As organizations continue to adopt "Cloud First" and "Cloud Smart" strategies to capitalize on scale, productivity, and agility opportunities, the lessons learned from a variety of commercial and public-sector organizations reveal that capturing the full benefits of cloud computing requires an enterprise-level cloud center of excellence.
Adopting new disciplines in the dual-speed IT world that the cloud fosters requires true transformation. For example, because the entire application portfolio typically must be migrated over time rather than all at once, a central governance function is required to deliver ongoing first-speed needs. Meanwhile, more customers of IT are submitting new project requests that require faster second speed to execute in an agile DevOps fashion.
IT departments and their customers are being inundated with emerging technology and new capabilities amid a growing ecosystem of cloud partners, which is evolving as fast as new cloud capabilities are brought online. And yet, many in the broader IT user community do not know how to achieve the full benefits that the cloud can deliver on demand, including computing, databases, storage, and security.
In this rapidly evolving environment, having an informed view of the latest and greatest cloud-based opportunities should rest on the shoulders of a cloud center of excellence -- a cross-functional team responsible for developing and managing the enterprise cloud strategy, governance, best practices, approaches, methods, and knowledge to transform mission critical functions and business units via the cloud. The center leads cloud migrations, governance and overall adoption.
A cloud center of excellence can develop and rapidly disseminate expertise to correctly execute cloud migrations and help the organization capitalize on the full potential of the cloud. And because the cloud is not the panacea for all situations, the answer is not always clear-cut. Sometimes, the solution is a combination of on-premise software and a private or public cloud. To identify the best approach, the center can develop a robust cloud strategy and build the financial case. A center can also identify the ideal approach to rationalize, refactor, and re-engineer applications and migrate the portfolio with established, accelerated transition plans that are developed based on collective lessons learned.
Reports sponsored by leading cloud computing firms including CloudCheckr have studied the state of public sector cloud adoption with data points from more than 300 participants. Respondents indicate that more than 80 percent of those with a cloud center of excellence say it is effective and 96 percent believe they would benefit from a center with key reported benefits leading to reduce security risks and costs, and improving the ability to be innovative and agile.
As with any center of excellence, the cloud center of excellence should be the central enterprise-level authority with broad and deep expertise. It should work with the office of the CIO (and office of the chief digital officer where it exists) to develop organization-wide rules, policies, automation, templates, best practices, and services for cloud adoption. It should also ensure that applications are ready for migration and identify the best path to migrate. Ultimately, the cloud center of excellence should create, evangelize, and institutionalize best practices and approaches for cloud. It is an indispensable value driver of cloud enablement—accelerating the overall cloud journey.
Jeff Sorenson, retired Army Lieutenant General (CIO/G-6), is President of A.T. Kearney Public Sector and Defense Services, LLC.
Michael Hong is a principal at A.T. Kearney Public Sector and Defense Services LLC, and leads digital transformations efforts across the U.S. government. He can be reached at michael.hong@atkearneypsds.com.


3.1 Jaw crusher; 3.2 Gyratory crusher; 3.3 Cone crusher .... followed by a ball mill. In this context, the SAG mill and ball mill are considered grinders rather than crushers. ... Some crushers are mobile and can crush rocks as large as 60 inches.
We have crusher mills, rock crusher, jaw crushers, cone crusher, stone crushers, grind mill, ball ... Crusher,Jaw Crusher,Impact Crusher,Cone Crusher,Mobile .
mobile crushers, grinding mill machine, feeding & conveyor, screening & washing, beneficiation ... Ball mill for sale in United States - Crusher Machine For Sale.
Shandong luyi(SDLY),manufacturers of all kinds aggregate plant machinery for quarry,sand,construction and mobile clude crusher,mill,feeder,screen etc.
Mobile Crushing Plant. Mobile Jaw ... PE Series Jaw Crusher Ball mill would be the essential equipment in fine grinding method immediately after crushing.
312693 Results ... Newest mineral processing ball mill with competitive ball mill prices from ..... PIONEER stone and rock , hard rock mobile diesel jaw crusher.
Mobile Jaw crusher plant In Stone Processing Plant ... pulverizer, ball mill, hanging roller mill, high pressure micro powder mill, and hammer mill and so on.
312612 Results ... Newest mineral processing ball mill with competitive ball mill prices from ..... PIONEER stone and rock , hard rock mobile diesel jaw crusher.


text:
BTS shares update on Suga, Jin and RM amid their recovery from COVID-19
BTS members RM, Jin and Suga have all recovered from COVID-19. Their management company Big Hit Music said in statements posted to Weverse that all three have made it through their respective quarantines and have made a full recovery.
Big Hit Music revealed that Suga was the first member to complete his quarantine as of noon on Jan. 3, and he had "made a full recovery." The statement noted that Suga "did not exhibit any particular symptoms" amid his COVID-19 battle, and is now cleared to return to his daily activities. RM and Jin were cleared shortly thereafter. Neither RM nor Jin exhibited any particular symptoms during their quarantine, though Jin did have "a slight fever when he first began treatment." Jin has since made a full recovery.
Big Hit Music's statement added: "We would like to thank all fans who have shown concerns for the artist's health as well as those in the medical field who are doing their best to overcome COVID-19. We will continue to place the health of the artists as our top priority, and to vigilantly follow the healthcare guidelines."
The positive COVID tests came just weeks after the group announced that they would be taking a break. All seven members of the group, RM, Jin, Jimin, J-Hope, Jungkook, Suga and V, have since launched individual Instagram accounts.

redpajama_set_name: RedPajamaCommonCrawl


We believe kids are at their best and learning the most when they are having fun and that the greatest foundation they can be taught is one of faith and understanding in who God is. This is why our children's ministry, Faith Factory, is all about producing fun-filled faith.
We have care and ministry available for all children from birth to 5th grade every Sunday during our service. Your children will have fun and learn about God in an exciting atmosphere where they can connect and grow with other children their age. If you'd like more information please call or contact us at (516) 359-9909 or info@faithonfireny.com.


text:
access_time June 4, 2012 at 8:35 AM	in Culture by Sean Garmer
Of Orcs And Men To Be Published by Warner Bros.
Warner Bros. Interactive Entertainment Cyanide, and Spiders Games, announced today a publishing distribution agreement for the game Of Orcs and Men.
Of Orcs and Men is a role-playing game set in a medieval fantasy world where gamers step into the unique perspectives of an orc and a goblin as they battle humans. The appointed veteran orc soldier, Arkail, joins together with the stealthy goblin, Styx, to complete the ultimate mission to end the war. Single players can switch back and forth, playing both races at different times, allowing players to utilize the fighting styles and strengths of both the orc and the goblin.
Here is the trailer:
Of Orcs and Men is scheduled to be released in the Fall of 2012 for Xbox 360, PS3, and PC.


text:
Trionfo della Castità e Amore sconfitto (c.1509)
Signorelli, Luca (c.1445-1523) Trionfo della Castità e Amore sconfitto (Triumph of Chastity: Love Disarmed and Bound) c.1509 Fresco, detached and mounted on canvas, 125.7 x 133.4 cm National Gallery, London This fresco was part of a series of eight which decorated…
Ritorno di Ulisse (c.1509)
Pinturicchio (c.1454-1513) Ritorno di Ulisse (Return of Ulysses) c.1509 Fresco, detached and mounted on canvas, 125.5 x 152 cm National Gallery, London This fresco was part of a series of eight which decorated the walls of the palace belonging to Pandolfo Petrucci,…
Santa Caterina d'Alessandria e committente (c.1480)
Pinturicchio (c.1454-1513) Santa Caterina d'Alessandria e committente (Saint Catherine of Alexandria with a Donor) c.1480 Oil on wood, 56.5 x 38.1 cm National Gallery, London
Supplizio del fornaio (c.1515)
Pontormo (1494-1557) Supplizio del fornaio (Pharaoh with his Butler and Baker) c.1515 Oil on wood, 61 x 51.7 cm National Gallery, London This painting was commissioned to celebrate the marriage of Pierfrancesco Borgherini to Margherita Accaiuoli in 1515. It formed part of a…
Giuseppe con Giacobbe in Egitto (1518)
Pontormo (1494-1557) Giuseppe con Giacobbe in Egitto (Joseph with Jacob in Egypt) probably 1518 Oil on wood, 96.5 x 109.5 cm National Gallery, London This painting was commissioned to celebrate the marriage of Pierfrancesco Borgherini to Margherita Accaiuoli in 1515. It formed part…
Giuseppe venduto a Putifarre (c.1515)
Pontormo (1494-1557) Giuseppe venduto a Putifarre (Joseph sold to Potiphar) c.1515 Oil on wood, 61 x 51.6 cm National Gallery, London This painting was commissioned to celebrate the marriage of Pierfrancesco Borgherini to Margherita Accaiuoli in 1515. It formed part of a series…
I fratelli di Giuseppe chiedono aiuto (c.1515)
Pontormo (1494-1557) I fratelli di Giuseppe chiedono aiuto (Joseph's Brothers beg for Help) c.1515 Oil on wood, 36.3 x 142.5 cm National Gallery, London This painting was commissioned to celebrate the marriage of Pierfrancesco Borgherini to Margherita Accaiuoli in 1515. It…
Ritratto di giovane con una lettera (1518)
Rosso Fiorentino (1495-1540) Ritratto di giovane con una lettera (Portrait of a Young Man holding a Letter) 1518 Oil on wood, 85.5 x 66.5 cm National Gallery, London
Cavaliere di San Giovanni (c.1523-1524)
Rosso Fiorentino (1495-1540) Cavaliere di San Giovanni (A Knight of Saint John) c.1523–1524 Oil on poplar, 96.8 x 76.2 cm National Gallery, London
United States Virgin Islands (USA)


