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Last Friday, we were commenting for the Financial Times on Apple's announcement of Bluetooth Low Energy support in the form of iBeacons. An announcement that might well start a little revolution, not so much because Apple invented it (in fact they did not…) but because iOS support of any protocol that more of less makes sense usually ends up in a drastic uptake of its usage, and this particular protocol happens to really make sense!
Let me put that in context: battery life has always been one of the main challenges for the Internet of Things (IoT) and the Web of Things to truly take-off: wireless communication consumes a significant amount of energy, IoT apps have always been a trade-off between energy consumption and functionality. On one side of the scale you have QR codes and NFC tags: their consumption is very low but so is their reading range and, as a consequence, the set of possible applications they cover. Basically they mainly allow identification.
On the other side of the scale you had WiFi, Zigbee or Bluetooth powered embedded devices: they allow a broad range of applications, from sensing (temperature, pollution, noise, etc.) to indoor localization and computation but they also consume a lot of energy. Hence they are not massively deployed (imagine changing the batteries of billions of devices every 5-10 days).
Bluetooth Low-Energy (BLE) changes the deal as it enables identification but also wider-range communication (in the 20-40 meters), environmental sensing, indoor localization, content push to phones, etc. all that for a low-power consumption allowing BLE devices to run on a coin-sized battery for several years.
At the till, customer informs Cashier (or Beaconier as the case may now be) they wish to pay via PayPal and it's done.
You have not even had to put your hand in your pocket to pay via Smartphone. All done via BLE, all done without NFC.
It can cover mobile payments as well.
It unlocks many of the use-cases that NFC couldn't cover (reading from a distance, sensing, pushing content, indoor localization).
It does all that without consuming as much as WiFi, Zigbee or Bluetooth (a BLE device can run for years on a button battery!).
It will be supported by both Android (already in 4.3) and iOS devices.
So will BLE kill NFC? I don't think so!
There are still many cases where NFC (or QRs!) make more sense. Because NFC is passive, and however good batteries will become, a passive tag will always be cheaper, smaller and easier to maintain than an active tag. If all you need is identification you'll be quite often better off with QRs or NFC tags.


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ISTE11 NEWS: Two new WLAN controllers
Firetide Inc., provider of wireless infrastructure mesh and broadband access solutions, today announced the introduction of two new Wireless LAN (WLAN) controllers, the FWC 1000 and FWC 2000.
Firetide's WLAN controllers enable customers to manage and secure their wireless networks from a centralized application. Additionally, this new family of controllers provides end users the flexibility to choose the size of their wireless network as well as allowing administrators the ability to quickly and easily expand their networks as their needs grow.
"This new family of wireless controllers rounds out our current offerings and expands our portfolio to meet the needs of our customers regardless of the size of their business today or at any time in the future," said Bo Larsson, CEO of Firetide. "These high-performance solutions tie back to the commitment of Firetide in bringing the best available technology to market in a flexible and easy-to-deploy package."
Firetide FWC 1000 controller is suited for small deployments such as retail strips, hospitality hotspots or school buildings. The FWC 1000 provides a cost-effective solution for organizations that need enterprise-grade features like radio frequency management and security. The FWC 1000 comes with 50 built-in access point (AP) support. ·
Firetide FWC 2000 is designed for larger deployments such as mid-sized enterprises and school campuses. The FWC 2000 is rack mountable and is able to support the management and mobility for up to 50 APs. It is expandable up to 150 APs with stacking. For critical networks, customers can enable 1:N redundancy on the controller where one controller can serve as a backup. This eliminates any single point of failure in the network, and ultimately increases wireless availability and reliability.
Firetide's controller comes with integrated security features, such as automatic rogue AP detection, client backlisting and guest authentication. Beyond that, Firetide's WLAN is self-healing as well as self-building and includes intelligent features such as automatic load balancing, auto channel location, auto radio frequency management and auto power management. Firetide will debut and demonstrate the complete Wireless LAN solution family at ISTE (The International Society of Technology in Education) in Philadelphia, Pennsylvania June 27th-29th.

redpajama_set_name: RedPajamaCommonCrawl


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Åke Mokvist, född 24 januari 1944 i Stora Malm i Södermanland, är en svensk journalist och fotograf.

Mokvist utgav 2000 boken De ovanliga: Människor som går mot strömmen som innehåller porträtt i text och bild av människor som på olika sätt inte lever efter samhällets normer. En uppföljare, De ovanliga 2: Där friheten är viktigare än tryggheten, kom 2006. Några av de personer som är med i böckerna är Robert Jäppinen, Magnus Stenbock, Carl Braunerhielm och Sven Lyra. Mokvist är också upphovsman till boken El camino: pilgrimsvandring till Santiago de Compostela, utgiven 2008. Han har medverkat i andra böcker som fotograf.

Externa länkar
 https://web.archive.org/web/20100818000259/http://www.saj.se/forelasare/%C3%85ke%20Mokvist

Födda 1944
Män
Svenska fotografer under 1900-talet
Svenska journalister under 1900-talet
Svenska författare under 2000-talet
Svenskspråkiga författare
Levande personer
Svenska fotografer under 2000-talet
Svenska journalister under 2000-talet
Personer från Stora Malms socken

