Carly got the BLT scallop tacos. I snuck some rice and plantains. She loved them.
We split this as a side and it was the star of the meal - sauteed Brussels sprouts and asparagus with cashews. We definitely want to make this at home.
We happened to get there in the middle of an art festival lining Flagler Ave. Lots of cute vendors and we also checked out the shops.
I had (have) a bad sore throat so we stopped for cold treats. Coconut shaved ice for me, cappucino ice cream for Carly.
After the eats we wandered a bit more and then drove to a beach bar to sit and watch the ocean for awhile. Click for pics! |
#ifndef HALIDE_INLINE_H
#define HALIDE_INLINE_H
/** \file
* Methods for replacing calls to functions with their definitions.
*/
#include "IR.h"
namespace Halide {
namespace Internal {
/** Inline a single named function, which must be pure. */
// @{
Stmt inline_function(Stmt, Function);
Expr inline_function(Expr, Function);
// @}
}
}
#endif
|
Carriera
Hugo Vignetti debutta nelle competizioni internazionali nel 1975 quando partecipa al gran premio di Spagna del motomondiale nella classe 125 in sella ad una Derbi. Termina la gara all'11º posto, non ottenendo punti validi per la classifica mondiale. Nel 1977 e 1979 partecipa come wild card al gran premio del Venezuela, entrambi in classe 125 ed in sella ad una Morbidelli. In entrambe le occasioni non riesce ad ottenere punti (un ritiro e un 12º posto).
Durante la stagione 1980 prende parte a quattro gare nella classe 125 in sella ad una MBA, nel corso delle quali riesce ad ottenere il suo primo punto mondiale in Spagna grazie al 10º posto conquistato in gara. Questo gli permette di chiudere 29º in classifica mondiale. L'anno seguente diventa titolare in 125 sempre su MBA. Arriva a punti regolarmente e conquista il suo primo podio mondiale in Gran Bretagna dove taglia il traguardo in terza posizione. A fine anno si classifica 10º nel mondiale con 30 punti.
Resta sempre titolare nella stessa classe ma stavolta a bordo di una Sanvenero per il 1982. Durante questa stagione conquista il suo secondo podio mondiale grazie al 3º posto ottenuto in Francia e si classifica 11º nel mondiale a fine anno con 26 punti. Sempre titolare nel 1983 ma stavolta ritornando su una MBA, questa volta racimola 2 punti che gli valgono a fine anno il 25º posto nella classifica mondiale.
Nel 1985 e 1986 effettua sporadiche apparizioni senza però riuscire a portare al termine alcuna gara e dunque senza ottenere punti. Dopo la fine della sua avventura nel motomondiale, Vignetti partecipa a 20 gare del Turismo Nacional argentino tra il 1989 e il 1993, ottenendo come miglior risultato in campionato un 9º posto e conquistando 52 punti in totale.
Muore il 29 luglio 2016 all'età di 70 anni.
Risultati nel motomondiale
Note
Collegamenti esterni
Piloti della classe 125 |
Deadly 2011 Spanish earthquake linked to groundwater drilling
By Philip Bump on Oct 22, 2012
aperiagoA church damaged in the 2011 Lorca earthquake.
Earlier this month, a suburb of Dallas experienced something unusual. Earthquakes. Tiny, subtle earthquakes, but earthquakes nonetheless. It didn't take long for a geologist from the University of Texas to draw a correlation to wastewater wells drilled for nearby fracking. Nor has it taken long to draw similar correlations elsewhere.
It's not only injecting wastewater (well, water mixed with other chemicals, including known carcinogens) into the ground that can result in earthquakes. So can drawing too much water out.
From the Washington Post:
Farmers drilling ever deeper wells over decades to water their crops likely contributed to a deadly earthquake in southern Spain last year, a new study suggests. The findings may add to concerns about the effects of new energy extraction and waste disposal technologies.
Nine people died and nearly 300 were injured when an unusually shallow magnitude-5.1 quake hit the town of Lorca on May 11, 2011. It was the country's worst quake in more than 50 years, causing millions of euros in damage to a region with an already fragile economy.
Using satellite images, scientists from Canada, Italy and Spain found the quake ruptured a fault running near a basin that had been weakened by 50 years of groundwater extraction in the area.
Geologists studying the earthquake note that the fault would likely have ruptured at some other point. The water extraction — and the continuously deeper wells that extraction required — served as a trigger. Earthquakes are about stress relief; fault lines are points of tension between two formations. When they slip past or over one another, an earthquake results.
New Scientist explains why this makes human drilling more dangerous.
[Jean-Philippe Avouac from California Institute of Technology in Pasadena] agrees that stress in the earth's crust has to be released one way or another. But he says human activity — like water extraction — can cause the stress to be released quickly, rather than dissipating slowly over time.
"It's not just that you're advancing an earthquake that would have happened anyway. It's that you're creating more or larger earthquakes," he says.
I'm starting to get the sense that we humans aren't as good at controlling our environment as we like to think.
Thirst for groundwater caused fatal earthquake,
Scientists link deadly 2011 quake in Spain to decades of groundwater extraction, |
Walnut Recall Expanded Nationwide
By Mary Rothschild on December 14, 2010
Another company is recalling products containing walnuts supplied by Atlas Walnuts of Visalia, CA because they may contain Salmonella.
In a news release, Tropical Nut & Fruit of Charlotte, NC, said it was recalling all its products containing walnuts supplied by Atlas Walnuts and distributed nationwide to retail stores, manufacturers and other distributors.
Earlier this month, Mojave Foods Corporation recalled 60 packages of El Guapo Shelled Walnut, supplied by Atlas Walnuts and distributed only in retail stores in Southern California.
Atlas Walnuts said it recalled its product after one of it customers reported a positive result for Salmonella. The company said it conducted additional Salmonella tests on the same product lot and those results were negative, according to an announcement Monday from Tropical Nut & Fruit.
Tropical Nut & Fruit said it had not received any complaints of illness associated with its products, which include mixed nuts, "hi energy" mix, and yogurt ambrosia in addition to walnut halves and pieces. For the complete list and package information on the recalled products, see the news release at the Food and Drug Administration website.
Consumers who have the recalled products are advised to return them to the store where they were purchased for a full refund. Questions may be phoned to 800-438-4470 from 8 a.m. to 5 p.m. EST.
Tags: recall, Salmonella, walnuts |
require 'chef-dk/command/base'
require 'chef-dk/ui'
require 'chef-dk/policyfile_services/install'
require 'chef-dk/configurable'
module ChefDK
module Command
class Install < Base
include Configurable
banner(<<-E)
Usage: chef install [ POLICY_FILE ] [options]
`chef install` evaluates a `Policyfile.rb` to find a compatible set of
cookbooks for the policy's run_list and caches them locally. It emits a
Policyfile.lock.json describing the locked cookbook set. You can use the
lockfile to install the locked cookbooks on another machine. You can also push
the lockfile to a "policy group" on a Chef Server and apply that exact set of
cookbooks to nodes in your infrastructure.
See our detailed README for more information:
https://github.com/opscode/chef-dk/blob/master/POLICYFILE_README.md
Options:
E
option :config_file,
short: "-c CONFIG_FILE",
long: "--config CONFIG_FILE",
description: "Path to configuration file"
option :debug,
short: "-D",
long: "--debug",
description: "Enable stacktraces and other debug output",
default: false
attr_reader :policyfile_relative_path
attr_accessor :ui
def initialize(*args)
super
@ui = UI.new
@policyfile_relative_path = nil
@installer = nil
end
def run(params = [])
return 1 unless apply_params!(params)
# Force config file to be loaded. We don't use the configuration
# directly, but the user may have SSL configuration options that they
# need to talk to a private supermarket (e.g., trusted_certs or
# ssl_verify_mode)
chef_config
installer.run
0
rescue PolicyfileServiceError => e
handle_error(e)
1
end
def installer
@installer ||= PolicyfileServices::Install.new(policyfile: policyfile_relative_path, ui: ui, root_dir: Dir.pwd)
end
def debug?
!!config[:debug]
end
def config_path
config[:config_file]
end
def handle_error(error)
ui.err("Error: #{error.message}")
if error.respond_to?(:reason)
ui.err("Reason: #{error.reason}")
ui.err("")
ui.err(error.extended_error_info) if debug?
ui.err(error.cause.backtrace.join("\n")) if debug?
end
end
def apply_params!(params)
remaining_args = parse_options(params)
if remaining_args.size > 1
ui.err(opt_parser)
return false
else
@policyfile_relative_path = remaining_args.first
true
end
end
end
end
end
|
From the greatest lessons we can glean from Yusuf 'allayhissalam's story is his complete trust and ability to open up comfortably to his Prophet father, Ya'qub 'allayhissalam. By the end of this post, we'll find that Allah s.w.t is hinting something very significant to those who wish to reflect.
In the last verse Allah s.w.t says that He is narrating to us the best of stories, (and from these stories) is when Yusuf mentioned to his father Ya'qub, son of Ishaaq, son of Ibrahim, of a dream in which he saw eleven stars, the sun and the moon prostrating to him.
Yusuf was a young boy who saw a dream that alarmed him for one main reason: he knew that this was huge. He knew the interpretation of the dream which alarmed his juvenile mind, and he immediately seeks solace in his father's wise and comforting words.
2- He uses the word ساجدين and not ساجدات – relaying that those stars, moon and sun depict real people and not just non-living objects.
What a classic yet timeless scenario! And this is just the beginning of the story! A scared, confused, astonished child. Where does he first turn to for comfort and answers? His friends? The Internet? Or does he just bottle up his thoughts and feelings because he's afraid he might not be taken seriously for such a childish dream?
He turns to his father.
Ya'qub 'alayhissalam continues his speech and tells Yusuf that just as Allah chose him to see the eleven stars, the sun and the moon to prostrate before him, thus He will choose him to be a Prophet and teach him the interpretation of dreams, and perfect His favor on Him by granting him Prophethood, just as He granted it to his forefathers, because Allah knows best whom to choose for His Message.
Allah s.w.t is teaching us a significant lesson in parenting and raising our children according to Islamic standards. Ya'qub 'alayhissalam is THE role model for all Muslim parents, especially fathers. |
Government Settles With Researcher Put on Watch List For Supporting Bradley Manning
By Ryan Gallagher
May 30, 20135:41 PM
David House, a founding member of the Bradley Manning Support Network
Photo by PAUL J. RICHARDS/AFP/Getty Images
Back in 2010, MIT researcher David House was working to raise legal funds for WikiLeaks suspect Bradley Manning. For his efforts, it seems that House's name was placed on a watch list database alongside suspected terrorists and criminals.
After returning from a vacation in Mexico in late 2010, House arrived at a Chicago airport to board a flight back to Boston. But the then 23-year-old activist, who helped set up the Bradley Manning Support Network, was detained by Homeland Security officials who, without a warrant, confiscated his laptop, video camera, cellphone, and USB drive. House was interrogated about whether he had any connection to WikiLeaks and quizzed about his relationship with Manning, the Army private accused of leaking thousands of classified government documents.
The incident prompted House to launch legal action in the district court against the government for violations of his constitutional rights. He alleged that he had been specifically targeted for his political beliefs and activism, accusing the DHS of violating both the First and Fourth Amendments by confiscating his laptop and other devices, which were held by the authorities for 49 days before they were returned by mail. The government countered in a motion to dismiss that there were no "factual allegations" showing that House had been targeted because of his work with the Manning support group. Furthermore, the government said, performing a "routine search" of his electronic devices without a warrant should not be a problem because doing so wouldn't "impede the future activities" of the Bradley Manning Support Network.
Last week, however, House won a significant victory in the case. With the help of the ACLU, he reached a settlement with the government, which agreed to destroy all of the data it obtained from his laptop and other devices when they were first confiscated. Notably, the government also acknowledged as part of the settlement that House was on a Homeland Security watch list database called "TECS Lookout." According to government guidance, the lookout system is supposed to flag people who enter the United States who are deemed of law enforcement interest. It features the names of drug smugglers, criminals, and suspected terrorists—reportedly among them until recently was Tamerlan Tsarnaev, the deceased Boston Marathon bombings suspect.
That House's name appeared on this database, in all likelihood as a direct result of his lawful political activism, is a stark illustration of the extreme nature of the U.S. government's aggressive pursuit of anyone remotely associated to WikiLeaks—and comes at a time when even President Obama has expressed concern about the potential "over reach" of leak investigations. House's appearance on the TECS list also discredits the government's previous attempts to play down and dismiss the suggestion that he was specifically targeted for his politics and role with the Manning support group. If there were any other, legitimate reason for monitoring him, the government would almost certainly have disclosed it during the case.
As part of the settlement, the government agreed that it would make sure House's name would no longer be "routinely accessible to customs officers" on the watch list. But it also made sure to inform him that he "may continue to be subject to lawful searches and inspections" and said that the settlement was not "an admission or presumption of wrongdoing." House, of course, doesn't agree—and he's celebrating a triumph.
"The government's surrender of this data is a victory through vital action not only for the citizens put at risk," he said in a statement, "but also for anyone who believes that Americans should be free to support political causes without fearing retaliation from Washington."
Terrorism WikiLeaks |
Plumbing product manufacturer Gerber has introduced the flexible and easy-to-install Treysta rough-in tub and shower valve.
Flexible features include an accessible mounting system; vertical inlets that can be installed next to studs in PEX applications, reducing the need for re-framing; and quarter-turn service stops that can open and close in the slots with a flat head screwdriver. Treysta also has solutions for applications with cold expansion PEX and Crimp PEX, as well as back-to-back installations and reversed hot and cold inlets.
The Treysta valve also features a reversible plug test for full-system, hot, cold, and cross-flow tests. The brass-forged body features large mounting holes and a flat top plane that can install level with the floor. All configurations use the same pressure balance cartridge.
Danze by Gerber product trims have been updated to be compatible with the Treysta pressure balance cartridge, minimizing damage during rough-in installation. |
For bed and breakfast near the Eden Project - accommodation in St Austell Cornwall also for Lost Gardens of Heligan.
The Gables Guest House bed and breakfast is centrally situated within 10mins walk of St Austell town; where you will find main banks, shops and cinema. Also, the main Railway and Bus station can be found. There are plenty of beaches to enjoy, Porthpean, Charlestown, Carlyon Bay, Gorran, Meavagissey and Portmellon, to name just a few.
The Original building dates back from 1780 when it is believed to have been Stables for a farm. Then, in the 1800's it then, was converted into a private house and became, 'The Gables'.
It became a Guest House in the 1950's and on and off until 2003 or so we are told. In 2008 Mike and I (Barbara) brought the property and set about transforming it to a cosy four bedroomed guest house, which we have achieved the "AA 4 star rating and the AA Breakfast Award"
Unwind in our private garden, surrounded by rare sub-tropical, cottage and local flora and fauna.
The Garden is divided into three parts, with all areas having hand rails and steps leading to the first area which has a fish pond and seating, the second has a sheltered seated area to sip your wine or coffee and relax in and the third has a large sheltered area with tables and chairs to enjoy your breakfast or Cornish cream tea (weather permitting). |
Image quality is good in any case, we have tried in practice on the living surfer.
Photo option refers to the larger zoom range (28-141 mm) and the faster autofocus.
So the mood stays in the best party mood and the recorded videos can be enjoyed afterwards to the joy of all in high image quality.
However, this robustness and quality you have to pay with around 350 EUR.
Protection Compared to the successful predecessor HX-WA20, the manufacturer has added another layer of protection and increased the new depth to 10 meters – so you are on the safe side when snorkeling.
On the beach or other places with a lot of dust, the WA-30 can be used at any time and then be cleaned again under running water.
And if it slips out of hand in the heat of the moment, that's not a problem – just pick it up and continue filming.
Recording TechnologyThe 28-millimeter wide-angle lens can be precisely adjusted to the subject with an 18x zoom, and the backlit (BSI) sensor ensures good pictures, even when the light conditions become weaker.