Lady Wynd is situated beside Edinburgh Castle in the heart of Edinburgh's Old Town with easy access to all Edinburgh's historic and cultural life .A central ground floor flat newly furnished and decorated throughout, sleeping up to 3 people.
Lady Wynd is situated in the heart of Edinburgh's historic Old Town, just off the Grassmarket. It lies in the shadow of Edinburgh Castle, and is within a few hundred yards of a rich variety of restaurants, wine bars and the city's oldest public houses. This is an ideal location for those who want to stay in the very centre of old Edinburgh's cultural and social life.
Accommodation consists of a ground floor flat comprising one double bedroom, lounge/dining room with 25-channel cable TV/Video combi, fitted kitchen with electric cooker, microwave, fridge and automatic washing/drying machine, and bathroom/wc with bath and shower. A double sofa bed is provided in the lounge. The flat is newly furnished, refurbished and equipped throughout and is provided with full electric central heating, telephone and free wi-fi. Electricity, all bedding and towels are provided free of charge. Children are welcome and a cot and high-chair can be provided by arrangement. Advance orders of groceries and other provisions can also be made by arrangement.
Edinburgh Castle and other principal historical attractions are located within a short walk from the flat. The neighbouring Grassmarket area boasts the existence of Edinburgh's oldest eating and drinking establishments. The Lyceum, Traverse and Kings Theatres are situated within a few minutes' walk. Princes Street, with its extensive shopping facilities is reached by a five minute walk through the nearby beautiful Princes Street Gardens. A multi-storey car park, providing long and short stay parking facilities, is located within a few hundred metres. Short stay on-street parking is available outside the front door.


text:
You're able to ensure the development team knows what to work on, why it's a priority to the business, and hold them accountable to deliverables and then report back to the management team.
I like that you have one foot in the deep technical side of engineering but have the other foot in the executive leadership room and can communicate as effectively and effortlessly in either and between them.
You set up organizations to be ready to hire a proper engineering lead, whatever the title is, could be Engineering Manager or CTO, and to effectively organize the org chart of the engineering team, custom tailored to the specific business needs.
Steven Uster, Co-Founder & CEO
FundThrough
How we got a struggling technology team delivering on time and ready to grow in four months.
We wrapped up a four-month engagement with FundThrough, a growing Toronto fintech startup, last year, and they have since grown into the #1 provider in their market, with the processes, team and technology we helped put in place.
Managing a software team at a growing company is hard. If you ignore the day-to-day operations, deliverables won't ship, but if you ignore the high-level strategy, you can't guide the business. Not knowing what's going on with the team can be fatal, but as you grow, it gets harder and harder to maintain the transparency you need.
You worry. Is your team focused on the right things? Are they really going to hit their timelines?
If you want to build a great company, you need a great, high-performing team. The best people will always want to work on the best team.
Review this case study if you are
A CEO or senior executive who isn't sure that their technical team is firing on all cylinders
Any tech leaders who need to focus on strategy but are stuck in the weeds with their team
Here's how a four-month engagement with Upspark, embedded with a struggling development team, got the day-to-day running great and allowed senior leadership to stay focused on strategy.
We came into FundThrough after they had lost a senior technology leader, and with a product half-way scaled. They needed quick improvements to the development team and a vision for their technical future. We worked with them for four months, leaving behind an accelerated development process and confident leadership. The same 3-step process has been used to produce consistent results for our clients.
1. Assess Critical Issues and Prioritize
We dove deeply into the technical and organizational situation, gleaning the key business needs and challenges.
By the end of the first month we'd identified that an internal analytics tool was creating a decision bottleneck and had a plan in place to address the need, while keeping the development team focused on product delivery.
How did you do that?
Our experience in high-growth software companies has taught us where to look and how to surface critical bottle-necks that others can miss.
How did you keep the rest of the team focused on product delivery?
We worked closely with the product owner to prioritize requirements and ensure a steady stream of actionable work kept the team busy but not overwhelmed.
Why hadn't the senior leadership seen the bottleneck you saw?
They had seen it! But day-to-day tactical challenges kept them from being able to understand its priority.
2. Refocus the Team on Output, not Effort
With that bottleneck handled we turned our attention to accelerating the development team's output and making sure that they were working on the right things week to week.
We had a hiring plan in place and the confidence of the dev team, and so we were able to take over the day-to-day operation of the team, building better communication with product owners and senior leadership. The team had always been busy, working hard, but there was very little connection to actual business output. The transparency we brought in made it possible for the company to stay on target and hold the team accountable.
How did you build accountability into the team?
By improving communications with the product side, we were able to get developers to make solid commitments week to week. As time went by, confidence in the team's estimates grew.
What does "transparency" mean?
The team committed to clear business outputs each week, delivering new value to our customers. Weekly leadership meetings were able to track that output against predictions.
What kind of work was getting done?
We were refactoring the product to manage scale, while at the same time working with external developers to integrate with third-party products. Meanwhile, the new hire was scaling and building reliability into our internal analytics, so that the core business could make good decisions.
3. Transition Technical Leadership Back to the Client
Upspark's philosophy is about making companies better. Our whole intention is to build your capacity so you don't need us anymore. That's what we did for FundThrough.
At FundThrough, with the team delivering solid results, with senior leadership focused on longer-term strategy instead of trying to manage the day-to-day operations, we undertook the final part of our contract and brought in a senior technical leader to manage the team. We left them running well and that same team is still in place a year later.
How do you hire people?
We've been hiring technology teams for decades, so our experience is deep, but at the same time we use some simple models for managing recruitment that we'll teach your team, preparing them to do further hiring down the road.
Why would you give away your "secrets"?
We don't have secrets. We just have judgement, refined over years of this work across numerous growing companies, and the skills to coordinate technology and strategy. We'll help your team grow their skills.
Your Choice
You can struggle along with your team as it is now, mired in the day-to-day operations without really knowing if you're making things better, losing sight of the long-term strategy. Or you could get Upspark in to give you back that strategic insight while making the day-to-day effortless.
Steven Uster, CEO at FundThrough, said about Upspark, "You have one foot in the deep technical side, but the other in the executive leadership room and you can communicate effectively in either."
We are right for you if you are a non-technical leader wondering if your development team is operating at full capacity, or a technical leader who is stuck in the day-to-day and not able to focus enough on strategy.
What are the benefits of bringing Upspark on board? Get clarity into your engineering processes and technology. Ensure you're using the best tools for the job. Accelerate your development team's output. Improve morale and accountability. Make sure your team is working on exactly the right thing from day to day. Have confidence in your team's delivery.
Upspark comes into your office and works side-by-side with your development team. We build trust and easy communication and we model new skills, providing feedback so that team members learn quickly. We likewise join your executive discussions so that we can quickly understand the business needs and identify opportunities for optimization.
Our typical engagement is 3-4 months. But if you aren't satisfied with our impact after two weeks, we guarantee your money back.
Don't Wait
How much longer can you go on wondering if your development team is really able to scale your product?
Book a Free Discovery Session with Upspark right now!
Questions and Concerns
How do I know if it's time to call you?
If you're wondering that's a powerful sign right there. Just reach out and book a Free Discovery Session -- we're always happy to chat with leaders and help them get some perspective on how their team is doing.
How much is this going to cost?
Our pricing varies depending on the intensity of the engagement but we bill you every two weeks so if you aren't satisfied after that length of time you can cancel any time. And with our "two-week money back" guarantee, you aren't risking very much.
How do I engage my existing technology leadership in working with you?
Do an intro; we're happy to talk to CTOs and VP Engs about their challenges and can provide powerful support even for very skilled leaders. Book a Free Discovery Session or send us an email.
We offer a "100% satisfaction" guarantee. We bill every two weeks and if you aren't satisfied, you can cancel anytime and we will refund your two-week payment back, no questions asked. No long term contracts, no risk.
Corey Reid has managed technology teams for over two decades – taking companies from a dozen to a couple hundred employees. He is a passionate leader and facilitator, helping teams raise their level of practice.
Juan Musleh is a veteran engineering manager, leading teams at companies like Bitstrips and Freshbooks. She brings rigour and discipline to software teams, helping them make use of the best tools and practices available.
Yes, Send Me The Details!
Yes, I want the Case Study!


Our office is open Tuesday, Wednesday, and Thursday from 8:00 AM until 5:00 PM. We are open on Friday by special appointment only.
We work on an appointment basis where specific time is set aside for each patient. If you are unable to keep your appointment, we ask that you give us at least 48 hours' notice. If you are ill, please let us know as soon as possible before your appointment.
If you cancel twice without notice or fail two appointments, we will not reschedule you.