redpajama_set_name: RedPajamaWikipedia


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Interview with Manuelle Gautrand, Women Architect of the Year
Principal architect and director of self-titled architecture firm, Manuelle Gautrand has recently completed the extension and renovation of the Comédie de Béthune – National Drama Centre, along with the refurbishment of the Metz Galeries Lafayette façade. Recognised as Women Architect of the Year in 2014 by Arvha, Gautrand returned to the site of the Comédie de Béthune 15 years after she worked on the initial design of the building in 1999, offering the centre a renewed identity for the 21st century. Similarly, Manuelle Gautrand Architecture has worked on the completion of a fresh, origami-like design for the Metz Galeries Lafayette. We speak to Gautrand about the rejuvenation of architectural design and a building's identity through distinctive colours choices and striking geometric forms.
A: You have recently completed the extension and renovation of the Comédie de Béthune – National Drama Centre. What challenges did you face when revisiting the project, which was commenced 15 years ago?
MG: It's rare to be able to intervene again on a building 15 years after its delivery, and it is a challenge itself. It's the timeliness to see how the work that we have done lived, how the users have suited it, and in reality, this is also an opportunity that creates a real attachment: an attachment to the building that the agency has conceived, then built, then extended, but it's also an attachment to the users, to the City of Béthune, who have accompanied these two architectural adventures. However, it was not that easy to extend the huge round and purple volume of the theatre that I had created 20 years before. And in fact, I didn't want to extend the existing architecture in the exact same style. Instead, I preferred to exploit two different periods and I took the architectural concept of a simple volume and almost rectangular "brightly black" form, which comes to close the angle between the Boulevard Victor Hugo and the Rue du 11 Novembre.
A: Architectural practices have changed dramatically since you first worked on the theatre. In your opinion, how important was it to accentuate the design differences between now and then?
MG: I wanted to assume a very different volume and material, to express the two different periods. It is the first time that I have created an entirely black building, and I was surprised how black as a colour can be a powerful, yet delicate colour; how it can be sometimes dark and sometimes quite pale, even shiny and almost white, with a clear natural light. Black is such a playful colour, and it was a pleasure to sculpt its form through the use of light. Of course, inspiration is taken from the artist Pierre Soulages' work. In the extension, black is applied in the form of weaving metal panels, which draw large rhombuses that are reminiscent of the theatre's original design. It was important to assume and even accentuate, in a very clear way, the 20 years which separates the two phases, and to create, today, a piece of architecture which expresses the new programme, and in the same time respects the existing building.
A: With the theatre being a place of art, housing artists and performers alike; was the intention of the building's design to inspire them in any way? Did you intend to offer the theatre a new identity with its extension?
MG: The building's users have always claimed their need for a very sophisticated tool. In order to capture the best of this complex and narrow site, the architectural concept had been to create a very compact project with spaces close to each other, optimising and facilitating the displacements from one space to another. The project was divided into two sharply juxtaposed parts: one intended for the artists, and the other one intended for the public, both of them are clearly expressed and visible. The building's design was inspired by the "half-light" that precedes the artists' play: a way to introduce the atmosphere and prepare the public for the ensuing performance. It was also important to create a new piece of architecture, in a very open-minded way, which expressed both the performers' and the public's identities.
A: You have also worked on the refurbishment of the Metz Galeries Lafayette. What is the inspiration behind and the intention of the red origami-like canopy which now lines the building's exterior?
MG: I had the objective to reconnect the refurbishment with the history of the Galeries Lafayette, and I wanted to create a canopy as a reference to the exceptional glassworks that were built in the early 20th century. We have organised the project around this overhanging façade that revisits, in a contemporary manner, a strong symbol of the department store. It is a monumental glass canopy which runs along the three façades of the building, on a total length of 120 metres. The red pleated glass was chosen to echo the stone design of the original Galeries Lafayette building. The width of this pleating varies from 2.30 metres to 5.30 metres, culminating in a huge cantilever of more than 7.40 meters at the corner of the store. Members of the public are drawn into the store through this very visible and attractive embellishment.
A: In 2014, you were awarded the prestigious title of Woman Architect of the Year. What does this recognition mean to you?
MG: I was very honoured and happy to receive this award that recognises all the work I have achieved so far, but admittedly, I am looking forward to a time when it is not necessary to create separate awards dedicated to women architects.
Find out more www.manuelle-gautrand.com.
Follow us on Twitter @AestheticaMag for the latest news in contemporary art and culture.
1. Comédie de Béthune – National Drama Centre. Photo Copyright of Luc Boegly.
Digital Possibilities
A self-taught 3D artist, Alexis Christodoulou has spent years building a collection of works that focuses on the creation of imaginary architecture.
Luminous Construction
Lighting transforms the spaces we inhabit, and as technology makes our homes ever more responsive, a new book takes stock of the possibilities.
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Living and working in San Francisco, Colin Pollard's pop-coloured projects revel in pastel compositions and deceptive block landscapes.
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Valium® (diazepam) is a benzodiazepine. Valium is prescribed for the management of anxiety disorders, for the short-term relief of anxiety symptoms and for short-term use in alcohol or other benzodiazepine withdrawal. According to its label, "In animals, Valium appears to act on parts of the limbic system, the thalamus and hypothalamus, and induces calming effects. Anxiety or tension associated with the stress of everyday life usually does not require treatment with an anxiolytic. The effectiveness of Valium in long-term use, that is, more than 4 months, has not been assessed by systematic clinical studies.
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Stop over in Style at Houston's Post Oak Hotel
If you're looking for a quick getaway from L.A. or S.F., consider Houston. Just over three hours away by plane, Beyonce's hometown has a booming art scene—the one year-old Kinder Building at the Museum of Fine Arts Houston houses one of the country's most important…
Design Dish: Grandmaster Recorders is the space to spend your whole night
"Hollywood" usually conjures up visions of the movies but the neighborhood is also the heart of L.A.'s music scene. Grandmaster Recorders, a multi-level restaurant and rooftop lounge carved out of a former recording studio, is the brainchild of Grant Smilie and David Combes of Australia-based…
There's No Place Like Rome
With Bacetti, owner Jason Goldman, Chef Joel Stovall and architect Christian Stayner of Stayner Architects bring the beauty and food of modern Rome to Echo Park. While we're eager to venture out into the world, the decision is an uneasy proposition; we wonder if, perhaps, we're…
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Huntington Beach-based Confie Seguros Insurance Services acquired Olympic Insurance Agency in Shelton, Wash., on undisclosed terms.
Olympic Insurance provides auto, home and small commercial insurance services.
Confie Chief Executive Joe Waked said the deal is expected to "further build upon our strategy to grow our presence in the region," which Confie entered in 2010 through its acquisition of Vern Fonk Insurance Inc. in Puget Sound.
The latest deal follows a handful of buys for Confie so far this year. The company bought 22 smaller brokerage firms last year, which helped boost the company's geographic footprint nationwide, as well as its revenue, which topped $200 million last year.
Confie is backed by Boston-based private equity firm Abry Partners.


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Home » News » Violent clash: You said you love me, this is the time to show it, Fayose tells Hausa community
Violent clash: You said you love me, this is the time to show it, Fayose tells Hausa community
On May 22, 2015 9:05 amIn Newsby akintayo eribake
By Gbenga Ariyibi
Ado-Ekiti— Governor Ayo Fayose of Ekiti State has imposed a dusk-to-dawn curfew on Ado-Ekiti metropolis
Fayose, who arrived the state late Wednesday evening from Abuja, gave the order while addressing Hausa community at Atikankan area of Ado Ekiti, said the curfew began yesterday evening between 6pm and will last till 6am today.
Fayose equally ordered the security agencies to arrest whoever flouted the order.
He urged the Hausa community to see the whole issue as one of those things, promising that justice will be done in the case.
Ayodele Fayose
He said: "You said you love me, this is the time you have to show this love. I want to plead with you to submit whatever lethal weapons you have in your possession to the police. And if you refuse to do this, whether you are Yoruba or Hausa, the police will arrest you.
"Nigeria belongs to all of us and for the sake of our country, I plead with you to allow peace to reign."
The governor boasted that the matter will be thoroughly investigated and those found to be connected with the wanton destruction would be made to face the full weight of the law.
Responding, Chairman of Hausa community in Ekiti State, Alhaji Adamu Imam, appealed to the government for monetary assistance to those whose property were damaged during the crisis.
Imam said the names of the perpetrators of the violent attack had been compiled and will be made available to the governor and security agencies for necessary actions.
Residents of Ado Ekiti were yesterday seen going about their businesses unmolested, while banks, business centres and shops which had closed for business were opened to customers.
However, some shops around the Oja-Oba/ old garage area where most of the damage and looting took place on the day of the mayhem still remained under lock and key at press time.
Police deny casualty figure
Meanwhile, the state Police Command has denied the casualty figure quoted in respect of the violence by some publications.
According to the Police image maker in the state, DSP Alberto Adeyemi, in a statement, "No one died as a result of the violence as of today (yesterday) contrary to reports, only two persons sustained pellet wounds while 22 others sustained various degrees of injuries.
"All the injured were taken to Police clinic in Ado-Ekiti where they are being treated and are responding to treatment."
Adeyemi urged residents to go about their lawful businesses as enough security arrangement had been made to forestall a recurrence.
Mu'azu, Anenih were not forced out —Secondus
Baby born with traditional beads in Lagos


