text:
It's the Range Rover's birthday edition
Big Reads
The Top Gear car review:
R4 200 000
Lerato Matebese

The Porsche 911 GT3 RS's performance repertoire will leave you spellbound and speechless

Purpose built driver's machine. That intoxicating engine howl. PDK transmssion best of the ilk.
Against:

Leather instead of alcantara trim. Very little to be honest.
2. On the Inside
3. Driving
4. Owning
5. Verdict
There I was one Friday afternoon, profusely banging at my laptop keyboard when I was suddenly interrupted by a bassy exhaust DIN of something special driving into my complex driveway. It's my colleague, Avon Middleton, and he's reluctantly delivering the Porsche 911 GT3 RS to my humble abode for a weekend of thorough thumbing. Now for those who know me well and can attest to the obsession, including my colleagues here at TopGear Magazine SA, the 911 GT3 RS is my kryptonite - the one and only car I would choose to drive into the sunset were I granted just one set of wheels to own. Yes, I have driven many a sportscar in my automotive media career, and I remain eternally grateful for the experiences, yet it is this one model that has left indelible screech marks in both my heart and mind. Of course, I continue to get quizzed about why, just why is the GT3 such a special car to me, so let me try and reiterate, somewhat.
It all dates back to the year 2000. I was in my matric year and there I was one Sunday afternoon watching an F1 Grand Prix race when a Porsche Centre ad came on the telly. It is unassuming, the ad that is, and begins with the tranquility of birds chirping before a low exhaust DIN pierces through that peaceful melodious bird choral.
Then a yellow 996 GT3 emerges through a heat haze, getting ready to subsequently light up its rears in a bellow of expensive tyre smoke - yes, you guessed it, donuts galore. The setting is the iconic Kyalami Race Circuit and the driver of this GT3 is giving this hunkered-down, winged Porsche a thorough caning, dancing on the pedals with their racing boots - heeling and toeing with disdain. That signature 3.6-litre flat-six wailing and barking to no end. And it all culminated with the GT3 coming to a sudden rest and the rear of the vehicle with the GT3 nomenclature filled up the TV screen. That was it, I was hooked, and this was during the days that I used to record all the races on my VHS machine. Over the years, to draw inspiration, I would replay that ad over and over again - and did so until that tape reel gave up the ghost a few years down the line.
I have tried, sadly in vain, to salvage that Porsche Centre ad starring that first generation Yellow GT3 online to no avail. So, if there are any of our readers that can recall or point us to where we can find that particular ad, then please get in touch with us. Back to that ad though, and I had up to that point always admired the 911, but that GT3 truly planted a seed in me that fateful day that has blossomed into a partial love affair that is wholly warranted on my part.
Then in December 2017, I finally had the privilege to have a go in the 911 GT3 while I worked at a major daily newspaper publication. For me, it was a watershed moment in my career. I was finally going to meet my hero car, in this instance, a Yellow (like the 996 GT3 in the ad) 911 (991.2) generation GT3 - replete with a normally aspirated 4-litre flat-six engine that revved to the stratosphere - 9,000r/min to be precise. To sweeten the deal, there were three pedals in the footwell and an even sweeter, sneaky 6-speed manual to row to my heart's contentment. I drove that particular car for 400km in one day and I was thoroughly hooked, convinced to a point of no reproach, that the GT3 was the sportscar for me.
Next: Driving
Layout, finish and space
Our test car did, however, come with the Weissach Package. The package features additional carbon components for the chassis, interior and exterior, as well as optional magnesium wheels. In its lightest configuration, this package reduces the weight of the 911 GT3 RS down to 1 430 kgs. The rest of the cabin, meanwhile, screams racecar panache with bucket seats, lightweight door straps in place of conventional door-opening handles and analogue dials with the tachometer sitting dead centre in the middle of the instrument cluster. There is the scaffolding (also known as a roll cage in automotive parlance) behind the front seats that not only adds body rigidity, but also doubles as a safety cell in the event of a roll over situation. The rest of the cabin is sparse for most part and minimalistic with only the essential items tacked on.
Prev: Overview
What is it like on the road?
Fast forward to 2020 and there is a GT3 RS parked in my garage. The excitement was once again palpable and the weather looked promising, so at 05h00 that Saturday morning, I cranked up the 4-litre flat-six. It barked into life in a racecar like whirr before bellowing into a cold start of cacophony that most likely woke my neighbours in the complex - sorry not sorry. I digress, but I then let the engine idle for a few more minutes to get the oily bits and vital fluids up to optimal temperature.
This spared me sometime to pore over the rest of the car, those rear haunches, which are home to sticky - when up to temperature - Michelin Sport Cup 2 gumball tyres measuring 325/30/21. And it is those rear tyres that are key to the GT3 RS's tenacious grip levels. Everything about this thing is purpose built with very little in the way of vanity frills. If there was criticism, it perhaps points to the rather subdued Silver hue of our test car and the leather wreathed tiller instead of alcantara, but that is of course a personal preference thing.
To get the best out of the GT3 RS, you have to almost bed the thing in. Wait for those sticky tyres to get some temperature in them. I found that the only way to guage this was to monitor the tyre pressure on the instrument cluster and as soon as the respective pressures rise a degree or two, then you're pretty much good to hoon. Ignore this warming up procedure, and you will be presented with arms full of opposite lock, even in the slowest of corners. So take care.
However, once things are at optimal temperature, select Sport mode for the PDK gearbox and chase the rev ceiling in each gear, and you'll get to understand the model's hidden talents. With 383 kW and 460 Nm, there is ample low down torque that you do not have to be wringing the engine perpetually to make progress. This thing is as drivable as any would be conventional premium sports sedan, but there is such depth and layers to this engine, that you can't help but explore them. I mean the first time you rev that glorious engine to its 9 000 r/min ceiling, you're left stupefied. At 4 500 r/min, the GT3 RS only begins to feel like a mover and shaker, and at 6 000r/min, it really gets into strutting its stuff. The engine's power peaks at 8,250 r/min and it is here that I feel that the car's magic truly shines through. That howl from the flat-six engine is nothing short of intoxicating and the last 1 000r/min (between 8 000 and 9 000r/min), produces a mechanical shrill that is simply arresting.
Everything about this car is well-judged and spot on to the nth degree. The engine, as mentioned, is the crown jewel of the package, the gearbox is not that far behind and I'm yet to drive a modern, production car gearbox as responsive. Up shifts are stupendous, but it is the responsiveness coming down the cogs that left me aghast. There is none of the "Lerato, please be patient with me as I make my way down the ratios!" as I have come to experience with most boxes of this ilk.
Then there is the prodigious grip levels on offer that will goad you to keep pushing the envelope. Trust me, you will run out of talent with all the electronic nannies in place before you unsettle this thing. Unless, of course, you want to defy the laws of physics in which case, you are firmly on your own. But back to the driving envelope and the GT3 RS proves its mettle at every turn of the wheel. Speaking of which, the engineers have now truly fine-tuned the feel and feedback of this electric steering setup. You can place the car exactly where you want it on the road and the thing will track true to the chosen trajectory. Those dinner plate sized anchors up front ensure tremendous stopping power and lend you the confidence to lean on the car and brake even later into corners. Sadly, we could not assess the GT3 RS's track potential, which by my account on the road alone, leaves me under no illusion that it would be sublime in that environ.
Prev: On the Inside
Next: Owning
The 911 GT3 RS is definitely the one to search for if you're in the market for a special 911, and there might be a few, perhaps far in between, that might be up for sale. However, if you do find one through the Porsche Centre dealer network, which is likely to have the balance of its Drive Plan still in place, then you will have struck gold indeed. These are highly sought after cars and many who buy them do so to keep. For those who prefer buying new, then you would be glad to learn that the latest 992 based GT3 is standing in the wings and it, too, will be normally aspirated and rev to the heavens.
Next: Verdict
I have driven a bevy of sportscars in my career - of British, Italian and Germanic origins - and all are brilliant in their own right. However, were it my hard-earned money on the table, then this is the one I will gladly vote for with my wallet everyday, and twice on Sundays. The Porsche 911 GT3 RS goads, flatters, and leaves you simply spellbound by its breadths of talents. However, for me, it is that flat six howl that to this day keeps reverberating in my ears, weeks on end since the experience. What a thing of marvel!
https://www.youtube.com/watch?v=wJLmc_M-0ng
Prev: Owning
Adding a V8 powerplant to the already impressive Merc GLS portfolio ups the refinement ante
The Jaguar F-Type R 575 might be the oldest car in the segment, but its performance continues to sizzle
Prettier than a Q3 but that may not be enough.
Isuzu's most powerful X-Rider plays its own game.
The hallmark of status with V8 power
It might be the outgoing model but the 991.2 Porsche 911 GT3 RS is astonishingly good
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Alpine and Lotus sign MoU to jointly develop future EV sportscar
BMW's fully electric iX will make market debut in 2021
Porsche Cayenne e-hybrid models now boast additional electric range
Polestar announces the Precept will go into production
FIRST DRIVE: Porsche Taycan Turbo S on local soil
The Nissan Ariya is a big EV with over 500km range
MORE TOP GEAR SOUTH AFRICA
Porsche's Taycan EV model has been bolstered with a RWD version
The Taycan now comes with an entry-point rear-wheel drive variant
Factory-fitted differentiation from the popular Wildtrak after-market bakkies.
Ford has taken a Wildtrak and kitted it out.
Both purveyors of lightweight sports cars, Alpine and Lotus will embark on a joint future EV sportscar project
Porsche's 911 GT3 celebrates 21 years
Porsche's most purist 911 turns 21 and we fondly look back at its lineage
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Salmon is the common name for several species of fish in the family Salmonidae. Other fish in the same family include trout, char, grayling and whitefish.
Skin, eye, nose and digestive tract allergy symptoms are among the effects of exposure to salmon. Touching fish can produce itching and skin irritation at the point of contact. Inhaling steam from cooking or eating an allergenic fish can cause itchy and swollen eyes, lips and throat, nasal congestion and digestive upset, including vomiting and diarrhea. In rare allergic reactions, cardiovascular complications can cause dizziness and loss of consciousness (Clarke, 2010).
The vast majority of Atlantic salmon available around the world are farmed (almost 99%), whereas the majority of Pacific salmon are wild-caught (greater than 80%). Canned salmon in the US is usually wild Pacific catch, though some farmed salmon is available in canned form. Smoked salmon is another popular preparation method, and can either be hot or cold smoked. Lox can refer to either cold-smoked salmon or salmon cured in a brine solution (also called gravlax). Traditional canned salmon includes some skin (which is harmless) and bone (which adds calcium). Skinless and boneless canned salmon is also available (Wikipedia, n.d.).
Here is a link to an interesting website describing the health benefits of salmon.


text:
Leo Goodwin Jr. was born to the co-founders of GEICO: Lillian Goodwin and Leo Goodwin Sr. He became involved in the family business. He filed for personal bankruptcy in 1976, and he died at the age of 63 on January 15, 1978, of cancer in Fort Lauderdale, Florida,  following a two-month hospital stay.