Whether your goal is weight-loss, strength gain, sports enhancement, or overall health — I can help.
I offer personal fitness training, active release techniques®, deep tissue massage, and nutritional guidance to help you to look and feel your best.
With my background in fitness training combined with active release techniques®, deep tissue massage, I am able to offer my clients something that most other trainers can't.
Together, we can design your health and performance plan for maximum results and then implement that plan with personal training. Plus, with active release techniques® and deep tissue massage, I can help you restore your muscles to their most functional and flexible state.
Olympians and professional athletes know that combining training and variable tissue techniques, is the best way to be in top physical condition. I can help you do the same.
Most of my clients prefer a combination of personal training, active release techniques® and deep tissue massage. However, I do offer either individually.
If you have any specific injuries or health problems, I'm here to work with you and your physician or physical therapist, to plan a safe and effective program.


text:
This is a hefty release, with a lot of welcome gameplay, performance, and technical improvements.
So, details?
There is now an "autobuild factories" option, which is helpful.
Magnifiers and Alarm Posts are back.
Advanced Research Stations (ARSes) are back, although they work differently from the first game or from earlier in this game; they augment the fleets system. Each of these gets a Frigate or Strikecraft type; hacking the ARS grants that ship line to the hacking flagship.
A bunch of new icons are available, and are used by some of the new capturables.
Hacking a specific target (like an ARS) is now done by the flagship closest to the target, and also decloaks that flagship.
When the AI reconquers a planet, its Guard Posts will 'Warp In' over the next 10 minutes, each bringing with it a small company of guardians. It was frustrating (particularly on high-mark planets) for the AI to instantly get hundreds of strength of defenses on a planet after reconquering. This now gives you a window to counterattack and destroy the helpless Warping In guard posts.
A big laundry list of bugfixes.
Another big laundry list of performance improvements.
Stacking for player ships, for the first time, so that you can have crazy ship caps in the late game without tanking your performance.
Updated the Steamworks integration, so hopefully that works properly now on OSX and Linux (please let us know!).
The Performance Snipe Hunt
I spent a LOT more time than expected chasing down late-game performance issues in this build, mainly because I was concerned that those could bleed over into more games than realistically they were at the time of the last release. It was time well spent, because we fixed a number of bugs we would not have found any other way, and a number of savegames will perform better than ever.
However, there's still some elusive timing issue in certain savegames, and I can't find what it is despite basically building a custom performance profiler into the game over the last eight days. Eyeroll. But it's funny, because one game with 200k ships might perform better than another with only 60k ships. And it's not the AI logic, and it's no longer decollisions or something like that.
In all those cases, you can crank up the game speed and still get a realtime game speed, although now it's much more kind to the networking interface (for the future) than it would have been. So fast-forward to the rescue, I guess. It's just choppy in those circumstances.
The few remaining problem cases tend to be with a lot of factions on, and a lot of battles at once, and late into the game, and usually more than 100k ships out there; most of those run at least 2x as fast now as they did for me previously, which is a good thing. Unless we really hit some trouble spots, I think I may set aside performance stuff until post-1.0 (only a month or so left!) and focus on tutorials and other things that affect a much wider group of players.
Most late-game campaigns actually perform just peachy, having CPU time to spare despite the insane simulation size. So this thing is optimized as heck, really. But it's a personal irritation for sure when there are some semi-rare cases where I'm not sure why things aren't as smooth as I'd like. Frankly in those same circumstances, in the original game you'd be running at something like a quarter of wall clock time with far less going on, whereas here you can at least keep things realtime even if the ships jump around a bit in a way that irritates me. So I'll set that aside and just work on the bigger fish at this point.
More to come soon. Enjoy!
Problem With The Latest Build?
If you right-click the game in Steam and choose properties, then go to the Betas tab of the window that pops up, you'll see a variety of options. You can always choose most_recent_stable from that build to get what is essentially one-build-back. Or two builds back if the last build had a known problem, etc. Essentially it's a way to keep yourself off the very bleeding edge of updates, if you so desire.
The Usual Reminders
Quick reminder of our new Steam Developer Page. If you follow us there, you'll be notified about any game releases we do.
Also: Would you mind leaving a Steam review for some/any of our games? It doesn't have to be much more detailed than a thumbs up, but if you like a game we made and want more people to find it, that's how you make it happen. Reviews make a material difference, and like most indies, we could really use the support.
Categories: AI War II, Dev DiaryBy Chris McElligott Park August 20, 2019 Leave a comment
Author: Chris McElligott Park
https://www.arcengames.com
I founded Arcen Games in 2009, and have been an indie developer ever since. I've had a lifelong fascination with games and game design, going back to the early 90s. My professional background is in architecting and programming high-end enterprise applications (primarily document management, ERP, project management, and financial tracking features). I still find the fact that I get to make games for a living a bit surreal, even a decade on. I currently live in North Carolina with my wife, son and daughter, two dogs, two cats, and ten chickens. Previously just Chris Park, until blending families with my wife, Dr. McElligott -- now we're both McElligott Park!
PreviousPrevious post:AI War 2 v0.881 Released! "AI Neighborhood Watch"NextNext post:AI War 2 v0.884 Released! "The Helping Hat"
AI War 2 — v2.999 DLC Eve
2.815 Polishing And Bugfixing
Beta 2.813 Golem Relations
AI War 2: 2.809 Self Optimization
AI War 2 v2.802 Multiplayer Steams Onward
AI War 2 v2.800 Released! "The New Paradigm"


text:
About the BSRA
Our First 50 Years
Board of Directors & Officers
Fan Trips & Events
Rollsign Magazine
5706 Streetcar Restoration
Boston Trolley & Transit Meet
Volunteer with the BSRA
Donate By Mail (PDF)
Order By Mail
Bookstore Help & Questions
Notice: You Are Leaving TheBSRA.org
You have clicked on a link that will take you outside of the official website of the Boston Street Railway Association.
We are not responsible for links, photos, posts, videos, or other content outside of TheBSRA.org. Please browse carefully.
Close / Cancel Continue to Flickr
Close / Cancel Continue to YouTube
Close / Cancel Continue to Twitter
Close / Cancel Continue to Facebook
50 Years of the BSRA
In 2009, we celebrated our 50th anniversary with a series of events and publications. Come read the story of our founding and relive the events of that special year!
HOME / WHAT WE DO
One of our most visible activities is the publication of Rollsign—the magazine of New England transit news. Rollsign is published bi-monthly, or six times per year, and circulates to all of our member sand subscribers across the country and the world. Each issue features articles of current and historical interest about New England's public transportation systems, from current events to features on particular stations or lines. The highlight of each issue is the selection of color and black & white photographs, submitted by our contributors and readers. Plus, one issue per year is dedicated to a complete, updated roster of Boston's MBTA system—so detailed, it's even used by the T as a reference!
All active members in good standing receive Rollsign by mail for free. A separate subscription rate is also available.
Click here to learn more about membership & subscriptions >
Individual issues are available for purchase at the Seashore Trolley Museum in Maine and at Charles Ro Model Railroad Supply in Malden, MA. We'll also soon be offering back issues in our online store - stay tuned!
Contribute to Rollsign
Members and subscribers are invited to contribute articles, photos, and news items describing the construction, operation, and activities of transportation companies in New England. Information regarding companies outside this area will be judged on its relevance with Rollsign editorial policy and reader interest.
Click here to send us your Rollsign contributions >
We are always looking for high-quality, interesting photographs for Rollsign. In order for your photographs to be considered for publication, please follow these brief guidelines:
Digital photos are easiest to submit. Please send your unretouched and unedited digital photos as a JPG or TIFF file at a minimum resolution of 300 DPI and at the size that you would like to see them reproduced. A greater resolution always helps, because it will permit us to enlarge the image without loss of quality. On the other hand, as long as the minimum resolution is met, we can shrink the photo to fit in tight quarters if necessary.
If you'd like to submit prints or slides, we are fully able to scan black and white or color prints or slides and edit them precisely for publication.
To submit your digital files, you can e-mail them to us, send them on a CD via US Mail, or hand them to us at our monthly meetings. As physical prints and slides can't be e-mailed, please send them via US Mail or drop them off at a monthly meeting.
Type 5 No. 5706 Restoration
© 1959-2011 The Boston Street Railway Association, Inc. All Rights Reserved.
All content is the property of the BSRA unless otherwise noted and may not be reproduced without written consent from the BSRA.
The BSRA is not responsible for linked photos, videos or other content outside of our official website.
Opinions expressed in blogs, forums, columns and editorials are personal opinions of the author and do not reflect those of the BSRA
or its Board of Directors unless explicitly stated.
BSRA Statement on Railfan Safety | Contact the Webmaster | Bookstore Help


We live in a world where many are losing sight of the importance of saving resources. Saving energy is an important task that many underestimate. Sedgewick + Ferweda is a company who understands the importance of saving energy. The best architects in Michigan are well aware of the importance of the Earth's sustainability. That is why we are offering free energy modeling for our clients. This is our way of leaving our carbon footprint on the world. We are the highest and most reviewed architectural company in the world. We have been operating for over 60 years and continue to gain many reputable clients who trust us and our level of passion for their next architectural needs. Not only do we offer free energy modeling, we also offer free 3-D modeling and a free consultation. That's right! We are so committed to our industry and making the world a better place that we will take time out of our day at no cost to you just to prove to you our level of commitment and passion to the work of architecture.
With energy efficient initiatives on the rise, we found the perfect opportunity to raise awareness to the passive house principles. The passive house principles combines the art of science and sustainability to create an environmentally friendly home. This principle focuses on equipping a house to be 100% sustainable and it energy consumption. To encourage the use of more residential and commercial buildings with this design, we would like to offer as many free energy models as we possibly can during our free consultations.
3-D modeling is also an essential part of the architectural process. We believe 3-D modeling creates more efficient, effective and quick results to deliver your design. 3-D modeling allows us to provide you, the client with a complete visualization of what the end project will look like. Our 3-D modeling technique uses BIM technology to provide you with the perfect model built by the best architects in Michigan.
With our level of commitment to our customers and the world you can only imagine how much passion we put into our design. We make it our goal to understand your needs so that we can provide you with all of your building desires while inspiring emotion and offering an aesthetically valuable piece of architecture. Our recipe for success is a combination of good clients and good design to create great architecture. Allow us to offer you a free consultation so that you can see how great your next project can truly be.
We would love nothing more than provide our level of passion to you on your next building project. Trust a company who has been in business for over 60 years. Sedgewick + Ferweda truly is the best architects in Michigan and want to deliver this exceptional service and knowledge to you. Contact us today at 810-238-9647. We also encourage you to visit our website at www.architectsinmichigan.com in view our past clients testimonials on all the things we were able to do for them.
Have you are considered an architect for your building needs. Architects have the ability to save you money on your next building project. If you are seeking architectural consultation you are going to need the best architects in Michigan. The best is Sedgewick + Ferweda. We have been in operation for over 60 years. That's right! Since 1958 we have been providing our community with amazing architectural work. We have been able to perfect the process and have an immense level of knowledge and experience while operating at a core of integrity. We offer free consultation so that you can see our level of commitment and passion that we deliver in all of our architectural designs. We are so committed to changing the architectural industry that we will give up our time for free just to have the chance to show you what we can create together. We believe that great architecture is built by good clients and good design.
Many believe that architect consultation is something that is not feasible for them. In fact, the opposite is true. Architects are actually consulted to save you money. Architects have the ability to monitor your budget on your behalf in a way that only an immense level of experience can provide. Don't waste your resources and time on something that will cost you more in the long run. Architectures also have the experience to negotiate on your behalf. Architects make sure that your craftsmanship is up to par and resources are not being wasted. Consult the best architects in Michigan to save the most money.
We also deliver an outstanding level of passion in our design. We want your design to be completely functional while also inspiring emotion in providing an aesthetically pleasing view for your neighborhood. We take the time to understand your needs so that your design can fulfill those. One of the ways that we are able to do that is through the use of our 3-D modeling. 3-D modeling uses BIM technology to deliver a complete visualization of what your completed project will look like. We offer our 3-D modeling for free. That's right! At no cost to you you can receive a free consultation and a free 3-D model for your next design.
We also take passion in providing free energy modeling. We believe that by combining the art of science and sustainability we can encourage the building of more energy efficient homes. We believe this is our way to leave our carbon footprint on the world.
Not only do you need the best architects in Michigan, you need the experience of a company who has been in business for over 60 years. A company with this kind of passion, integrity and commitment can provide you with the design of your dreams. Whether you are a federal or medical institution, commercial or retail location, or even seeking residential architectural services, Sedgewick + Ferweda is the company for you. Contact us today for your free consultation by phone at 810-238-9647. We can also provide more information on our website at www.architectsinmichigan.com. We look forward to discussing your building needs further.