Online companies selling music, whether CDs shipped to buyers or downloadable MP3 files, often inform customers about artists in their catalogs by alluding to works by artists other than the ones requested. These comparisons appear in a variety of forms.
For example, listen.com, a portal for downloadable music, provides a "sounds-like" section with links to "similar artists" -- some of whom have tracks available to download for free -- and a genre guide that includes browsable sections for, say, jazz fusion or rap. Each artist page features a section inviting consumers to investigate other artists, for instance: "If you like Steely Dan, you may also like The Doobie Brothers or Blood Sweat and Tears."
Cdnow.com recommends albums based on the customer's previous album selection, under a link called "album advisor," listings such as "similar artists," "roots and influences," and "had influence on" appear.
Licensemusic.com, a direct music licensing site, allows users to search for music that "sounds like" another artist or style. However, the site contains the express disclaimer that the resulting musical selections are not necessarily related and "are in no way intended to mislead the listener or misrepresent the origin, performer, or composer."
Do such comparisons run afoul of the law by implying endorsements or suggesting objective similarities among artists? This concern arises in instances when a site invokes the name of a well-known artist to describe the music style or sound of a lesser known artist, so that the latter benefits (perhaps unfairly) by association.
Comparisons of this kind can be trademark infringements if the name of the band or artist is an identifying mark protected under the Lanham Act or registered with the United States Patent and Trademark Office. The "essential question in a trademark infringement case is whether the alleged infringement creates a likelihood of confusion." 1 Artist comparisons provide customers with helpful information and usually do not create consumer confusion. There may also be certain First Amendment fair-use considerations relevant to this inquiry. 2 Nevertheless, sites must be careful to clarify that the comparisons are provided for information purposes only and are not intended to suggest sponsorship of or endorsement by a particular artist. The average consumer must be able to recognize that the suggestions are subjective information, provided to help the consumer make a purchasing decision.
Music companies usually use artist and band names for comparative purposes in ways that satisfy all three parts of this test. Bands and artists are not readily identifiable without the use of their names; to refer to artists at all, the site must use an individual's or a group's name. If a site uses only the name of a band or artist, as opposed to a distinctive logo, color, or lettering, then it is arguably using only as much of the name or mark as is necessary for identification.
Most music Web sites do not incorrectly imply that the artists mentioned for comparison sponsor or endorse other bands or promote the site's services. To be absolutely clear, however, a site should specifically disclaim such sponsorship or endorsement.
Comparative Advertising: "Steely Dan Sounds Like.."
Reviews in trade publications regularly make use of comparative information to describe the sound or style of an album or artist. New albums do not replace or supplant existing albums in the same way that Lady Q spray perfume's bargain price "version" of Chanel No. 5 could replace sales of Chanel's. Steely Dan's 2000 release of Two Against Nature does not render the band's 1974 classic album Pretzel Logic obsolete. Nor would purchasing an album by the High Llamas make Steely Dan's Katy Lied redundant.
On the other hand, providing comparisons could cause certain consumers to purchase or license material through a Web site and forgo possibly more expensive works of well-known artists. For example, the director of an independent film putting together a soundtrack might opt for a High Llamas song rather than one by Steely Dan to save money. Moviegoers, however, would realize the difference, whereas the dinner companion of a woman wearing Lady Q might believe he's caught a whiff of Chanel No. 5.
Replacing a product with a cheaper yet similar one is always a possibility, and the law is likely to view product suggestions as something to be encouraged in a healthy, competitive market place. 10 Similar-sounding artists should have a fair opportunity to compete for business. If sites are truthful and straightforward about the products and music they provide, there probably is no strong claim of infringement or unfair competition.
Most music web sites, however, do not encourage musicians to imitate or deliberately sound like popular bands or singers; they simply market existing works or acts to consumers.
In voice-imitation cases, the most important question is whether the consumer was confused or deliberately deceived. 15 As long as sites clarify that they provide comparison information to assist customers in purchasing or licensing decisions, there likely will be no strong argument for consumer confusion.
From a user's standpoint, a "sounds like" or equivalent category provides concise, useful information, that might not be conveyed easily in another form. To avoid consumer confusion, a simple and straightforward presentation is preferable to one that is more complex. Sites adopting the measures in this article should cover the following points.
The "sounds like" category used by listen.com is simple, straightforward, and easily recognized as a comparison. However, other phrasings would work at least as well, "similar musical style" or "looking for a sound like [Bob Dylan]? Try [The Band]."
Sites should prominently display the name of the actual performer with the title of the particular work, so there is no confusion about who performs it.
When a visitor enters the name of an artist or song currently unavailable on the site, the site should state explicitly that those works are not available. For example: "Unfortunately, we have no (Wynton Marsalis) tracks available for purchase. However, you might be interested in these similar artists or sounds." Divisions such as "similar musical styles" and "additional (jazz) artists" can provide both narrow and broad references for comparison.
Sites should include a disclaimer in a central location, either as part of a general description of services or near a search box. The disclaimer should read as follows: "Comparisons with other artists are provided for informational purposes only and do not represent sponsorship of or endorsement by those artists of another's music."
Web sites can safely provide consumers with some types of comparison information. It is typical music industry practice, both on the Internet and in media, to describe musical acts. Even categorizing music by genre is not the same as a direct comparison; many musical styles are not easily defined, and many acts fall into a number of different genres. Listening to music is an experience, comparison using a parallel is often more effective than even the most sophisticated description.
Lindy Pen Co. v. Bic Pen Corp., 725 F.2d 1240, 1243 (9th Cir. 1984).
See, e.g., Given, First Amendment Protection for Trademark Use, PLI Intellectual Property Course Handbook Series, 445-49 (1998).
See New Kids on the Block v. New Am. Publ'g, Inc., 971 F.2d 302, 308 (9th Cir. 1992).
Id. at 308; see also Abdul-Jabbar v. general Motors Corp., 75 F.3d 1391, 1397 (9th Cir. 1996).
New Kids, 971 F.2d at 307.
See Saxony Prods. v. Guerlain, 513 F.2d 716, 721 (9th Cir. 1975) (suggesting that comparative advertising is permissible so long as the advertiser takes "sufficient precautions" to ensure that "reasonable" consumers are not likely to be mistaken or confused, Smith v. Chanel, 402 F.2d 562 (9th Cir. 1968) (holding that comparative advertising is permissible so long as it is truthful and not deceptive or confusing).
See Chanel, 402 F.2d at 567.
See Waits v. Frito Lay, 978 F. 2d 1093, 1098 (9th Cir. 1992); Midler v. Ford Motor Corp., 849 F.2d 460, 463 (9th Cir. 1988).
Midler, 849 F.2d at 463.
See Waits, 978 F.2d at 1097-98.
See Thomas McCarthy, McCarthy on Trademarks and Unfair Competition, 25.52 (4th ed. 1999) (citing G.D. Searle & Co. v. Hudson Pharm. Corp., 715 F.2d 837 (3d Cir. 1983); Upjohn Co. v. American Home Prod. Corp., 598 F. Supp. 550 (S.D.N.Y. 1984)).