References

1978 deaths
American businesspeople in insurance
Year of birth missing

redpajama_set_name: RedPajamaWikipedia


Preparation: HAVRIX (Hepatitis A Vaccine) is a sterile suspension of inactivated virus for intramuscular administration. The virus (strain HM175) is propagated in MRC-5 human diploid cells. After removal of the cell culture medium, the cells are lysed to form a suspension. This suspension is purified through ultrafiltration and gel permeation chromatography procedures. Treatment of this lysate with formalin ensures viral inactivation. Viral antigen activity is detected by ELISA and expressed in terms of ELISA Units (EL.U.) (FDA: Havrix).
Storage: Store refrigerated between 2° and 8°C (36° and 46°F) (FDA: Havrix).
Approved Age for Licensed Use: Ages greater than 12 months (FDA: Havrix).
Contraindication: HAVRIX can cause a severe allergic reaction (e.g., anaphylaxis) after a previous dose of any hepatitis A-containing vaccine, or to any component of HAVRIX, including neomycin. Hepatitis A vaccine may not prevent hepatitis A infection in individuals who have an unrecognized hepatitis A infection at the time of vaccination (FDA: Havrix).
Description: Indication: To support lowering the age indication for Havrix from two years to 12 months of age (FDA: Havrix).
Preparation: TWINRIX is a sterile suspension of inactivated hepatitis A virus (strain HM175) propagated in MRC-5 cells, and combined with purified surface antigen of the hepatitis B virus (FDA: TWINRIX).
Approved Age for Licensed Use: Ages 18 and older (FDA: Havrix).
Contraindication: TWINRIX should not be administered to anyone with known hypersensitivity to any component of the vaccine, including yeast and neomycin and in patients with previous hypersensitivity to TWINRIX or monovalent hepatitis A or hepatitis B vaccines (FDA: Havrix).
Vaccination Protocol: A double-blind, randomized controlled study was conducted in school children (age 1 to 16 years) in Thailand who were at high risk of Hepatitis A Virus (HAV) infection. A total of 40,119 children were vaccinated with either HAVRIX or ENGERIX-B at 0, 1, and 12 months. 19,037 children received a primary course (doses at 0 and 1 months) of HAVRIX and 19,120 children received a primary course (doses at 0 and 1 months) of ENGERIX-B (FDA: Havrix).
Immune Response: In response to vaccination, 32 cases of clinical hepatitis A occurred in the control group. In the HAVRIX group, 2 cases were identified. These 2 cases were mild in terms of both biochemical and clinical indices of hepatitis A disease.
Side Effects: Side Effects of HAVRIX included: injection site pain, redness and swelling, irratibility, loss of appetite, and drowsiness.
Efficacy: In response to vaccination, 32 cases of clinical hepatitis A occurred in the control group. In the HAVRIX group, 2 cases were identified. These 2 cases were mild in terms of both biochemical and clinical indices of hepatitis A disease. Therefore, the efficacy rate for prevention of clinical hepatitis A was 94% (FDA: Havrix).
Vaccination Protocol: A multicenter study administered 720 EL.U./0.5mL of HAVRIX into infants 11 months and older. The same sample size and concentration was also administered in another study of infants 2 years of age and older (FDA: Havrix).
In the 11 months and older study, each infant was administered either HAVRIX or were coadministered HAVRIX and INFANRIX (Diphtheria and Tetanus Toxoids and Acellular Pertussis Vaccine Adsorbed) and Haemophilus influenzae type b (Hib) conjugate vaccine (tetanus toxoid conjugate).
Vaccination Protocol: A clinical study of children 2 years and older administered HAVRIX at 360 EL.U, and were given the follow-up booster shots at 1 and 6 months after the initial shot (FDA: Havrix).
Immune Response: After subjects were seropositive before each addtional booster was administered.
Side Effects: Side effects recorded included: pain, and redness of the injection site, swelling, irritability, drowsiness and loss of appetite.


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text:
Medical University of South Carolina Shows a United Front in Fight for Healthcare, Higher Education Equality
Diversity Champions exemplify an unyielding commitment to diversity and inclusion throughout their campus communities, across academic programs, and at the highest administrative levels. INSIGHT Into Diversity selected institutions that rank in the top tier of Higher Education Excellence in Diversity (HEED) Award recipients.
[Above: MUSC is fifth in the nation for enrolling African American medical students and in the 97th percentile for graduating black male students in medicine.]
Diversity and inclusion professionals at the Medical University of South Carolina (MUSC) take on a big role. The MUSC enterprise includes a network of eight hospitals with 1,600 beds across the state, clinics, and six colleges. Ensuring every student, employee, and patient feels welcome throughout the enterprise requires cross-campus teamwork, the full support of institutional leaders, and a willingness to continuously innovate for improvement.
Willette Burnham-Williams
These characteristics define MUSC, says Willette Burnham-Williams, PhD, chief diversity officer, Title IX coordinator, and assistant professor. "We really consider our diversity and inclusion work as a journey. We know you cannot approach this work with the mindset that there is an end in sight because as populations change, needs will continue to change," she says. "For us that means continuous innovation to stay on the pathway for organizational excellence in diversity and inclusion."
Growing Diverse Leadership
To ensure candidates from underrepresented groups were being prepared for leadership positions on campus, MUSC created the David J. and Kathryn Cole BRIHTE Leadership Academy, says DaNine J. Fleming, EdD, director of training and intercultural education and an associate professor at MUSC. The academy is a two-year cohort model for approximately 15 employees representing a wide range of sociocultural and professional backgrounds. The first year of BRIHTE, which stands for Building and Retaining Inclusive High-Potential Talent and Excellence, consists of day-long didactic training sessions every month led by the MUSC department of diversity, equity, and inclusion and guest lecturers utilizing the Health Leadership Competency Model from the National Center for Healthcare.
The inaugural David J. and Kathryn Cole BRIHTE Leadership Academy cohort
In a recent session, the cohort learned about ADA compliance from senior officials and compliance experts at MUSC and the nearby Military College of South Carolina. By interacting with guest speakers and each other, BRIHTE scholars "see how the skills they learn as well as their own unique talents and interests are applicable to a cross section of the campus community they may have never considered before," Fleming says. In the program's second year, participants are assigned to shadow MUSC leaders.
Though the program is relatively new, it has been rewarding to see participants "blossom and grow," with each new session, Fleming says. "This is just going to be a great retention and recruitment program for our underrepresented minority leaders on campus. … Our end goal is that whenever [leadership] positions are available, this will be a pool and a resource of candidates who we know will meet the criteria to be strongly considered for the position," she says.
The academy is named after the university's president and first lady in recognition of their support for advancing diversity and inclusion. Having the president's name attached to this type of effort reinforces the idea that "diversity is everyone's business and [President Cole] consistently demonstrates that to me, to our senior officials, and to our entire campus," Fleming says.
Making Information More Accessible
While every institution is obligated by law to make certain materials available for those with disabilities, accessibility has long been a central focus of MUSC's institutional mission. During the last year, senior leadership helped form the Digital Accessibility Steering Committee to ensure that all MUSC digital materials are "accessible to anyone, no matter what their disability," says committee co-chair Mary Mauldin, EdD, a professor, executive director of instructional technology and faculty resources, and associate director of interprofessional initiatives.
The committee works to provide resources and training that gives community members, employees, and students the opportunity to experience the digital domains available through MUSC in an equitable manner. These domains include webpages, documents, videos, or other digital resources provided by MUSC. This means faculty members are learning to adapt files for screen reader technology and know which color contrasts are best for users with visual disabilities and color blindness, Mauldin says.
MUSC offers group and individual trainings and online courses to help employees and students learn digital accessibility and universal design. The institution also recently hired a digital accessibility expert to head these efforts.
Mauldin herself wears a hearing aid and says she knows firsthand what a difference something as basic as closed captioning on an online video can make. Digital accessibility doesn't just help people with disabilities. Written course materials can now "be downloaded as podcasts so students are free to listen to those materials while driving or working out, and we've seen that they are taking advantage of that convenience," she says.
The principle of universal accessibility also shapes MUSC's approach to health literacy. Rather than assessing an individual patient's "health literacy capability," the organization presents all patients with multiple options for how they would like to receive information, says Kathleen White, MUSC Health patient and family coordinator. This means that a patient who has just been diagnosed with an illness has the option of watching an interactive video about their diagnosis rather than relying solely on written explanations and disease management tips.
MUSC offers a library of 800 such videos accessible directly from patient rooms. Some materials are available in both English and Spanish. The institution also provides community health materials and interpretation services in several languages to better serve local immigrant populations.
Student-Centered Work
In addition to its Department of Diversity, Equity, and Inclusion, the Office of Student Programs and Student Diversity serves as a hub for student affairs across the six colleges and fosters teamwork between administrators and student leaders in creating an inclusive, student-centered campus.TaJuan Wilson, EdD, executive director, says teamwork enables his office to be more effective in meeting the needs of a diverse campus. Last year, MUSC's student government association (SGA) created the position of vice president for diversity and inclusion.
President David J. Cole, welcoming attendees to the second annual Inclusion to Innovation Summit in Charleston, has been recognized for his commitment to supporting diversity and inclusion efforts across the MUSC enterprise.
The responsibilities of this role include spearheading efforts with Wilson's staff that promote the well-being of students representing multiple sociocultural identities. This year, the SGA and the Office of Student Programs and Student Diversity organized university "health weeks," such as Queer Health Week, to help people understand "the nuances and need for further education," on healthcare for specific populations, Wilson says.
TaJuan Wilson
The office also works closely with the MUSC Student Diversity and Inclusion Advisory Council to resolve concerns and improve campus engagement. "[The council] has really shifted from a group where we would discuss problems with diversity and inclusion to a group where we discuss proactive approaches to these issues," Wilson says. This year, MUSC began hosting university- wide mixers after the council brought up the fact that students often feel siloed within their individual colleges.
When students of color commented to Wilson's office that there were few opportunities to meet "the folks of color who look like us or folks from marginalized backgrounds," his team started an annual orientation session specifically for underrepresented students. The Multicultural Orientation and Resources for Excellence program takes place at the beginning of every academic year and allows attendees "to meet folks who look like them and engage with our office from day one," Wilson says.
MUSC offers a host of mentoring programs and other opportunities for underrepresented students and healthcare professionals to connect.
This kind of relationship-building has helped MUSC become one of the top schools for African American medical students in the United States. According to the Association of American Medical Colleges, the university is fifth in the nation for their enrollment and in the 97th percentile for graduating Black male medical students.
Michael de Arellano, PhD, senior associate dean for diversity in the MUSC College of Medicine, attributes these achievements to the school's comprehensive pipeline and mentorship programs. MUSC works with high schools to identify underrepresented students interested in healthcare careers and offers them mentoring and academic development opportunities that continue through undergraduate, medical, and residency education. "I think that's really the key to our success, having not just pipeline programs, not just getting students through admissions, but making sure we have thorough mentorship to offer once they're here," he says.
Uniting Institutions in Support of Diversity
MUSC is devoted to supporting diversity professionals not only across its own enterprise, but outside organizations invested in this work, as well. One major endeavor to do so is MUSC's annual Inclusion to Innovation Summit.
The event was founded after the community recognized their work "can be isolating," says Burnham-Williams. "The goal is to look at really innovative ways to address diversity and inclusion work and approach it from a collaborative, 'you're not alone' kind of mindset," she says.
Burnham-Williams and MUSC Health chief diversity officer Anton Gunn created the summit in 2017 specifically for chief diversity strategists in higher education and other businesses and organizations in the Charleston, S.C., region. The event attracted 50 local participants in its first year. By the second annual summit in 2018, it had more than doubled in size to approximately 125 attendees. "In year two, our focus was to broaden our community to expand across South Carolina, North Carolina, HBCUs, and to have the summit be a resource for those [institutions] and leaders doing this kind of work," she says.
"What was interesting for me," Burnham-Williams says, "is that a lot of us struggle around the same things. For instance, how do you let someone know their behaviors are characteristic of microaggressions while letting them keep their dignity? … So often, they don't realize what effect their behaviors or words have."
Menah Pratt-Clarke, Vice President for Strategic Affairs and Vice Provost for Inclusion and Diversity at Virginia Tech, leads a workshop on the power of words and courageous conversations during the second annual Inclusion to Innovation Summit in Charleston.
Attendees appreciate the communal support and learning opportunities. Feedback surveys note "the importance of taking a day and a half to just have conversations and reflect on the work that we're doing as counterparts," Burnham-Williams says. "Two HBCUs attended this year and they stressed how it's great to get another perspective and how they enjoyed having the broader conversations on diversity work."
Planning for the third annual summit is already underway and MUSC will continue to offer this opportunity for the foreseeable future, she says. "We made a commitment to do this because we know it's a resource that people badly need. We feel that we have a role where we sit in South Carolina to provide opportunities like this for education, training, collaborations, and conversations."
Mariah Bohanon is the associate editor of INSIGHT Into Diversity. MUSC is a 2018 Diversity Champion and a 2016, 2017, and 2018 Health Professions Higher Education Excellence in Diversity (HEED) Award winner. This article ran in our May 2019 issue.
Diversity Champion
First Black Woman Transplant Surgeon Receives Prestigious Award
Launching a Nursing Career During COVID-19: Recent Graduates Share What They've Learned During the Global Pandemic
Academic Community Pushes for Much-Needed Diversity in COVID-19 Vaccine Trials