Financial analysts have good reason to anticipate the continued growth of personalized medicine. Not only is it affecting patients and physicians but it holds plenty of promise for the pharma industry.
Personalized medicine encourages more vertical collaboration throughout the industry. It is therefore in the best interest of pharma companies to work more closely with payers, other development companies and even patients when developing personalized medicine products. This clears the path for increased synergy, the ability to split costs with other businesses, and other various advantages that open up thanks to new technology. The key, as always, is enabling shareholders to understand these opportunities.
Let's also point out a more specific advantage when it comes to strategic development—greater possibility for mergers and joint ventures. These opportunities allow financial analysts to examine a greater range of opportunities for project funding and provide a fertile bed for data on the synergies that such ventures are offering throughout the industry. In other words, industry news reports are about to get much more interesting.
Here's an advantage that shareholders can get behind—in personalized medicine, drugs can be developed with inherent proof of utility. Thanks to wider testing and more usable mapping, it is becoming much easier to say 'this drug can affect this condition and will be able to be used by this many patients'. There's far less danger of carrying a drug to market only to find it less effective than envisaged.
Along with proof of utility, new drug development strategies that involve personalized medicine also allow for more accurate revenue projections. When treatment, efficacy and available patients are all so clearly defined, it becomes easier to control costs and estimate revenue for a particular product. Insurance companies are also fans of the predictability of personalized medicine, which can make drugs more viable on the market.
When you have a clear window revealing which patients will benefit from new products, as well as tests that help ensure the efficacy of drugs, targeting specific drugs for specific patients becomes much easier. This is, of course, a boon when it comes to marketing campaigns but it also helps create a faster, more nimble targeting method that has benefits throughout the commercialization process.
Payers also tend to be big fans of personalized medicine for the savings that it can provide them. Targeting drugs with a very high rate of efficacy means that fewer tests and 'failed' treatments need to be used beforehand. That equals savings per patient, which is good news to all ears.
There is still uncertainty when it comes to predicting how genetic profiling and sequencing will impact health care practices. It seems likely that at least a few new systems of diagnosis and treatment will be developed. That's a whole lot of potential for analysts to study, predict, improve and apply, which means more jobs for analysts as a whole…and more revenue potential when it comes to leveraging technology.


text:
Q: Funnel restrictive analysis with groupby I am trying to create a funnel analysis with the following conditions. I want to know how many people which enter to the home a page make a search (number of people which make search / number of people which make a home search) and the number of people which make a buy from those which make a search but must be necessary from those people which make first a home (event).
And after this i want to add a new condition that each individual must complete the funnel (or until the further step for each person) in an hour.
For example:
df

id  day   time   event
 1   20  16:00    home
 1   20  16:20  search
 1   20  16:25     buy
 2   20  17:00    home
 2   20  17:02    home
 2   20  17:03    home
 2   20  17:06  search
 2   20  17:06  search
 3   21   9:00  search
 4   20   8:00    home
 4   21   8:00  search
 5   22   7:00    home
 5   22   7:15     buy

result must be
  result

  home   4
search   3
   buy   1

explanation of result: home: id1,id2,id4,id5 are ids which make the first step of the funnel that is home (that why the 4 in home)
                     search: id1,id2,id4 are ids which make first home as event and also make a search in less than an hour
                       buy: only id1 make the funnel complete in order in less than an hour

A: I've used groupby and str.contains to match your events and count them. Hopefully this will help with the first part of your question.
First I created a sample dataframe
df = pd.DataFrame({'id': [1, 1, 1, 2, 3, 3, 3, 3], 'event': ['home',
    'home', 'search', 'home', 'home', 'search', 'search', 'buy']})
df = df.set_index('id')

     event
id
1     home
1     home
1   search
2     home
3     home
3   search
3   search
3      buy

Then we groupby the ids and sum with
df = df.groupby(level=0).sum()

Then we can use str.contains to match your cases
ps = ['home', 'homesearch', r'home(search)+buy']
print(pd.DataFrame([df.event.str.contains(p).sum() for p in ps], index=ps))

which creates (You can use whatever you like for the index I just used the search string)
                  0
home              3
homesearch        2
home(search)+buy  1

Note that I had to use regex to match the more complicated case when multiple searches happened before a buy.

redpajama_set_name: RedPajamaStackExchange


text:
Keepers' Diaries 2008 March Print This Page
Keepers' Diaries, March 2008
Select your unit:
Nairobi Nursery Unit Ithumba Reintegration Unit Voi Reintegration Unit
Nairobi Nursery Unit
Ithumba Reintegration Unit
Voi Reintegration Unit
The 29th March brought a new occupant to the Voi Stockades, a baby duiker, found by a goat herdsman near Malindi (who reported it as a Suni) when his goats sought shelter under the shade of a tree abutting the forest, and the fawn tried desperately to suckle one of the goats. It seemed so starved of milk that the herdsman held a lactating goat to allow the fawn to feed, and then returned it to its hiding place, but the next day it was still there, and desperately hungry. He then took it home, and kept it for the next three months, feeding it on goat's milk. Eventually, he reported its presence to the KWS Warden Malindi, who sent it to our Keepers at the Voi Stockades. Thinking that the fawn was, in fact, a Suni, we ordered that it be sent up to the Nairobi Nursery since Sunis do not naturally occur in Tsavo, but are plentiful in Nairobi National Park. However, upon arrival on the 4th March, we realized that it was not, in fact, a Suni, but a young male duiker. The Orma rescuer named the baby "Shungi" the Orma word for "Long Hair" because of the tuft of hair on top of its forehead. It remained in the care of the Voi Keepers whilst a small run was being prepared at the Nairobi Nursery, and arrived at the Nursery on the 4th March, very tame and aged 3 months.
The 29th March brought a new occupant to the Voi Stockades, a baby duiker, found by a goat herdsman near Malindi (who reported it as a Suni) when his goats sought shelter under the shade of a tree abutting the forest, and the fawn tried desperately to suckle one of the goats. It seemed so starved of milk that the herdsman held a lactating goat to allow the fawn to feed, and then returned it to its hiding place, but the next day it was still there, and desperately hungry. He then took it home, and kept it for the next three months, feeding it on goat's milk. Eventually, he reported its presence to the KWS Warden Malindi, who sent it to our Keepers at the Voi Stockades. Thinking that the fawn was, in fact, a Suni, we ordered that it be sent up to the Nairobi Nursery since Sunis do not naturally occur in Tsavo, but are plentiful in Nairobi National Park. However, upon arrival on the 4th March, we realized that it was not, in fact, a Suni, but a young male duiker.
The Orma rescuer named the baby "Shungi" the Orma word for "Long Hair" because of the tuft of hair on top of its forehead. It remained in the care of the Voi Keepers whilst a small run was being prepared at the Nairobi Nursery, and arrived at the Nursery on the 4th March, very tame and aged 3 months.
Meanwhile, the orphaned zebra mare at the Voi Stockades named Serena has befriended the resident herd of impalas (known as Bunty's herd, Bunty being the wonderful impala ewe that formed part of Daphne's wild family during her Tsavo days who spent the nights with the wild impalas, and the hours of daylight in the Sheldrick garden.) Serena travels in amongst the impala herd, and is accepted by them, often returning to the Stockades in the early hours of the morning.
The orphaned kudu bull named Rukinga who was reared at the Stockades has also been spotted in amongst his adopted kudu family, and was tempted to come and greet the Keepers, but was deterred at the last minute when his companions fled. It was good to know that he is safe and well and happily rehabilitated back where he belongs, a very lucky little kudu indeed, who escaped making a meal for a bushmeat poacher.
Meanwhile, after an absence of almost three months, Natumi's group of Voi orphaned elephants returned to the Stockades, all present and correct and looking in fine fettle. Nowadays Edie sometimes coaxes a splinter group away from Natumi, comprised of Lolokwe, Burra, Solango and Mukwaju, all young bulls, and enjoys being the Matriarch, on several occasions returning to the Stockades independent of Natumi's group. However, on other occasions the two groups join up to form one large grouping under the joint Leadership of Natumi, Edie, with help from Icholta, who is also close in age to Natumi. Meanwhile Sosian has left Natumi's group to go with that of Emily and Aitong, who have been feeding near Irima Hill where the vegetation is more lush. Emily's group and Natumi's group have been traveling separately since they parted following the death of Mweiga.
Voi has experienced relatively good rains during March, so all the natural waterholes have filled and a feast of green vegetation is at hand for all our elephants. It is, indeed, a great joy to see them now grown and free, enjoying a quality of life independent of the human family, although they greet their Keepers with extreme affection when they do return.
Before the rains released animals from sources of permanent water provided by leaks along the Mzima/Mombasa pipeline, a small pack of wild dogs and resident prides of lions ambushed the limited watering places, taking a heavy toll of prey species, the lions often hiding in the stack of huge empty spare water pipes on the plains below the Voi Safari Lodge.
March 2008 day to day
See the Voi Orphans Overview for March 2008
Burra at the stockades