Since the dawn of capitalism in the 6th century B.C.E., society has, by and large, equated money with wealth. We usually tend to think of someone who has a lot of money as someone is wealthy. However, the growing collective dissatisfaction with capitalism and the narrative surrounding viable alternatives strongly urges for the understanding that wealth and capital are not the same thing. One does not necessarily translate to the other. But, what determines the difference? And how does that difference influence the way a society's politico-economic structure is arranged? The difference lies within the types of values that are intrinsic to each one.
When we examine the value of wealth, we see that wealth contains two different types of value. The first is called use value. Use value is achieved when a commodity fulfills a need not otherwise fulfilled by what nature produces. Take cotton for instance. Cotton is naturally produced by nature. It can be used to fulfill a number of needs but for simplicity's sake, we'll focus on just one; the production of clothing. The fundamental need for clothing is to keep people protected from the elements. Since nature does not itself provide humans with clothing, it must be produced by humans. Cotton serves this purpose well as it is protective, insulating and relatively durable but, it cannot serve this purpose on it's own without human intervention. It's not like people can just go and pick cotton and it magically becomes clothing. No. Their are tools that have to be used in order to harvest the cotton, refine the cotton, make it ready to sew, etc. Then it has to be dyed and patterned and sewn all with the use of tools that make these processes possible and efficient. Thus it follows that cotton can be used to make clothing and fulfill the need with the use of the tools that are manufactured for that purpose. Therein lies both the use value of cotton as well as the use value of the means of producing clothing. However, cotton also contains another type of value. This value is called exchange value. Exchange value is found in the commodity's ability to be exchanged for other products and commodities. Rice for example. Although rice does not grow well in the same climates as does cotton, it is still a staple grain that fulfills the nutritional needs of people who do not readily have access to it; much like cotton fulfills the material needs of people who do not readily have access to it. If a commodity can be exchanged to procure other useful necessities that cannot otherwise be acquired by the people who need them, then the commodity possess exchange value. Therefore, wealth can be considered to lie within the value found in what is used to produce or refine commodities containing both use value and exchange value as well as as the commodities themselves. Translated to a more contemporary dynamic, we could use automatic machinery as another example. The use value of a printing press is found in the press's ability to mass produce printed information for distribution. The exchange value could be found in replicating the printing press and exchanging it for, say, a lumber mill. Alternatively, what is produced by both the printing press and the lumber mill could also be considered to possess both use value and exchange value. Paper from the lumber mill could be exchanged for literature from the printing press. Granted, these are just oversimplified examples, but they serve to illustrate the types of values that are found in commodities, products, and resources. These values are what determine the difference between capital and wealth.
So where do we find value in capital? Well, let's take a look at the different types of capital and examine where we can find value. Contemporary capital essentially comes in two different forms; cash and credit. Even still, we can reduce credit down to cash because cash is exchanged for credit. So what use value does cash possess? To answer that, we would have to figure out what need it fulfills for humans that is not otherwise fulfilled by what nature produces. Can cash be used for nutritional value? No. Although, technically, you could eat cash if you were so inclined, ingesting it would still not offer any health benefit to the body. Ergo, it does not fulfill any nutritional need. Can cash be used to ride or drive? No. So cash itself cannot fulfill transportation needs. Can cash be used to build shelter from the elements? Possibly. But it wouldn't be a very sturdy shelter and it's lack of inefficiency would soon render it obsolete as material for housing. Can we use cash as clothing? Well, considering cash is made of cotton and linen, technically it could be used for that. However, it wouldn't need to be made into cash first to fulfill that need. Thus, it speaks more to the use value of cotton and linen than it does to the value of cash. Can cash be used as energy source? Yes. Cash can be burned offering both light and heat. Unfortunately, it burns out rather rapidly and the energy released from burning it would be ephemeral. Here, we find ourselves in a very similar situation as when we tried to use it to build shelter. Cash would very soon be replaced by more efficient methods of energy use and become obsolete. Moreover, cash would have no hierarchical quantitative spectrum of value.What this means is that because the energy received from burning a $100 bill would be the same as from burning a $1 bill, then the worth of the two different bills would be equal. What about the metal from coins? The bronze, nickle, and other metals used to make coins can certainly be melted down and used to fulfill a whole host of needs. However, again, much like trying to wear cash, it wouldn't need to be made into coins first to fulfill that need and thus speaks more about the use value of those metals than it does about the coins. As we've seen, capital contains no actual use value. Capital cannot be used to fulfill a need that is not otherwise naturally met. The only value that cash possess is exchange value. Cash can be exchanged to procure products, resources, and commodities with use value, but does not itself contain use value. Thus it stands that the difference between wealth and capital is that wealth contains both use value as well as exchange value whereas capital contains only exchange value.
Now that the difference between the two economic conditions is more clear, it must be understood what is meant when socialists and communists talk about a redistribution of wealth and how that differs from the narrative given by pseudo-socialist politicians and state agents who use the same language. When pseudo-socialist politicians and neo-liberals talk about a redistribution of wealth, what they really mean is a redistribution of capital. Essentially, what they envision happening is like what happens at a card table. A dealer hands out cards until everyone has an equal amount. At best, this is a misguided attempt to equalize society which lacks a proper in depth analysis of the long term affects and historical overview that the role capital plays in society. At worst, it is a myopic pacification technique designed to placate people who lack the understanding of what would happen after the capital is redistributed. A redistribution of capital has no other basis than to ease the burden that a life lived under capitalism places upon the backs of the workers. The contradiction of redistributing capital lies in the inevitable re-concentration of it. Redistributing capital without a fundamental change of the economic and social structures within which capital functions would eventuate in the capital being unevenly distributed into the hands of the same few people as it is now. If the socio-economic arrangement that allowed for the concentration of capital in the first place does not change, how could we possibly expect a different outcome after capital is redistributed? The issue being overlooked is the wealth. It is the wealth that generated the capital which, in turn, was used to secure the wealth which, subsequently, was used to generate more capital. If capital is redistributed but wealth remains in the hands of those who privatize it in order to legitimize the theft of the capital, then it stands to reason that it must be the wealth that needs to be redistributed and not the capital.
But on what basis do we justify the redistribution of wealth? Does the wealth not rightfully belong to those who possess it? The answer is definitively no, it does not. Possession of property under capitalism does not automatically legitimize rightful ownership. So far, we have explored the 'why' of established value. However, in order to understand the justification of wealth redistribution, it is now necessary to understand the 'how' of wealth. Once understanding of the origin of value is established, the redistribution of wealth into the hands of those to whom it rightfully belongs becomes clear. What must be taken into account is the human aspect of production. Resources and commodities that must be produced outside of what nature provides could not fulfill human needs without the necessary labor required to do so. Therefore, it necessarily follows that value, in any capacity, originates from human labor power. If those who provide the labor create the value, then the worth of the wealth that is generated by value belongs to those who supply the labor. Yet, this is far from the case. Those who possess the wealth that fulfills needs do not sow, harvest, refine, or operate the wealth itself. Instead, due to the brutality and forced imposition of this expediency, the economic situation is arranged where employment of labor by those who possess the wealth is exchanged for mere remnants of the wealth with those who create the value. Conclusively, it is those who privately possess the wealth that are stealing it from those who create the value.
The difference between capital and wealth, as well as their relationship with each other, stands to vastly influence the direction of society's progress. Understanding those differences and how they shape societal norms is imperative to any restructuring of social inequality. Furthermore, the human relationship to wealth and capital is just as important, and indeed, inextricable with our relationship to labor. Any society that hopes to progress in the interests of all who are apart of it, must be able to understand these differences as well as the dynamics involved with our relationships to them. As it has been shown, capital will always eventuate in the concentration of it. A concentration of capital necessarily translates to a concentration of wealth. Redistributing capital can only culminate in a reemergence of the same problematic inequalities we face today. Thus the inevitable conclusion drawn from this understanding that seeks to develop a free, just, and egalitarian society would see an end to the existence of capital and a redistribution of wealth from private ownership to public possession.
The burning question of our times: Where has all the money gone?


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Numbers: 3 and 4
Amtrak Operated: May 1, 1971 to May 18, 1974
Named for: Santa Fe trains of the same names
Pre-Amtrak History: The Atchison, Topeka & Santa Fe had the only single-railroad route between Chicago and Los Angeles. For decades, the Santa Fe's premier train between the two cities had been the Super Chief, an extra fare all-Pullman train known for excellent service. The El Capitan was an all-coach train that Santa Fe launched in the 1950s using bi-level cars that would serve as the model for Amtrak's Superliner equipment.
The Super Chief and El Capitan were consolidated in 1958 with each having its own dining and lounge cars. During busy travel seasons through the middle 1960s, the trains ran independently. Santa Fe also operated two other Chicago-Los Angeles trains, the Chief and the Grand Canyon. The Chief was discontinued in May 1968 whereas the Grand Canyon continued to operate until the coming of Amtrak, although its name had by then been dropped.
Santa Fe trains were pulled by locomotives wearing a striking red, yellow, black and silver "warbonnet" livery designed to simulate an Indian chief's headdress. The interiors of Santa Fe passenger trains sported a Native American theme that reflected the region of New Mexico and Arizona served by the trains.
Amtrak History: Amtrak kept the Super Chief/El Capitan for its Chicago-Los Angeles route because of its high patronage and service history. However, the Chicago terminus shifted from Dearborn Station to Union Station. The route operated via Albuquerque. Some Santa Fe trains had run via Amarillo, Texas.
In its early days under Amtrak, the Super Chief/El Capitan continued to use former Santa Fe passenger equipment almost exclusively. Amtrak retained such Santa Fe traditions as the Kachina Coffee Shop, Top of the Cap Lounge, Turquoise Room and the Hi-Level Penthouse diner.
Heavy patronage led Amtrak to operate for the summer of 1972 a second Chicago-Los Angeles train, The Chief. That decision did not sit well with Santa Fe management, which had suggested that Amtrak operate separate sections of the Super Chief and El Capitan.
As Amtrak slowly began dismantling many Santa Fe traditions, the railroad's management became increasingly upset. Santa Fe President John S. Reed sometimes inspected Amtrak trains in Chicago that used his railroad and often didn't like what he saw.
He disliked Amtrak's purple and blue interiors, which he described as looking like a "French whorehouse."
Amtrak ended such Santa Fe practices as a single class fare plus an accommodation charge, seat reservation charges and the checked baggage charge. Also discontinued were long-standing offerings as on-board nurses, stationery, post cards, meal coupons and rental car arrangements. Amtrak removed from service the Pleasure Dome, which housed the Turquoise Room, leaving the train with just one lounge car.
In the eyes of Reed and others at the Santa Fe, the Super Chief was becoming just another train. For its part, Amtrak management resented the meddling of Santa Fe managers.
After the El Capitan name was dropped from Amtrak timetables on April 29, 1973, relations between the railroad and Amtrak became testy. The Santa Fe slapped an 18-car limit behind the locomotives on the Super Chief. This stymied Amtrak's plans to add another baggage car to increase mail revenue and to add another coach.
Amtrak President Roger Lewis considered dropping the Super Chief name but decided against it because of its marketing value.
In early 1974, Reed reviewed Amtrak's plans to operate the Super Chief in two sections that summer. Reed was dismayed to find that neither section would have a first class diner or Pleasure Dome. He feared this would lead to long lines to get into the dining car and would service quality standards below the standards that Santa Fe has long provided.
Reed ordered Amtrak to cease using "Chief" names and on May 19, 1974, the Super Chief became the Southwest Limited and the Chicago-Houston Texas Chief became the Lone Star.
Before the renaming occurred, the Super Chief became the first Amtrak train to begin operating with SDP40F locomotives. The first Chief to be pulled by the new locomotives left Chicago Union Station on June 22, 1973.