If you turn off the resolution in the video to 1,280 x 720 pixels, great slow motion shots with 120 frames per second are possible.
As the resolution is further reduced, 240 and 480 frames per second can also be recorded.
Thanks to the large buttons, the operation is also guaranteed with gloves and the image is checked on a swiveling display. |
A Darlington supported living service for people with mental health needs has been rated 'Good' by the Care Quality Commission (CQC) at its first inspection for delivering a safe and well run service.
During the inspection, CQC officials found Sanctuary Supported Living's (SSL) Tees Valley Care Services, which provides care and support at Ashfield Court and Station Road for up to 21 people, promoted a good quality of life.
The report noted that "systems and processes were in place and well monitored so that the service was safe and run well".
Staff were described as "consistently kind and caring", with genuine concern for people's wellbeing. Residents were made to "feel at ease" as they regained the skills and confidence to live independently, the report added.
Inspectors observed healthy eating advice offered while residents cooked their own meals. Supportive and knowledgeable staff helped people to re-engage with family and friends and attended gyms and slimming clubs with residents for moral support.
The "empowering" resident meetings were also highlighted. People were given choice and were asked for feedback on what they would like to see at the service.
SSL local service manager Ian Davison said: "We are thrilled with the result of our inspection. We work hard to ensure everyone feels safe and happy here.
A supported living care home in Leicester is celebrating a "Good" Care Quality Commission (CQC) rating following its first inspection since opening in October last year.
A Middlesbrough supported housing service for people with learning disabilities is celebrating its recent 'Good' rating by the Care Quality Commission – following its first assessment since opening last year. |
MKV to Samsung - How to Play MKV on Samsung Galaxy S2/S/S4/S3?
With the 10.8 cm (4.3 in) WVGA Super AMOLED plus display, this new Samsung Galaxy S2 makes enjoying videos on the go could not be better. Though this Galaxy S2 support relatively more video formats including MPEG4, H.264, H.263, WMV, DivX, Xvid, VC-1, Recording & Playback 1080@30fps, it still failed to play MKV on Samsung Galaxy S2 or even the Samsung Galaxy S3, especially failed to play HD MKV.
The following article will introduce a powerful MKV to Samsung Converter and a step by step guide on how to convert and play MKV on Samsung Galaxy S4/S3/S2/S/Infuse 4G/Tab/Epic 4G/Captivate/Vibrant and more.
Besides, it also can convert other video formats including MOV, MPEG, WTV, WebM, FLV, MVI, ASF, RM, 3GP, VP8, 720p, 1080p, 1080i HD, AVCHD videos and more to various Samsung phones.
How to Play MKV on Samsung Mobile Phone?
Free download the professional MKV to Samsung Converter - Bigasoft Total Video Converter (Windows Version, Mac Version), install and Run it, the following interface will pop up.
Drag and drop your MKV video to the main interface of Bigasoft Total Video Converter. Or click "Add File" button to import your MKV file.
Click "Convert" button to finish converting MKV to Samsung Galaxy S II supported video format.
Simply transfer the converted MKV to your Samsung Galaxy S2 just like transfer other videos to your Samsung. Then it is just easy to play MKV files on Samsung Galaxy S2.
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Back in America! I was invited to perform in Spain the last 3 weeks. My trip was muy bien! Sit back and enjoy a slideshow of my latest adventure.
I made an appearance on The Late Late Show with James Corden last night! If you couldn't stay up late (late) you're in luck because it's the future and we have YouTube!
Come see my triumphant return to Musikfest in Bethlehem, PA! Look for me on Main Street during the day, and at the Steel Stacks on Wednesday, August 12th at 11:15 PM for some Late Night Comedy.
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Кондилевият мост () е стар каменен мост в Егейска Македония, Гърция, в кушнишкото село Мущени (Мустени).
Мостът е на река Кастанес, на 250 m над църквата, източно до Кондилевата къща.
Мостът е най-големият от четирите моста на селото и е построен в началото на XX век, вероятно в 1902 година, със средства както на местната община и на бея на Драма, на който е бил административно подчинен целият Кушнишки регион. В деня на неговото при откриването, християнската общност извършва освещаване от западната страна, докато мюсюлманската общност принася курбан теле от източната страна.
Перфектно издълбаните камъни на свода му образуват два реда, като вторият е леко издаден, а третият по-тънък увенчава останалите. За свързващ материал е използван хоросан. Мостът има ниски каменни парапети. Хоризонталната й палуба е павирана, което улеснява преминаването на пешеходци и превозни средства и до днес. През лятото е трудно различим поради гъстата зеленина на чинарите на потока. Дисонанс в естетиката му е синият тръбопровод, който е поставен от горната му страна.
Бележки
Мостове в Гърция
Дем Кушница |
Un transpondedor (forma corta para transmisor-respondedor y a veces abreviado como XPDR, XPNDR, TPDR, o TP) es un dispositivo electrónico que produce una respuesta cuando se recibe una llamada de radio-frecuencia. Las aeronaves tienen transpondedores para facilitar su identificación en el control del tráfico aéreo. Gracias a estos dispositivos se han desarrollado sistemas anticolisión como un medio de detección de aeronaves en riesgo de chocar unos con otros.
El control de tráfico aéreo utilizan el término "Squawk" (graznar) cuando se asigna un código de transpondedor a una aeronave, por ejemplo Squawk 7421. El Squawk por lo tanto significa "Código de transpondedor seleccionado", que se traduce como "He seleccionado el código de transpondedor (Squawk) xxxx".
Radar secundario
El radar secundario de vigilancia (SSR) se refiere como "secundario" (Pasivo) para distinguirlo del "radar primario" (Activo).
El radar primario determina distancia y azimut a un blanco con razonablemente alta fidelidad, y en caso de ser un Primario 3D también puede determinar la altura, mediante la generación de una señal de radio que rebota en el objeto y retorna al radar.
El SSR funciona de forma colaborativa junto con el avión. El secundario "interroga" y los aviones responden, el radar secundario calcula la distancia y azimut sobre la base de la respuesta del avión, pero además recibe información del transpondedor embarcado que es el que se encarga de transmitir una respuesta a un radar secundario. Esta respuesta más a menudo incluye la altitud de la aeronave y un código identificador de cuatro dígitos.
Operación
Un piloto puede ser solicitado a "squawk" o activar un código dado por el controlador de tránsito aéreo a través de la radio, usando una frase como "Cessna 123AB, active (Squawk) 0363". Entonces, el piloto selecciona el código 0363 en su transpondedor y su señal en el radar del controlador de tráfico aéreo se asociará con la imagen que tiene este.
Debido a que el radar primario generalmente proporciona información de apoyo y posición pero carece de información de altitud, los modos C y S en los transpondedores también informan de altitud con precisión.
Códigos de los transpondedores
Los códigos de los transpondedores son números de cuatro dígitos transmitidos por el transpondedor en una aeronave en respuesta a una señal de interrogación del radar secundario para ayudar a los controladores de tráfico aéreo a separar el tráfico. Un código transpondedor discreto (a menudo llamado un código transpondedor) es asignado por los controladores aéreos para identificar unívocamente un avión. Esto permite una fácil identificación de las aeronaves en el radar.
Los códigos Squawk son de cuatro dígitos octales; los diales en un transpondedor se leen de cero a siete, ambos inclusive. Así el Squawk más bajo posible es 0000 y el más alto es 7777. Los cuatro dígitos octales pueden representar hasta 4096 códigos diferentes.
Los pilotos deben tener cuidado de no sintonizar alguno de los código de emergencia durante un cambio de código. Por ejemplo, al cambiar de 1200 a 6501 se podría convertir la segunda rueda a un 5 (por lo tanto 1500), y luego girar la primera rueda hacia atrás en la secuencia 1-0-7-6 a llegar a 6. En un momento dado el transpondedor sintonizaría el código de secuestro, lo que podría conducir a una mayor atención de la que uno desea. Los pilotos son instruidos a no colocar el transpondedor en "modo de espera" mientras cambian los códigos, ya que causa la pérdida de información de destino en la pantalla del control de tráfico aéreo, en su lugar les piden cambiar los códigos cuidadosamente para evitar seleccionar un código de emergencia por error. Los transpondedores digitales modernos son operados por botones para evitar este problema.
Códigos Squawk utilizados a nivel global
7500: Interferencia ilícita (secuestro de la aeronave).
7600: Comunicación perdida (problemas con la radio)
7700: Emergencia general
Referencias
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Best TI Stocks to invest in September
by Elaine Mendonça
The technology and communications sectors are increasing, so many investors are excited about stocks that can capture this growth. As a result, some of the best technology stocks to buy for 2021 will continue to see their stock prices rise as the market grows in these sectors.
Technology is a broad term that encompasses many different industries and sub-sectors. Technology companies are some of the largest in the world, with technology stocks making up almost 20% of the market.
Digital components that support AI and AR are also performing well. Other companies continue to outperform traditional retailers in the sector; their stocks are up double digits this year compared to single-digit gains for more conventional competitors. Here are two excellent TI stocks that you should add to your portfolio today:
Alithya Group Inc.
During August, there was a significant reduction in the number of short positions in Alithya Group Inc. (NASDAQ: ALYA). There were 30,900 shares available for a quick sale as of August 15th, which is a decline of 37.6% from the 49,500 shares that were available for a short sale as of July 31st. The company's total equity that is accounted for by short selling is approximately 0.1%.
This value, derived from the average trading volume of 11,000 shares, was used to calculate the current short-interest ratio, which is 2.8 days. The level of interest that several hedge funds had previously demonstrated in ALYA has recently shifted due to recent events. A donation of $38,000 was handed over to Alithya Group by Global Alpha Capital Management Ltd. throughout the second quarter. The Alithya Group was the beneficiary of a 7.3% increase in the holdings that the National Bank of Canada Financial Institutions made during the second quarter.
National Bank of Canada FI now has 1,946,575 shares following the acquisition of an additional 132,057 shares during the most recent quarter. National Bank of Canada FI's stock holdings value is $4,674,000. Claret Asset Management Corp. increased its holdings of Alithya Group stock by 0.5 percent in the second quarter compared to the previous quarter. Following the purchase of 27,280 additional shares during the most recent quarter, the corporation now directly owns 5,602,358 shares in the company. The current market value of these shares is $13,576,000. Jarislowsky Fraser Ltd. boosted the proportion of ownership it had in Alithya Group by 4.3% during the second quarter.
The total number of shares in the company held by Jarislowsky Fraser Ltd. has climbed to 2,035,283, which gives the portfolio a value of $4,922,000. Compared to the prior quarter's results, this represents a rise of 84,572 shares. Ancora Advisors LLC boosted the number of Alithya Group shares that it owns by 3.6% during the first quarter of 2018, which brings us to our last point. Ancora Advisors LLC now has a total of 2,788,780 shares following the purchase of an additional 95,901 shares over the preceding quarter.
The value of the firm's shares currently held by Ancora Advisors LLC is $6,778,000. Institutional investors and hedge funds own a combined 20.62% of the total number of company shares they have in their portfolios. When trading started on Friday, a percentage of Alithya Group shares was going for a price of $2.17 per share. The company's 50-day moving average and 200-day moving average are currently lying at $2.29 and $2.44, respectively. The debt to equity ratio comes in at 0.73, the quick ratio comes in at 1.42, the current ratio comes in at 1.42, and the quick ratio comes in at 1.42. The company has a price-to-earnings ratio of 14.47, and its beta value is calculated to be 0.74. The market value of the company is $189.18 million. On June 17th, Alithya Group (NASDAQ: ALYA) released a report on the status of its operations on June 17th, which was made available to the public.
The corporation reported negative earnings per share for the period in question (0.06). The net margin and the return on equity for the Alithya Group were negative, with the net margin being negative by 3.83% and the return on equity being negative by 9.20%, respectively.
According to industry analysts' forecasts, Alithya Group's earnings per share for the current fiscal year will be $0.05 lower than they were for the prior year. The strategy and digital technology consulting services offered by Alithya Group Inc. are made available to clients in Canada, the United States of America, and Europe. In corporate strategy, the company provides services such as strategic consulting, digital transformation, organizational performance analysis, and enterprise architecture. These are only some of the services that are offered.
These services are available in addition to the enterprise solutions that are provided. ERP, CPM, CRM, and HCM are just a few enterprise solutions that are available to customers. In addition to this, it provides answers that are concerned with data and analytics. These solutions include business intelligence, data management, artificial intelligence (AI), and machine learning (ML).
C3.ai, Inc.
According to Bloomberg, the twelve research firms that are currently covering C3.ai, Inc. (NYSE: AI) have recommended "Hold" as the consensus view stock. This recommendation represents the research firms' overall opinion regarding the stock. Two equity research experts say you should buy the stock, three say you should keep the position you already have, and the other three say you should sell the stock. $20.06 is the average price estimate for the following year established by brokerages that have updated their coverage of the firm in the preceding year.
This target price has been established for the upcoming year. C3: It is prudent for firms to put money into the research and development of artificial intelligence. Recent events have resulted in several stock analysts providing their perspectives on the company's share price. Canaccord Genuity Group said in a research note that was made public on Thursday, June 2, that the price goal they had set for C3.ai shares had decreased from $23.00 to $19.00. The research note was published. Deutsche Bank Aktiengesellschaft stated in a research note sent on Thursday, June 2, that they would be reducing their price goal for C3.ai from $18.00 to $14.50. The new target price is expected to be in effect immediately. In a research report made available to the public on Friday, June 3, Wedbush lowered their price objective on shares of C3.ai to $13.00.
The company volunteered to perform the analysis. In a research note published on June 2, Morgan Stanley lowered their price objective for C3.ai from $15.00 to $14.00 and rated the stock as "underweight." JMP Securities decreased their price objective on shares of C3.ai from $59.00 to $28.00 in a research report released on Thursday, June 2. It was the final reduction, although it was by no means the least important. In addition, they gave the company an overall rating of "market outperforms" for its performance in the market. On Friday, trading on the NYSE AI began at an opening price of $18.82. During the previous 52 weeks, the price of a share of C3.ai stock has fluctuated between $13.37 and $55.58 at various points.
The stock price fluctuates between $19.68 and $19.81, which is in line with its 50-day and 200-day simple moving averages. The company has a price-to-earnings ratio of -10.12 and a beta value of 0.49, and its market capitalization is $2.02 billion at the moment. The current price of C3.AI's stock is getting perilously close to a price that would be considered a bargain. On June 1, C3.ai (NYSE: AI) announced its most recent financial results to the public. The company announced earnings per share for the quarter of $0.55, which is $0.03 more than the consensus projection of $0.58. It represents a decrease in revenue for the company. The sales for the company for the quarter came in at $72.32 million, which is significantly more than the median prediction of $71.28 million, which was made for the company's sales.
The return on equity for C3.ai was abysmal, coming in at only 14.11 percent, and the company had a negative net margin of 74.9 percent. Compared to the previous fiscal year, the company's sales achieved a 38.3% increase. The corporation incurred $0.24 per share over the previous year. Analysts in the industry anticipate C3.ai to end the current fiscal year with earnings of-2.1 per share. It is according to forecasts made for the company. Additionally, on August 1, 2,120 shares of C3.ai stock were sold by Juho Parkkinen, who serves as Chief Financial Officer for the company. It is established that the price of $18.19 was the weighted average price paid for the shares, resulting in a total profit of $38,562.80 when sold. The company's Chief Financial Officer now has a personal holding of 363,926 shares of the company's stock, which are worth a total of $6,619,813.94.
This data about the transaction was included in a document sent to the SEC, which is viewed here. Over the most recent three months, corporate insiders have disposed of 4,390 shares of company stock, bringing in a total of $79,912 from the transaction. The present and previous employees of the company control the majority of the company's shares, which amounts to 52.65% of the total. Recent months have seen several hedge funds implement changes to the ownership stake in the companies they own, bringing the total to varying percentages. Claremont Financial Group Inc. increased its holdings in C3.ai by 26.0 percent during the first three months of 2018. Because of the purchase of an additional 520 shares during the relevant period, Claremont Financial Group Inc. now has 2,520 shares of the company's stock, which are currently valued at $54,000. It is because the company acquired these shares during the relevant period.