redpajama_set_name: RedPajamaCommonCrawl


British Airways has unveiled its highly-anticipated new business class seat – 'Club Suite' – and confirmed it will arrive on the first of its Airbus A350 aircraft this July.
The airline's sophisticated and newly-branded 'Club Suite' offers direct-aisle access, a suite door for greater privacy and luxurious flat-bed seats in a 1-2-1 configuration. Boasting 40 per cent more storage, including a vanity unit and mirror, WiFi, enviable oversized inflight entertainment screens, high definition gate-to-gate entertainment options, and at-seat power outlets; every aspect of British Airways' Club Suite has been designed for today's customer.
The A350 aircraft itself will also promote a feeling of well-being, space and calm due to its reduced noise levels, high ceilings and ambient lighting which is intended to compliment the time of day and outside light. Customers will leave their flight feeling rested thanks to higher levels of humidity and refreshed air as the cabin pressure is equivalent to an altitude of just 6,000 feet. There are also environmental benefits to flying on the state-of the-art A350 as 25 percent lower fuel burn significantly reduces CO2 emissions.
As well as a new 56-seat Club World cabin, the three-cabin A350 will feature the latest World Traveller Plus cabin (56 seats) with new furnishings including a plush new pillow and warm quilt, new amenity kits and an enhanced service and an improved dining experience. The World Traveller (economy) cabin offers 219 seats. Customers will also benefit from high-speed WiFi, allowing travellers to browse the internet on their personal electronic devices.
During phase one, the first A350 aircraft will start some short-haul flying between London and Madrid to allow the airline's teams to perfect their customer service delivery and familiarise cabin crew with the aircraft layout.
In phase two, from October 1, 2019, the aircraft will begin long-haul flying. During this period another three A350 aircraft will join the British Airways fleet and two Boeing 777 aircraft will also be retrofitted with the new cabin.
Alex Cruz, British Airways' Chairman and CEO, said: "The arrival of our first A350 featuring our new Club Suite is one of the most exciting developments in our $8.65 billion investment program.
"Each new suite has direct aisle access and comes with a personal door – design features which were incorporated as a direct result of the feedback we've had from our customers. We've worked hard to ensure every aspect of the Club World experience from the lounges we've refreshed, to the new gourmet menus from Do&Co on flights from Heathrow, and the luxurious bedding we've introduced from The White Company exudes the very British style and quality customers expect from us.
Over the next five years British Airways will take delivery of 72 new aircraft, including four new types: The Airbus A350-1000, Boeing 787-10 for long-haul as well as A320 and A321 Neo aircraft for short-haul. In addition to this the airline has also recently placed an order for 18 Boeing 777-9 aircraft.
Parker hails from the Big Apple. While he normally jumps on the 7-line to get where he needs to go, you'll occasionally find him jumping on a plane out of New York City to destinations around the world.


text:
Q: JQuery Validate Plugin - RegEx email prefix, domaiin suffix, and duplicate check - in one go! I'm using the wonderful Validation plugin for JQuery, and so far, so good - I even have it passing the entered email address to check against a database to make sure duplicate emails can't be entered. To extend this, however, I want to also ensure that the email prefix (before the @ symbol) does contain at least one period (.) - this is to ensure the users are using their firstname.lastname email address, and not their firstletterlastname email address (and to prevent them from having two accounts using each format).
As stated before, the remote validation of the address itself works fine, but the problem is the response only comes back as a JSON true/false value - if I could validate it in my server-side script, then pass back a string value, there might be some way of displaying an error message for the field appropriate to the error(s) - e.g.: "your email must be firstname.lastname", "the email suffix must be company.com", and "that email address is already registered". I've been reading the JQuery docs on Validation, but nothing I've found allows me to pass back more than just true or false.
I've ended up solving this thanks to Andrew's help, as well as this post: jQuery remote validation with server generated error message
The key was ensuring that the strings were encapsulated in double quotes, whereas the true string being passed back wasn't, so it would evaluate correctly and not display an error message. Yay for JQuery and the awesome Validation plugin!
Any ideas/pointers on how to implement this would be greatly appreciated, and considering I looked through all 700+ entries on JQuery Validation here at SO, perhaps it will benefit others as well. Thanks in advance!
Here's some code with what I'm doing:
$("#MemberInfo").validate({
    errorPlacement: function(error, element) {
           error.insertAfter(element);
       },
    rules: {
        Memberemail: {
            required: true,
            //minlength: 1,
            email: true,
            remote: {
                url: "checkReg.cfm",
                dataType: "json"
            }
        },

    },
    messages: {
        Memberemail: {
            required: "Please enter a valid @company.com email address",
            minlength: "Please enter a vaild email address",
            remote: jQuery.format("{0} is already registered")
        }
    }
});

A: Check out the documentation for the remote option:

The response is evaluated as JSON and
  must be true for valid elements, and
  can be any false, undefined or null
  for invalid elements, using the
  default message; or a string, eg.
  "That name is already taken, try
  peter123 instead" to display as the
  error message.