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Today living abroad and moving to another country has become very attractive for many people, not only since the pandemic in early 2020. The Riviera Maya including Playa del Carmen and Tulum have been on the top list of Expat Destinations in Mexico since more than 3 decades.
Immigration from Europe, Canada, North and South America has transformed Playa del Carmen from a small fishing village to a cosmopolitan city with beautiful beaches and warm weather year around. Tulum is on the rise since a few years and has become the go to place for eco-chic hotels, sustainable developments and eco homes in the jungle.
But that is not all! Everyone who has lived or moved to the Riviera Maya will tell you that they love the life style, its people, the beautiful beaches, the green jungle and the relatively lower cost of living.
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While the life style in Playa del Carmen is a little different than in Tulum or for example Puerto Aventuras, all of the villages and cities along the Riviera Maya have the following in common:
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This is Andy Veres of the Lost Boys, reporting from Antisana Base Camp. We left Termas Papallacta resort this morning and traveled to our new home for the next two nights. Freddy, our second Guide joined us as well and led the Lost Boys on an acclimatization hike to Advanced Base Camp.
Nader had quite a full day today, and saved our bacon literally, when he did one last walk through of the lodge and found that we were about to leave the cooler with our lunch food for the next few days. He also had a rather unique cultural experience when, against our mutual advice, he tried some boiled quail eggs (or at least we think they were boiled quail eggs) from a street vendor, I'm happy to say that up until now, without any ill effects.
We have a big day ahead of us tomorrow high on the glacier and we are looking forward to an exciting time. Signing off from Antisana, cheers.
Team Mwavuli summits Kilimanjaro and stands on the roof of Africa!


Webhooks are user-defined HTTP callbacks which are usually triggered by some event, such as executing a data alert or modifying a report. When that event occurs, the report server makes an HTTP POST request to the URL configured for the webhook in order to notify the subscriber.
The Webhooks grid provides a simple user interface to create, modify, or delete webhooks. For an overview of the grid refer to the Webhooks Management page.
Authenticate with the report server.
Webhook notifications will not be sent if the user which created the webhook does not have Read access for the specific report server resource (report, data alert, etc.) which triggers the event.
Create a webhook with specific configuration.
Install the Microsoft.AspNet.WebHooks.Receivers.Custom Nuget package and its dependencies.
Once a webhook request from the report server has been validated by a receiver, it is ready to be processed by user code. This happens inside a handler.
Report server will resend a webhook notification 3 times if a response is not generated within a handful of seconds. This means that your handler must complete the processing within that time frame in order not for it to be called again. If the processing takes longer, or is better handled separately then a Queued Processing approach can be used.
The report server webhooks implementation is based on ASP.NET WebHooks. Further information can be found in the official Resources and Samples.


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Age of the Arthouse Blockbuster
By LeratoEnchanted
Cinema takes a new form every decade or so. We've witnessed the age of the crime drama, spy and action thriller, a sci-fi surge and even the rise of the romantic comedy in the early 2000s. Now we're finally here again, at the edge of an era, awaiting cinema to make the transformation that will dictate the next couple of years of what type of content in media we consume for our ever demanding crave for escapism. I predict this era to be the "age of the arthouse blockbuster", but are movie-goers willing to aid this anomalous take on big screen storytelling?
A blockbuster as we might all know by now is a film that is both a domestic and global box office hit. Though, what I've personally deducted from the evolution of the definition of this term is that the film doesn't necessarily have to be a monetary hit, and instead now depends on its scale and budget, refraining from solely weighing the film by its economic returns. The films are often generic and often shallow means of escapism. The term "blockbuster" also heavily relies on the cultural impact the film has months and years after its initial release. Did it cause waves? Is it a worldwide sensation?
An arthouse film often weighs in on the world and conducts a human study. These are films that investigate the world around us, our values and worldviews, and everything else between the white spaces and often offer commentary on our state of affairs. These films are usually made on a much lower budget than a blockbuster, and are often shot using natural measures. Films such as The Tree of Life, Chunking Express, Dog Tooth, Wild Strawberries, etc. are great examples of arthouse.
In recent years we've gotten to witness these two genres having a slowburn merge that could've not been previously predicted, easily anyway, prior to Christopher Nolan's prolific Inception. Nobody could've imagined that a film with so much on its mind—heavy themes, complex and non-linear storytelling—could spark the interest of so many general audiences.
Of course, it could be argued that Nolan's success with this film was aided by the exceptional work he did adapting Batman for screen to subsequently gain a large following for it. But even with that fact, it is a momentous feat to have gotten the attention of so many general fans and to have lived up to it. Inception in many ways could be considered the nexus of the Arthouse Blockbuster when measuring how it has impacted the notable change in the manner in which general audiences consume films from there forth. They became more open-minded for anything that wasn't action adjacent or fixated. That's of course until the Age of the Superheroes (which is a topic for another day, that I will cover soon, in detail).
The Arthouse Blockbuster fuse slowly came into effect through the following films; Blade Runner: 2049, Arrival, Children of Men, Gravity, Dunkirk, Madmax: Fury Road, the upcoming Army of the Dead, Godzilla: King of the Monsters, and Denis Villeneuve's long-awaited Dune—as well as a few others both classic or upcoming.
Lately, the only way to get an overwhelming amount of people out of the house to the cinema on a Friday night seems to be if you have a superhero extravaganza to show. Especially if that hero belongs to the comic book movie giant Disney/Marvel. But of course every once in a while you get the Nolan film (Dunkirk) that will spark interest solely from the name at the helm, which is what I believe will happen with the upcoming Villeneuve film (Dune).
The Age of the Arthouse Blockbuster is quietly in full effect and audiences are responsible for the proliferation thereof if and when more directors and studios feel confident enough to take the leap to make more of such movies. These films might not be cashing in the same as superhero movies at the moment, but the emergence is wildly apparent when you go looking. Take a moment to also consider that even our now widely beloved superheroes began on a slippery slope before they got to where they are currently; being able to break a billion during their cinematic circuit. This is something that would've gotten you laughed at had you predicted it back when the Iron Mans and Wolverines were still finding their feet.
The truth is people want to see more of this arthouse/blockbuster merge, but for as long as we only get out of the house only to go watch superhero epics without any compromise, studios will take fewer risks to make these films. And it's not because these films aren't good—trust me everyone who took the time and "risk" to go watch films like Blade Runner: 2049 and Arrival at the cinema actually have nothing but praise for these films. So I challenge us as the audience, when we have the monetary means to, to get out there and support these films that offer more than ass-whippings, cool superpower presentations and things that go boom.
blockbuster arthouse cinema essays articles Film movies Op-ed
The Favourite Flaunts Flawlessness
There's a lot to be said about The Favourite but one word sums it up: brilliant. Periodic films are usually a bore fest unless one is truly passionate about theatre and the plot. This type of genre is traditionally known for difficult English accents…
Why Diversifying Film & TV is Crucial in the Age of Social Media Activism
We live in the age of intense Internet-based social activism. It's thanks to the world wide web and social media for providing an effective and efficient platform for the unapologetic call for representation of Black people and other minorities in the …
The Film Movement No One Saw Coming
South African film has come a long way since the 1900's and we've been slowly developing into a country that seeks to stand out from the rest while maintaining our authentic Mzansi voice. (I've been meaning to do this for a while becaus…
Three Elements I Always Find in Queer Cinema
So after having watched Inxeba (The Wound), and you can read my review on that, I was even more adamant about writing this little piece of my thoughts on queer cinema and the three elements that I always find. These three elements do appear in almost every…
Film Appreciation Episode 6: Italian Neorealism.
"Film Appreciation" is back with another episode (this a short one) and this time we're looking at the Italian Neorealism movement, which lasted roughly from 1942 to 1951. An extremely important and highly influential movement that came a…
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We've been touting Gmail's reliability and security for a long time. We use it for personal emails as well as our business emails – and we've never been disappointed. Gmail's security is second-to-none and their spam filtering is the best we've ever seen.
We get hundreds of good emails a week – and we get thousands of spam emails a week – but it's extremely rare for us to get any spam in our inbox and it's even more rare to find a good email in the spam folder.
You can Gmailify any Yahoo, AOL, Outlook (Outlook.com now includes Hotmail, MSN.com, Live.com, Live.ca) or some ISP accounts and use Gmailify to get Gmail's features with your other email address. But while you can check mail from other accounts using Gmail, you can only Gmailify one. If you want to know how to set up Gmail to check mail from several other accounts with out using Gmailfy, see this page..
Now let's get on with Gmailify. First choose the one account you want to Gmailify. You'll need your user name and password for that account to set this up. As soon as you enter your username and password for the account you want to link to your Gmail account with Gmailify, you'll get an email at the other account asking if it's OK for your Gmail account to access that account. If you want to receive email from your other account in Gmail, and Gmailify it, you'll have to allow Gmail to access it.
We're going to give you the instructions on how to Gmailify an email account directly from Google's Gmailify page.
If you have a Yahoo, AOL, Outlook, Hotmail, or select non-Gmail accounts, use Gmailify to get many of Gmail's features with that address.
Note: If you link another account to an existing Gmail account, you might reach your storage limit. Learn how to clear your Google storage.
Type the email address you want to link, then click Next.
Select Link account with Gmail (Gmailify), then click Next.
Follow the steps on the screen, then click Next or Sign in.
After you link your account, "Gmailify" will appear next to your email address. When you open Gmail, you'll be able to read, reply to, and organize messages from your other account just like you do in Gmail.
It worked amazingly well. Although we'll give you a hint. If you have thousands of emails in your other account(s) inbox(es), you might want to archive some of them, or you'll end up with thousands of email from your other accounts in your Gmail inbox.
Gmailifying one account and adding other email accounts this way to Gmail, makes it really simple to set up your email in email clients like Thunderbird. Let's say you have 3 email accounts in addition to your Gmail account. Let's say you have an @outlook.com address, and @hotmail.com address and a @yahoo.com address. You could Gmailify all three of those accounts and get all your email via your Gmail address.
Try Gmailify and see if it doesn't simplify your email. It sure simplifies mine. And who couldn't use a little more simple in this complex and complicated world?
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Speaking of Gmail, I have a problem that I can't figure out. Maybe you can help me. I want to create a new gmail account, I follow the procedure to do so but after I create the new account it gives me a message that there is a notification in the new account and I must verify the creation. Question: how do I access the new account to verify it? It is probably right in front of my nose and I don't see it. I know it's a dumb question but I have no idea how to access it. When you have time, maybe you can can offer me one of your magic solutions. Thank you….
When you create a new gmail account you will be asked to provide a cell phone number or alternate email address (It's best to provide both). If you are creating a new account make sure you're logged out of any other Gmail accounts you own. Best way to do this is to use Google Incognito Mode (new window) or use a different browser from the one you are logged into you Gmail account. I have never seen verify account when creating a new Gmail account that is not linked to an current Gmail account. Do you already have a Gmail account? If so, did you log out of your current gmail account before creating the new account?