During the second quarter, there was a 0.3% increase in the proportion of C3.ai stock held by Perigon Wealth Management LLC. Following the acquisition of 652 shares of the company's stock over the period in question, Perigon Wealth Management LLC now has 188,523 shares in its possession. These shares are currently worth a total of $3,442,000 as of right now. During the first three months of the year, Ancora Advisors LLC saw a 218% gain in the value of its shares in C3.ai.
Ancora Advisors LLC is the owner of 1,100 shares of the company's stock, which have a value of $73,000. It results in 755 having more shares in their possession than before. Additionally, during the last three months of 2018, CENTRAL TRUST Company made a new investment in C3.ai. This deal was worth somewhere in the neighborhood of $25,000 US dollars. Hedge funds and other institutional investors own 45.41 percent of the company's shares. C3.ai, Inc. is a company that specializes in the development of artificial intelligence (AI) software for commercial use. The company provides several different services to other companies that are related to software as a service. Its software offerings include C3 AI Applications, which provide turnkey AI solutions for various industries and applications, and C3 AI Suite, platform-as-a-service application development and runtime environment that enables users to design, develop, and deploy enterprise AI applications.
Both of these offerings are included in the company's software portfolio. On the company's website, you may find information regarding both options.
Tags: ALYA, Analyst Rating
Elaine Mendonça
Over the last nine years, Elaine has managed investment portfolio using fundamental analysis and value investing, emphasizing long-term time horizons.
Nothing on this website should be considered personalized financial advice. Any investments recommended here in should be made only after consulting with your personal investment advisor and only after performing your own research and due diligence, including reviewing the prospectus or financial statements of the issuer of any security.
The Best Stocks, its managers, its employees, affiliates and assigns (collectively "The Company") do not make any guarantee or warranty about the advice provided on this website or what is otherwise advertised above.
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Innovating Teacher Pre-Service Education in Bahrain: An International Partnership Model
by Lucy Bailey
Bahrain Teachers College, University of Bahrain, Bahrain.
10.46679/isbn978819484832503
This chapter reports on the process used to develop a revised curriculum for initial teacher education in the Kingdom of Bahrain, using this case-study institution to reflect on the evolving nature and purpose of teacher preparation in the twenty-first century (McMahon, Forde & Dickson, 2015), and the drivers and impediments in the Gulf Cooperation Council (GCC) countries to ensuring that teacher education programs keep abreast of wider social change. The chapter, therefore, contributes to the burgeoning literature analyzing the worldwide evolution of teacher education (Tan, Liu & Low, 2017).
The chapter begins by explaining the reasons underpinning a proposed revision of the Bachelors in Education (BEd) programme. It next reports on the process that was adopted to undertake the curriculum revision, arguing that the concepts of ―policy borrowing‖ and ―policy learning‖ are both problematic, and suggesting that these should be replaced by the idea of ―institutional partners‖. The chapter subsequently examines how potential tensions between local and global practices were leveraged in the revision through this partnership model.
This case study in the development of a pre-service teacher education curriculum is of interest to international scholars as it explores the place of teacher education in both driving and reflecting social change, and it raises questions about how competing conceptualizations of teacher education reflect contrasting visions for society (Säfström & Saeverot, 2017). Interweaving sociological and philosophical perspectives on teacher education and development, this chapter will be of interest to curriculum developers, teacher educators, and teacher practitioners alike.
Keywords: institutional partners, policy borrowing, policy learning, teacher education, curriculum revision.
This chapter is a part of: Innovations in Educational Leadership and Continuous Teachers' Professional Development (Eds. Osama Al Mahdi, Ph.D.)
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Reversing inequality: Unleashing the transformative potential of an equitable economy
inequality-smaller.jpg
A new report explains how the rules governing the US economy are tipped in favour of asset owners over wage earners, and offers solutions to transform our system. Authored by Chuck Collins and published by the Institute of Policy Studies and the Next System Project.
The US economy's deep systemic inequalities of income, wealth, power, and opportunity are part of global inequality trends, but US-style capitalism and public policy make inequalities more acute. Their observable and felt harm to our civic and economic life is corroborated by research from many disciplines. Yet, by the same token, moving toward a more egalitarian society would realign most aspects of economic and social life for the better. So how can we bring these changes about?
For starters, we must know what we are up against. These inequalities do not spring mainly from technological change and globalization, though both compound and complicate the rift. Instead, imbalances of power and agency embedded in our political and economic system are the main drivers and accelerators of inequality.
Reducing inequality requires a "next systems" analysis and playbook. Here, we briefly examine our current inequality predicament and show how these inequalities undermine our democracy, economic stability, social cohesion, and other cherished values. We then explore the systemic causes, perpetuators, and superchargers of inequalities and, finally, evaluate policy interventions and pressure points for leveling them.
The path through this thicket is only partly uncharted. The United States can learn from other advanced industrial countries with significantly less inequality, adapting policies and practices to US needs and circumstances. We can also learn from our own history—from understanding that our rigged rules have been racially biased—to how we dramatically reduced inequality between 1940 and 1975.
That said, part of the path is uncharted. Grappling with climate change and other breached ecological boundaries—whether ocean acidification, fresh water contamination, or methane dumping—intensifies the challenges of reducing extreme inequality. And many of the New Deal and post-World War II policies that reduced inequality for earlier generations won't work now given today's levels of population, resource consumption, and ecological risk.
Together, the extent and widely felt effects of inequality challenge us to put a fine-tuned combination of historical insights, policy innovations, best practices, and fresh thinking to the test. Just as urgently, we also need a vision of a more equal and opportunity-rich society.
Download a short overview of key takeaways
Download the executive summary
How We Can Transition to a Bottom Up Economy - Chuck Collins, YES! Magazine
Original source: The Next System Project
Poverty and hunger, Inequality, Environment
Blog: A shared society has to offer hope, opportunity and social justice not fear, inequality and austerity
A genuinely "Shared Society" requires the redistribution of power, wealth and income. But there is no value in sharing austerity, inequality and hardship...
Blog: Citizens' wealth funds: An alternative to the inequality escalator
Shouldn't the returns from at least part of our national wealth go to all citizens and not just the already rich? By Stewart Lansley, Inequality.org.
Blog: Extreme economic inequality is spiraling out of control
An equal share in economic growth is not enough to lift millions of people out of extreme poverty - governments must adopt a package of redistributive...
Article: Connecting the dots: Human rights, inequality and poverty
We can rapidly realise the human rights of the world's poor through global institutional reforms that reduce inequality and share the planet's natural... |
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Bob Proctor is a famous Motivational Speaker, who through his seminars, books and DVD videos has helped to change thousands of lives for the better.
Bob Proctor has the ability to reduce the most complicated concepts in life to the simplest form. He explain how to turn any idea you can think of into physical results.
If you want to unlock your potential and become everything you are capable of becoming, right now! Watch the videos below.
The Born Rich Learning System is a program that has performed miracles in companies and individuals worldwide.
Its very seeds, in fact, created so many shifts in Bob Proctor's young life that he spent more than 20 years studying WHY he had changed.
As he found answers to his questions, he realized that anyone could do what he had done. . . if they simply followed the same path.
With this conclusion in mind, Bob went to work, breaking his success into 10 chapters that were then expanded to an extensive seminar.
Since the, tens of thousands of people have been through the Born Rich Seminar with phenomenal, lasting changes to report.
Download "Think and Grow Rich" By Napoleon Hill, which Bob Proctor mentions. It's a PDF rightclick and save. |
L'interrupteur permet d'activer ou d'inactiver une option ou encore de faire un choix parmi deux états mutuellement exclusifs.
## Caractéristiques
### Libellé
Le libellé décrivant l'option est toujours placé à droite du bouton. Dans certaines situations, par exemple si on désire aligner plusieurs interrupteurs l'un sous l'autre, il peut être utile de placer le libellé à gauche.
### États et messages de validation
Ce composent gère les états (en attente, désactivé, erreur, valide) et les messages de validation tout en offrant la possibilité de personaliser chacun de ces paramètres.
<modul-demo>
```html
<m-switch :disabled="true" label="Zone de texte"></m-switch>
<m-switch :waiting="true" label="Zone de texte"></m-switch>
<m-switch :error="true" label="Zone de texte" error-message="Nulla excepteur cillum occaecat nisi occaecat duis in."></m-switch>
<m-switch :valid="true" label="Zone de texte" valid-message="Nulla excepteur cillum occaecat nisi occaecat duis in."></m-switch>
```
```css
.m-switch {
margin-top: 12px;
}
.m-switch:first-child {
margin-top: 0;
}
```
</modul-demo>
|
Columbus Offices under new ownership
Ron and Rachel Smits have purchased the Columbus Offices in downtown Green Bay.
Columbus Offices under new ownership Ron and Rachel Smits have purchased the Columbus Offices in downtown Green Bay. Check out this story on greenbaypressgazette.com: https://gbpg.net/1EAAWHF
Jeff Bollier, USA TODAY NETWORK-Wisconsin Published 5:43 p.m. CT Sept. 1, 2015 | Updated 5:59 p.m. CT Sept. 1, 2015
The Columbus Offices building, 414 E. Walnut St., was recently sold to Rachel and Ron Smits(Photo: Jeff Bollier/Press-Gazette Media)Buy Photo
The Green Bay Packers flags will fly Thursday in front of the Columbus Offices just as they have since Dennis Feld started the tradition years ago.
But it will be Ron and Rachel Smits who raise them now, after the couple bought the 30,000-square-foot office building located at 414 E. Walnut St. from Feld Properties. Ron Smits said the new owners intend to keep up many of the traditions Feld started, like flying Packer flags on game days and providing daily cleaning services for office tenants.
"Dennis Feld is probably one of the best landlords in Green Bay. He'll be a tough act to follow," Ron Smits said. "But we want to maintain his traditions here. Our tenants are our customers. We plan to take care of them."
The building, located across the street from City Hall and the Brown County Courthouse, was built in 1937 and has been the home of the Knights of Columbus and Norbertine Fathers over the years. Smits said he remembers as a youth going to the Columbus Club, located just north of the building, to go bowling or meet friends there.
Now, the Columbus Offices tenants include financial planners, attorneys, consultants and other office tenants.
Ron Smits, right, the new co-owner of the Columbus Offices, talks with one of the building's tenants, The Platinum Group owner Terry Glime, Tuesday afternoon. (Photo: Jeff Bollier/Press-Gazette Media)
But Ron Smits said there are four or five office suites that range in size from more than 500 square feet to 4,288 square feet still available for lease. Outside of a few mechanical repairs, Ron Smits said their focus will be on filling those vacancies.
Smits said the Columbus Offices is the largest building he and his wife have bought. He said they want to play a role in the ongoing revitalization of downtown Green Bay.
"The way downtown is growing right now, we're definitely excited about the property," Smits said. "I was born and raised in Green Bay. Rachel and I believe in the vision for downtown, what's happening downtown with the Northland, the Hampton Inn, KI Convention Center, the CityDeck Landing and Schreiber Foods. I feel, for the future, this is going to be a really good investment."
— [email protected] and follow him on Twitter @gbstreetwise and on Facebook at gbstreetwise.
Read or Share this story: https://gbpg.net/1EAAWHF
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Streetwise: Downtown Green Bay's 2020 'wish list' includes ... |
DESCRIPTION The cksum utility shall calculate and write to standard output a cyclic redundancy check (CRC) for each input file, and also write to standard output the number of octets in each file. The CRC used is based on the polynomial used for CRC error checking in the ISO/IEC 8802-3:1996 stan- dard (Ethernet).
1. The n bits to be evaluated are considered to be the coefficients of a mod 2 polynomial M( x) of degree n-1. These n bits are the bits from the file, with the most significant bit being the most signif- icant bit of the first octet of the file and the last bit being the least significant bit of the last octet, padded with zero bits (if necessary) to achieve an integral number of octets, followed by one or more octets representing the length of the file as a binary value, least significant octet first. The smallest number of octets capable of representing this integer shall be used.
2. M( x) is multiplied by x**32 (that is, shifted left 32 bits) and divided by G( x) using mod 2 division, producing a remainder R( x) of degree <= 31.
3. The coefficients of R( x) are considered to be a 32-bit sequence.
file A pathname of a file to be checked. If no file operands are specified, the standard input shall be used.
STDIN The standard input shall be used only if no file operands are speci- fied. See the INPUT FILES section.
INPUT FILES The input files can be any file type.
If no file operand was specified, the pathname and its leading <space> shall be omitted.
APPLICATION USAGE The cksum utility is typically used to quickly compare a suspect file against a trusted version of the same, such as to ensure that files transmitted over noisy media arrive intact. However, this comparison cannot be considered cryptographically secure. The chances of a damaged file producing the same CRC as the original are small; deliberate deception is difficult, but probably not impossible.
Although input files to cksum can be any type, the results need not be what would be expected on character special device files or on file types not described by the System Interfaces volume of IEEE Std 1003.1-2001. Since this volume of IEEE Std 1003.1-2001 does not specify the block size used when doing input, checksums of charac- ter special files need not process all of the data in those files.
The algorithm is expressed in terms of a bitstream divided into octets. If a file is transmitted between two systems and undergoes any data transformation (such as changing little-endian byte ordering to big- endian), identical CRC values cannot be expected. Implementations per- forming such transformations may extend cksum to handle such situa- tions.
RATIONALE The following C-language program can be used as a model to describe the algorithm. It assumes that a char is one octet. It also assumes that the entire file is available for one pass through the function. This was done for simplicity in demonstrating the algorithm, rather than as an implementation model.
The historical practice of writing the number of "blocks" has been changed to writing the number of octets, since the latter is not only more useful, but also since historical implementations have not been consistent in defining what a "block" meant. Octets are used instead of bytes because bytes can differ in size between systems.
The algorithm used was selected to increase the operational robustness of cksum. Neither the System V nor BSD sum algorithm was selected. Since each of these was different and each was the default behavior on those systems, no realistic compromise was available if either were selected-some set of historical applications would break. Therefore, the name was changed to cksum. Although the historical sum commands will probably continue to be provided for many years, programs designed for portability across systems should use the new name.
The algorithm selected is based on that used by the ISO/IEC 8802-3:1996 standard (Ethernet) for the frame check sequence field. The algorithm used does not match the technical definition of a checksum; the term is used for historical reasons. The length of the file is included in the CRC calculation because this parallels inclusion of a length field by Ethernet in its CRC, but also because it guards against inadvertent collisions between files that begin with different series of zero octets. The chance that two different files produce identical CRCs is much greater when their lengths are not considered. Keeping the length and the checksum of the file itself separate would yield a slightly more robust algorithm, but historical usage has always been that a sin- gle number (the checksum as printed) represents the signature of the file. It was decided that historical usage was the more important con- sideration.
Early proposals contained modifications to the Ethernet algorithm that involved extracting table values whenever an intermediate result became zero. This was demonstrated to be less robust than the current method and mathematically difficult to describe or justify.
The pseudo-code is reproduced exactly as given; however, note that in the case of cksum, A[i] represents a byte of the file, the words X and Y are treated as a single 32-bit value, and the tables f and fare a single table containing 32-bit values.
The referenced Sarwate article also discusses generating the table. |
Arabian Mare for Sale In Red Creek, NY
Red Creek, NY
Gabby is one of only a few daughters of Coaltown. (full, black brother of "The Minstril") She has fillies and colts of the highest quality. An impeccable pedigree that will make a breeding program. She could easily be your foundation mare. Her dam is also by Ruminaja Ali. The 3 rd mare on her dam line is Cleopatraa. She is for the serious decerning breeder. Does produce black. ~
About Red Creek, NY
The village was permanently settled around 1811 and was originally called "Jacksonville" after Andrew Jackson. The name was changed to "Red Creek" around 1836. The name change was attributed to the creek which passes through its entirety. Originally, Big Red and Little Red Creeks were believed to be named from the waters color, which was tainted from passing over iron ore that richly runs throughout the water bed. Both major and lesser creeks were originally fed from Mud Creek, which was later transformed into the Erie Canal.