So in your server-side code, if you return a string, it should be shown as the error message.

redpajama_set_name: RedPajamaStackExchange


Samira Abbassy and I met in her studio at the Elizabeth Foundation on one unusually warm day in January. I first met Samira through another visual artist who introduced me to her and subsequently her work. After attending the Open Studios in October 2005, I requested an interview with Samira.
Samira was born in Ahwaz, south-western Iran in 1965 and identifies herself as being Arabic as well as Persian. In 1967, her family moved to Britain where she was educated from primary school onwards. She studied painting, first at Birmingham Polytechnic and then at Canterbury College of Art. Abbassy's career was centered on London for most of the 1980s and 1990s. She established a successful gallery career, showing with Mercury Gallery in Cork Street, the Royal Academy, where she won a painting award in 1997, and numerous other galleries in the UK and Europe. In 1998 she moved to New York where she now lives and works. She has had solo and group shows in New York and in London, where she exhibits with England & Co. Her work was acquired by the British Government Art Collection in 2002.
Samira's paintings are simultaneously ephemeral and visceral. They are embodiments of multiple mythologies and contemporary dilemmas; they are deeply feminine and humanistic. In addition to visiting her studio on several occasions, I also had the opportunity to see over 30 pieces, including sculptures, exhibited at Vernacular Press in October 2005. The sum total of her work at this time seems to counteract not only the shattering processes of globalization, but also the unnerving side effects of war, that above all are marked by the erasure of biblical and historical artifacts and artwork throughout Southwest and Central Asia, Africa and Latin America. She is, as she says in her own words, a bridge between history and time.
I'd like to begin by asking you to describe your work.
Lately I've been saying that they are small scale oil paintings. I also describe my work as being vaguely of Middle Eastern influence, and autobiographical as well as mythological. I don't consciously use mythological subject matter; it just seems to arrive in figures that I can't always explain. There is a strong element of self-portraiture in my work that illuminates how my life is unfolding in terms of psychological states rather than regarding actual events.
My work used to be more narrative based and as it's developed the narrative has given way to something that is more about the internal dynamics of the figure rather than the interactions between two or three figures. The states of the figures are sometimes depicted with the color that's used -- a specific red for example -- because of the way that color can carry emotion. More literally I've done a recent series of drawings where I focus on the anatomy -- where there's an x-ray look to the figure that enables you to see inside it. I want that to depict how the figure feels rather than what it's doing. That's become the aim of what the figures are now.
Tell me about the materials with which you work.
In the past 3-4 years I used collage as a basis for building up composition and then painting on top of it. Now I'd like to get rid of that because I've decided I don't like the edges of the paper. Now it's more to do with imagining the process and then approaching the work and then doing the work directly with color. For example, with "Hereditary Bonds", the blanket red is almost done like a collage. The large triangle of red is almost sticking down like a piece of paper, but I want the quality of paint to speak for itself. Another example is the recent triptych, "Inflammatory Speech" which was done with no collage but with gesso. Over the one and half years it took to make that piece, I discovered ways of dealing with the gesso by allowing its light to come through by scratching back into it. I've also noticed that every time I've discovered something works, I want to move onto the next thing. There's a sense of "I've discovered that - now what else can I do with my new obsession", whatever that might be.
The gesso is one of them. But I'm also working on a series of drawings done via projection. This is again following the idea of collage, but instead of sticking collage directly onto a surface, I am projecting something I have made or photos of other references I've been using over the years, and allowing for changes in scale. I like that it can be moved and is infinitely adaptable.
How did you stumble on to collage?
The surrealists used it, like the exquisite corpses. When I first came to NYC and was going to bars and stuff, we used to play exquisite corpses. I would take some of them and they would be really interesting so I would photocopy them or scan them or sometimes use them directly. The collage came out of using a direct drawing. But throughout art history, people have used collage, either as a thing in itself to draw attention to the object, or as a structuring device. For example Max Ernst; I saw a show at the Metropolitan Museum of Art in 2002 he took photos and re-collaged them into a piece which he then photographed so that the final piece was seamless. That was a direct feed in to my own use of collage though I saw that show after I started using collage in my own work. It consolidated my ideas.
Can you speak to that dynamic between the contemporary and timelessness of your work?
I've always seen myself as a medievalist because of the scale of the work, but also because I'm painting and using paint on canvas it's a very sort of archaic way of making anything. I draw a lot of my references from pre-Renaissance imagery. When I see a timeless thing, whether it's a Cycladic sculpture or an Egyptian painting or sculpture, there's something that happens where I recognize myself in it and I recognize that I feel like that body and that body was made so long ago. I have to wonder what it is about that that is still speaking to me. I find that recognition to be miraculous. I do identify with some contemporary work, sometimes through the use of material, but it's the older stuff that I feel has a mystical amazing-ness. You know it's been judged and kept, and that these things were made very well, and were made to last. Just to be able to do those kinds of things with those materials was very hard, whether it was marble or bronze, so the craftsmanship element is really important to me as well.
I'll go back to the first part about the timelessness and the images that speak to you, but can you address the contemporary aspects of your work?
I feel people consider me contemporary because I work across ethnic lines and ethnicity is one of my subjects. Moving from the third world into the first world at a very young age and still being judged as representing that world, I had to learn to explain myself - not really knowing an explanation but inventing one. That's a contemporary issue of people working in the West, but still being seen as coming from elsewhere. We're crossing cultural and historical boundaries. There are writers dealing with themes I'm choosing to paint about. Salman Rushdie addresses this theme of standing in two worlds at the same time. For example, when I've gone to contemporary art museums in the Middle East, there's a missing link in the sense that many artists are using western iconography which doesn't wholly belong there - yet. And, it's like we're on a bridge. They're coming over and I'm going back. I don't feel like I'm going back as in "I'm regressing" or trying to turn the clock back. I feel like I'm trying to distill or explain the gap in the bridge. I look at Babylonian imagery or early Syrian art and Persian paintings because I feel that there are nuggets there that have been left behind and I want to disseminate those. And I feel like I'm in the ideal position because I'm here, even though I was once from there. I've noticed that something is working out on that level in me. It's almost what my heart needs to see.
Let's turn more specifically to the archetypes and images that you use. Could you speak to that piece up there, "When We Were Birds"
Process wise it's re-using some elements from previous works in a more condensed fashion. I scanned some of the bird women figures and scaled them up and down. It was initially a collage piece and then it was painted and one or two elements were completely wiped out. It's about leaving the ground and not being able to, as well. Before that I did another one called "Waiting" which was a group of birds, a lot of them were grounded a few of them weren't. So I wanted to follow that theme [in order] to discover what it was about that set of problems. These figures are states of being, they're not actual representations. It's about waiting and being able to leave the ground and do as you please. I want a fantastic element in the work that speaks of spirit, but I also like playing with space and making space function as a metaphor. I want the painting/composition to have the unreality of looking into a mirror.
Yes -- the golden iridescence. Even though that's not actually gold. It's a flat yellow. But you make those decisions about color. I wanted something that is almost unsavory. I wanted it to be acidic and luminous and void-like as well. It was also done as an angry elimination of what went underneath, which was too much brownness. There was way too much brown and coziness there. Sometimes you do things to dare yourself out of a habit.
Well, I got asked this a lot. The bird is a symbol (and I hate that word symbol because it's too specific) of the flight of the imagination and the infinity of the soul. It's what we can't do but our minds can do. What I'm trying to describe in my work are mental and emotional processes and states. So the birds seem to be, at the moment, one of the most successful vehicles of trying to express that. Because it's not always about actual things. It's about how to make a painting work and it has to do with breaking the rules and being able to leave the ground. So there's that, too.
Another timeless archetype/image that you use quite frequently is the king. Speak to that a little bit.
The king is from the Qajar and 19th century court paintings from Iran. I've had a love affair with this king figure for a very long time, even before I attempted to paint him. What's exceptional about him, apart from his ravishing beauty, is that there's a hermaphroditic quality to him - he's beautiful both as a man and a woman. He has delicate shoes and a dress with a very pointy waistline and a full skirt and everything is embroidered to the t. It's just beautiful. I know who he is, he's Fath Ali-Shah [Qajar] (1771-1834) and he's been depicted many times. Each time he looks slightly different, but if I saw an actual photo of him, I would recognize him. These old paintings of him cross the line between actual person and mythological figure, and I want those qualities in my figures. What's also interesting to me about these paintings of him is the fact that this was the first time court painters went from miniatures to full blown portraits of a specific person. Before that the shahnamas, or historical illuminated manuscripts, were small scale and they were gouache or water color, but these were oil paintings on canvas and board. The kings commissioned them because they knew how kings and queens in the West were being depicted at the time and they were like, "we want that". So it was a way for this form of painting to be brought into modernism, into the new contemporary west. You can see in them that there's flattened space, there's not a total understanding of perspective or three-dimensionality. They were making western paintings and I'm, in a way, trying to imitate their imitation of Western art.
Ultimately, I'm painting because I haven't worked out yet what intrigues me. It's like I'm still looking to explain the process, the materials, and the world. I'm still looking to find out if there is another level here of explanation. There's something about the process that feeds me and my work.
Are you looking for another level to the images and materials, the excavation of these?
Yes -- the overall meaning. I'm still looking for why, what is it, what does it describe to me. I'm looking to describe things to myself in a new way. That's why I have to push back the boundaries of my own language. I can't keep describing things to myself in a familiar way. I have to find different devices or ways of doing it.