ORLANDO — Lawyers for the woman accused of helping her husband plan his June 2016 mass shooting at a gay nightclub in Florida have rested their case in her federal trial.
Prosecutors told the jury that Salman knew Omar Mateen was buying rounds of ammunition, helped him spend thousands of dollars before the attack on the Pulse nightclub and knew about his plan when he left home before the shooting where he killed 49 people in 2016. They also say she lied in an attempt to mislead FBI agents and had knowledge of her husband's sick fascination with violent jihadist videos and terrorism.
Defense attorneys describe the 31-year-old mother as a simple woman with a low IQ who was abused by her husband.


text:
Q: Python SQLite3 Execution Error Using python 2.7.5, I've written the following code down to compile based off of an online course I'm taking that shows how sqlite3 works with python
import sqlite3 as sql

database1 = sql.connect('test1.db')

db1_cursor = database1.cursor()

cmd = 'CREATE TABLE IF NOT EXISTS users(username TEXT,password TEXT)'

cmd2 = 'INSERT INTO users(username,password) VALUES("testuser,testpassword")'

cmd3 = 'SELECT username,password FROM users'

db1_cursor.execute(cmd)

db1_cursor.execute(cmd2)

db1_cursor.execute(cmd3)

database1.commit()

for x in db1_cursor:

    print(x)

Now, upon running this code it gives me the following operation error:
Traceback (most recent call last):

File "C:\Users\Ryan\My Code Projects\Learning\udemycourse.py", line 11, in <module>

db1_cursor.execute(cmd2)

OperationalError: 1 values for 2 columns

Why does it give this error for db1_cursor.execute(cmd2) but not for db1_cursor.execute(cmd1) and how can I fix this?

A: I think you meant
Values ("testuser","testpassword")

A: A better way of doing the insert would be
cmd2 = 'INSERT INTO users(username,password) VALUES(?, ?)'
Creating placeholders
db1_cursor.execute(cmd2, ('testuser','testpassword'))
and passing the values as a tuple

redpajama_set_name: RedPajamaStackExchange


We have been living like kings and queens on Gili Air. Vegetarian and vegan food is in abundance and it's all really reasonably priced.
Below is a list of some of the places we ate. Unfortunately I don't have pictures for everything because I was too excited to eat it!!
This is the Habibi Bowl – packed full of red rice, grilled mushrooms, onions, peppers, tomatoes, hummus, bread and vegan tzatziki all for 50,000 IDR (£2.70). They have laods of other bowls, pizza and breakfast items. The cafe shuts about 8pm, but it's perfect timing to grab a beachfront table to have an early dinner and watch the sunset.
Coffee & Thyme is the first cafe that you come across after getting off the boat and it's part of the Oceans5 Dive School. My favourite item off the menu was the vegetarian T wrap – packed full of veggies, tofu & tempeh for 65,000 IDR (£3.50). Their coffee is also incredible and they have a good selection of vegan cakes.
This is a really bad photo but the vegan lasagne was incredible. It came with a delicious salad, packed with walnuts and apples for 70,000 IDR (£3.80), perfect for when you need a veggie boost. All of the menu is vegetarian and their smoothies are to die for.
Pictured is the gado-gado – a vegetarian Indonesian dish with veggies, tofu rice and peanut sauce. This was 30,000 IDR (£1.60). There are also a selection of other vegetarian dishes for a similar price, including a tempeh burger was also delicious.
Classico Italiano – a popular, authentic Italian restaurant that even serves a vegan pizza. The pizzas are huge and delicious.
Mowies – amazing food with loads of vegan & veggie options such as homemade pumpkin gnocchi and a delicious chickpea salad.
Gili Lumbung – the beach bar with the sea swing does an excellent gado-gado and a tofu burger. Perfect for sunset watching.
Gado-gado is always a safe bet for vegans, as well as vegetarian nasi-goreng (just make sure that they don't add fish sauce). We never had any problems finding veggie food and there were so many places we didn't get round to trying.


In this week's Whiteboard Wednesday experiment, we take a hard look at our "cultural diet" and consider what wise, Jesus-centered standards we can use for both our own life and for our ministry.
For centuries the church has worked hard to pursue the back end of that challenge. We've so distanced ourselves from the world that we've sometimes devolved into a "Christian ghetto." In biblical terms, we're in serious danger of losing our "saltiness." Salt can't season itself; it must infiltrate something foreign to itself before it makes an impact. Conversely, we've approached the tension of living as salt and light in our culture by simply capitulating to it. We ignore or explain away the obvious dichotomies between the values of the Kingdom of God and the values of our culture.
Several years ago, I asked student leaders in youth groups across North America to journal what they saw, heard, spoke, and experienced on the very same day. These were cream-of-the-crop kids handpicked by their youth leaders, so I was a little stunned when the journals came back with few or no references to Jesus' influence in their everyday lives. Curious, I gathered another diverse set of student leaders and videotaped interviews with them. I wanted to know if they felt they could be "real" at church. The answer was a resounding no.
But why? In effect, these kids told me they knew their cultural baggage wouldn't be welcome in a church that had removed itself from culture. So they played the game, contorting their personalities to fit both the mainstream and Christian ghettos.
Kids want a church that's unafraid to move in the culture because it's assured of God's primacy over it. That means our Jesus-centered imperative is to encourage conversations in kids' native tongue—popular music, popular film, popular TV shows, and popular gaming. "In but not of" means we never embrace all the values represented in media influences and secular culture, but we faithfully use what teenagers are already attracted to in order to spur gospel-filtered discussions. A church that requires "outsiders" to speak its language first is a church that's unwittingly working hard to distance itself from those it's trying to reach.
First, we wake up. As youth workers, our first responsibility is to engage in kids' media influences firsthand. We listen first to discover what they're watching, clicking, and listening to. Then we use Uncle Google to help us "taste and see" what these things are all about.
We use what's common to teenagers, but use it shrewdly. When Jesus used fishing, farming, money, or common cultural practices to unveil his good news (bad news to some), he was bridging God's transcendent truths into the people's everyday world. But he was selective about the cultural practices he used as "bridges"; for example, he never used idol worship as a discussion starter. My basic rule of thumb is this: If most teenagers have seen it, listened to it, or played it, then it's incumbent on us to consider using some part of it as a launching pad for an exploration of truth, as revealed by Jesus. The key word is "consider." If you're worried about how profane a cultural influence might be, choose another widely experienced influence that's not as profane.
Teach kids to think critically about their cultural influences. Not long ago I created a survey for Christian teenagers I nicknamed the "In-But-Not-Of" study. Our aim was to discover how kids felt the church was training them to engage their culture in a Jesus-centered way. Among many other eye-opening findings, we discovered that just 17 percent of Christian teenagers say their participation in a church youth group has helped them "a lot" to think critically about films or videos (the stats were 18 percent for non-Christian music, 12 percent for TV shows, 8 percent for video games, and 14 percent for websites).
Jesus often challenged the people of his day to think critically about their cultural practices; for example, he prodded his disciples to consider who was making the bigger sacrifice, the rich religious leaders who made a lot of noise when they gave out of their excess income, or the widow who put a penny into the temple offering even though it was all she had (Mark 12:41-44). We're Jesus-centered when we teach kids to critically "push back" against every cultural influence in their life.
Regularly force kids to solve problems that require critical thinking. Find and give teenagers biblical problems to solve. For example, why does Jesus treat the Canaanite woman who asks him for help in Matthew 15 so harshly? Or why, in John 7, does Jesus tell his brothers he wasn't yet going to attend a feast in Judea and then later go? The key to making this work is asking many, many follow-up questions after kids give their first answers. Think of yourself as a miner drilling deep into the earth because you're looking for gold. You really want that gold, so don't give up easily. You can also challenge kids with cultural problems ("Should gay people have the same rights as married people?") and relational problems ("How far would you go to 'love your enemies' as Jesus commanded?").