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Maurice Long may refer to:
People
Maurice Long (politician) (1866-1923), French politician
Maurice W. Long (born 1925), American engineer
Fictional characters
Maurice Long, a character from the TV soap opera Riverdale (1997 TV series)
Other uses
Maurice Long Museum (Musée Mauice Long), Grand Palais (Hanoi), Hanoi, French Indochina; a former economics museum in what is now Vietnam
Maurice Long, a WWII French patrol ship; see List of shipwrecks in March 1945
See also
Maurice Longbottom
Staats Long Morris (1728–1800), British army general
.297/230 Morris Long, variant of the .297/230 Morris
Maurice (disambiguation)
Long (disambiguation) |
A study led by researchers at the University of Massachusetts Medical School has used a small interfering RNA (siRNA) to reduce preeclampsia symptoms in an animal model. This approach could provide a new way of treating preeclampsia in humans.
At around 20 weeks of pregnancy, women with preeclampsia develop high blood pressure and excess protein in the urine (proteinuria).
If the condition is severe, blood platelet counts fall, red blood cells break down, kidney and liver function becomes impaired and the lungs fill with fluid, causing breathing difficulties and posing a risk to both mother and baby.
The symptoms of preeclampsia are the result of a defect in the placenta that is associated with increased circulating levels of a protein called sFLT1, which serves as an on/off switch for the inhibition of new blood vessel growth.
Currently, preeclampsia cannot be cured or adequately treated and the only therapeutic option is to give birth to the baby and pass the placenta.
As reported in the journal Nature Biotechnology, the researchers used the siRNA to reduce blood levels of sFLT1 in pregnant mice.
By using the compounds to target and degrade some of the messenger RNAs needed to code for the protein, the team reduced circulating levels of sFLT1 by up to 50%.
In collaboration with researchers at Sydney University Medical School, the researchers then tested the strategy in pregnant baboons, an established animal model for preeclampsia in humans. They found that just one injection of siRNA decreased circulating sFLT1 and reduced high blood pressure and proteinuria.
The next step for researchers will be to secure funding for studies to further optimize the configuration of these compounds and to test their safety before approaching the U.S Food and Drug Administration for an investigational new drug application. |
A Plague Tale: Requiem featured impressive graphics in the first gameplay video
Accompanied by Robert Louis Stevenson's Requiem, we got an insight into the gameplay of the upcoming game A Plague Tale: Requiem. In the sequel to A Plague Tale: Innocence, the protagonists Amicia and Hugo flee from their plague-stricken area to the south. The southern landscape is more vibrant and colorful, but it also has its dangers.
In a short video, we can see that Amicia will "upgrade" its arsenal of weapons in this game. He will use a crossbow with the slingshot, but that does not mean that the game will be a shooter - we will continue to ambush the enemies. If the trailer is to be believed, one of the new mechanics in the game could be crawling on the ground. It was also hinted that they will be able to use boats and ships below - it remains to be seen whether the player will operate them or will only use them for transport/travel.
Graphically, the game looks very impressive - we would dare say at the level of God of War: Ragnarok. The characters look in detail just like in the first game, and old acquaintances - rats, are returning, this time in even greater and more devastating quantities.
Tags: Gaming News PC PS5 Switch Xbox Series X-S |
Blaga:
Lucian Blaga
Vasile Blaga
(4891) Blaga |
Introduction Fever is associated with a poor outcome in severely brain-injured patients, and its control is one of the therapies used in this condition. But, fever suppression may promote infection, and severely brain-injured patients are frequently exposed to infectious diseases, particularly ventilator-associated pneumonia (VAP). Therefore, we designed a study to explore the role of a fever control protocol in VAP development during neuro-intensive care.MethodsAn observational study was performed on severely brain-injured patients hospitalized in a university ICU. The primary goal was to assess whether fever control was a risk factor for VAP in a prospective cohort in which a fever control protocol was applied and in a historical control group. Moreover, the density of VAP incidence was compared between the two groups. The statistical analysis was based on a competing risk model multivariate analysis.ResultsThe study included 189 brain-injured patients (intervention group, n¿=¿98, and historical control group, n¿=¿91). The use of a fever control protocol was an independent risk factor for VAP (hazard ratio 2.73, 95% confidence interval [1.38, 5.38; P¿=¿0.005]). There was a significant increase in the incidence of VAP in patients treated with a fever control protocol (26.1 versus 12.5 VAP cases per 1000 days of mechanical ventilation). In cases in which a fever control protocol was applied for >3 days, we observed a higher rate of VAP in comparison with the rate among patients treated for ¿3 days.ConclusionFever control in brain-injured patients was a major risk factor for VAP occurrence, particularly when applied for >3 days.
Roquilly A, Lasocki S, Moyer J, Huet O, Perrigault P, Dahyot-Fizelier C, Seguin P, Sharshar T, Geeraerts T, Remerand F, Feuillet F, Asehnoune K (2017) COBI (COntinuous hyperosmolar therapy for traumatic Brain-Injured patients) trial protocol: a multicentre randomised open-label trial with blinded adjudication of primary outcome. BMJ Open, 7(9): .
Asehnoune K, Seguin P, Lasocki S, Roquilly A, Delater A, Gros A, Denou F, Mahé PJ, Nesseler N, Demeure Dit Latte D, Launey Y, Lakhal K, Rozec B, Mallédant Y, Sébille V, Jaber S, Le Thuaut A, Feuillet F, Cinotti R (2017) Extubation Success Prediction in a Multicentric Cohort of Patients with Severe Brain Injury. Anesthesiology, 127(2): 338-346.
Roquilly A, Feuillet F, Seguin P, Lasocki S, Cinotti R, Launey Y, Thioliere L, Le Floch R, Mahé PJ, Nesseler N, Cazaubiel T, Rozec B, Lepelletier D, Sébille V, Mallédant Y, Asehnoune K (2016) Empiric antimicrobial therapy for ventilator-associated pneumonia after brain injury. Eur Respir J, 47(4): 1219-28. |
To President Trump on Syria: The Law Matters–What's the Rationale?
by Jennifer Daskal
Senators have just emerged from a closed door meeting with Joint Chiefs Chairman Gen. Joe Dunford about yesterday's strikes in Syria. Yet, according to CNN on-air reporting (as confirmed elsewhere), the administration still has not provided Congress the legal justification for the strikes.
Nor has the President offered a public justification beyond an asserted "vital national security interest of the United States to prevent and deter the spread and use of chemical weapons" – coupled with a concern about how the refugee crisis threatens the United States and its allies.
This is disturbing. Whatever one thinks of both the policy justification for the strike, the law also matters. As does the articulation of that law.
Of particular concern, the failure to articulate a legal justification for the strikes yields speculation that the President acted without first assessing the domestic and international legal justification for his actions. If so, that would be terrifying. It would suggest a President that deemed himself empowered to engage in the uses of force without constraints imposed by the Constitution's separation of powers. And it would suggest a President emboldened to use force outside of the constraints imposed by the UN Charter — constraints that recognize the gravity of using unconsented-to lethal force in another nation's territory and are intended to limit such uses of force accordingly. These are constraints that need to be considered. No matter how right Trump was to respond to Assad's horrific use of chemical weapons in this instance, next time it might not be so clear.
Alternatively, and much preferably, the President has evaluated and considered the legal constraints, but is hesitant to say too much. This is a huge mistake. To the extent President Trump believes he is on solid legal footing, he should explain why. To the extent (as is it certainly seems) that he is offering a new theory of what constitutes a vital national security interest justifying the use of Article II authorities and/or a novel interpretation of international law, he should articulate that theory and set its parameters. Inevitably, there will be discussion and dissent, and perhaps that is what President Trump wants to avoid. But it is a healthy kind of discussion and debate. And it is much preferable than a theory of unbounded authority that the absence of any articulated legal justification suggests. That is not only damaging, it is dangerous.
Steve Pomper said it perfectly earlier today:
There will invariably be risks in offering an untested argument, even if narrowly framed, but the risks of offering no argument seem greater. Not only would such an approach risk leaving an unbounded hole in Article 2(4) of the Charter, but it would signal that the United States does not believe it needs to justify actions this consequential under international law. That would be a dangerous signal to send about an increasingly fragile international order at an increasingly unpredictable time.
Pomper was talking about international legal justification. The same is true for the domestic law claims. President Trump: The time to lay out your theory is now.
Photo: U.S. Defense Secretary James Mattis (R) and Joint Chiefs of Staff Chairman Joseph Dunford (L) confer with Sen. Jack Reed (D-RI) March 22, 2017 – Win McNamee /Getty
Jennifer Daskal
Professor and Faculty Director of the Tech, Law, Security Program at American University Washington College of Law. Member of the editorial board of Just Security.
Follow her on Twitter (@jendaskal). |
BioHPC Lab @ Saint Louis University!
Our group's research focuses on developing new software tools to better analyze large-scale biological, health, and medical data using diverse computational methods including machine learning (ML) and deep learning (DL) on high-performance computing (HPC) systems such as supercomputers and cloud computing.
High-Performance Computing most generally refers to the practice of aggregating computing power in a way that delivers much higher performance than one could get out of a typical desktop computer or workstation in order to solve large problems in science, engineering, or business.
Computational science is the application of computational and numerical techniques to solve large and complex problems. Computational science takes advantage of the improvements in computer algorithms and mathematical techniques to do things that were previously too difficult or complex. |
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Home Delivery, Toilet Paper, and Drones: Which Industries Will Thrive After COVID-19?
Submitted by MIRUS Financial Partners on August 4th, 2020
By now, we all know that the COVID-19 pandemic has changed many things in our world. Across the planet, people continue to become dependent on technology, work-at-home products, online learning needs, and home cooking.
Conversely, many people have stopped using some things and no longer go to many places. Some of our changed behavior is temporary, and we'll go back to our old ways once the pandemic is no longer a threat. But in other ways, we're changed forever.
Which behaviors will stick, and which are short-term? No one knows the answer for sure, but when considering long-term investments, it's useful to consider how the world might change.
Here's a sample of some experts' thoughts on which products, companies, and industries will thrive after COVID-19 has come and gone.
NOTE: The following list is intended to be a sample of opinions. Mirus Financial Partners does not necessarily endorse any or all of the following predictions, observations, or opinions.
According to SupermarketNews, "Almost half of shoppers reported that they are buying more groceries online or have started making online purchases because of COVID-19, Coresight's research showed. Of online purchasers, 34.9% said they're buying more groceries because of coronavirus, and 14.4% said they started shopping online for groceries due to the pandemic. Another 10.5% indicated they're buying groceries online less amid the outbreak, and 40.2% said the crisis hasn't impacted their online grocery shopping. Over the past couple of years, the online grocery shopping rate has more than doubled. In 2018, 23.1% of consumers said they had bought groceries online in the last 12 months, and 25.8% said they planned to do so in the next 12 months. Those figures climbed to 36.8% for actual online purchasers and 39.5% for expected online buyers in 2019. Then in the 2020 survey, those numbers jumped to 52% for actual online grocery purchasers and 62.5% for planned online grocery buyers."
MarketWatch.com predicts opportunities. "Prior to COVID-19, the online education market was expected to grow from a $107 billion market in 2015 to $350 billion by 2025. But the pandemic could accelerate the growth as schools grapple with how to hold classes while adhering to social distancing guidelines, and colleges and universities explore hybrid in-class and remote learning models. The state of Iowa is a leader in education technology, with more than 3,100 people working in the industry, with a diverse mix of startups and larger companies and more than $22.7 million in venture capital or angel investments raised since 2010, according to an annual report from the Iowa EdTech Collaborative. A part of the collaborative, Pear Deck, an Iowa City-Cedar Rapids edtech company founded in 2014, allows teachers to create interactive presentations and has seen record-breaking use of their tools this spring. In the U.S., between March 1 and April 30, the company trained more than 20,000 new teachers on their tools and recorded more than 30 million moments of engagement."
From Colliers International, "Typically when we think about an e-commerce distribution facility, we calculate that they require about three times that of a typical business-to-business facility to accommodate more complex pick-pack systems and provide access to a greater variety of product. With an interest in bringing some industries back to the United States for better control in times of disruption, as well as a new trend of increasing safety stock, demand for industrial space will likely grow. Following on the growth of e-commerce, new retailers will develop strictly online marketplaces and have management either working from the distribution facility and/or from home."
The Harvard Business Review notes that work-from-home industries are set to thrive. "Google has said a majority of their employees can work from home until 2021. Twitter CEO Jack Dorsey told employees that they'd be allowed to work from home permanently, even after COVID. According to the U.S. Census, about 5% of American workers primarily worked from home in 2017, up from over 3% in 2000. The Bureau of Labor Statistics noted that in 2018, 29% of workers had the option and ability to work at home. Both numbers will surely increase as a result of the many weeks in which most professionals found ways to be productive outside the office. How much will it increase? That is a function of two key factors, namely what employers can gain from more work from home and what employees want. A survey of CFOs noted that they planned to shift 20% of their employees to remote work to save costs…20–30% of workers could end up working from home a meaningful amount, which is a four to six-fold increase of what it was just a few years ago."
The U.S. Chamber of Commerce predicts a sustained increase in the home-delivery business. "Retailers, restaurants, grocery stores and more are hiring local delivery drivers to make shopping safe and simple. Industries that you may not expect to move to delivery are going that direction too, including car shopping and custom-made cocktails. All of this adds up to a future with more delivery options and the likelihood that most new consumer-facing businesses will offer a delivery option."
SmallBizDaily.com reports liquor sales are strong. "Anxiety, stress, and fear have had a new constant presence in the lives of people around the world. Given the upended state of society, liquor sales surged more than 20% after businesses and schools shut down. Liquor stores keep the profits soaring by offering delivery and curbside pickup in areas with the strictest lockdown orders."
Lendio.com suggests contactless payment providers will prosper. "Despite the dire situation many small businesses face, 36% are actually seeing better sales. Of these rising businesses, 27% cite contactless payments as a key component of their success…Various forms of contactless payments are already in wide use worldwide, but the United States has been slow to get on the bandwagon. That appears to be changing, and businesses related to the technology and processing of contactless payments are set to thrive."
Security Magazine reports, "According to a LearnBonds.com report, besides boosting their cybersecurity spending, as the top IT priority this year, around 55 percent of major organizations will boost their investments in automation solutions, revealed HFS Research survey conducted in April. Smart analytics, hybrid or multi-cloud and artificial intelligence follow, with 53 percent, 49 percent and 46 percent of those bodies asked naming them as their leading IT investments this year."
The New York Times says this is a big moment for drones, which are "…suddenly everywhere during the coronavirus crisis, taking over any number of human tasks as people hunker indoors. Drones have been working as police officers, soaring over the banks of the Seine in Paris and the city squares of Mumbai, to patrol for social distancing violators. Coronavirus has been devastating to humans but may well prove a decisive step toward a long-prophesied Drone Age, when aerial robots begin to shed their Orwellian image as tools of war and surveillance and become a common feature of daily life, serving as helpers and, perhaps soon, companions."
Bloomberg News reports, "With Americans spending a lot of time at home these days, more money is being spent on soft toilet paper. That may be bad news for the environment. Nearly 60% of at-home toilet paper in the U.S. comes from so-called virgin material, which is sourced from Canada's northern forests. The NRDC for years has highlighted the impact of tissue that uses non-recycled content. In the latest study, the group handed out F grades to brands from Procter & Gamble Co., Georgia-Pacific, and Kimberly-Clark Corp.—the three largest U.S. manufacturers of toilet paper—for the environmental impact of their products."
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Colombian cement maker Cementos Argos and Mexican building materials producer Grupo Calidra have aligned to jointly form Caltek, a new company focused on the production of lime and related compounds.