text:
Milwaukee Unrest: Neighbors Gather to Clean Up, Pray
WUWM 89.7 FM | By Marti Mikkelson
Published August 14, 2016 at 12:43 PM CDT
People cleaning Sherman Park Sunday morning.
Marti Mikkelson
People who live near Sherman Park on Milwaukee's north side spent Sunday cleaning up, after violence erupted Saturday night. Demonstrators damaged property and started fires, after a police officer shot and killed a man. Police say 23-year-old Sylville Smith was holding a gun when fleeing a traffic stop.
Some neighbors brought brooms and garbage bags while others gaped at the building that used to house the BP station. It was incinerated with glass everywhere and the smell of smoke permeating the air.
One person on hand was Nate Hamilton. His brother Dontre was shot and killed by a Milwaukee police officer in 2014. Hamilton thinks the violence represents a boiling point in the black community. Both the officer – and victim are black.
"This is the answer when justice is never given to the black community, when the needs are not met in the black community, when the resources are not there in the black community, when the education level is not high enough in the black community, this is what happens," Hamilton says.
Hamilton says his heart goes out to the family of the young man killed. He called for a prudent investigation and asked people to demand changes in the system.
"We can channel that energy into looking at new legislation, new polices and new practices that police are able to follow that will help them do their job better and to help them be more respectful to the community," Hamilton says.
Cassandra Maclin called the scene shocking, as she picked up debris. She thinks police could have exercised other options.
"They didn't have to shoot him. They could have tased him or done something different. I don't think that was right," Maclin says.
"But, this isn't the answer. Violence only begets more violence. I think this is an opportunity to turn a negative into a positive," says Carter; he didn't want to give his first name. He says he understands the frustration that came to a boiling point, but he's upset that the protesters resorted to damaging property.
So is Kattie Harris. "I feel whoever did this here, they're cowards. They're mad at the officers, then go to the officers, go to the police station. Why mess with somebody else's business?"
Harris says she moved to the Sherman Park neighborhood only two weeks ago. She says she and her kids used to frequent the gas station and convenience store.
"Now, what's somebody going to do for groceries? The elderly who can't get out. The elderly who get off the bus and run to the store to get something to eat around here. Lena's is down there but this is closer, so this is unnecessary," Harris says.
Harris says she plans to reach out to her new neighbors and discuss ways to prevent violence. She says she'll also keep a close eye on developments and plans to start attending Fire and Police Commission meetings.
If you are looking to help, check out Precious Lives' Get Help / Give Help tool for resources and volunteer opportunities:
NewsWUWM NewsMilwaukee Unrest
Marti was a reporter with WUWM from 1999 to 2021.
See stories by Marti Mikkelson
The 1960s: A Decade of Turmoil and Change in Milwaukee
Sunday Updates on Fatal Milwaukee Police Shooting, Aftermath
Fires, Gunshots On Milwaukee's North Side, Follow Police Shooting Earlier Saturday
Riots Follow Fatal Police Shooting In Milwaukee


text:
NCL Launches New Site Suitability Indicator (SSI) For New Residential Development
AQC's sister company, Noise Consultants Limited (NCL) has launched its Site Suitability Indicator (SSI), a freely available online resource which aims to help provide noise practitioners, developers, and Local Planning Authorities with an initial understanding of the suitability of sites in England for new residential development from a noise perspective.
Noise Consultants Limited has developed the Site Suitability Indicator (SSI) using data prepared by Defra as part of the Round 3 strategic noise mapping process. The SSI adopts industry advocated site risk criteria to inform an initial assessment of site suitability.
The SSI can be used to:
Provide information to inform an understanding of a site's acoustic environment;
Assist in the identification of relatively noisier sites; and
Present noise information that can complement an understanding of a site's acoustic environment and act as an early indicator of its potential suitability for new residential development from a noise perspective.
Using the coding developed for the SSI, NCL are working with AQC and LCL to expand the geographic datasets to show additional environmental information and features, thus developing a resource that can be used across other sectors and also promote the technical work of the Group.


Erin Flynn R.A., LEED A.P., an emerging firm leader with experience in cultural and museum work, has been promoted to the position of Director of Architecture. Erin has over 20 years of experience in cultural and museum work and has been instrumental as a project leader on such notable commissions as the Whitney Museum of American Art, the Fowler Museum at UCLA Planning Study, the Studio Museum in Harlem, and most recently, Gateway Arch Museum in St. Louis. In her new position, she will play an important role in mentoring, developing and managing project teams while also supporting business development for Cooper Robertson's cultural and museum practice.
As the firm's Director of Architecture, Flynn will also manage quality control and systems research, develop and advance the implementation of building technology in the firm's work, and ensure best practices in design and management of projects. A LEED-accredited professional, Flynn is a registered architect in New York State, and holds a Bachelor of Architecture from the University of Oregon.


text:
package mc.clownfish.api;

import java.util.HashMap;

public abstract class TypeManager <T extends Type>
{

	private HashMap <String, T>	types	= new HashMap <String, T> ();

	public void addType (T type)
	{
		types.put (type.getName (), type);
	}

	public T getType (String typeName)
	{
		return types.containsKey (typeName) ? types.get (typeName) : null;
	}

	public boolean hasType (String typeName)
	{
		return types.containsKey (typeName);
	}

	public boolean isRegistered (T type)
	{
		return types.containsValue (type);
	}

}

redpajama_set_name: RedPajamaGithub


OVER 21 YEARS of climate change action culminated on December 12th's historic multilateral agreement in Paris, France. Many will say we have come to a pivotal moment, or to the end of a long road. Some will say it falls short, lacks ambitions and is shameful. Many will say we have failed our frontline communities, those most vulnerable and those who are already suffering — and they will be right.
The way modern civilizations have organized has proven deeply flawed. We have failed to understand natural limits because our economic, political and social systems have benefited from extracting resources faster than they can be replenished. We have known for decades that this intense growth has catastrophic planetary and social impacts.
We have known this, and yet, our international community has struggled to be able to come to a consensus on how to tackle the challenge. We have watched and waiting during years of stalled negotiations where the divergence between positions was so stark we could not see a way forward. We have been very close to not coming back to the table at all. Despite this international struggle, we have acted in our local communities and made change in our cities and regions. Fundamental shifts in our rhetoric around climate change, the 'green' economy, and jobs of the future have occurred. Children born into the climate change generation are learning about sustainable development and clean energy in primary school.
Based on what I have seen and felt this past week in Paris, we have left with a truly remarkable signal.
For these reasons and more is why it is important to see this agreement as part of a larger whole. It is just one piece, albeit an important one, in the larger climate movement. I do not think we can expect it to solve all of our problems, nor would that be a realistic assumption. What I expect it to do is to serve as a signal. Based on what I have seen and felt this past week in Paris, we have left with a truly remarkable signal. The international political community has mobilized in a profound way these past few weeks. I have witnessed nothing but strong determination to reach agreement in Paris.
We should accept this agreement as an incredible step forward with many positive elements. While there are some missing pieces, it sets a solid foundation for the road ahead. It was vital that we make international reference to the ultimate goal of 1.5°C of global temperature increase. It was vital that we make pre-2020 ambitions and set a framework in place to report back to our international community. We did those things. We set the framework in motion. These are the achievements of Paris.
If we expect this text to solve all of our problems we should examine the inputs that would make it possible to be as ambitious as possible. Our leaders are ultimately bound by their constituencies and their political institutions at home. These are their constraints — their processes, their voters and their mandate. Why do we think our leaders cannot come to Paris, or Morocco, or Copenhagen and deliver justice for us? It is obviously because we, the movement, have not done enough at home to convince the people who determine their mandate that this issue is fundamental and worthy of the utmost ambition.
We have an immense challenge ahead of us and work to do swiftly. We know that we have a 10-year "carbon budget" remaining, meaning that in the next 10 years we must achieve deep reductions in greenhouse gas emissions or major climate events like droughts, floods, extreme heat and more will wreak havoc on our communities. But now that we have the attention and commitment of 195 countries, I would hazard to say that the work may be less directed at these leaders in the short years ahead, and more directed at our neighbours, our families, and our friends.
If we start at home, and everyone, not just the environmental activists are demanding action — well then we can say we beat the odds.
This post originally appeared on Alternatives Journal Online, Canada's Environmental Magazine.
Posted in Environment. Bookmark the permalink.


text:
He was wounded in the thigh in action at Antietam on 17 September 1862.
He was admitted to a US Army hospital in Frederick, MD on 28 September 1862 and was discharged there for disability on 6 January 1863. He enlisted again, on 26 April 1863 and mustered as a Sergeant in Company C, 16th New York Cavalry on 26 April. He was appointed First Sergeant on 1 April 1865 and transferred to Company I, 3rd New York Provisional Cavalry on 17 August 1865. He was appointed Commissary Sergeant and mustered out with the regiment on 21 September 1865 at Camp Berry in Washington, DC.
His service from the Adjutant General1 and his New York Muster Roll Extract, online from fold3, with wound detail from the Chronicles.2 Hospital detail from the Patient List.3
1 State of New York, Adjutant-General, Annual Report of the Adjutant General of the State of New York [year]: Registers of the [units], 43 Volumes, Albany: James B. Lyon, State Printer, 1893-1905, 1899, S. 20, p. 258; 1894, V. 4, p. 932; 1895, V. 3, p. 827 [AotW citation 28194]
3 National Museum of Civil War Medicine, and Terry Reimer, Frederick Patient List, Published 2018, first accessed 17 September 2018, <http://www.civilwarmed.org/explore/primary-sources/databases/frederickpatient/>, Source page: patient #567 [AotW citation 28196]


text:
%Author Evilk9 (github.com/evilk9)
password_number = input('Enter How Many Passwords To Generate: ');
password_length = input('Enter Password Length: ');

for i = 1:password_number
    fprintf('Password: %d\n', i);
    for i = 1:password_length
        character = randi([33, 126]);
        fprintf('%s', char(character));
    end
    fprintf('\n');
end