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AuctionsFiat
Auto Express Names Fiat Ducato It's 2022 "Van of the Year" Winner!
Updated Ducato Takes Top Honors In The U.K...
Fiat Professional's updated Ducato has scooped up the "Van of the Year" award at the 2022 Auto Express Awards.
The freshly designed Ducato was praised for its high-quality finishes, unrivaled payload capabilities, and generous range of body styles. The van was also recognized as featuring impressive connectivity features.
The Ducato is the first-ever commercial vehicle to benefit from Level 2 autonomous Advanced Driver Assistance Systems (ADAS), aiming to improve the driving experience while making the van a safer environment for work or leisure.
Additional standout technology features include speed limitation, braking control for unexpected obstacles such as pedestrians and cyclists, road sign recognition, and driver attentiveness monitoring.
"Evolution is very much the keyword when it comes to the van market," Steve Fowler, Auto Express Editor-in-Chief. Makers strive to bring their models up to date with the latest tech, while still maintaining or trying to improve the payload weights and cargo volumes that operators are used to. The latest Fiat Ducato is a prime example of this, which is why it takes our Van of the Year award."
"The safety kit on board is a big plus, the sheer variety of panel van lengths and conversions on offer mean there's something for everyone. Additionally, the higher specs get car-like kits such as digital dials and a big touch screen that's easy to get on with and offers lots of connectivity."
In recent years, Fiat Professional and the Ducato van range have made great progress in the United Kingdom (U.K.) fleet market, with their expanding model range, growing dealer network, and dedication to commercial customers.
"We are delighted that the Ducato continues to make waves in the industry, scooping up its second award of the year and maintaining its status as a market leader across Europe," stated Richard Chamberlain, Head of Fiat Professional in the U.K.
2022 Auto Express Award Ducato Fiat of the Year Van
Stellantis Posts Some Record Sales Numbers For It's Brands In South America!
DESIGN: Meet The TRX-Based HELLRAM Sport Truck!
FIAT & LEGO Team Up For New Creative Expert Building Kit:
The Only 1969 Dodge Charger Daytona Sold By Mr. Norm Is Up For Grabs
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Auto Express Names Fiat Ducato It's 2022 "Van of the Year" Winner!
Updated Ducato Takes Top Honors In The U.K...
Auto Express Names Fiat Ducato It's 2022 "Van of the Year" Winner!
Fiat Professional's updated Ducato has scooped up the "Van of the Year" award at the 2022 Auto Express Awards. The freshly designed Ducato was praised for its high-quality finishes, unrivaled payload capabilities, and generous range of body styles. The van was also recognized as featuring...
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AUCTION: This Weathered 1967 Plymouth GTX Packs Monster 472 HEMI Power


text:
BAME Players Scared to report Racism
English hockey has an "endemic race issue" from the national team down to the club game and junior levels, and is not doing enough to attract players from more deprived areas, the sport's governing body has been told in a hard-hitting letter signed by nine clubs.
The letter, which is addressed to England Hockey's chief executive, Nick Pink, urges the organisation to tackle a culture where talented black, Asian and minority ethnic players are "scared" to report racism for fear it might affect their chances of progressing up the ladder.
It also warns that BAME players are often stereotyped as fouling more and being less fit than their white counterparts. And it says that hockey "has now become an elitist sport and is dominated at the top level in particular by those lucky enough to come through the private school system".
Gurmej Singh Pawar, the chairman of Barford Tigers hockey club, is keen to 'improve and rectify the outdated system and culture'. Photograph: Paul Tak/Barford Tigers
Gurmej Singh Pawar, the chairman of Barford Tigers, an inner-city Birmingham-based club who play in the third tier of the English game, told the Guardian the letter was an attempt to "improve and rectify a system and culture that is both outdated and unrepresentative of modern-day Britain".
England Hockey's board and senior management team is all white – while there was only one non-white player in the combined Team GB men's and women's squads at the Rio Olympics.
"There doesn't seem to be any overt structured attempt by England Hockey to tackle racism and discrimination in the sport," said Pawar. "They seem to be light years behind other sports on this. I don't know whether that is because they think it doesn't exist, or they simply believe that it's not their duty to do something about it. Either way, enough is enough and things need to change.
"Young people who have dreams of playing for their country at the Olympics are potentially missing out because of racial stereotypes and biases. Further to that, if you are not white, middle class and/or come through the private or grammar school system, your chances of playing for GB Hockey in a major tournament are greatly diminished.
"It makes you wonder what talent England Hockey have missed out on or are currently missing out on because they are not doing enough to include a wider cross-section of society."
The letter, which is co-signed by eight other clubs from London, Leicester, Derby, Nottingham and Leeds, also says:
Players from BAME backgrounds participating via the player pathway system that leads to England and Team GB level have suffered overt and casual racism from other players, coaches and management. "Players are too scared to come forward to report it in case of their selection chances being hindered or getting an unwanted reputation as being a "troublemaker".
Black and Asian players from the lowest junior levels upwards are stereotyped as being more likely to engage in foul play and less fit than their white counterparts.
Coaches in the England Hockey set-up have told players they should not play for more ethnically diverse clubs as it could be a "detriment to their game".
Young people from inner cities no longer see hockey as a "sport for all" and, in particular, not for them.
Pink, who took over at England Hockey last year, needs to do more to make the sport more inclusive, tackle racism and given more support for clubs to attract players from socially deprived and BAME backgrounds.
Navraj Degun, a former England junior player, told the Guardian of his experiences after being selected for an England Under-18s tour of Belgium in 2010. "It sounds positive, but the journey there and staying there was horrible," he said. "People joking around with me that I have a 'bomb on my head', referring to my turban, or to be careful of 'what is in my backpack' is never really nice. You laugh at the time, but deep down you feel like shit.
"At the time you don't really think much of it as a kid, but subconsciously this demotivates you a lot. I didn't feel like being there."
Navraj Degun, a former England junior player, has spoken the 'demotivating' talk during an under-18 tour of Belgium. Photograph: Harsimran Singh/Barford Tigers
Sporting Equals, meanwhile, the UK's leading charity for racial equality and diversity in sport, said its 2020 racism in sport survey had found several instances of abuse at grassroots and club level. One white respondent said he had heard "monkey chants being shouted at my teammate and the abuse of people from the opposition and the umpires".
He added: "Nothing got done with it. We got told we had no evidence and nothing happened to sort the issues out."
England Hockey was asked a series of questions about Pawar's letter but instead released a statement to the Guardian in which it said that its chief executive had reached out to Pawar personally since receiving the letter.
"We are grateful to the clubs who have taken the time and energy to get in touch," it said. "Our aspiration is for hockey to remain at the forefront of British team sports as a force for good in diversity and inclusion, with regards to race, gender, sexuality, disability and age. To that end, we as the governing body set up a diversity & inclusion working group last year, with the aim of creating a long-term strategy.
"The most recent step has been to create an external advisory group, utilising the skills and experience of people from a range of backgrounds within the sport, including the former chairman of Mr Pawar's club Barford Tigers."
It added: "With regards to specific incidents, we strongly urge anybody with concerns to contact us directly at disrepute@englandhockey.co.uk. We have a robust process to deal with any concerns. The most complex/serious of those are dealt with by an independent panel."
Last week Sally Munday, who led England Hockey until 2019 when she became UK Sport's chief executive, admitted that she was proud of the team's many successes and should have done more to increase ethnic diversity on the field and in the boardroom.
"When I look back at my time at England Hockey there are lots of things that I am incredibly proud of … but I believe I could have done more to increase diversity of black, Asian and ethnic backgrounds."
UK Sport said its ambition is to see the country's high-performance athletes reflecting the diversity of British society. "That means challenging ourselves to ensure the sport we all know and love is truly inclusive and we are doing everything we can to stamp out racism," a spokesperson said. "Together with our partners across the sports family, we must set out to drive the change we want to see.
"With regards to specific allegations, we strongly urge anybody with concerns to contact England Hockey or the British Athletes Commission where appropriate."
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Home » Miliband sets out benefits strategy
Miliband sets out benefits strategy
Labour's plans for reforming the social security system – and controlling the benefits bill – have been set out by the party's leader, Ed Miliband MP. Under a 'one nation plan for social security reform', he said a Labour government would copy the coalition's policy of capping the 'structural' benefits budget during its first three years in office. The benefits system could not be exempt, he argued, from the budget discipline needed in all areas as a result of the economic situation Labour would inherit.
The benefits system is in need of reform. It has become a substitute for good employment and decent jobs – a role it was never designed to perform.
People's faith in social security has also been shaken by some people 'appearing to get something for nothing' while others get no reward for many years of contributions. It is a fundamental Labour value that people who can work have a responsibility to do so.
The way to reform the system is by 'overcoming worklessness, rewarding work and tackling low pay, investing in the future and recognising contribution'.
Labour will introduce a limit on how long anyone capable of work can stay unemployed. Every young person who has been out of work for more than a year (and every older person after two years) will be offered a private sector job of at least 25 hours a week, on at least the minimum wage, funded by a tax on bankers' bonuses. Anyone who refuses will risk losing their benefits.
Contribution-based unemployment benefits such as jobseekers allowance will be reviewed. Higher levels of benefit could be given to those who have worked and paid national insurance for longer, but with eligibility restricted to those with five years of contributions instead of two currently.
The previous Labour Government was too slow to act on the rising numbers of people on incapacity benefits. On the other hand the current system of work tests is unfair and degrading. The tests will be properly focused on identifying each disabled person's skills and supporting them to find suitable work.
Local councils will be given power to negotiate rents with private landlords in an attempt to reduce housing benefit bills. But in the longer term the only solution is to build more houses.
A new Labour government will impose a three-year cap on 'structural' spending on benefits. It will also continue with a cap on the total amount of benefit paid to individual households.
Child benefit for families with one person earning over £50,000 per year (removed by the coalition government) will not be reinstated. The winter fuel allowance will be taken away from the richest pensioners.
The shadow Chancellor of the Exchequer, Ed Balls MP, subsequently said in a television interview that pensions would be included in the benefits expenditure subject to a cap. But he later 'clarified' this by saying Labour continued to support the existing 'triple lock' arrangement under which the state pension rises each year in line with the highest of average earnings, inflation, or 2.5 per cent.
Source: Speech by Ed Miliband MP (Leader of Labour Party), 6 June 2013
Links: Speech | Action for Children press release | CPAG press release | IOD press release | IPPR blog post | NHF press release | NPC press release | Progress blog post | TUC blog post | BBC report (1) | BBC report (2) | Daily Mail report | Full Fact report | Guardian report (1) | Guardian report (2) | Inside Housing report | New Statesman report (1) | New Statesman report (2) | Public Finance report | Telegraph report