This week, the GB and I had an afternoon at home together. Her brother had gone to work on a project with Grandma at her house, so it was just us girls for a few hours. I had been hoping for a little time at the sewing machine, to sew a couple of summer skirts for her. It was a cloudy, damp day that seemed to warrant staying inside and making something. She said she'd like to help, so we spent the afternoon sewing.
We picked fabrics and thread first. She loves to look through my fabric stash. I think she'd spend all day poring over fabrics if she could (just like me). I gave her a few options and she chose these. (Both main fabrics are discontinued quilting cottons by Robert Kaufman; the blue is Bento Box Sushi Elements and the yellow is Little Kukla Floral Buttons. The gray dotted fabric on the sushi skirt is a calico from Hobby Lobby).
I did most of the sewing, of course, but she helped with pinning and carrying things back and forth between the sewing machine and ironing board. She got bored sometimes, retreating to the couch to read a book. Mostly, she watches. At six, she knows more about sewing than a lot of adults I've met. She's always liked to watch me at the sewing machine. I don't have a designated sewing space, really, so I usually bring my machine out to the kitchen table and work there. She sits in her chair at the table, right next to me, watching me sew, picking up dropped pins and throwing away cut threads.
She loves to watch me wind bobbins. She lines them up in their case in "rainbow order." It's important to her to have them just so. I think she believes I feel the same way about them so she wants to help me. The truth is, I did once care very much about "rainbow order." When I was her age, we had those rubber bracelets that we called Madonna bracelets, and I virtually never put them on without making sure they were perfectly ordered by color, red to purple, with black or silver or clear bracelets after the purple ones. She would adore Madonna bracelets, come to think of it.
After an hour or so, we had two finished skirts. They fit with room to spare (I like to get a year or two out of anything I sew for her to wear). She loves to twirl and these have enough gather to make them swirl out. She took them into her room and put them on the floor, then took shirts and tank tops out of her dresser to "match them up." She had a good ten different outfit options within a few minutes and truthfully, almost all of them looked really nice. She's set for summer, ready to take on the world in the skirts she'll tell you very proudly that she made.
Skirt design is inspired by Punkin Patterns' Easy-Peasy Skirts.
What a lovely time to spend with your daughter. Those skirts look so sweet and fit her perfectly. My girls are interested in my sewing and crafting too and they both say they want to learn when they're older. I think we'll start with simple weaving this summer. Hope you've had a fine week. Enjoy your weekend!
Sweet post. I love hearing how your daughter knows more about sewing than most adults. I find that so many of today's women and girls don't know how to even sew a button on or hem a pair of pants or a skirt. To me those are very basic items that both boys and girls should learn. My elder brother learned these things at home too but the youngest didn't. As for my sister and I, we were never the best seamstresses but we could always do basic things and took the usual high school courses. I think many students today don't take the sewing courses or even have the option so it's wonderful you can pass the skills to your daughter. She looks very cute in her new skirts too.
Loved this post and love the little skirts. I am planning to make a few of these for my wee girl again this year too.
Gorgeous skirts, and so lovely to have her helping you. Hope you guys have a great weekend.
The skirts are so cute! What a fun thing to do with GB!
Beautiful skirts, the fabric is delightful. it is so nice to spend time together making something passing on your skills. She'll be making you skirts next.... Have a great weekend.
They look lovely, so summery and bright. I used to love playing with my mum's old Singer sewing machine parts and sorting through buttons and threads.
Gorgeous skirts - a very good afternoon's work! My daughter rarely wears skirts, mostly only on very special occasions. Lovely post Jennifer. Your daughter is a poppet.
These are so pretty and how lovely you made them together, so much more fun and interesting than clothes shopping. The GB will remember this afternoon and how sweet she is already matching up outfits, she is clearly developing an eye for colour, like mother like daughter!
So beautiful, this is what I want to do fro my little Miss!
The fabric is so funny!
They're really lovely, such pretty fabric, perfect for summer. I'm sure your daughter will be making her own skirts before too long.
I have sent you a little email.
What really pretty skirts, Jennifer, and beautifully sewn. Quilting fabrics makes great children's clothes; I am currently making little boys shorts from fun quilting fabrics. It is great your little girl is so interested in your sewing. Have you started to teach her? She is old enough to start hand sewing, making simple dolls clothes with a bit of guidance. My mum taught me from age five, and it has stayed with me forever.
What lovely skirts, lovely fabric and a lovely model.
They look great! I remember when my mother used to sew skirts and other clothes for me. It was really exciting to see how they'd turn out.
What adorable fabrics! I think that is great that your daughter enjoys watching you sew. She may look like she's just watching, but she's compiling data, I'm sure!
I believe your daughter knows more about sewing than I do. :) The skirts are adorable. The sushi fabric is fabulous! I know she is very proud to wear them.


Shirin Neshat's second film is a multi-layered drama about an artist's attempts to make a film of the life of Egyptian singer Oum Kulthum.
This interview is published in partnership with Underline Magazine.
For her second film, after adapting for the screen the controversial Iranian novel Women Without Men in 2009, the New York-based visual artist and independent filmmaker Shirin Neshat has navigated the waters of filmic biography—looking at the life of legendary Egyptian singer Oum Kulthum. Neshat's film, however, approaches the world-famed star indirectly, by means of a framing narrative, featuring a woman director who is a shooting a biopic about Kulthum. With a fluid structure which intertwines the fictional film, life on the set and the director's dreams and visions, Looking for Oum Kulthum is a treatise on cinematic historiography and the doubts and fears that haunt a female artist.
NOTEBOOK: Can you walk us through the genesis of this film? What made you pick this Egyptian singer as your subject?
SHIRIN NESHAT: After Women Without Men I developed a love affair with filmmaking and was trying to figure out what my next subject would be. Personally, I felt a desire to no longer work with the subject of Iranian society, because I haven't been able to go back to Iran for so many years and I didn't want to always be working in a nostalgic way. Then I thought of Oum Kulthum as a fitting subject. She was Middle Eastern, a female musician and singer. I have tackled issues concerning women in all my films and music is a major part of my narratives, conveying the emotional aspects of each story. For me, music is something that transcends national and cultural boundaries and becomes a gut reaction to socio-political subjects. Oum Kulthum's mythical status notwithstanding, I feel there is something about her which is very similar to me. Like her, I don't live a traditional life and I'm always surrounded by men. The only reason that I made this film was to see if it is possible to go under the skin of such an iconic and mythical artist, who seemed to always hide her private and personal issues and devoted herself to the public. The early script was a biopic, but I eventually decided to take on the challenge of a more experimental film, in which issues of womanhood, music and art became central.
NOTEBOOK: History was front and centre in Women Without Men, but is not so much here. What was the reason for that?
NESHAT: In Women Without Men the country of Iran is almost the fifth character and we follow it through its ups and downs. In this film, we used archival footage to show various historical periods andalso depicted the transformation of Egyptian society through Oum Kulthum's concerns in different periods. But we also have the characters of the director and the actress, so there wasn't much room to expand very much on the historical stuff—and we didn't want to overwhelm the audience with too much information. As such, the presentation of history became very impressionistic, but I felt that it was still important to touch on it.
NOTEBOOK: Why did you decide to adopt a self-reflexive structure for your film and what opportunities did this present you with?
NESHAT: I visited Jean-Claude Carrière in Paris to get his advice on the film. He read the biopic script and right off the bat he said, "Forget about a biopic. You should make it contemporary and show why she is still so incredibly relevant and why every generation knows her." Along the way I came to the conclusion that I should come back to my perspective, because Oum Kulthum is no longer an Egyptian star, but an iconic Middle Eastern star. [I thought] it should be done as an artist looking at another artist. I allowed myself to act like an artist, trying make a film that I don't know how to make. And from then on the absolute honesty of my attempt as a non-Arab and non-Arab-speaking visual artist and filmmaker became my structure. Of course, this film is an imperfect film and really shows the impossibility of making a film about Oum Kulthum.
NOTEBOOK: How do you compare your own self-reflexive approach with those present in many Iranian films, such as Kiarostami's films, or a film like Bani-Etemad's The May Lady ?
NESHAT: I think art is really a reflection of an artist's life experiences and perspectives and should be made by the transformation of a personal experience into a narrative that might go beyond the artist's own life story. If you look at my work, there's so much of me and my personal history inside those images and narratives. Kiarostami to me is more like a mystic and poet whose films are very ambiguous, yet utterly simple reflections about humankind—but they are in fact about his own way of thinking, anxieties, sense of humor and so forth. To me, Bani-Etemad is like a social activist. I watched The May Lady long ago and now that you've brought it up I've started thinking about the connection. There subject matter is of course similar, that of a single woman constantly experiencing the conflict between her work obligations and being a mother, but in my film there are also other aspects to the narrative. We have an iconic singer who never had a child and then there's Mitra, the director, who is wondering if it is possible to be a mother and reach that level of greatness. Her questions are mainly about the challenges of being a female artist and not very sociological.
NOTEBOOK: How important was it for you to choose the director's ethnicity as Iranian?
NESHAT: At some point people said, "Why should she be Iranian?" She could be of any nationality and still be obsessed with Oum Kulthum without knowing Arabic. But I thought that in order to really relate to the story, I had to approach it from my own experience and I simply couldn't imagine how a character of a different ethnicity might relate to the experiences of Oum Kulthum. It would have made it different and not as close to me, my heart and my experience as a Middle Eastern female artist. Some people even said, "Why don't you just play the part?" But that was going too far!
NOTEBOOK: Mitra—the director—is presented in an ambivalent light. Her powerful ego serves as an obstacle in relating to others and yet it protects her personal vision. How did you want the spectator feel about her?
NESHAT: There was another actress who was initially cast in this role but it didn't work out. As the new actress came in at the last minute as a replacement, we didn't have that much time together. She brought part of what she was to the character. I'm not like Mitra in the film, I'm warm and emotional, but Mitra is very controlled and distant—just like Oum Kulthum, in a way. The way we wrote the script was that when Mitra starts making the film she is feeling good and thinks that she is making a great biopic about an indestructible artist.Then slowly her personal life crumbles and she is criticised by her immediate team, her producers and others. She starts to see a contradiction between how she has thought of herself—as being very strong—and her real, weak and failing self.She wonders what her subject might have felt in a similar situation and this is like a form of revenge. She wants to say, Oum Kulthum was a human being like me, and brings her down—that gets her fired.
NOTEBOOK: One thread that runs through your features is a sort of sisterhood between characters. Here the actress—Ghada—seems to be the only person who can relate to Mitra's breakdown and brings out the change in her, but following that she vanishes from the film. Can you comment on this?
NESHAT: The character of Ghada was conceived as the opposite of Mitra. She has a talent and a voice, but no ambition to become great and successful. Mitra keeps telling her that she has to believe in herself and become somebody, but Ghada is a good, human, simple woman who doesn't relate to fame and rich people. She worries about Mitra. I think the relationship between these three women—Mitra, Ghada and Oum Kulthum, who comes to visit Mitra at the end—is very touching. When Mitra has reached the bottom it's Oum Kulthum who comes to pat her on the back and say, 'This is what it takes to be a great artist: to fail, to question yourself, to be devastated.' That's what I was hoping to build in this triangle. In Women Without Men we had to follow each woman from the beginning to the end, but in this film we felt that Ghada was there to support what was the essence of the character of Mitra. We even had more footage of Ghada, but we cut it, because we felt that it was just too much information.
NOTEBOOK: The last scene seems to present a comparison between two artists, one who's chosen to observe the popular taste and the other who opts to remain true to her own vision. Which a do you feel reflects your own approach most closely?
NESHAT: The final sequence of the film is an answer to the question that I pursued as the essence of the film. That is: don't even dare to compare yourself with someone like Oum Kulthum. And this applies to many other artists who see her as a muse. There's no evidence of failure in Oum Kulthum's career and her star only continued to rise until she died—this is not the case with me. I have never had the public image and following that she had. The choices that I have made and my life circumstances have caused me very often to bend and fall, and to be criticized. The ending of the film is an attempt to say that every artist on every scale counts and it's important to stick with your vision. Don't worry about failing and just do what you're doing.
Catching up (and watching movies) with the cult director of "The Shooting" (1966), "Two-Lane Blacktop" (1971) and "Road to Nowhere" (2010).
The former director of the Austrian Film Museum on the preservation of film heritage & what it means to preserve cinema in the 21st century.