Following an initial investment of nearly $40 million USD (113 billion Colombian pesos), the flagship Caltek plant will be located in Puerto Triunfo in the Colombian department of Antioquia. According to Argos, each year it will be capable of producing up to 90,000 tons of the chemical compound used widely in construction and engineering works.
Cementos Argos and Grupo Calidra, which have named Álvaro Caicedo as general manager of Caltek, stated that this will be the only facility in the country able to create such quantities of pulverized lime, a versatile calcium-containing compound that can be used in plaster, asphalt, paint, medicines, water treatment, and mineral refining.
Lucas Moreno, vice president of innovation at Argos, highlighted the move as a sign of the Colombian company continuing to look for new markets and innovation. |
The Hoddle of Coffee: Tottenham Hotspur news and links for Wednesday, October 3
Paulo Gazzaniga, his dog, and a hidden talent.
By Pardeep Cattry@pcattry Oct 3, 2018, 7:30am BST
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Photo by Julian Finney/Getty Images
Hey, everyone!
I was very close to rambling about something else today, but I ended up stumbling upon a form of ramble jackpot.
Ramble of the Day
We all know Paulo Gazzaniga, third-choice Tottenham Hotspur goalkeeper currently getting a run of games because Hugo Lloris and Michel Vorm are out injured. We know that he's done rather well in this stretch, and that he adds to Argentinian contingent on the team. Did you know, though, that he has a dog named Teo?
Teo enjoys the snow! ❄️ Teo disfruta mucho de la nieve!
A post shared by Paulo Gazzaniga (@gazzanigapaulo) on Mar 1, 2018 at 9:14am PST
Not to be confused with Teo, the singer of Belarus's 2014 Eurovision entry "Cheesecake," Teo is a dog that clearly enjoys the snow. He's adorable, and Gazzaniga knows how to take good pictures of him, or at least knows people who can do that. (Could you imagine if he hired a photographer for a snowy Instagram photoshoot? It might not be the weirdest thing in the world, actually, and I'm sure a bunch of people have done it.)
Anyway, it seems like a rather normal existence for Teo and Gazzaniga, even though he doesn't post about him a lot. In fact, there is only one other Instagram post of this adorable dog, and either this one is out of left field or the snowy photoshoot is.
Teo THUG LIFE
A post shared by Paulo Gazzaniga (@gazzanigapaulo) on Apr 9, 2018 at 6:22am PDT
The first question has to be: Why? I don't mean this as a critique in any sense. It's a pretty funny video, which is exactly what it's supposed to be. I am curious, though: How did he come up with the idea?
Seeing as I won't ever get the answer to that question, I will move on to my other thoughts. In addition to being a capable goalkeeper, Gazzaniga clearly knows how to direct a video. This is a skillfully created production. The costume and set designs are perfect, and the actual direction is sublime. He tells his story perfectly; the video starts off completely unassumingly, and finishes off that way after the surprise hits you.
Gazzaniga has only one other video on his account, which is of him verifying that that is his official account. That, too, is well produced, but it is a much simpler production. I'd love to see what else he can do with a camera and a story, because he seems promising.
tl;dr: A hidden talent of Paulo Gazzaniga.
Links of the Day
Jadon Sancho has signed a contract extension with Borussia Dortmund, keeping him at the club until 2022.
Someone threw a cabbage at Aston Villa manager Steve Bruce before the team's 3-3 draw with Preston North End.
David Squires's latest cartoon is about Manchester United's poor start to the season.
Today's longer read: Tom Marshall reports on the early days of Diego Maradona's tenure at Mexican second division club Dorados for ESPN |
Samantha Ryan of Saskatoon finished fifth in the women's 100m butterfly S10 at the Paralympic games in Rio de Janeiro, Brazil, with a time of 1:09.73.
Ryan started slow and was seventh after 50 metres, but moved up to fifth by the end of the race.
Sophie Pascoe of New Zealand won the gold medal by setting a new paralympic record of 1:02.65.
China's Chen Yi earned silver and Poland's Oliwia Jablonska won bronze.
Spencer Krieger of the Huskies was named defensive player of the week after his performance in their 29-17 win against Alberta on Friday.
Krieger had 6 solo tackles, 1 sack and a fumble recovery.
Krieger is a fifth-year business student and plays defensive back.
Player of the week honours also went to Denzel Radford of the Calgary Dinos for special teams and Noah Picton of the Regina Rams for offence.
Canada's wheelchair basketball team advances to the quarter-finals in Rio Paralympic Games with a 82-49 victory against Brazil.
Canada was ahead 49-22 at halftime and easily held on for the victory.
Canada was in a three-way tie for top spot in group A with a 3-1 record, but is seeded third because of the point differential tie-breaker.
Arinn Young of Legal, Alta. led the offense for Canada with 22 points.
Erica Gavel of Saskatoon is a member of the team. |
The International Gymnastics Federation has approved a new format for the 2020 Olympics in Tokyo which cuts the artistic gymnastics team event size from five gymnasts to four gymnasts, according to Nancy Armour of USA Today.
The 2012 Summer Olympics in London featured teams of five, while the 2008 Summer Olympics in Beijing featured six gymnasts per team.
"[...] The team format will be four gymnasts, four compete on each apparatus, and three scores count. The best countries will be able to qualify up to two individual gymnasts also through World Cups, Challenge Cups, and Continental Championships. There are many other formulas for AA gymnasts to qualify outside of the teams. The final details are still to be worked out, but the format is now set. I am one of the few that did not support this major change."
At the 2012 Olympics, the United States five-woman team of Gabby Douglas, Jordyn Wieber, Aly Raisman, Kyla Ross and McKayla Maroney won gold in the team all-around. The men's team all-around gold medal was won by China.
Raisman, who also won gold in floor exercise in London, reacted to the change on Twitter on Friday.
Are you kidding me?!? Changing the 2020 gymnastics Olympic team to 4 girls instead of 5? What's next? A team of one member? What a shame.
A Change.org petition was started on Friday opposing the decision. |
10 Most Jaw-Dropping Game of Thrones Episodes
by Pranay Das
Ever since its premier in on 17th April, 2011, fantasy drama television series Game of Thrones has taken the world by storm and has over the years emerged as one of the most watched television series ever. With the fifth season set to premiere on 12th April, 2015, we take a look at 10 of its most jaw-dropping episodes from the first four season, which have kept the show viewers hooked to the TV sets.
10. Winter Is Coming (Season 1, Episode 1)
'Game of Thrones' proved its worth from its first episode and set the world ready for one of the greatest TV shows that it has ever witnessed. The pilot episode introduced the dynamic characters and the places that the show was set in. Revolving mainly around the Starks and the Winterfell, it saw Robert Baratheon, King of the Seven Kingdoms of Westeros, and his wife, Cersei Lannister visiting Winterfell. The episode ended with the revelation of the one of the first major turning points in the story – The discovery of the incestuous relationship of Cersei and her twin brother Jamie Lannister by 10-year-old son Brandon Stark, for which Jamie throws him out of a high window.
9. Fire and Blood (2011) (Season 1, Episode 10)
The season 1 premiere was as expected, saw the culmination of the events of season 1 and set the mood for the next season. With Robb Stark being declared as the new king of the north after the death of his father, the seeds for vengeance were set, with their first glory being capturing Jamie Lannister. The plot thickened when Daenerys Targaryen found her husband in a vegetative state and decided to give him peace by killing along with the witch responsible for his being like that. She along with the witch and her three dragon eggs and her husband entered fire, only to be discovered by others in the morning that she survived the fire, thereby proving her dragon blood and on her shoulders, stood three newly hatched dragons.
8. And Now His Watch Is Ended (Season 3, Episode 4)
This episode is known for a number of unprecedented twist that no one saw coming – from the cleaning boy's betrayal of Theon Greyjoy, Varys' revelation to Tyrion of keeping the person who castrated him captive, death of Craster and Lord Commander Mormont, Beric Dondarrion's revelation that he has been reborn by the God of Light, it saw all. But, of course it saved the best for the last. In what is claimed by many as Daenerys' most bad-ass scene so far, she plays a got-to-see-to-believe trick to kills the masters and free the unsullied and reclaiming her dragon.
7. The Children (Season 4, Episode 10)
In one of the best season finales ever, we see breath-taking scene where Stannis Baratheon and his army suddenly overrun the wildling army. And this was just the start of the many great things it had to offer. From Jojen Reed's death, appearance of three-eyed raven, Daenarys' juxtaposition in not being able to control her dragons, the Hound wounded by Brienne and left to die by Arya, Cersei's threatening to Tywin to reveal her and Jaime's incestuous affairs, murder of Shae and Tywin by Tyrion and his escape from the city along with Varys, it served us all. The season ended with the promise of an even better season with Arya heading to Braavos.
6. Baelor (Season 1, Episode 9)
This episode is credited for being the first episode which saw the death of a major character – Eddard Ned Stark and showed how unpredictable the series can be. It also made viewers ready to see their favourite characters to die anytime anywhere. Ned we say more?
5. Blackwater (Season 2, Episode 9)
This was the first episode which revolved around a single place. Unlike all previous episodes, "Blackwater" does not follow the parallel storylines of the characters outside of King's Landing. The Battle of Blackwater, which proved to keep everyone on their edge happened took place. With unanticipated events taking place every second, this was a sheer treat to GOT fans. And, of course, who can forget Cersei Lannister in this episode, where she was at the cynical best, even when death was knocking at the door, literally!
4. The Mountain And The Viper (Season 4, Episode 8)
This episode proved how wrong it is take anything for granted, when it comes to 'Game of Thrones'. With the Ironborn surrendering in the hopes of returning home, they are flayed and slaughtered by Ramsay and his army in return. Finally, despite being true to her, Ser Jorah's past comes to haunt him as he is revealed to be a spy and is asked to leave Meereen forever by Daenerys. But, in what has come to be one of the latest jaw-dropping moment, saw the brutal death of Prince Oberyn by The Mountain and the death sentence of Tyrion by Tywin for regicide.
3. The Laws Of Gods And Men (Season 4, Episode 6)
In one of the episodes which explored the darker sides of most of the characters, we encounter Theon, who now recognizes himself as Reek, refusing to get out of Ramsay when Yara comes for his help. But what took the limelight in this episode was Shae's betrayal towards Tyrion in front of everyone, and that's when Tyrion pulled out a game-changing twist by demanding a trial by combat, which no one saw coming and made for one of the greatest climaxes.
2. The Lion And The Rose (Season 4, Episode 2)
No episode was more loved probably than this one which saw the "Purple Wedding" in which the most hated character, Joffrey Baratheon after years of leading life as a spiteful monster, heartlessly mocks Tyrion at his wedding. And that was the last straw that broke the camel's back. As fate would have it, Moments after humiliating his uncle, Joffrey met his own death, pulling out one of the major surprises the show has ever witnessed.
1. The Rains Of Castamere (Season 3, Episode 9)
This was the episode that has scarred viewers for life in what is known as the infamous 'Red Wedding'. In one of the most unforeseen events, at the wedding of Edmure Tully and Roslin Frey, in a gut-wrenching betrayal, Walder Frey's men murder Catelyn, pregnant Talisa and most of the Stark bannermen, while Roose Bolton kills Robb. Moments later, Arya along with the Hound comes to the wedding only to find her family dead and soon escape s from there. Now, this is one episode that still sends the chills even to the brave-hearted.
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A sample of our graduands: from left to right–Raven Rickner, Deena Robak, Janel Bortoluzzi, Michelle Biddell, Chloe Philippot, Taylor Kerelluke, Irlanda Gomez, Spencer Paddock, Shaelyn Plett, Gustav Nelson, Aimee Schwager (Photo credit: Dr. Justin Friesen)
On June 14th and 15th, 2018, students from the Psychology and Biopsychology programs graduated at the 113th UWinnipeg Spring Convocation. The above collage is just a sample of the numerous students who graduated from our programs. We congratulate all of our graduands on the successful completion of their degrees, and wish them the very best–whatever they may undertake in the next phase of their respective journeys!
2018 Award Recipients in Psychology and Biopsychology
Ron Norton Prize in Psychology: Alyssia Wilson
(This prize is awarded in honour of Dr. G. Ronald Norton who taught at The University of Winnipeg from 1968 to 1999, serving as Department Chair from 1986 to 1991. It is awarded annually to the student who has written the best thesis in completion of the requirements of the Psychology [Honours] program.)
O.T. Anderson Award: Mohamed Abo Aoun
(The O.T. Anderson Award was established by the Class of '62 in memory of Professor O.T. Anderson, Dean of the Faculty of Arts and Science, United College, from 1926 to 1958. The award of a miniature of the O.T. Anderson Trophy is made to the outstanding graduate of the year for distinguished academic and extra-curricular achievement during undergraduate year.)
University Silver Medal for Second Highest Standing in Arts (Honours): Chloe Korade
University Silver Medal for Second Highest Standing in Science (Honours): Mohamed Abo Aoun
Medal for Achievement in Biopsychology (Major–Honours program): Mohamed Abo Aoun
Medal for Achievement in Psychology (Major–Honours program): Keadon Shebaylo
Medal for Achievement in Biopsychology (Major-4-year general program): Siavash Koosheh
Medal for Achievement in Psychology (Major–4-year general program): Satya Hahlweg
Medal for Achievement in Biopsychology (Major–3 year program): Andrew Pierce
Medal for Achievement in Psychology (Major–3-year program): Tamara Janssen |
Mr. Fetter was named Tenet's President in November 2002 and was appointed Chief Executive Officer in September 2003. From March 2000 to November 2002, Mr. Fetter was chairman and chief executive officer of Broadlane, Inc. From October 1995 to February 2000, he served in several senior management positions at Tenet, including Chief Financial Officer. Mr. Fetter began his career with Merrill Lynch Capital Markets, where he concentrated on corporate finance and advisory services for the entertainment and healthcare industries. In 1988, he joined Metro-Goldwyn-Mayer, Inc., where he had a broad range of corporate and operating responsibilities, rising to executive vice president and chief financial officer. Mr. Fetter holds a bachelor's degree in economics from Stanford University and an M.B.A. from Harvard Business School. He is a member of the board of directors of one other public company, The Hartford Financial Services Group, Inc. |
There are many stores but it can be noticed that many stores tries to sell almost everything. For an example a garment store in garment store a seller tries to keep a range from kids clothing to adult and even old ages in addition they also keeps both genders categories like for male and female. I am not saying that it is completely wrong practices because some big stores keep everything separate in different shelves and maintain it nicely. Well an idea to keep run store where their customer can find all their required stuff under one roof is sometime good but in my sense not for every range of products it is good for general store like FMCG products and many others.
This is as same as that you have seeking for a taxi and there are hundreds of drivers came up some claims the cheapest fare while some claims that we are expert and on other hand some claims that we have nice vehicle in low fare as compared to other or you can take an example of flights however most of the time you would got confused which to consider most and to opt. isn't? So the point is choices are good but too many choices make confusion which didn't allows to get the right one. If choices are right and selection among the best are been offered than it becomes easier to select one of this is called filters which are now been widely used on web stores. In addition, Specific stores are more preferable rather than a market as this an era of Online Shopping and most of the people recommend more to shop online rather to visit a physical store. Now if you can take an example of one of online store so let's say Amazon or Ebay, yes these are different kind of stores but as these stores are well known and they also offered brand new products too so that's why Mentioning them to give an idea that when we are going to search for any product so the result come up with many choices and with marketing banners which might distract your attention what you were looking for actually and when you have taken out one product than might you found that it has fake or bad reviews or any other problem came up so see how difficult is that. On other hand if you are shopping from Specific store than you might invest less time and get the most optimal solution. This is all about to identify the actual problems behind therefore now stores are being specified for more easiness for the shoppers.