text:
Fears over 'extortionate' US fines on British firms
Barclays, GSK and BP have all been hit with high penalties, leading to talk of bias, writes Richard Blackden
BP was fined a record $4.5bn by US authorities over the Gulf of Mexico oil spill. Photo: EPA
By Richard Blackden
10:12PM GMT 17 Feb 2013
It started last June when Barclays was ordered to pay a $360m (£230m) fine over allegations its traders had manipulated Libor, one of the world's most important interest rates.
Since then, in an extraordinary eight-month period, a roster of top British companies has been fined an unprecedented $10.9bn by US authorities ranging from the Department of Justice (DoJ) to the Commodity Futures Trading Commission (CFTC).
Just days after Barclays was hit with its fine, drug maker GlaxoSmithKline agreed to hand over $3bn for mismarketing anti-depressants to children. Last August, Standard Chartered paid $340m to settle allegations it violated America's financial sanctions against Iran.
Next up was BP, fined $4.5bn over the Gulf of Mexico oil spill. After the accident, interior secretary Ken Salazar had famously said: "Our job is basically to keep the boot on the neck of British Petroleum." President Obama had expressed a similar sentiment, making clear that he was targeting BP – and not Switzerland-listed rig owner Transocean or America's Halliburton, which cemented the well – when he said: "Let me be clear: BP is responsible for this leak; BP will be paying the bill."
BP's penalty was followed last December by a $1.9bn fine on HSBC, which pleaded guilty to breaching anti-money laundering rules.
BP agrees record £2.5bn US criminal penalty
Barclays hit with £290m fine over Libor fixing
Standard Chartered pays $327m to settle Iran fine
US fines Glaxo $3bn for mis-promoting drugs
RBS fined £390m for rigging rates for profit
After a brief respite in January, the DoJ and the CFTC last week slapped a $475m penalty on Royal Bank of Scotland for manipulating Libor. And this week, Barclays confirmed in its annual report that it is being investigated by the US authorities over its emergency fundraisings with Qatar during the financial crisis.
No wonder, then, that in the City of London there are mounting concerns that American regulators have developed an appetite for imposing excessive fines on British companies.
One leading fund manager described the size of the fines as "extortion". Richard Marwood, a fund manager at Axa Investments, said he is concerned that US regulators see large companies as piñatas (breakable containers of treats), easily bashed for cash.
So, is there any weight to the accusation that American authorities are unfairly targeting foreign firms?
John Coffee, a professor of securities law at Columbia University in New York, says that US regulators have historically imposed higher penalties than their counterparts in Britain. The CFTC and the DoJ both levied larger fines on Barclays and RBS over Libor than the UK's Financial Services Authority, for example.
Concern about the penalties has also focused on the lack of transparency over how regulators determine their size. Rather than adhering to a particular method, legal experts say the amount is reached through a set of negotiations between the lawyers for the government and those representing the particular company.
Companies operating in the US also risk falling victim to the political battles between the country's regulators. Some believe that fate befell Standard Chartered last August, when the Department of Financial Services (DFS), a little-known and newly established New York regulator, wiped more than £5bn from the bank's value in a single day after publicly accusing the lender of helping Iran illegally launder $250bn though America's financial system.
Boris Johnson, the Mayor of London, said that the inflammatory language used in the attack was motivated by a desire to damage London's claim to be the world's financial capital.
Standard Chartered paid the DFS $340m and, four months later, stumped up $327m to the Federal Reserve to settle the same allegations. Officials at the Fed were said to be concerned that the DFS was doing little more than grandstanding for political purposes.
"You have turf wars between regulators and you have regulators with political agendas," said James Angel, of Georgetown University, an expert in regulation. "Regulators do like to show off how good they are at getting scalps."
A perception in the City that US regulators have UK companies in their crosshairs while American firms are treated more leniently has been fuelled by this particular sequence of settlements. The $3bn penalty imposed on GSK had as little to do with BP's fine as that punishment had with the Libor agreements, but they all came cascading down within six months of each other.
But the prosecutor who has been leading the DoJ's investigation into the Libor scandal rejects accusations of bias. "We are absolutely not singling out British banks," said Lanny Breuer, the head of the DoJ's criminal division. "It may well be the case that British banks got out in front of this."
Several US banks, including Citgroup and JP Morgan, are still under investigation as part of the global Libor inquiry. The hard-hitting language used by American regulators when handing down the fines is not simply directed at foreign banks, insisted Bart Chilton, one of five commissioners at the CFTC. "When I talk tough about the need for a culture change, US banks are front and centre in that," he argued.
Indeed, regulators have faced criticism in the US for not imposing tougher criminal sanctions over the Libor scandal. With the economic recovery fragile and the public still angry over the financial crisis, experts say the authorities will only get tougher.
"What some may see as an anti-British bias, I see as a shift towards sterner enforcement in the US following the financial crisis," said Mr Coffee.
Arguably the most significant action taken by the DoJ this month was the lawsuit it filed alleging a $5bn fraud against US credit rating agency Standard & Poor's for understating the risks of the bonds it rated in the run-up to the financial crisis.
The debate will continue to rage between those who believe the penalties of the past eight months have been excessive and those who contend they are not hard enough.
But one thing is certain – greater transparency from US regulators on how they arrive at the swingeing fines they impose is essential if they are to avoid the perception of partisanship.
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Robin Lorentz (violin, percussion); Ron Lawrence (viola); Michael Finkel (cello, conductor); Robert Black (double bass, percussion); Amy Knoles (percussion); John Luther Adams (percussion; conductor); James Negeak, Doreen Simmonds, Lincoln Tritt, Adeline Peter Raboff, Dave Hunaker (speakers).
rec. 8-11 March 2004, Charles W. Davis Concert Hall, University of Alaska, Fairbanks.
To say that John Luther Adams writes a kind of eco-music would be fair enough, so long as the description isn�t allowed to suggest that his work is merely a kind of propaganda. It is far more interesting than that.
Adams� earliest musical involvement was with rock � as a drummer. The music of Frank Zappa led him, in turn, to that of Var�se, Cage and Morton Feldman. He grew up in a variety of suburbs across the U.S.A., then studied music in California, before beginning work as an environmentalist. This took him to Alaska in 1975; he has lived there since 1978. �As a young man, I came to Alaska in search of home. The moment I arrived I knew I'd found it� he said in a 2004 interview.
Adams� music reflects the extremes of the landscape in which he now lives, full of musical images of power and space; it is also very much concerned with the human life lived there � now and in the past � and with the interaction of human and non-human. Luther Adams himself says that his music owes much to that of James Tenney, with whom he studied in California. Though it certainly draws on a range of avant-garde influences � one might, for example, add Lou Harrison, Harry Partch and Henry Cowell to the names mentioned above � it has a distinctive character of its own. He couldn�t be confused with the �other� John Adams!
Earth and the Great Weather was commissioned by the Festival of Native Arts at the University of Alaska at Fairbanks. It carries the subtitle: �A Sonic Geography of the Arctic� and in the CD booklet is described, presumably by Adams himself, as �a journey through the physical, cultural and spiritual landscapes of the Arctic, in music, language and sound� (see concert review).
The �sounds� include Adams� own recordings of some of the natural sounds of the area, such as birdsong, running water and the sound of the wind on small �olian harp.
The �music� includes three extended pieces for four drummers: fierce, compelling and tightly structured, based, we are told, on rhythmic cells derived from the traditional dance music of two of the native peoples of Alaska, the Inupiat and the Gwich�in. Elsewhere Adams writes for strings and digital delay, in an idiom best described in the composer�s own words: �This music inhabits a non-tempered harmonic world, based on the first eight odd-numbered harmonics of a low-D on the double-bass. All the sounds are produced either from re-tuned open strings, or natural harmonics up to the 105th harmonic: the seventh of the fifteenth. It is an idiom which owes something to the ideas and practice of composers such as La Monte Young and Lou Harrison, but the result is highly individual.
The �language� includes texts in four languages: Inupiaq, Gwich�in, English and Latin. Most of these texts - elaborately detailed in the CD booklet - are concerned with the various names of plants and places, the seasons and the weather, the results strangely evocative and resonant.
Earth and the Great Weather demands considerable attention� - and fair stamina � from the listener, but it rewards that listener with passages of extraordinary beauty, with a sense of sublimity. This is not picture postcard music, not cinematic or pictorial in any obvious sense. Yet it evokes a place and a way of living with remarkable power; it is, in a sense, the musical complement to the work of the British poet Tom Lowenstein, whose poetry engages with the life of some of the same Alaskan societies - a recent volume is Ancestors and Species: New and Selected Ethnographic Poetry, published by Shearsman Books.
Like Lowenstein�s poetry, Luther Adams� music has a refreshing newness of perspective, alerting us to the parochiality of many of our own standards and conventions, serving to make us realise that that is just what they are � conventions of our own society, not universal truths. Amongst other things, music such as Earth and the Great Weather cleanses the ears and the mind, makes us better listeners when we return to other more �conventional� music. Along the way it offers us much that is striking and beautiful.


1. You get to be DJ, all day long.
"Hellooooooo, how are you?" How am I? Tired of the hearing the same song over and over! When you work from home you get to choose your own music. Is german electropop what gets you going? Blast it. A little Whitney Houston on Fridays? Go for it. You can even opt for no music at all.
2. The cold won't bother you anyway.
Did you know that office temperatures can have a significant impact on people's productivity and ability to perform? A study from Cornell University researchers revealed that employees committed 44% more mistakes when office temperatures were low than when they were warm. Temperature is a non-issue when you telecommute.
3. You can multitask, your way.
The lines between work and play can become very blurry when you call your home your office. I like to take full advantage of this by combining work-related tasks with errands and even fun time. Farming XP while brainstorming for a client or catching up on emails while waiting at the doctor's office — anything goes as long as your work gets done.
4. You can let your inner chef shine.
Having Julia Child's boeuf bourguignon for dinner during a weekday is out of the question when you have a 9-to-5 office job. But taking time out of your work day to prep a nice dinner is totally doable when your gig is remote.
5. You're always there to receive your packages.
This one's pretty much self explanatory. A few things are more annoying than that little pink slip stuck to your door letting you know that your precious merchandise is only another 24 hours away!
6. You get the best stall in the building all for yourself.
Last but not least, the privilege, the joy, the undeniable satisfaction that comes with having a private stall. When business comes knocking through the back door you'll be able to take care of it in the comfort of your own home. Yes, I know this one has been mentioned time and time again, but it is still pretty awesome!
What are your favorite telecommuting perks?


text:
Robert C. Merton - Explore Facts
Prize Lecture
Robert C. Merton - Facts
Robert C. Merton - Biographical
Robert C. Merton - Prize Lecture: Applications of Option-Pricing Theory: Twenty-Five Years Later
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Photo from the Nobel Foundation archive.
Born: 31 July 1944, New York, NY, USA
Affiliation at the time of the award: Harvard University, Cambridge, MA, USA
Prize motivation: "for a new method to determine the value of derivatives"
Prize share: 1/2
Robert Merton was born in New York, USA. Although he enjoyed mathematics, his main interest while growing up was cars. After getting his driver's licence, he built street hot rods that he ran at drag strips in upstate New York and Long Island. He studied at Columbia University, at California Institute of Technology and Massachusetts Institute of Technology and has taught economics at MIT and Harvard. Merton has three adult children.
Robert Merton is known for his work on finance theory and risk management and especially for his contribution to assessing the value of stock options and other derivatives. Merton used his background in mathematics to generalize the Black-Scholes formula, created by Myron Scholes and Fischer Black. By altering the formula, Merton allowed it to apply to other financial matters, such as mortgages and student loans.
MLA style: Robert C. Merton – Facts. NobelPrize.org. Nobel Prize Outreach AB 2023. Sun. 29 Jan 2023. <https://www.nobelprize.org/prizes/economic-sciences/1997/merton/facts/>