text:
The iPhone XS Will Cost You About The Same As This Other iPhone Did
by Lara Walsh
Screenshot/Apple
ICYMI, Apple kicked off a blitz of cool new gadgets on Wednesday, Sept. 12. Almost every offering looked more lust-worthy than the next at Apple's annual September launch event, but none more so than the highly-anticipated iPhone XS. If you're wondering how much will the iPhone XS cost, prepare to pay a pretty penny for the newest generation of iPhones.
When rumors first started swirling about the new and improved Apple smartphone a few weeks ago, experts projected that the newest 5.8-inch OLED iPhone XS and the 6.5-inch OLED iPhone XS Max would be the most expensive phones from Apple thus far. Well, an iPhone XS will cost you $999, while you'll have to shell out $1,099 for an iPhone XS Max. This sounds just like the iPhone X, which debuted with a price of $999 back in September 2017. While many groundbreaking features from the iPhone X — like dual rear cameras, no Home button, and face ID — are included, it sounds like the iPhone XS has worked out the bugs and made big improvements on the original design. In addition to faster processing capabilities, Apple also paid heed to a survey that found that 75 percent of customers cited a longer battery life as their most desired new feature. While graphics have continued to improve and phones have gotten thinner, all of that has taken a toll on the battery lives of later models. Apple's decision to add half an hour of battery life to the iPhone XS (as compared to the iPhone X) proves that the more practical consideration is on their mind, and the iPhone XS delivered. Add an updated camera and that beautiful OLED screen, and it's no wonder that Apple's latest offering doesn't come cheap.
This contradicts analysts' predictions that Apple would be banking on the iPhone mania and continue raising their prices.
Justin Sullivan/Getty Images News/Getty Images
"We also take this opportunity to eat our hat somewhat on our cautious stance this summer," Goldman Sachs analyst Rod Hall said about the company's decision to raise the price target on Apple stock all the way to $240 per share. "We had expected worse iPhone X demand and some pullback in the stock — clearly neither of these two things happened." Goldman Sachs estimated that Apple would be raising the prices on its new lineup, including the iPhone XR which had previously been touted as a lower budget option.
However, if you're still not willing to pay $1,000 for a phone, Apple's new iPhone XR is an attractive and reasonably-priced option. At just $749, the lower-budget model sacrifices a few of the features of the iPhone X while adding so much more. Instead of an OLED screen, the iPhone XR has a 6.1-inch LED screen, and it features aluminum instead of stainless steel edges as well as a single rear camera. However, demand is high, and Apple confirmed that it would be pushing back its official launch until Oct. 26 to fix production issues while allowing the more expensive iPhone XS offerings to gain more traction.
The iPhone XS has an official launch date of Sept. 21, so there's only a few more weeks for you to decide if the price tag is worth it. In the meantime, I'll be cutting back on my expensive PSL habit and embracing college-era instant noodles.
Say Goodbye To *All* IG Notifications With This New Quiet Mode Feature
By Jillian Giandurco
How To Turn Off Quiet Mode On Instagram To See Your DMs


text:
package org.kie.server.client;

import org.kie.api.command.Command;
import org.kie.api.runtime.ExecutionResults;
import org.kie.server.api.model.ServiceResponse;

public interface RuleServicesClient {

    /**
     * @deprecated use #executeCommandsWithResults
     */
    @Deprecated
    ServiceResponse<String> executeCommands(String id, String payload);

    /**
     * @deprecated use #executeCommandsWithResults
     */
    @Deprecated
    ServiceResponse<String> executeCommands(String id, Command<?> cmd);

    ServiceResponse<ExecutionResults> executeCommandsWithResults(String id, String payload);

    ServiceResponse<ExecutionResults> executeCommandsWithResults(String id, Command<?> cmd);
}

redpajama_set_name: RedPajamaGithub


I do not personally keep this species, but I've heard that the captive born snakes do well...but...about 90% of the imports die in captivity. Can anyone shed some light on why this is?
DO they not eat? Parasites?
It would make sense that this is the case since although the cb animals bring $400 per cb baby...wc adults can be ROUTINELY purchased for preety much dirt cheap.
Another question...what the hell is going in with this hobby if importers continue to bring in HUNDREDS of imports if 90% are doomed to die?


One aspect of a wide-ranging accuracy complaint brought by a police officer against the Croydon Advertiser has been upheld by the Independent Press Standards Organisation.
But the regulator has ruled that the paper has taken sufficient action already by correcting the relevant articles.
"Met Police says 'no public interest' in how much it spent on barrister during Croydon nightclub case".
McGarry said the newspaper had deliberately attempted to discredit him by including his name in any negative stories relating to Croydon police.
He said the newspaper had given the misleading impression that he had been unable to see an individual holding a "large knife" from the CCTV footage, and that there had been discrepancies in the police evidence.
He said that the photographs used to illustrate the article about his driving a police van along a pavement were misleading as the timings, which showed how slowly the vehicle had moved, had been removed.
The newspaper said that a reliable, confidential source with knowledge of the facilities available at Croydon police station had informed the reporter that there was no forensic hub for enhanced viewing of CCTV footage at the station.
It noted that the existence and/or capabilities of the forensic hub had been one of a number of questions put to the complainant's Commanding Officer but he had declined to comment.
During IPSO's investigation, the newspaper contacted the police press officer and was informed that the Metropolitan Police has a local digital forensics laboratory at Croydon police station.
However it rejected many other complaints brought by chief inspector McGarry over the Advertiser's coverage.
It said that to remedy the breach of the code the newspaper should now amend the relevant articles and append the corrective footnotes, as offered. The Advertiser was not required to publish a critical adjudication.
Read the IPSO adjudication in full.