When it comes to Bridal shopping which is already very specific because bridal collections are very limited and while shopping for bridal dress no one wanted to compromises on an even single element. Bridal Stores must have to be specified and all the bridal dresses must be good categorized. Sydney bridal shops has to be maintained be in filled with the best choices same like filter defined above so the shopper can chose the right bridal dress they actually looking for. So far bridal shop or bridal store no matter it is bridal online store it has to be very smooth without any other marketing banner not even other kind of bridal dress because attention and full concentration is important while shopping for bridal dresses.
It is strongly recommended for sellers to keep specific bridal store and for customer to shop only from specific bridal store for best result. For more information, please log on to https://www.abouttimebridal.com/beatrice-collection/. |
by Nicole Dennis-Benn
W. W. Norton & Company | General Fiction (Adult)
General Fiction (Adult)
Pub Date 05 Jul 2016
This title was previously available on NetGalley and is now archived.
Buy this Book on
In this radiant, highly anticipated debut, a cast of unforgettable women battle for independence while a maelstrom of change threatens their Jamaican village.
Capturing the distinct rhythms of Jamaican life and dialect, Nicole Dennis- Benn pens a tender hymn to a world hidden among pristine beaches and the wide expanse of turquoise seas. At an opulent resort in Montego Bay, Margot hustles to send her younger sister, Thandi, to school. Taught as a girl to trade her sexuality for survival, Margot is ruthlessly determined to shield Thandi from the same fate. When plans for a new hotel threaten their village, Margot sees not only an opportunity for her own financial independence but also perhaps a chance to admit a shocking secret: her forbidden love for another woman. As they face the impending destruction of their community, each woman—fighting to balance the burdens she shoulders with the freedom she craves—must confront long-hidden scars. From a much-heralded new writer, Here Comes the Sun offers a dramatic glimpse into a vibrant, passionate world most outsiders see simply as paradise.
Capturing the distinct rhythms of...
"This debut novel from Dennis-Benn is an astute social commentary on the intricacies of race, gender, wealth inequality, colorism, and tourism.... Haunting and superbly crafted, this is a magical book from a writer of immense talent and intelligence." —Kirkus Reviews, starred review
"Here Comes the Sun, like its main character Margot, stuns at every turn, especially when you think you have it figured out. It's about women pushed to the edge, Jamaica in all its beauty and fury and more than anything else, a story that was just waiting to be told." –Marlon James, author of A Brief History of Seven Killings
"An indelible portrait of a woman in motion. Nicole Dennis-Benn has created in Margot a fierce and fearless striver. A fantastic debut." –Laila Lalami, author of the Pulitzer Prize finalist The Moor's Account
"In Here Comes The Sun, Nicole Dennis-Benn boldly takes on the emotional and psychosocial effects of colorism and classism, among other topics. Here is a story of love and betrayal within the parameters of friendships and families in one Jamaican community. Most prominently, we follow the struggles of Margot, Delores, Thandi, and Verdene as they embark on their journey toward self-fulfillment. Nicole Dennis-Benn has written a book that is full of culture and crackling with life." –Chinelo Okparanta, author of Under the Udala Trees
"This debut novel from Dennis-Benn is an astute social commentary on the intricacies of race, gender, wealth inequality, colorism, and tourism.... Haunting and superbly crafted, this is a magical...
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Becky N, Reviewer
Wow! Don't take this book to read on a vacation at a resort in a third world country. This story will make you look at the local people in a whole different light. While we are enjoying the sun and cocktails there is another world beyond those walls. This story will take us into the lives of three Jamaican women. Delores and her two daughters will sneak their way into your thoughts long after this book is set aside. When I first started this story I had a difficult time with the Jamaican accent that is used with some of the characters. However, once you get further into the story the transition becomes more smooth and you hardly notice it. I loved that each character had a strong voice in the story and there is something special about each one. This is a book that looks at the dark side of what tourism can do to a small town and the people that live there. It is not a light beach read but a beauty if you like to sink your teeth into something more substantial.
Aerion W, Librarian
What an amazing book! This book captured so many different themes that can be problematic to all people, but especially people of color is desperate and dire situations. The problems of intergenerational damage, the cycle of hurting those around you as a result of you being hurt, the cycle of poverty, environmental racism, modern day colonialism, colorism, homophobia stigmas against women in Jamaica. This book was just everything. Like others have said, do not let the cover of this book make you think this book is some fun island adventure because it is not. But it is a true and realistic story of the types of real life experiences you would find in families and black people all over the world. READ THIS BOOK
Ipek A, Reviewer
What a read! Nicole Dennis-Benn introduces three women with strong voices, secrets and struggles that will stay in your thoughts long after the book is finished. With seemingly sunny Jamaica as the backdrop, a portrait of poverty, racism and sexism is painted. In a lot of ways this is a dark book that you can't really let go.
Nicole Dennis-Benn
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Patrik Eliáš (; born 13 April 1976) is a Czech former professional hockey winger who played 20 seasons in the National Hockey League (NHL) with the New Jersey Devils. Eliáš is the franchise's all-time leader in points, goals and assists, and he holds the franchise records for the most points in a season (96) along with most career game-winning goals (79). Eliáš won the Stanley Cup twice with the Devils, in 2000 and 2003. He also ranks second in points by a Czech-born player in the NHL behind Jaromír Jágr. Internationally Eliáš represented the Czech national team in multiple tournaments, including four Winter Olympics and four World Championships, winning one Olympic bronze medal and two more at the World Championships.
Playing career
Eliáš was drafted by the New Jersey Devils in the second round, 51st overall, in the 1994 NHL Entry Draft.
Along with Petr Sýkora and Jason Arnott (who together formed the Devils' famous "A-Line"), he helped lead the team to a Stanley Cup in the 2000 Stanley Cup playoffs. He scored twice against the Philadelphia Flyers in the deciding Game 7 of the Eastern Conference Finals, and also assisted on Arnott's Stanley Cup-clinching goal in double overtime in Game 6 away against the Dallas Stars. The following year, he scored a team-record 96 points in the regular season, third-best in the NHL. Two years later, he played a key role in New Jersey's 2003 Stanley Cup victory after recording seven points (three goals and four assists) in the finals series against the Mighty Ducks of Anaheim.
During the 2004–05 NHL lockout, Eliáš played hockey in the Russian Superleague (RSL) for Metallurg Magnitogorsk.
Three months into the 2005–06 season, Eliáš made his first appearance of the season on 3 January 2006, against the Florida Panthers, after missing 39 games due to Hepatitis A, resuming his role as an alternate captain (replacing Alexander Mogilny). He scored eight points in his first four games to help the Devils win his first nine games back with the team. In the first game of the 2006 playoffs, against the New York Rangers, he became the tenth player to score six points in one NHL playoff game, with two goals and four assists. Eliáš' 2006 playoff campaign was spectacular, despite the fact that the Devils were eliminated by the eventual Stanley Cup champions Carolina Hurricanes in the second round. Eliáš recorded 6 goals and 10 assists for an impressive 16 points in just 9 games.
Unable to reach a contract with the Devils entering the 2006 off-season, Eliáš tested unrestricted free agency. In addition to offers from the Chicago Blackhawks and the Montreal Canadiens, Eliáš verbally agreed to sign with the rival New York Rangers on 1 July. However, negotiations stalled when Rangers general manager Glen Sather would not agree on a no-movement clause in his contract. Eliáš subsequently called Devils general manager Lou Lamoriello and the two sides agreed on a seven-year, $42 million contract that included a no-movement clause.
Eliáš was named the Devils' new captain on 5 October 2006, becoming the seventh captain in the team's history. The previous captain of the Devils was defenseman Scott Stevens, now retired. Eliáš became the first European-born captain in the history of the franchise. However, at the start of the 2007–08 season, Eliáš was stripped of the captaincy by incoming head coach Brent Sutter. The Devils named Jamie Langenbrunner his replacement as captain on 5 December 2007.
Sutter later placed Eliáš on a top scoring line which consisted of Dainus Zubrus and Brian Gionta. Eliáš was also known to work well with Devils winger Zach Parise, with whom he occasionally played with on "Heroes Line" and frequently played with on the power-play unit.
On 17 March 2009, Eliáš became the Devils' all-time leading scorer by recording his 702nd career NHL regular season point, an assist on Brian Gionta's shorthanded goal. Gionta's goal was the game-winner in a 3–2 win over the visiting Chicago Blackhawks, providing the difference in goaltender Martin Brodeur's record-breaking 552nd win to surpass Patrick Roy, who held the former record at 551 wins. Chants of "Pa-trik E-li-as" were heard as Devils' PA announcer Kevin Clark confirmed to the crowd that Eliáš had broken John MacLean's record. Eliáš was named the second star of the night, behind only Brodeur.
Eliáš was the winner of the 2009 Golden Hockey Stick as the world's best Czech hockey player, ending Jaromír Jágr's four-year streak. He scored his 300th career goal on 12 December 2009, against the Philadelphia Flyers.
Despite a weak first half by the Devils during the 2010–11 season, Eliáš was selected to be the Devils sole representative at the 2011 NHL All-Star Game in Raleigh, North Carolina. This was his third All-Star appearance and he was eventually selected by Team Staal in the first-ever NHL All-Star "fantasy draft". On 19 February 2011, Eliáš recorded the 800th NHL point of his career with his third assist of the game against the Carolina Hurricanes. At the conclusion of the season, on 1 April, Eliáš scored his eighth career hat trick, coming against the Philadelphia Flyers.
In the following 2011–12 season, Eliáš scored two goals (347, 348) against the Montreal Canadiens on 17 December 2011 to tie (then surpass) John MacLean as the Devils' leading goalscorer. Eliáš played his 1,000th career NHL game on 6 January 2012, against the Florida Panthers. In the game, he scored a goal and recorded two assists in a 5–2 victory.
On 27 January 2013, against the Montreal Canadiens, Eliáš recorded his 900th career NHL point with one goal and two assists. On 6 January 2015, in a 4–1 victory against the Buffalo Sabres, he became the 82nd player in NHL history to reach 1,000 career points; he recorded one goal and two assists in the game. One month later, on 6 February in the Devils' 4–1 home win over the Toronto Maple Leafs, Eliáš scored his 400th NHL goal, becoming the 91st player in NHL history to do so.
On 31 March 2017, Eliáš announced his retirement from professional ice hockey.
On 3 August 2017, the Devils announced that his no. 26 would be retired on 24 February 2018, prior to a game against the New York Islanders, the team against whom Eliáš played the most games in his career (91) and scored the most points against (86) over his career. Eliáš became the first forward to have his number retired by the Devils and the fifth Devil overall.
International play
Eliáš played his first game in the national squad in 1998, and has played 40 times for the national team, scoring 20 goals (as of end of season 2010/2011). He was selected as captain of the Czech squad for the 2010 Winter Olympics in Vancouver.
Personal life
Eliáš married Petra Volakova, also a native Czech, in the 2007 off-season. Together they have two daughters. On 11 January 2018, Eliáš became a naturalized citizen of the United States.
Records
New Jersey Devils record for career points (1025).
New Jersey Devils record for career goals (408).
New Jersey Devils record for career assists (617).
New Jersey Devils all-time leader in playoff goals (45), assists (80), and points (125).
New Jersey Devils record for most points in one season (96).
New Jersey Devils record for most points in a playoff season (23).
New Jersey Devils record for career game-winning goals (79).
New Jersey Devils record for career overtime goals (16).
Most career overtime points (37).
New Jersey Devils record for career hat tricks (8).
New Jersey Devils record for career shots on goal (3,201).
New Jersey Devils record for career power play goals (110).
Eliáš is the only NHL player to be awarded two penalty shots in overtime. Both occurred in separate games versus the New York Islanders, and in both cases, Eliáš missed the penalty shot.
Career statistics
Regular season and playoffs
International
Awards
NHL
Stanley Cup champion – 2000, 2003
NHL All-Star Game – 2000, 2002, 2011, 2015
NHL First All-Star team – 2001
NHL Plus-Minus Award – 2001 (shared with Joe Sakic)
NHL All-Rookie team – 1998
International
Winter Olympics bronze medal – 2006
Ice Hockey World Championship bronze medal – 1998, 2011
Golden Hockey Stick – 2009, 2012
See also
List of NHL players with 1,000 games played
List of NHL players with 1,000 points
List of NHL players who spent their entire career with one franchise
References
External links
1976 births
Living people
Albany River Rats players
Czech expatriate ice hockey players in Russia
Czech expatriate ice hockey players in the United States
Czech ice hockey left wingers
Czechoslovak ice hockey left wingers
Ice hockey players at the 2002 Winter Olympics
Ice hockey players at the 2006 Winter Olympics
Ice hockey players at the 2010 Winter Olympics
Ice hockey players at the 2014 Winter Olympics
Medalists at the 2006 Winter Olympics
Metallurg Magnitogorsk players
National Hockey League All-Stars
National Hockey League players with retired numbers
New Jersey Devils draft picks
New Jersey Devils players
Olympic bronze medalists for the Czech Republic
Olympic ice hockey players of the Czech Republic
Olympic medalists in ice hockey
Orli Znojmo players
Rytíři Kladno players
Sportspeople from Třebíč
Stanley Cup champions |
On-going Exhibits
Macculloch Hall Museum and Gardens
All the Creatures Were Stirring, Even the Mouse! Thomas Nast's Furry Christmas
November 1, 2020-October 31, 2021
Thomas Nast (1840-1902) illustrated the figure of Santa Claus and Christmas images throughout his career. Nast was inspired by the famous poem A Visit from Saint Nicholas, popularly known as 'Twas The Night Before Christmas, written by Clement Clarke Moore in 1822. Nast included many elements from Moore's poem in his illustrations.
Through a selection of the artist's work, this exhibition explores how Nast developed the image of Santa Claus as a jolly, round-bellied, white-bearded, gnome-like figure that immediately captured the imagination of both children and adults throughout the United States when first published and that continues to delight audiences to this day.
Morris Museum- A Smithsonian Affiliate
Smithsonian Spark!Lab
Spark!Lab, where everyone is an Inventor!
Spark!Lab offers any child (ages 5-12 years old and accompanied by an adult), a new informal approach to hands-on learning. Instead of following step-by-step instructions, young inventors will be empowered to problem-solve and overcome real-world obstacles. Spark!Lab offers many unique, project-specific stations, where inventors can engage directly with engineering and design challenges.
This dynamic, Smithsonian-created learning space will inspire young visitors to create, collaborate, and innovate. As New Jersey's only Smithsonian Affiliate, the Museum is proud to launch the tenth Spark!Lab in the nation.
Timed tickets are available from noon to 4 pm at the visitor center. Timed tickets are free with Museum admission.
Note: Spark!Lab is closed October 20-24, 2021.
Stowed Away: A Traveling Philographist and His Arctic Uke
October 29, 2021 – March 6, 2022
Stowed Away: A Traveling Philographist and His Arctic Uke explores the story behind the ukulele that "stowed-away" on Admiral Richard Byrd's North-Pole flight of 1926. Featuring Richard Konter's original ukulele alongside its reproduction, the exhibition reveals recent discoveries about the instrument using advanced imaging techniques.
The ukulele belonged to Richard Konter, a naval veteran of the Spanish-American War and World War I, who participated in Byrd expeditions to
both the Arctic and Antarctic. For years after the flight, Konter used this
instrument as an unusual "autograph book," collecting the signatures of more
than 150 individuals—from royalty to presidents, explorers to generals, scientists
to politicians—who added their names to this unique artifact of Arctic history.
To identify these signatures, a wide range of historical sources were consulted to
verify each one. Autobiographical accounts written by Richard Byrd, Laurence
Gould, and Richard Konter supported the identification of numerous signers
while corroborating the signers' intersection with Richard Konter. Documents,
letters, official crew lists, and photographs, found at the National Archives and
the Byrd Polar and Climate Research Center, offered rich, primary source material, to inform the overall
story of Richard Konter and his ukulele. And Richard Konter's stepdaughter, Jean Neptune, also provided
her contribution of oral histories, firsthand accounts, and personal photographs.