Pomegranate is a fruit which contains lots of edible seeds known as arils. They are categorised as berry, and they have antioxidant, anti-tumor and antiviral properties. These qualities makes it to be a healthy fruit that should be consumed regularly. Pomegranate is also a good source of vitamins, especially vitamin A, C, and E, as well as folic acid.
Pomegranate is an amazing fruit, because it contains three times as much antioxidants as both wine and green tea. Without further discussion, below are 5 reasons you should be eating this delicious fruit so as to enjoy its important health benefits.
The peel, bark and leaves of pomegranate are used in treating stomach disorders and diarrhoea. Drinking tea made from the leaves of pomegranate is used in curing digestive problems, and pomegranate juice is also used in treating diseases like dysentery and cholera.
Pomegranate contains high levels of antioxidants, and flavonoids which makes it effective in fighting against various cancer radicals, particularly breast and prostate cancers.
The fruit has the ability of reducing the prostate-specific antigen (PSA) levels in the body, and helps in the fight against existing cancer cells in the body.
One of the top notch health benefits of pomegranate is that its juice, together with its antibacterial and antiviral properties helps to reduce the effect of dental plaque and protects against various dental diseases.
Pomegranate supplies iron to the blood, this helps in reducing the symptoms of anemia which includes; fatigue, dizziness, weakness, and hearing loss.
If you are suffering from diabetes, drinking pomegranate juice can reduce your risk of various heart diseases. Apart from this, you will also experience a reduction in the hardening of your arteries, which can inhibit the development of various heart diseases.
Pomegranate's main fatty acid known as Punicic acid, helps by providing protection against several steps in the heart disease process.
These are some of the important health benefits you will derive from eating the delicious pomegranate fruits. You might not be aware of some of them before now, but now you do, you can go ahead and always include this fruit in your meal. Kindly use the share button below to get this message across to your friends on Facebook and other social media networks.


How do we form questions in the Passive voice?
Questions in the Passive are formed with to be and the past participle *.
What is tiramisu made from Tiramisu is made from eggs, sugar and cheese.
Why are cars designed in Germany? Cars are made in Germany because they are good designers.
Who was the man arrested by? The man was arrested by the police.
Where were the children taken on a trip? The children were taken to the zoo.
Present Perfect Has the room been painted?
Past Perfect Had the room been painted?
will-future Will the room be painted?
going to-future Is the room going to be painted?
Future Perfect Will the room have been painted?
Conditional Would the room be painted?
Conditional Perfect Would the room have been painted?
Present Continuous Is the room being painted?
Past Continuous Was the room being painted?


Dimmed lights. Black shrouds on otherwise welcoming furniture. Incense heavy in the air. Home decked for funerals of family long lost. Sorrow spilled fresh every year.
The ninth night, and the women in black huddle methodically on the carpet. Heirloom diaries are cracked open, fingers caress verses written by their mothers and their mothers' mothers. Mourning rises from within deep bellies and combusts on meeting air. Family poems, more sung than recited, give voice once more to the ancient matriarchs whose hearths first hosted black battlements.
The verses crescendo, anguish reverberating with beating chests. Banners bearing eternal sigils of peace will remain defiantly unfurled until the passing of the tenth day of war. But the war returns next year, every year.
The women will welcome it home.


text:
Slavin, Robert E. & Johns Hopkins Univ., Baltimore, MD. Center for Social Organization of Schools. (1979). Effects of Individual Learning Expectations on Student Achievement. Report No. 288. [Washington, D.C.] : Distributed by ERIC Clearinghouse, https://eric.ed.gov/?id=ED189118
Slavin, Robert E. and Johns Hopkins Univ., Baltimore, MD. Center for Social Organization of Schools. Effects of Individual Learning Expectations on Student Achievement. Report No. 288 [microform] / Robert E. Slavin Distributed by ERIC Clearinghouse [Washington, D.C.] 1979 <https://eric.ed.gov/?id=ED189118>
Slavin, Robert E. & Johns Hopkins Univ., Baltimore, MD. Center for Social Organization of Schools. 1979, Effects of Individual Learning Expectations on Student Achievement. Report No. 288 [microform] / Robert E. Slavin Distributed by ERIC Clearinghouse [Washington, D.C.] <https://eric.ed.gov/?id=ED189118>
| title=Effects of Individual Learning Expectations on Student Achievement. Report No. 288 [microform] / Robert E. Slavin
| author1=Slavin, Robert E
| author2=Johns Hopkins Univ., Baltimore, MD. Center for Social Organization of Schools
| publisher=Distributed by ERIC Clearinghouse
Effects of Individual Learning Expectations on Student Achievement. Report No. 288 [microform] / Robert E. Slavin
Slavin, Robert E
https://eric.ed.gov/?id=ED189118
[Washington, D.C.] : Distributed by ERIC Clearinghouse, 1979
An evaluation-reward system was developed in which students received points based on a comparison of their weekly quiz performance to a "base score" which was derived from a pretest, and adjusted to reflect actual weekly performance. This system was evaluated in terms of its effect on student achievement, using a group of English classes (409 sixth, seventh, and eighth grade students) studying a nine-week language mechanics unit. The students' points were reported in a weekly class newsletter. The Hoyum-Sanders Junior High School English Test was administered as the pre- and post-test. Results of analysis of covariance indicated that the experimental group achieved more on the final test than did control students, controlling for pretest scores. (Author/GDC)
Sponsoring Agency: National Inst. of Education (DHEW), Washington, DC.
Contract Number: NIE-G-78-0210.
Educational level discussed: Elementary Education.
May also be available online. Address as at 14/8/18: https://eric.ed.gov/
Microfiche. [Washington D.C.]: ERIC Clearinghouse microfiches : positive.
Academic Achievement. | Educational Testing. | Elementary Education. | English Instruction. | Feedback. | Motivation Techniques. | Positive Reinforcement. | Pretests Posttests. | Recognition (Achievement) | Rewards. | Student Evaluation. | Tests. | Individual Learning Expectations | Hoyum Sanders Junior High School English Test
Reports, Research.
Johns Hopkins Univ., Baltimore, MD. Center for Social Organization of Schools
mc 2253 ED189118 Main Reading Room - Newspapers and Family History
This item may be online. Please search the ERIC website prior to requesting this microfiche item.
Success for All [microform] : Evaluations of National Replications / Robert E. Slavin and Others
Student Team Learning [microform] / Robert E. Slavin
Combining Cooperative Learning and Individualized Instruction [microform] : Effects on Student Mathemati...
Mastery Learning Reconsidered. Report No. 7. January, 1987 [microform] / Robert E. Slavin
The Cooperative Elementary School [microform] : Effects on Students' Achievement, Attitudes and Social R...


Johnson, now Organist of St Paul's Cathedral. Tickets for the concert are selling quicker than expected so you are advised to visit the Northampton Bach Choir web-site (see below) for details of how to book tickets.
The Choirs are also preparing for their next tours - on Monday 9 August the Girls and Men begin a week's tour of the Republic of Ireland, centred on a residency at Christ Church Cathedral, Dublin, where, on the Feast of the Assumption, they will give the Irish premiere of our 2010 commission, James MacMillan's Ave Maria. This motet will have been given its first performance in St George's Chapel, Windsor, only a few weeks before, in the presence of the composer. On Saturday 23 October the Boys' Choir will be touring Denmark and giving the first performance of "Fire hellige sange" (Four sacred songs) set bi-lingually in English and Danish by our Director of Music, Lee Dunleavy. This is his second set of bi-lingual set of motets for the Boys' Choir, the first "Fünf heiligen Lieder" (Five sacred songs) were first performed in our twin-town of Marburg in Germany. The Choristers are pictured here (standing on the stage right Gallery) on their most recent tour, singing Britten's War Requiem in Lublin, Poland, at a performance marking the exact date of the 70th anniversary of the invasion of Poland, the event that began the Second World War.


text:
News RBNZ closes offer to purchase NZ government July 2009 bonds
RBNZ closes offer to purchase NZ government July 2009 bonds
The Reserve Bank has closed its offer to purchase NZ government bonds maturing 15 July 2009 for liquidity management purposes.
The offer was announced on 19 May and closed at 4:00pm 1 July. The Bank repurchased $329.865m of the July 2009 bond. The Bank has not onsold any of the bonds to NZDMO, and will hold the bonds on its balance sheet till maturity.
The Bank said the offer was normal ahead of a government bond maturity. These purchases will help manage the large cash inflow to the banking system on 15 July as a result of the bond maturity (as at 30 April there were $4,197m of the 15 July 2009 bonds on issue in the market).
The operation was undertaken to manage near-term liquidity flows and has no implications for the Bank's monetary policy stance.
Mike Hannah, Head of Communications,
Ph 04 4713671, 021 497418, mike.hannah@rbnz.govt.nz


text:
Q: In WPF form My check box in first row of grid get checked after key press in ShowSearchPanelMode , I Don't want to check until i move to grid row? Grid check box get checked when in search Box key is pressed .
Grid should not affect on key press of ShowSearchPanelMode of WPF !
XAML Code
<dxg:TableView Name="view" ShowTotalSummary="False"  AlternateRowBackground="#FFE5EEF7" AlternationCount="2"
                               ShowSearchPanelMode="Always"
                               ShowSearchPanelFindButton="True"
                               SearchPanelFindMode="FindClick"
                               ShowSearchPanelCloseButton="True"
                                 ShowGroupPanel="False" AllowColumnMoving="False"
                               AutoWidth="True" BestFitArea="All"   DetailHeaderContent="True" ShowIndicator="False"
                               BestFitMode="AllRows" AllowEditing="True"   >