About 200 protesters gathered at the main entrance to Iraq's Siba natural gas field on Monday, police and energy sources said, in unrest over poor services sweeping southern cities.
The demonstration has not affected operations at Siba, run by Kuwait Energy PLC, Siba officials said.
During Cong rule, there were frequent bandhs and one lasted for160 days, it led to escalation in price of commodities: Amit Shah in Manipur.


text:
Theater Owners Elect Ellis Jacob as NATO Chairman
3:06 PM PDT 6/28/2018 by Gregg Kilday
Courtesy of NATO
Ellis Jacob (left), Rolando Rodriguez
Rolando B. Rodriguez was named vice chairman of the trade association that represents movie theater operators.
Ellis Jacob has been elected chairman of the National Association of Theatre Owners, and Rolando Rodriguez has been elected vice chairman, the executive board of directors of the trade organization that represents movie theater operators announced Thursday.
Jacob, president and CEO of the Toronto-based Cineplex chain, was elected vice chairman in October and had been served as acting chairman following the retirement from the industry of former Regal Entertainment CEO Amy Miles in March. He will assume the chairman's role for the remainder of the current two-year term. Rodriguez, chairman, president and CEO of Milwaukee-based Marcus Theatres, will serve as vice chairman for the same period.
NATO's governing body, the executive board of directors, is comprised of 17 leaders in the domestic exhibition industry. The association's four volunteer officers are elected from among the board.
Headquartered in Washington, D.C., NATO represents more than 33,000 movie screens in all 50 states and more than 32,000 additional screens in 92 countries worldwide.
Gregg Kilday
THRnews@thr.com gkilday


text:
Q: Deploy to heroku without redirecting to localhost with passport callback I've deployed an app to Heroku, however once you click 'log in with facebook', you are redirected to http://localhost:3000/#=. I've tried the following (the first is where it is at the moment):
  passport.use(new FacebookStrategy({
    clientID: FACEBOOK_APP_ID,
    clientSecret: FACEBOOK_APP_SECRET,
    callbackURL: "http://localhost:3000/auth/facebook/callback"
  },

  function(accessToken, refreshToken, profile, done) {
    process.nextTick(function () {
      return done(null, profile);
    });
  }
));

but when I deploy using:
passport.use(new FacebookStrategy({
    clientID: FACEBOOK_APP_ID,
    clientSecret: FACEBOOK_APP_SECRET,
    callbackURL: "/auth/facebook/callback"
  },

or
passport.use(new FacebookStrategy({
    clientID: FACEBOOK_APP_ID,
    clientSecret: FACEBOOK_APP_SECRET,
    callbackURL: "https://fivemincatchup.herokuapp.com/auth/facebook/callback"
  },

it directs to facebook with the following error:

Given URL is not permitted by the Application configuration: One or
  more of the given URLs is not permitted by the App's settings. It must
  match the Website URL or Canvas URL, or the domain must be a subdomain
  of one of the App's domains.

Am I missing something really obvious?!

A: Did you add the callback URL to the app's settings? You have to add the site URL as that in the facebook developer app settings for it to allow facebook to make callbacks to any particular website.
Should be under either basic settings on site URL or advanced settings on "Valid OAuth redirect URIs"
(see also here)


text:
Film Chat III - Visions of Power
Watch films from home and then discuss online with like-minded fans!
Join us for our third edition of Film Chat and explore the remarkable world of film from the comfort of your own home. From award-winning films to cult-classics and everything in between, it's a chance to expand your viewing horizons and connect with a community of film enthusiasts.
Each month, we suggest a thought-provoking film for you to watch beforehand and then we will virtually meet up to discuss everything from plot, character development and scene analysis to broader issues such as cinema history and filmmaking techniques.
For this edition, we proudly present our Visions of Power series, with an online discussion centred on 'Sembene!'—the inspiring story of the father of African cinema.
If you would like to take part, register below now for free and be sure to watch the film before our Zoom meeting on 17 August at 7 PM. We hope to see you there!
Visions of Power
How can cinema be a catalyst for change? This film selection presents what Senegalese filmmaker Ousmane Sembène suggests is the potential of cinema as the most accessible art form and tool for activism.
From tackling the difficulty of memorializing Cambodian genocide to the exploration of how a film can be shot where film permits are not provided, and encapsulating a variety of methods and media—from clay figurines to guerrilla filmmaking, these films have left an impact on audiences and their scope of what film can do and look like.
Albeit unique in their own axes of oppression, they each contain visions of resistance and power against struggles which go beyond a singular event or moment in history.
'Sembene!' by Samba Gadjigo and Jason Silverman (2015)
In 1952, Ousmane Sembéne, a dockworker and fifth-grade dropout from Senegal, began dreaming an impossible dream: to become the storyteller for a new Africa. 'Sembene!', a feature-length HD documentary, tells the unbelievable true story of the "father of African cinema," the self-taught novelist and filmmaker who fought, against enormous odds, a monumental, 50-year-long battle to give African stories to Africans. 'Sembene!' is told through the experiences of the man who knew him best, colleague and biographer Samba Gadjigo, using rare archival footage and more than 100 hours of exclusive materials. A true-life epic, 'Sembene!' follows an ordinary man who transforms himself into a fearless spokesperson for the marginalized, becoming a hero to millions. After a startling fall from grace, can Sembéne reinvent himself once more?
Samba Gadjigo, the director of the documentary 'Making of Moolaade', is the world's foremost expert on the life and work of Ousmane Sembéne and author of Sembéne's official biography. He was born and raised in Senegal and is professor of African Studies and French at Mt. Holyoke College.
Jason Silverman is an award-winning film producer and longtime festival director. He has produced large-scale events for the Smithsonian, the Lensic Center for the Arts, the Tribeca Film Festival and the Lannan Foundation. He is currently Cinematheque Director at the Center for Contemporary Arts, Santa Fe, and former Artistic Director of the Taos Talking Picture Festival.
'Sembene!' is available to watch on:
● Amazon Prime
● iTunes (US store)
● Vimeo On Demand:
https://vimeo.com/ondemand/sembene/188005452
'What Happened, Miss Simone?' by Liz Garbus (2015)
On stage, Nina Simone was known for her utterly free, uninhibited musical expression, which enthralled audiences and attracted life-long fans. But amid the violent, haunting, and senseless day-to-day of the civil rights era in 1960s America, Simone struggled to reconcile her artistic identity and ambition with her devotion to a movement. Culled from hours of autobiographical tapes, this new film unveils the unmitigated ego of a brilliant artist and the absurdities of her time. At the height of her fame, Simone walked away from her family, country, career and fans, to move to Liberia and give up performing. The story of her life leading up to that event poses the question, "how does royalty stomp around in the mud and still walk with grace?"
Liz Garbus is a two-time Oscar nominee, two-time Emmy winner, Peabody winner, Grammy nominee, a DGA-nominated director and one of the most celebrated American documentary filmmakers working today. 'What Happened, Miss Simone?', a Netflix original, was nominated for a 2016 Oscar for Best Documentary Feature, received a Peabody Award, and six Emmy nominations including Best Directing. It took home the Emmy Award for Best Documentary or Nonfiction Special. The film delves into the life of Nina Simone, drawing from more than 100 hours of never-before-heard audiotapes, rare concert footage, and archival interviews.
'What Happened, Miss Simone?' is available to watch on:
● Netflix
'The Missing Picture' by Rithy Panh (2014)
Presented at Qumra and screened in the Un Certain Regard section at the 2013 Cannes Film Festival—where it won the top prize—the film employs an almost astonishing device to describe the horrors of life for prisoners under the Khmer Rouge—painstakingly handcrafted miniature human figures that are used in tableaux of the various scenes the film depicts. Combined with archival footage of films from Cambodia's golden age of filmmaking as well as documentary examples of the emptied capital city and forced labour in work camps, these toylike figures are disarming in that they are somehow endearing, even as they act out the gut-wrenching scenes of inhumanity the regime's many victims were made to endure. 'The Missing Picture' brilliantly revives the memory of those who disappeared, giving them an image that can be remembered, if not a voice.
Rithy Panh is a Cambodian-French filmmaker, writer and producer. Born in Cambodia, he studied filmmaking at the Institut des Hautes Études Cinématographiques in France. He has directed numerous internationally acclaimed films, including 'The Rice People', which was selected for the Official Competition of the Festival de Cannes in 1994; 'The Land of Wandering Souls' (2000), which won several awards, including the Robert and Frances Flaherty Award at the Yamagata International Documentary Film Festival; the influential 'S21: The Khmer Rouge Death Machine' (2004), which took numerous awards around the world, among them the Albert Londres Award; 'Paper Cannot Wrap Embers' (2007), 'The Sea Wall' (2008) and 'Duch: Master of the Forges of Hell' (2012). In 2013, Panh directed 'The Missing Picture', which was nominated for the Academy Award for Best Foreign Language Film and won the Grand Prix in the Un Certain Regard section at the Festival de Cannes. He then directed 'France is our Mother Country' (2014) 'Exile' (2015) Cannes Film Festival 2016, 'Graves Without a Name' Venice, Telluride, and Toronto Film Festivals 2018. His latest film 'Irradiated' (2020) won the Berlinale Documentary award at its premiere. He is also a principal founder of the Cambodian Film Commission, an industry development organisation that includes the CFC Film Lab, a professional film training programme for Cambodians.
'The Missing Picture' is available to watch on:
'Taxi Tehran' by Jafar Panahi (2015)
Shown at Ajyal and in competition at the 65th Berlin International Film Festival—where it won the Golden Bear—'Taxi Tehran' finds director Panahi as himself in the driver's seat of a cab as he takes passengers to their destinations, in a film that never quite admits whether it is documentary or fiction. The taxi becomes a sort of confessional in which, encouraged by the director, his fares—among them, a self-confessed thief, a DVD pirate and two women with a bowl of goldfish and a hectic schedule – speak of their troubles and expectations. It is fascinating to see Panahi coax a dramatic and often very funny narrative from these encounters as he draws a wonderful portrait of contemporary Tehran.
Jafar Panahi was born in 1960 in Mianeh, Iran. He is an award-winning director, writer and producer, whose films have garnered such honours as the Camera d'Or from the Festival de Cannes (for 'The White Balloon', 1977), the Golden Leopard from the Festival del Film Locarno (for 'The Mirror', 2000), the Cannes Jury Prize (for 'Crimson Gold', 2003); and two Silver Bears from the Berlinale (Best Director for 'Offside', 2012; Best Script for 'Closed Curtain', 2013).
'Taxi Tehran' is available to watch on:
● Apple TV (US and MENA stores)
Special Guest: Rooney Elmi
Rooney Elmi is a culture writer, documentary producer, and film programmer with a hyperfocus on nonfiction cinema. Her essays and interviews have been published in Film Comment, i-D, DAZED, Real Life Magazine, The FADER, Hyperallergic, among many others.
Interests in internationalism, cyber culture, and anti-capitalism lead to her brainchild, SVLLY, an annual print and digital movie magazine, geared toward curating a radical cinephilia. The self-published editorial has been read and housed around the world and remains one of the extremely rare, feminist print film publications in circulation.
Additionally, she's the co-founder of NO EVIL EYE, an underground nomadic micro-cinema that aims to redefine the creative and social parameters of film scene(s) by curating an eclectic mix of films and accessible educational workshops.
Her work has been profiled in Brooklyn Rail, Interview Magazine, NYLON, and more.
We hope you enjoy our Visions of Power series and look forward to seeing you at our online discussion on 17 August.
The DFI Team