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John Raymond Brosnan (7 October 1947 – 11 April 2005) was an Australian writer of both fiction and non-fiction works in the fantasy and science fiction genres. He was born in Perth, Western Australia, and died in South Harrow, London, from acute pancreatitis. He sometimes published under the pseudonyms Harry Adam Knight, Simon Ian Childer (both sometimes used together with Leroy Kettle), James Blackstone (used together with John Baxter), and John Raymond. Three movies were based on his novels–Beyond Bedlam (aka Nightscare), Proteus (based on Slimer), and Carnosaur. In addition to science fiction, he also wrote a number of books about cinema and was a regular columnist with the popular UK magazine Starburst and comic  2000 AD. Liverpool University holds a collection of his work consisting of both published material and drafts.

Bibliography

Science fiction

Series
 Sky Lords series
 The Sky Lords (1988)
 The War of the Sky Lords (1989)
 The Fall of the Sky Lords (1991)
 Damned and Fancy series
 Damned and Fancy (1995)
 Have Demon, Will Travel (1996)
 Mothership series
 Mothership (2004)
 Mothership Awakening (2005)

Novels
 As John Brosnan
 Skyship (1981)
 The Midas Deep (1983)
 The Opoponax Invasion (1993)
 As James Blackstone with John Baxter
 Torched (1986)
 As Harry Adam Knight with Leroy Kettle
 Slimer (1983)
 The Fungus (1985) (re-released in 1990 as Death Spore)
 Bedlam (1992)
 As Simon Ian Childer with Leroy Kettle
 Tendrils (1986)
 As Harry Adam Knight
 Carnosaur (1984)
 As Simon Ian Childer
 Worm (1988)

Short stories
 Junk Shop (published in SF Digest, 1976)
 Conversation on a Starship in Warp-Drive (1975)
 An Eye in Paradise
 The One and Only Tale from The White Horse

TV novelisations
 Bulman series (as John Raymond)
 Thin Ice (1987)
 Prospects series (as John Raymond)
 Dirty Weekend (1986)
 Partners in Brine (1986)

Humour
 The Dirty Movie Book (1988) with Leroy Kettle (as Leroy Mitchell)

Non-fiction
 James Bond in the Cinema (1972)
 Movie Magic: The Story of Special Effects in the Cinema (1974)
 The Horror People (1976)
 Future Tense: The Cinema of Science Fiction (1978)
 James Bond for Your 007 Eyes Only (1981) (with Tony Crawley)
 The Primal Screen: A History of Science Fiction Film (1991)
 Hollywood Babble On (1998)
 Lights, Camera, Magic! (1998)
 Scream: The Unofficial Guide to the Scream Trilogy (2000)

Comics

2000 AD
 Night Zero (with Kev Hopgood):
 "Night Zero" (in 2000 AD #607-616, December 1988 - March 1989)
 "Beyond Zero" (in 2000 AD #630-634, 645-649 and 665-666, June 1989 - February 1990)
 "Lost in Zero" (in 2000 AD Annual 1991, September 1990)
 "Below Zero" (in 2000 AD #731-745, May–August 1991)

References

External links

 John Brosnan at Fantastic Fiction

 Torching John Brosnan by Dave Langford

1947 births
2005 deaths
20th-century Australian novelists
20th-century Australian male writers
21st-century Australian novelists
Australian comics writers
Australian male novelists
20th-century Australian non-fiction writers
Australian science fiction writers
Australian male short story writers
Deaths from pancreatitis
People from South Harrow
Writers from Perth, Western Australia
20th-century Australian short story writers
21st-century Australian short story writers
21st-century Australian male writers


When a home is infested with mice, the homeowner will most likely want to have them removed. A mouse invasion can feel overwhelming. There are several steps one can take to have the mice eliminated as well as some that will help keep them from returning.
Hiring a service that deals with Pest Control in Bronx is the best way to ensure all rodents are removed from a home's interior. They will have the means to thoroughly eliminated the problem safely without risk to pets or children in the process. A combination of trapping and poisoning may be used to remove mice.
When mice are no longer vacating the property, steps will need to be taken to ensure they stay away for good. The first step in mouse deterring is to clean the home completely. Mice tend to frequent areas that are unkempt. Vacuum daily to remove any crumbs from the floor and make sure all leftover food is safely housed in a refrigerator or container with a tightly-sealed lid.
Mice do not like the smell of peppermint. Place a few peppermint plants in the home to help keep mice from wanting to get inside. Cotton balls can be dipped into peppermint oil and placed in areas like the garage, basement, attic, and shed to help keep mice away. Keeping a cat in the home can also be useful in deterring mice.
Fill in any crevices along the exterior of the home where mice may be getting inside. Mice can squeeze themselves into very small spaces. Any crack can be filled in with caulk. Holes can be covered with pieces of flashing.
Make sure wood piles are far from the home. Cover any water sources such as fountains or birdbaths at nighttime so mice do not have an easy water supply. Take in pet dishes as well.
If someone has a mouse problem, they can make a call to a Pest Control in Bronx to help in their removal. A service like Metro Pest Control will come to the home to assess the situation. They will give information pertaining to the problem and an appointment for eradication can be made.