c# Code
private void dgv_Details_KeyDown(object sender, KeyEventArgs e)
{
    try
    {
        int RowInd = Convert.ToInt32(dgv_Details.GetRowVisibleIndexByHandle(view.FocusedRowData.RowHandle.Value).ToString());
        {
             if (e.Key == Key.Enter)
            {
                if (ShowSearchPanelMode.Always.ToString() != "")
                {

                    int RowIndex = Convert.ToInt32(dgv_Details.GetRowVisibleIndexByHandle(view.FocusedRowData.RowHandle.Value).ToString());
                    string itmId = dgv_Details.GetCellValue(RowIndex, "Item Code").ToString();

                    string check_ = "false";

                    itmId = dgv_Details.GetCellValue(RowIndex, "Item Code").ToString();

                    check_ = dgv_Details.GetCellValue(RowIndex, "IsSelect").ToString();
                    if (check_ == "false" || check_ == "False")
                    {
                        check_ = "true";
                    }
                    else
                    {
                        check_ = "false";
                    }
                    IEnumerable<DataRow> rows = dt.Rows.Cast<DataRow>().Where(r => r["itmId"].ToString() == itmId);
                    rows.ToList().ForEach(r => r.SetField("IsSelect", check_));
                    dt.AcceptChanges();
                    dgv_Details.ItemsSource = null;
                    dgv_Details.ItemsSource = dt;
                    dgv_Details.RefreshData();
                }
                dgv_Details.SetFocusedRowCellValue(ShowSearchPanelMode.Default.ToString(), RowInd);
            }
        }
    }
    catch (Exception exc)
    {
        DXMessageBox.Show(exc.Message, "Error", MessageBoxButton.OK, MessageBoxImage.Error);
    }
}

A: I don't properly understand what you're trying to do  but in your comment you said

when the focus is on the row I want to check/uncheck checkbox with only Enter key press

The easiest solution i can give you regarding this issue is :
private void dgvw_KeyDown()
if (e.Key == Key.Return)
 {
   dgvw.NotifyCurrentCellDirty(true);
   dgvw.NotifyCurrentCellDirty(false);
  }}

 ///Add this if required
 dgvw.CommitEdit(DataGridViewDataErrorContexts.Commit);

Hope this helps :)


The official YouTube account of the Ohio State football program has finally released their highlight package from The Game. You'll want to see this.
A few Buckeyes share their thoughts on the emotions after the win over Michigan, what the day meant to them, and where this one ranks.
Yeah, the Michigan game was a few days ago, but we wanted to wait until you were fully recovered and ready to relive it again. Hopefully you're ready now.
ESPN was in town for the OSU vs. Michigan game, and OSU fans showed up in droves with signs to show off to the cameras.
Check out our Photo Gallery of their signs by Dan Harker.
In this edition of Buckeye Breakdown, Kyle Morgan gives us a good look at just how good the OSU linebackers were, as well as those in front and behind them.
The Buckeyes have preached about adversity since Urban Meyer arrived, and on Saturday you saw yet another reason why.
Ohio State's 30-27 win over Michigan in double overtime was one for the ages, and a game that the Buckeyes were honored to take part in.
Looking for an unsung hero? Got you covered.


A first in publishing on China, A Call to Mission: A History of the Jesuits in China 1842-1954 was launched in Sydney on Feb. 19.
With 15 years' work on writing and researching over three continents by author Father David Strong SJ, the two volumes cover the second phase of the Jesuit engagement with China. Over that century, more than 1,200 European and North American Jesuits were joined by up to half that number of Chinese entrants to the order. They worked across China until the new communist government expelled the foreigners and imprisoned most of the Chinese.
No less than six major eruptions of social and political unrest in this period ripped an ancient civilization out of cultural and political patterns that prevailed for over two millennia.
The author's access to the local impacts of these convulsions at a local level — through the diaries and letters of the Jesuits stationed across China — give the history a taste for what life was like in villages and cities.
China has loomed large in the imagination of the Catholic Church for 500 years and had been central to the missionary dream of the Jesuits for almost as long. However, only with this book's appearance has the detailed focus of attention shifted to the substantial and neglected period of Catholic and Jesuit engagement with China — the 112 years from the second arrival of the Jesuits in 1842 to 1954.
Polymath Matteo Ricci, astronomers Ferdinand Verbiest and Adam Schall von Bell and the exquisite painter who influenced Chinese painting beyond measure, Giuseppe Castiglione, have been written about, made much of and been the heart and soul of the first stage of Jesuit impact on China — in the 17th and 18th centuries. They brought Western learning and art to China and took Chinese language and literature to Europe.
But the second arrival — from the 1840s — was very different. It was made possible by the arrival of European governments and traders, many of whom came not just for financial gain but to spread their "superior" religion.
This two-volume work by Father Strong is the first major treatment of the period from the arrival of the European and eventually American Jesuit missionaries under the protection of the so-called Unequal Treaties through to their expulsion after the communist victory in the long-running civil war in 1949.


Fayise Abrahim is the Organizing and Training Director at Voices for Racial Justice, now building and coordinating our organizing training and our Rural Organizing Network. Fayise comes to Voices with a background in popular education and community based research. Outside of Voices, she loves to write poetry, memoir, and learn all her mama's recipes.


text:
'use strict';

/** global app **/
app.service('apiService', function($http) {
	this.getLinks = function(url, $scope, scopeName) {
		$http.jsonp(url)
			.success(function(data) {
				return data;
			}).then(function(data) {
				$scope[scopeName] = data.data.data.children;
			});
	};
});


Always check the ceiling. That's where ninjas hide.
But how many snowmen exactly : one saying "hugs me" , another with a fire-axe and these two others now ?
The fire-axe one is the "hug me" one. It just couldn't hold it.
I think Panther's right. "Hug Me" was outside a window. "Fire Axe" was on Nicole's balcony. With these two; one's overlooking the sidewalk(and has no sign) and the other is blocking the entrance door(and has no axe) from the porch.
I hope pawPads are shock-resistant in this universe, or Riley's going to have to start working overtime.
Were Riley not such a heavy Snoutbook user, she would have been more prepared for at least two of the three surprises.
Taking her a lot longer to get used to him than it took for Rick.
That's absurd, why would ninjas limit themselves to the ceiling?
And the necromancers prefer being below the floor.
It's more down to earth.
That was a killer joke.
Poor Riley, and yet, you have to admire someone who knows that Harvey is around and yet still comes to the house again and again.
I love Riley's look in the 5th panel. Poor dear's terrified.
You'd warned yourself, Riley. You had told yourself NOT to make eye contact!
Well he's an elder God.. So he isn't necessarily a ghost or dead..
will you two accept "resides" as a valid verb?
Sure! But I was happy with "lives"; I was just pulling your chain. See the smiley?
Last panel… Kade recognizes Riley's scream. True love!
This kinda makes me wonder what a antro dog sounds like when they whine. Would it be closer to a dog making it or human making it.
…WHY is she still coming over? She knows there is this weird ghost thing.
Perhaps she likes kade that much?
The Scare-Factor gets OVER 9000!
I hadn't thought of it; but, that is a very good point.
I imagine Harvey having the same voice as Crypt Keeper. Is that cliché?


Ebby Halliday Realtors recently opened a brand-new office to serve the residential real estate needs of the Cedar Creek Lake area, an approximately 1 ½ hour drive from Dallas County. The office is located at 314 W. Main St. in Gun Barrel City, Texas. "This new, approximately 3,000-square-foot office greatly enhances our ability to serve the needs of the area's growing number of home buyers and sellers for many more years to come," says Ron Burgert, chief financial officer of Ebby Halliday Realtors.
Ebby's new Cedar Creek Lake Office will ultimately be "home" to approximately 20 Cedar Creek Lake-area residential real estate specialists. Our location on Main Street features a highly visible location and the latest in technology. It offers an ideal setting for Associates and clients to meet to discuss residential real estate needs, whether that's a primary home, a frequently visited second home or an occasional weekend retreat. The lake lifestyle is unique, and whether you are buying or selling, we have the perfect setting from which to serve the entire Cedar Creek Lake area.
We are assisting clients with one of the most significant transactions of their lifetime. It is important that we utilize all of the resources we have at our disposal so we can provide the absolute best experience for our valued clients. Cedar Creek Lake-area sellers who list with Ebby benefit from expanded exposure for their properties. In addition to being listed in the local MLS (NAVICA), Ebby Cedar Creek listings are also in NTREIS, the North Texas MLS. Ebby's listings reach many potential buyers – in particular residents of the Dallas-Fort Worth area, who make up the majority of Cedar Creek Lake buyers.
The new office is "home" to a stellar team of experienced Cedar Creek Lake agents. Buying or selling a lake home can be complicated. We are thrilled that our new Cedar Creek Lake Office offers experienced local agents dedicated to outstanding service and exceeding clients' expectations.


Tourism Vancouver is pleased to announce the appointment of Sebastien Dubois to the position of Manager, Sales & Market Development, Americas in the Leisure Travel sales division.
Sebastien brings extensive experience to the role including a combined three years with Tourism Whistler as Sales Manager, Americas, and Destination British Columbia as Sales Manager, North America & Mexico. In addition, Sebastien worked for several years in the highly competitive online travel agency environment with both Travelocity and Expedia. Originally from Quebec, Sebastien has called Vancouver home for over 10 years. He holds a Tourism Diploma from the Institute de Tourism et d'Hotellerie du Quebec and is fluent in English, French and Spanish.
Sebastien will be responsible for growing visitor demand for Vancouver in the USA, Canada, Mexico and Brazil. His primary clients will be travel trade.
You can reach Sebastien Dubois at sdubois@tourismvancouver.com or by phone at 604.631.2839.
Please join us in welcoming Sebastien to Tourism Vancouver!