To further verify the signatures, the Smithsonian Institute's Museum Conservation Institute (MCI)
scrutinized the surface of the ukulele, deploying non-invasive, digital-imaging techniques. These
approaches revealed details invisible to the unaided eye and allowed the identification of many signatures
that had faded over time. Notable confirmed signatures include Calvin Coolidge, Charles A. Lindbergh,
Thomas A. Edison, and others. Through these culminated efforts, 123 of the 158 signers have been
identified with certainty.
Special Installation Spotlight: Don't Go Quiet by Breakfast
April 10, 2021 – November 21, 2021
The new media artist collective BREAKFAST specializes in kinetic works that are connected to social causes. They created this piece in response to the civil unrest that spread across the nation in the wake of George Floyd's death on May 25, 2020 in Minneapolis, Minnesota. Each sweep of movement across the piece is tied to an individual social media post using the #blacklivesmatter hashtag in real time. The piece is also activated by you, our visitor. When you move into viewing range, a sensor registers your motion and routes the data through a computer that captures your silhouette. The computer then activates synchronized magnets that instantaneously flip the two-colored discs to render your shape.
First Museum Exhibition to Examine NJ Artists' Work
Both On and Off the Streets
September 24, 2021–February 27, 2022
On and Off the S treets: Urban Art, New Jersey is the first museum exhibition to examine the duality of
New Jersey artists whose creative versatility extends from the street to
the studio. Although their outdoor murals are more commonly
experienced in the "open air" galleries that have cropped up in Jersey
City, Newark, Asbury Park, and Trenton, these twelve artists also
maintain a successful studio practice, producing works on canvas,
paper, and wood, as well as sculpture, video, stickers, stencils,
skateboard decks, and fashion. Along with these studio-produced
works, eleven of the artists have painted 13-1/2 feet tall x 20 feet wide
murals directly on the Morris Museum's gallery walls expressly for this
exhibition to capture the scale and site-specific nature of their street art
practice. The impact of the streets on the studio will be explored, as the
lines between urban art and fine art have become increasingly blurred.
With roots in late 1970's graffiti, skateboard, and punk subcultures,
today's street art has evolved into a cultural phenomenon with a distinct
visual language that has reclaimed public spaces in cities across the
globe. Encompassing unique styles and varied techniques, street
artists address topics that range from notions of place to cries against injustice. Not only has urban art
transformed our visual landscape, it has impacted the cultural expression of our time, including fashion,
design, advertising, and the contemporary art canon. While neighboring New York-based street artists
continue to receive attention from museums and cultural centers worldwide, those based in New Jersey have
been largely overlooked.
Iranian Sister Duo Presents New Video Painting & Installation Work
On view November 12, 2021–April 24, 2022
(Morristown, NJ – October 2021) – The Morris Museum presents Body Double: The Safarani Sisters featuring the work of identical twin Iranian artists Bahareh and Farzaneh Safarani in their first solo museum exhibition, opening on November 12, 2021. As interdisciplinary artists and collaborators, their creative practice exists at the intersection of visual art, new media art, and performance. The exhibition highlights their studio work, charting a path from their signature "video-paintings"—video overlays of choreographed movement projected onto figurative oil-on-canvas paintings—to new pieces that reflect the fluidity of their outlook. On view are twelve video-paintings, one oil painting, a site-specific installation incorporating augmented reality, and a short film created expressly for this exhibition that documents the artists' unique creative process. The exhibition opening will be preceded by a VIP preview event on Wednesday, November 10.
The exhibition begins with recent work that affirms the Safarani Sisters' experimentation with video projection and traditional painting to elicit mood and emotion, including Blue Curtain (2017), Remember (2018), Puppet Dance (2019), Puppeteer (2019), Reflection (2019) and Beneath the Breath (2020). These represent scenes from a continuum, a narrative portraying the growth and evolution of a character depicted through this ongoing body work. Seven new works have been created for this exhibition, including two large pieces—Unravelling Ceremony (2021) and Umbilical Cord (2021)—and four smaller works in series—Perpetual Dance, Sanctuary of Her, The Moment of Comprehension, and Rapture of Dance (all 2021)—that, when installed together, suggest sequential images from a film strip or, with the video overlay, scenes from a movie, further reinforcing the overarching of narrative themes in the sisters' work. The new, unifying element in these pieces is the imagery of a red rope, symbolizing both connectivity and boundary.
The red rope becomes a physical presence in the site-specific installation. The walls, floor, and ceiling of this room are painted black, creating a womb-like space, with a circle of red rope suspended from the ceiling and an overlay of augmented reality. Extending their experimentation with digital technology further, the sisters bring the experiential effects of their video-paintings into the real and virtual worlds, blurring the boundaries.
Museum of Early Trades & Crafts
Hidden Treasures from METC's Permanent Exhibit
Museum collections contain vast stories. These narratives are held within the collections of historic objects, fine art, archival material, and library holdings. Each item within a museum collection communicates the distinct perspective of the individual or group who crafted the objects; those who owned the objects; those who collected the objects; and the communities and people who used the
objects to define their societies.
METC's Permanent Collection represents New Jersey's development from early European settlement to industrialization. We acknowledge the gaps in our collection, which include indigenous populations, enslaved people, and other groups whose lives significantly contributed to the comprehensive story of the Garden State. Comprised of approximately 8,900 objects, the collection tells complex stories of New Jersey culture, economy, and society through home, shop, and farm trades.
Uncovered: Hidden Treasures from METC's Permanent Collection situates historic objects and documents at the forefront of the exhibit's narrative. Artifacts are oriented on platforms and in cases to demonstrate their significance as multifaceted items. As you walk around this gallery, view a selection of objects and historical records from the Permanent Collection. You may adjust your outlook on how these artifacts tell meaningful and intricate accounts of Americans, and specifically New Jerseyans, in the 18th and 19th centuries.
Working the Land: Life, Family & Change in Early 1800s New Jersey
This exhibit tells the stories of those men and women who lived in New Jersey during the early 1800's, exploring the tools and strategies that helped the people of the time meet the challenges of working the land. One of the focal points is discussions about "moments of change" which include new technologies, innovations, adaptations and breakthrough inventions that would eventually alter people's lives.
Working with award winning exhibit designers, graphic artists, master millworkers and technicians, the new exhibit presents a story of daily life, struggle, ingenuity, families, hard work, and the human connection to the earth.
Explore the exhibit online! Click here to take 3-D tour of Working the Land: Life, Family & Change in Early 1800s New Jersey.
Morris County Historical Society at Acorn Hall
Front view of Acorn Hall in the Spring surrounded by trees.
A Storied Past : History That Made Morris County
March- December 2021
2021 is a landmark year for MCHS, representing both the 75 anniversary of the incorporation and the 50th year anniversary of Mary Crane Hone's donation of Acorn Hall. To celebrate these milestones, A Storied Past will highlight Morris County's vibrant history as told through the remarkable objects and images preserved in the collections. |
And in the work's most intensely and ravishingly beautiful movement, the Agnus Dei, the only word that suffices to describe the effect of Anthony Dean Griffey's inspired singing is "sublime." – – Bernard Jacobson, Seattle Times
PETER GRIMES (Title Role)
Opéra National de Paris – Bastille
"The American tenor Anthony Dean Griffey made one of the truly remarkable debuts here in the title role. While his voice doesn't quite have the amplitude of Ben Heppner (who did the part here in 2001), Griffey's vocal qualities wed perfectly with those needed by Grimes."
Jacques Doucelin, Le Figaro, January 30, 2004
"The ensemble of singers was uniformly excellent, but Anthony Dean Griffey stood out from the rest with his beautifully nuanced performance."
Assia Rabinowitz, Le Figaro, January 27, 2004
Bruckner – TE DEUM
"Anthony Dean Griffey sang with majesty and authority."
Alex Russell, musicweb.uk.net, November 2003
OF MICE AND MEN (Lennie Small)
New York City Opera
"It's impossible to imagine a more affecting and nuanced portrayal of the slow-witted, itinerant ranch-hand Lennie than that offered by tenor Anthony Dean Griffey. Griffey, who first mesmerized audiences in the role five years ago, wholly embodied Lennie's curious character – from his hunched shoulders, shuffling gait and fidgeting hands to the sudden shifts of expression on his often-bewildered face. Griffey's Lennie was so utterly unaware of his strength and unaccountable for his actions that even Steinbeck would have been impressed. The emotional intensity of Griffey's dramatic performance was coupled with an equally expressive vocal reading. His lithe lyric tenor was tender in its high notes and impassioned in the lower register, all the while possessing the perfect degree of stylistic simplicity for the role."
Stacey Kors, Newsday (New York), October 17, 2003
THE GOOD SOLDIER SCHWEIK (Title role)
Glimmerglass Opera
"Best of all, Anthony Dean Griffey as Schweik gently but firmly commands the stage every minute, both through the appealing emotional tug of his plangent tenor and the wide-eyed, lovably
innocent character he creates."
Peter G. Davis, New York Magazine, August 25, 2003
A STREETCAR NAMED DESIRE (Mitch)
"What is undeniable is that Fleming and Gilfry put over this appealing music magnificently, as do Janice Watson and Anthony Dean Griffey."
Richard Morrison, The Times (London), June 26, 2003
"Anthony Dean Griffey was moving and slightly disturbing as Mitch, starting out with Oliver Hardy-bumptiousness and ending in confused rage and frustration. Somehow, the beauty of his voice made his roughness all the more poignant rather than deracinating it."
H.E. Elsom, ConcertoNet.com, June 25, 2003
Florentine Opera
"Anthony Dean Griffey, as Lennie, led the strong cast. This tenor combines power, clarity and beauty from top to bottom. Griffey's effortless, float-away tenor was an apt foil for the weighty, burly bass
of Ron Nelman's George."
Tom Strini, Milwaukee Journal Sentinel, March 9, 2003
Recital – North Carolina
Highpoint Community Concert Association
"Tenor Anthony Dean Griffey and pianist Warren Jones are at the pinnacle of success in the world of classical music; they returned to their North Carolina home for a concert Friday night." "One of Griffey's gifts is a magnificent stage presence; this was evident throughout the evening. His vocal ability is top?notch. Beautiful phrasing, gorgeous tone, especially in the middle register, and the ability to sing dramatically and tenderly in the same phrase is evidence of his artistry. Another great strength is his ability to genuinely convey heartfelt emotion. His English diction is splendid; one hardly needed the printed texts."
Tim Lindeman, News & Record (Greensboro, NC), January 12, 2003
Britten – SERENADE FOR TENOR AND HORN
Pittsburgh Symphony
"Griffey, known for roles in opera's A Streetcar Named Desire and Of Mice and Men, proved himself adept at orchestral song. With sharp diction, clear projection and tender expressing of the words, he illuminated the poems by such luminaries as Johnson, Tennyson, Blake and Keats. This truly is a masterful composition. I am not fond of everything Britten writes, but this work, written originally for Peter Pears, tenor, and Dennis Brain, horn, is alone certainly worth the trip to hear."
Andrew Druckenbrod, Pittsburgh Post-Gazette, December 7, 2002
Recital – New York, NY
As Guest Artist for David Daniels, Carnegie Hall
"His [David Daniel's] performance of Benjamin Britten's 'Abraham and Isaac,' for which he was joined by the wonderfully sincere tenor Anthony Dean Griffey, was a never-to-be-forgotten occasion, with Martin Katz playing piano as though the composer himself were turning his pages."
Terry Teachout, The Washington Post, December 2, 2002
"In one point of departure from the recital norm, Mr. Daniels brought theatrical drama, and another singer, onto the stage: Anthony Dean Griffey, the tenor, joined him and his accompanist, Martin Katz, in Britten's Canticle II: Abraham and Isaac. It was an inspired choice: the piece was lovely, and both singers performed it outstandingly, starting in the pitch-black auditorium, their backs to the audience, joining in the harmonies Britten used to limn the voice of God. Mr. Griffey was a powerful, satisfying Abraham, and Isaac's music, written for the darker-toned mezzo Kathleen Ferrier, seemed to fit Mr. Daniels like a glove."
Anne Midgette, The New York Times, November 28, 2002
Elgar – THE DREAM OF GERONTIUS
"Tenor Anthony Dean Griffey, in the role of Gerontius, was magnificent, singing raptly, sweetly, with impeccable diction, hitting the high notes squarely in their center with a sense of clarion endeavor rather than human strain."
Tim Page, The Washington Post, November 5, 2002
"The soloists were uncommonly good and well-matched to their roles. Tenor Anthony Dean Griffey, a last-minute substitute for the ailing Stanford Olsen, stepped in seamlessly. He proved startlingly effective in the dual roles of the dying old man Gerontius, and later his questing soul. Mr. Griffey's diction was impeccable, his grasp of the role profound."
T.L. Ponick, The Washington Times, November 9, 2002 |
"Honestly I haven't seen anyone's haircuts discussed this much besides Hillary Clinton."
I think what this tells us is that U.S. media can lower the standard of discourse no matter what material they're given. I'm sort of relieved by this. |
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Paniliakos afc has managed to alleviate some of the financial problems that it has been facing for some time. At this point, the Paniliakos has covered so far around 65% of the financial obligations of this season. At this point, the Paniliakos has covered so far around 65% of the financial obligations of this season.
The assistance, however, the sporting world of the Tower and the surrounding area are unfortunately not that it should and that counts. The assistance, however, the sporting world of the Tower and the surrounding area are unfortunately not that it should and that counts. Both moral and physical. Both moral and physical.
Among the most striking examples is the fact that at 8 Paniliakos game that has given so far in the league as home to the Tower (with Salamis, Corinth, Rouf, Ag, Peninsula, Aspropyrgos Keratea, Panaigialeio) has received revenue from ticket the amount of 18,830 euros. Among the most striking examples is the fact that at 8 Paniliakos game that has given so far in the league as home to the Tower (with Salamis, Corinth, Rouf, Ag, Peninsula, Aspropyrgos Keratea, Panaigialeio) has received revenue from ticket the amount of 18,830 euros. |
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2019–20 BUDGET DELIVERS FOR BONNER
Queensland is set to benefit from the Federal Liberal and Nationals Government's record $100 billion infrastructure investment over 10 years with an additional $4 billion delivered in the 2019–20 Budget, bringing total infrastructure investment in the state to more than $25 billion from 2013–14.
Federal Member for Bonner, Ross Vasta said the Government was getting Australians home sooner and safer by busting congestion and improving road safety, while delivering critical infrastructure and road upgrades to better connect Queensland communities, support local business and increase freight productivity.
"Locally I've secured $85.4 million to fix Lindum Crossing, $12 Million to fix Newnham Wecker Rd intersection in Mt Gravatt, $6 million for Chelsea Rickertt Rd in Ransome, $10 million for the upgrade of Greencamp Rickertt Road and $1 billion congestion busting funding for the M1 including upgrade at Gateway Motorway merge at Eight Mile Plains."
"The Liberal National Government's commitment to infrastructure of critical importance continues across the state, including investing more than $730 million in Bonner," Mr Vasta said.
Deputy Prime Minister and Minister for Infrastructure, Transport and Regional Development Michael McCormack said a series of major infrastructure projects would be delivered as part of the Coalition Government's record investment across the country.
"Regional Queensland will receive a further $320 million for priority upgrades on the Warrego Highway, up to $287.2 million for the Cairns Ring Road, $100 million for the Gladstone Port Access Road Extension, as well as a $1 billion investment in key freight corridors statement under the Roads of Strategic Importance initiative," Mr McCormack said.
Minister for Cities, Urban Infrastructure and Population Alan Tudge said the Morrison
Government's congestion busting projects will get Queenslanders home sooner and safer
with major initiatives to upgrade the suburban road network across South East Queensland.
"We are delivering for Queensland with $378.8 million toward 16 congestion-busting
projects in the state, including 15 pinch-point upgrades, commuter car park upgrades at
train stations, as well as $800 million and $500 million for the next priority upgrades on the
Gateway and M1 Pacific Motorways respectively," Mr Tudge said.