SAN FRANCISCO — Ford GoBike riders could win a trip to Iceland for saving the most carbon emissions in a new contest, thanks to a partnership between Icelandic Glacial, the world's first bottled water certified as CarbonNeutral for product and operation, and Ford GoBike, the companies announced today.
Starting August 1, Ford GoBike riders can participate in the online August Carbon Savings Sweepstakes by showing how they are saving carbon by biking, walking, taking public transportation, carpooling and more using the hashtag #rideclean. The grand prize winner will earn free hotel and carbon offset airfare for two to Iceland, home of world-renowned hot springs. Other top prizes include a free annual Ford GoBike membership and a free case of Icelandic Glacial water. Riders should visit fordgobike.com/rideclean for full participation instructions and details.
Riders can also beat the summer heat with free samples of Icelandic Glacial's super-premium spring water from 11:00 am to 2:00 pm on August 1 at the Yerba Buena Center for the Arts station (Howard St at 3rd St) in San Francisco.
Icelandic Glacial is also branding 15 Ford GoBike stations in San Francisco and Oakland throughout the month of August to encourage Ford GoBike riders to make carbon conscious choices in August that will turn into good habits, as well as give pure Iceland spring water a try.
Interested in joining the sweepstakes for your chance to visit Iceland for free? Please visit fordgobike.com/rideclean.
Launched June 2017, the Ford GoBike system is an integral part of the Bay Area's transportation network. With 300 stations and more than 3,000 bikes on the ground across San Francisco, San Jose, Berkeley, Oakland and Emeryville, the system has generated more than half a million rides in less than a year. When completed, the 7,000-bike, 546-station Ford GoBike network will be the second-largest bike share system in North America, setting new national standards in density, convenience and equity.


Agile has drastically evolved since the last twenty years from engineering to organisational development. Besides to this evolution, people wants more and more to be involved with this culture and companies are looking to hire best coaches to accompagny them in this transformation.
AgileSQR is a program for senior coaches willing to engage in a learning journey to improve their knowledge and share with pairs the results from their praxis.
coaches have attend all the modules and are followed by a Blue or Higher belted mentor.
Yellow belt coaches have improved their knowledge during at least 6 months in organisation with the support of their mentor and inspect&adapt their achievement during a yearly conference in from of their pairs.
Language: by default we will use english but our intention is to adapt ourselves to the audience through foreign languages.


text:
Offer A Property Property Listing Career Our Team
Malta Property Listing Offer A Property Career Our Team
Find a place to call your own
We know the true value of your property
Become a part of Engel & Völkers
Engel & Völkers Licence Partner Malta Regional Market Center > Renting_Property_Malta
Renting Property in malta
January 2020 saw the introduction of the latest legislation governing the rental of residential properties in Malta. The rental legislation introduces new duties for both tenants and landlords, such as the registration of the rental contract and contract terms. It is solely regulated by the Housing Authority. Engel & Völkers Malta CEO, Benjamin Tabone Grech who took an active part in the rental reform, has welcomed the new reform, stating that it is a good step towards increasing professionalism and stability in the sector, which will reduce abuse.
When do the new regulations come into force?
The Private Residential Leases Act came into effect on January 1st 2020
What contracts do the new regulations cover?
The 2020 rental regulations cover all rental contracts signed after June 1st 1995. All property owners who are renting their property for a primary residential purpose have to register these properties with the Housing Authority.
What contracts are excluded?
The new rental regulations exclude:
- Properties owned by the Maltese Government
- Properties rented for the sole purpose of tourism
- Properties under contract of Emphyteusis (Properties that are let by landlords for long lets and are structurally improved by the tenant)
- Properties rented out as holiday homes or as a second residence.
- Properties rented before June 1st 1995.
What is the difference between short term and long term rental contracts?
Short term contracts are contracts with a duration between 6 months and 1 year. These include non-resident workers who are employed for a period less than six months , non-resident students who are enrolled in courses for less than six months, residents who need to rent alternative primary residence for a period of less than six months, and non-residents who need to rent a tenement for a period of less than six months provided they would not be seeking a to establish long residence in Malta.Short lets contracts need to specify which one of these categories applies to the contract and provide supporting documentation.
Long- term contracts are those with a duration of one year or more.
What are the new duties for which landlords are accountable?
Landlords are required by law to register private rental contracts within 10 days. The contracts as well as the deposit have to be registered with the Housing Authority. They can also be registered online via this link: https://rentregistration.mt/ To register the contract online, one needs to set up an account or else log in with the E-ID.
Every new private residential lease requires a separate registration. Rental contract renewals taking place after 1st January 2021 also need to be registered.
Landlords are bound to ensure that there is an adequate supply of utilities (water and electricity) and show the correct tariff and bills proportionately shared amongst tenants.
What should the Rental Contract comprise of?
The rental agreement should state:
-Property Details
-The rental duration and whether and how this can be extended.
-An inventory of the property eg. furniture and appliances available and their current state
-The rental amount and deposit fee
-The intended use as agreed
If any of these elements of the contract are not established, it will be considered void.
A sample contract can be downloaded from the following link https://rentregistration.mt/forms/
How do the new regulations affect rental prices and payments?
The new regulations state that rent increase can happen only once a year and can't be more than 5%. (in line with the Property Price Index issued by NSO)
Rent is due to be paid monthly, unless otherwise is agreed, and the landlord cannot ask for payment in advance of more than one month's rent under no circumstances. A receipt of payment from the landlord to the tenant is also obligatory by law.
Is there a cost to registering contracts?
In 2020 registration of rental contracts is free of charge (as long as it is registered within 10 days). The fee will amount to €10 from 2021.
Contracts which are not registered within 10 days incur a late registration fee of €120
For agreements which are to be renewed, the fee is €5, unless the agreement specifies that the lease will be renewed every year. In this case, no fees are due.
Failure to pay these fees will result in the contract being considered void.
Can a tenant report a tenancy?
Yes, tenants can report a tenancy via this website. https://rentregistration.mt/reporting-a-tenancy/
What duties do tenants have?
Tenants have to concede to a strict notice term if they wish to withdraw from a long term rental contract.
In the case of a one year contract, the tenant has an obligatory 6 month period where the contract cannot be cancelled, following that, one needs to give a minimum 1 month's notice. In the case of a two year contract, the tenant has an obligatory 9 month period where the contract cannot be cancelled, following that, one needs to give a minimum 2 months' notice. For contracts of three years or longer, the tenant has an obligatory 12 month period where the contract cannot be cancelled, following that, one needs to give 3 months'notice.
Notice of termination has to be sent via a registered letter.
What new rights do tenants have?
A landlord cannot forcefully evict a tenant from a property which is occupied as a primary residence by the tenant. Tenants also have access to utility bills.
What fines can be incurred?
The following fines can be incurred
- Fines for renting out or occupying property for residential purposes which does not conform with the requirements of the act can amount to between €2,500- and €10,000
- Landlords who attempt to block utilities such as water and electricity or who remove furniture, appliances or personal belongings can incur fines between €1,500 and €4,000
- Persons found guilty of living in a property that is not registered under the Act can be liable to an enforcement order issued by the Housing Authority and fined €5,000.
Can a rental contract be terminated?
No, a rental contract cannot be terminated at any time. In order for the contract to be terminated, notice must be sent 3 months before the contract expires. If the tenant does not get the letter within this time, the contract will be renewed for one more year.
In the case of short term leases, these are terminated on the date that is agreed, without either tenant or landlord needing to give notice.
What is a Shared Residential Space
The new rental regulation makes provisions for the rental of shared residential space. This is the leasing or renting of a separate space in a building with shared amenities. In such cases, lease duration is of 6 months and the contract cannot be renewed. The contract can be cancelled at any time during this period given that one week of notice is given via a registered letter.
What services do Engel & Völkers Malta offer to smoothen the transition to the new regulations?
Engel & Völkers agents are available to help you out with any queries or concerns that you might have about the new rental regulations, whether you are a tenant or whether you are looking for a property to rent. Our agents are also happy to register the rental contract on your behalf. We also offer the service of compiling the inventory.
View Properties Available For Rent
Licence Partner Malta Regional Market Center
Triq L-Esportaturi Central Business District, Zone 3, Mriehel
CBD 3010 Birkirkara
0900hrs - 1800hrs Monday - Friday
0900hrs - 1300hrs Saturday
Mr. /Mrs. Mr. Mrs.
Missing required field
Invalid format. Expected email.
Invalid format. Expected phone.
I agree with the processing of my data for the purpose of establishing contact by the Engel & Völkers licensing partner. My above data may be passed on to a suitable local licence partner from the Engel & Völkers Group for the purpose of establishing contact. If I provide my telephone number, I agree to be contacted via telephone by the locally responsible Engel & Völkers Group licence partner.
For details regarding which data the Engel & Völkers Group licence partner stores and what rights you have in this context, please see here. You can withdraw your consent here and revoke it for future use at any time.
I agree to the processing of my data.
Your Engel & Völkers Team
Buy house
Buy apartment
Buy plot
Buy investment properties
Rent house
Rent apartment
Rent shop
Rent office
Rent warehouse
Offer a property
About E&V Imprint