Minister for Regional Services, Sport, Local Government and Decentralisation Bridget
McKenzie said residents of regional Queensland would benefit from key Government
initiatives aimed at building stronger regions, including almost 200 new initiatives
nationwide that are supporting regional families and communities.
"This Budget includes a further $200 million towards a fourth round of the Building Better
Regions Fund (BBRF), $22.7 million for a fifth round of the Stronger Communities
Programme, as well as the roll-out of the $272.2 million Regional Growth Fund and the
$222.3 million Regional Jobs and Investment Packages to unlock economic opportunities,
create jobs and strengthen communities," Minister McKenzie said.
The Federal Liberal and Nationals Government will continue to invest in the Queensland
economy in the coming years, through initiatives such as Stage 5 of the Townsville Ring
Road, additional funding for the Maroochydore Road Interchange Upgrade and $63 million
to develop seven business cases for future potential investments such as Brisbane's North-
West Transport Corridor and the Second M1 (Coomera Connector).
The Government's rolling investment forms an unprecedented pipeline of projects that will
deliver the infrastructure Queensland needs to thrive over the next decade and beyond.
For more information on investments in Queensland, including through the 2019–20
Budget, visit http://investment.infrastructure.gov.au.
Category: Media ReleasesBy Ross Vasta MP 15 April, 2019
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Now Hear This
Michael Phelps finally explained why he kept his marriage a secret, and we get it
Natalia Lusinski
C Flanigan/FilmMagic
In a Facebook Live video Michael Phelps posted on October 27th, the Olympic swimmer revealed a secret: He and Nicole Johnson secretly got married earlier this summer.
Whaaaaaaaaaat??
HBO / giphy.com
Yep — we know, we know.
And now we know why it was kept under wraps, but here's a bit of backstory first.
On June 13th, Michael and Nicole wed in Paradise Valley, Arizona, according to their marriage certificate, reported CNN. And, ICYMI, the couple had been engaged since February 2015 — and are ~super~ cute.
"I've been married for a while, a couple months," Phelps said in the video, reported Entertainment Tonight. "I had to keep it hush-hush from you guys. But Nicole and I are married, we are officially married and now we are getting the chance to just kind of kick it and hang out now."
Also on June 13th, Nicole had posted this picture on Instagram, reported CNN — and perhaps the caption referred to the secret wedding?!
We're impressed that it stayed a secret so long, amirite?!
But why the secrecy?!
"Just because," Phelps said in his Facebook comment section when asked about the (huge!) secret, reported People.
We. Are. Intrigued. And we also get it. Think about it: Michael's in the public eye all the time, so why not keep certain things private? Well, private for as long as possible anyway.
To confuse us even more, or perhaps to throw us off track (!), Michael talked about marriage back in August to People.
He said, "I really can't wait to get married. It will be a small destination wedding later this year. It's the next big milestone I'm looking forward to."
Hmmm. So will there be another, more formal wedding?!
Phelps also dropped another bombshell in the same Facebook Live video, saying, "Baby number two may be coming soon. Who knows, though?"
Michael! Tell us more! (Though we know that secret would probably be harder to keep!)
CBS / giphy.com
Of course, we are ~huge~ fans of Baby #1, Boomer, who was born in May of this year. ICYMI, he even has his own Instagram account — and is up to 756,000 followers as of rn. And if you're not following it, you're missing out on a boatload of cuteness.
Could he be any cuter?!
And it looks like being athletic may run in the family.
It also looks like he's all set for Halloween.
Awwww.
And you can check out the Facebook Live video and hear the Michael-Phelps-is-already-married news for yourself here. You may also want to read the comments — maybe you'll even discover more explanations from Phelps!
Posted by Michael Phelps on Thursday, October 27, 2016
By Natalia Lusinski |
GOOD CARBS, BAD CARBS, HIGH CARBS...NO CARBS????
Over the past decade or so, there has been confusing and conflicting information that has caused rampant carbophobia. Like most people, I LOVE carbs…but I, too, have been stricken by carbophobia from time to time. It started with the Atkins Diet back in 2001, when I ate only meat, veggies and more meat for 2 weeks. I lost about 12 pounds but I was so weak that I couldn't even walk on a treadmill for 15 minutes and my brain was always "cloudy". Eventually, the carb-lover in me emerged and I began to consume large amounts of bread, sugar and potatoes (in the form of French fries) and I welcomed back those 12 pounds and then some. For the next 10 years, I was always confused about the "what, when, why and how much" of carb consumption.
I was finally able to break the cycle of confusion when I started eating healthfully and educated myself on proper nutrition. Like it or not, the human body NEEDS carbohydrates…just not in the excess quantities and crappy quality that tend to be part of an average American diet.
WHAT IS A "CARB" AND WHY DO YOU NEED IT?
A carbohydrate is one of the 3 macronutrients (protein and fats are the other two). The word "macronutrient" literally means something that is needed in relatively large quantities for normal growth and development.
Sugar, starch and fiber are all forms of dietary carbohydrates.
Carbs are found in fruits, veggies, nuts, beans, grains, dairy products and sweeteners (sugar, honey, agave, etc).
Carbohydrates are the body's preferred source of energy. In fact, the brain relies on carbohydrates exclusively for energy (hmmm, this explains the inability to think straight when I was on my no carb diet).
Simple carbohydrates include sugars found naturally in fruit and dairy products; these simple carbohydrates CAN be part of a healthy diet. However, refined or processed simple carbohydrates that are in candy, soda and table sugar (and most packaged, "convenience" foods) have little to no nutritional value and should be kept to a minimum.
Complex carbohydrates are ideal in clean eating because they have high nutritional value (they're rich in fiber, vitamins and minerals). Starch and dietary fiber are the two types of complex carbs. Whole grains (ex: quinoa, brown rice, barley) some fruits, and "starchy" vegetables (carrots, sweet potatoes, squash) are all considered complex carbohydrates.
WHAT HAPPENS WHEN WE EAT CARBS?
Carbs make me (and most people) feel very happy, which is why we tend to eat them in excess. Haven't you ever just wanted to cuddle up with a big plate of French fries to make all the bad feelings go away?? Well, I have. Unfortunately, the flip side of that warm, happy feeling is the feeling of bloat and puffiness when you go overboard. But you probably know that already.
What you may not know is that carbohydrates are absorbed into the bloodstream which causes an increase in blood glucose (or blood sugar). When your blood sugar gets too high, insulin is produced to help move the excess glucose into liver and muscle cells, where it's stored as glycogen (short-term energy storage). Complex carbohydrates from whole grains, fruits and vegetables take longer to digest than simple carbohydrates, so they keep you full longer, provide you with energy and have a more stable effect on your blood sugar levels. These are all things that help to keep you healthy AND happy.
When you consume more carbs (especially the simple ones) than your body can use immediately for energy or store as glycogen, they get converted to fat for long-term storage. This is how the combination of eating too much bread and sugar and not getting enough exercise can result in all those extra layers of chub.
WHEN AND HOW MUCH SHOULD YOU BE EATING?
Tosca Reno's Eat-Clean Diet suggests about 2 to 4 servings of complex carbs a day depending on your fitness goals (weight loss vs. muscle/weight gain). Everyone is different, but in my regular life (non-competition prep) I usually have about 4 servings of grains or other starches (1/4 to 1/2 cup) per day and 3 to 4 servings of fruit each day. I usually limit my starch consumption to my first 4 meals of the day, but there's nothing wrong with enjoying complex carbs in the evening at dinner. To keep from getting hungry too soon, I always eat a meal that contains a protein along with my starch (proteins keep you fuller longer). If you can't tolerate or don't like grains (rice, bread, barley), beans, sweet potatoes and starchy vegetables are very good and filling alternatives.
Stay tuned for future posts about carbohydrates and how they fit into a healthy lifestyle. As I learn more, I'll share it with all of you!
Older PostI'm going on a diet!! |
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Q: Combining 2 Hex Values Into 1 Hex Value I have a coordinate pair of values that each range from [0,15]. For now I can use an unsigned, however since 16 x 16 = 256 total possible coordinate locations, this also represents all the binary and hex values of 1 byte. So to keep memory compact I'm starting to prefer the idea of using a BYTE or an unsigned char. What I want to do with this coordinate pair is this:
Let's say we have a coordinate pair with the hex value [0x05,0x0C], I would like the final value to be 0x5C. I would also like to do the reverse as well, but I think I've already found an answer with a solution to the reverse. I was thinking on the lines of using & or | however, I'm missing something for I'm not getting the correct values.
However as I was typing this and looking at the reverse of this: this is what I came up with and it appears to be working.
byte a = 0x04;
byte b = 0x0C;
byte c = (a << 4) | b;
std::cout << +c;
And the value that is printing is 76; which converted to hex is 0x4C.
Since I have figured out the calculation for this, is there a more efficient way?
EDIT
After doing some testing the operation to combine the initial two is giving me the correct value, however when I'm doing the reverse operation as such:
byte example = c;
byte nibble1 = 0x0F & example;
byte nibble2 = (0xF0 & example) >> 4;
std::cout << +nibble1 << " " << +nibble2 << std::endl;
It is printout 12 4. Is this correct or should this be a concern? If worst comes to worst I can rename the values to indicate which coordinate value they are.
EDIT
After thinking about this for a little bit and from some of the suggestions I had to modify the reverse operation to this:
byte example = c;
byte nibble1 = (0xF0 & example) >> 4;
byte nibble2 = (0x0F & example);
std:cout << +nibble1 << " " << +nibble2 << std::endl;
And this prints out 4 12 which is the correct order of what I am looking for!
A: First of all, be careful about there are in fact 17 values in the range 0..16. Your values are probably 0..15, because if they actually range both from 0 to 16, you won't be able to uniquely store every possible coordinate pair into a single byte.
The code extract you submitted is pretty efficient, you are using bit operators, which are the quickest thing you can ask a processor to do.
For the "reverse" (splitting your byte into two 4-bit values), you are right when thinking about using &. Just apply a 4-bit shift at the right time.
|
'use strict';
require('./foo');
var _bar = require('./bar');
var _bar2 = babelHelpers.interopRequireDefault(_bar);
require('./derp');
var _qux = require('./qux');
|
Jann Arden's latest book, Feeding My Mother, is both a sobering and insightful memoir into the day to day emotions that go into caring for an aging parent.
I have never read any of Jann Arden's books before this. Now, I feel like I have some serious catching up to do. While nothing is sugar coated in Feeding My Mother , neither is it a heavy, drag yourself through it kind of read.
Written as a series of journal entries – some long, some only a few words, interspersed with candid family photos, I can't help but admire Jann Arden's view on the world. Having read this book, cover to cover, in only a few sittings, I can only believe she inherited this ideology from her mother.
How do you become your parent's parent? How do you mother the woman who mothered you? I have often seen the women who take on this task become utterly defeated and exhausted under such an unimaginable load. Jann Arden makes it feel as if this is a task that can be accomplished. No, it is by no means a cake walk or an entirely enjoyable stage of life. But it does have it's moments of joy and clarity. When something as crippling as Alzheimer's crashes into your life, you have no choice but to strip away the unnecessary and focus on only what is immediately in front of you.
The recipes that are sprinkled throughout the book are not award winning. What these recipes are is honest and simple, comforting reminders from a woman who is not a natural in the kitchen, for a woman who can no longer safely navigate her own home.
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Feeding My Mother made an easy yet thoughtful read for me, someone who has only begun to see the caregiver role on the horizon. For someone who has already assumed full time caregiving, this would certainly offer a welcome refuge. |
Kompong Speu, 13 September, 2018 – In celebration of World First Aid Day on 8 September, Prudence Foundation, the regional community investment arm of life insurer Prudential Cambodia, launched the inaugural SAFE STEPS First Aid programme in Cambodia with the endorsement of Cambodian Red Cross. SAFE STEPS First Aid aims to help save lives and ensure communities are less vulnerable in emergency situations.
Held in the Kong Pisei district, the launch was presided by H.E. Mom Channy, Deputy Director of Cambodia Red Cross' First Aid team, and attended by hundreds of local high-school students.
"It is very important for everyone to have basic first aid knowledge as it can help save lives. At Cambodian Red Cross, we are pleased to host the World First Aid Day. I would also like to thank Japan Red Cross and Prudential Cambodia for supporting the Cambodian Red Cross as we play a bigger role in promoting first aid across the country," she remaked in her speech addressing 300 guests.
Touch Thavrith, Head of Relationship Integration and Strategy at Prudential Cambodia, mentioned that life-saving first aid information would be distributed in the country via social media, distribution in events and TV channel to improve first aid skill of Cambodian people.
"SAFE STEPS First Aid aims to provide the public with fundamental first aid knowledge, enabling them to be less vulnerable in an emergency situation and prepared to potentially save a life, he added.
Almost 16,000 people die from injuries around the world every single day while thousands more survive but many with permamnent debilitating after effects. To help address this issue Prudence Foundation, with the strong support of Prudential Cambodia, aims to equip the Cambodian people with essential life-saving skills, empowering them to assist family, friends or their communities in potentially emergency situations.
At the event, Cambodian Red Cross demonstrated three first aid skills and step-by-step procedures. Participants learnt how to apply first aid support to victims suffering from broken bones, open wounds and burns.
Prudential Cambodia is proud to support safety efforts across Cambodia, including road safety education via its SAFE STEPS Road Safety and Natural Disasters programmes. The SAFE STEPS programme forms part of Prudential's wider education efforts, which include active reading, financial literacy and music programmes across Cambodia. |
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Funding in SMEs almost doubled last year, but little of the cash is going into businesses at the crucial 'scale-up' stage where they could be transformed into serious players, according to an authoritative survey that shows how firms are missing out.
While some £8.27 billion was poured into SMEs last year versus £3.9 billion in 2016, 81 per cent of these deals took place at the seed and start-up stages. Of the 35,210 'scale ups' - defined as companies posting annual growth above 20 per cent (across three years) with turnover between £1-20 million and ten or more employees – a mere 1,505 received investment. Furthermore the number of investment deals has plateaued over the last five years for these firms, at around the 20 per cent of investment.
The report from The Supper Club, an entrepreneurial network and advocacy group, shows that over the last five years the number of SME investment deals has risen from 1,010 in 2013 to 1,500 — a 50 per cent rise. The corresponding increase in the 'scale up segment, however, was under 20 per cent, with the number of deals going from 260 to 280.
Despite comprising less than one per cent of companies in the UK, high-growth 'scale-ups' contribute 22 per cent of the UK's Gross Value Added and are estimated, by The Supper Club, to create 3,000 new jobs every week.
The barrier to raising investment is not only down to investor sentiment however: it's also due to bosses of scale-up firms, too. Just 13 per cent of these high growth businesses were planning on using equity finance, according to the ScaleUp Institute, a not-for-profit enterprise body, with the majority instead opting for core bank finance (loans, overdrafts and credit cards) or private loans to fund growth.
Some 42 per cent of UK scale-ups were founded by entrepreneurs between the ages of 18-34 and are sensitive to alternative funding channels such as peer-to-peer lending and crowd funding that offer quick cash without sacrificing the sort of control they perceive a private equity firm would usually demand.
Yet separate research from Sapio, a market researcher, earlier this month found that despite lofty ambitions and new funding channels, confidence fails to match expectations. Two thirds of UK scale ups said that they are looking to increase revenue by over 50 per cent for the next two years but the same number expressed confidence in their abilities to meet that challenge.
To plug this gap, the onus is on the funding industry to show that it can offer more than just capital without looking for control. After all, some investors can provide insight as well as capital, and few are looking to take control from successful entrepreneurs.
'It's a bit of a myth,' Andrea Reynolds, founder and CEO of equity platform Swoop Funding tells Spear's. 'Investors have little interest in actually controlling. What they are doing is betting on you to get on and build that business.' Reynolds notes that resistance to equity is stronger in the UK than in other European countries, even if statistics confirm that investment boosts market connections and productivity. For scale-ups to prosper - and UK business to flourish - concrete benefits like this must be made clear. |
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