A thick, unsettling atmosphere fills this ambitious first-person action adventure, which makes up for some frustrating moments and dated graphics with plenty of chills, variety, and originality.
Even the Old Ones themselves would have probably lost patience waiting for Call of Cthulhu: Dark Corners of the Earth to finally show up. First unveiled more than six years ago, this horror-themed action adventure based on the work of influential American horror writer H.P. Lovecraft is clearly ambitious, mixing first-person action, sneaking, and adventure elements with a creepy story filled with various surprises. The good news is that all the delays have resulted in a one-of-a-kind game that fans of horror and action adventure gaming (and of H.P. Lovecraft) absolutely should check out. However, the presentation looks somewhat dated at times, and some other aspects are also pretty rough, just like the Xbox original released six months earlier. But if you can tolerate a few technical deficiencies and are up for a significant challenge, then you can look forward to Call of Cthulhu mightily impressing you and freaking you out equally in turn.
Hold on to your mind in this tense and memorable adventure.
This is essentially the same game as the Xbox version, with the key differences being that the PC version supports higher resolutions and its mouse-and-keyboard controls are slightly more responsive. It also retails for a lower price. You play as Jack Walters, a private investigator with a history of mental instability. But he's fine now, honest. Jack is trying to get his life and his career back on track, but he just can't seem to remember a six-year period from his past. Soon after the opening of the game, a missing-persons case takes Jack's attention away from his own predicament. He finds himself in the quiet port of Innsmouth, a little-known shantytown with a rather standoffish populace. It's a dismal place on first impression, filled with rundown buildings and thuggish residents who gurgle veiled threats in response to Jack's inquiries. Before long, Jack begins to uncover a sinister secret lurking just beneath the surface. He asks one too many questions and soon finds himself fighting for his life against unspeakable horrors. The game does a great job of gradually magnifying the sense of danger and the scope of the mess that Jack has gotten himself into, and it also does pretty well at evoking the early-20th-century period in which the story takes place.
You don't need to be familiar with Lovecraft's stories or the Cthulhu mythos in order to enjoy this game. In fact, the experience will be all the better if you go into it without any real sense of what you're in store for. H.P. Lovecraft is best known for horror stories that attempt to describe the indescribable--horrifying things that can make a man go mad just from looking at them. Call of Cthulhu: Dark Corners of the Earth captures the essence of Lovecraft's work by presenting the entire game through Jack's own eyes, and by incorporating various elements that simulate how fleeting Jack's sanity can be when faced with terrible sights and realizations. It doesn't help the poor guy's case that he tends to have out-of-body experiences from time to time, which let him briefly see the world through the eyes of some rather strange beings. The game also intersperses some choice quotations from Lovecraft, as well as some well-written journal entries and other light reading that helps set the stage for what's happening. Ironically, if any aspect of the presentation doesn't really fit, it's Jack himself. It's his voice in particular, since he sounds like a matter-of-fact private detective...only, his rather calm demeanor isn't consistent with how he's supposedly being driven half mad by what's happening around him. The voice performance itself is fine, but it's too bad Jack sounds so brave.
Call of Cthulhu: Dark Corners of the Earth looks like it's a first-person shooter, but it combines action and adventure elements in equal parts (fans of the Thief, Deus Ex, and System Shock series will be in store for a similar kind of game). In fact, for a large portion of the game, Jack is unarmed, and he'll need to make progress using his detective work rather than his brawn. The game is probably at its best when no shooting is involved, since the shooting portions aren't that great. Your enemies will sometimes use cover when attacking you, but they don't behave very believably in battle, and their bodies quickly vanish when killed. It's a long time before you get into any pure action in Call of Cthulhu, and when it happens, it's at once thrilling and a little disappointing--thrilling because there's been so much buildup and tension leading up to the fighting, and disappointing because the foes you're facing aren't as cunning as you'd hope. Fortunately, the game rarely attempts to create challenge just by thrusting you into first-person shooter sequences, and the shooter portions are at least decent. The period weapons you'll get to use, such as Tommy guns and revolvers, feel like they pack a mean punch.
The stealth portions are pretty good, too, especially because the game never flat-out forces you to be stealthy--it's just a means to an end, useful for avoiding combat (such as when you're unarmed) or getting the drop on your enemies. But if you're spotted, you can always fight...or run. Later in the game, you'll get to perform some highly gratifying stealth kills by plunging a knife into the backs of unaware opponents, who totally deserve it, by the way. All throughout, though, you'll be able to avoid confrontation by sticking to the shadows and keeping a low profile. You may also peek (and shoot) around corners in your efforts to stay safely out of sight.
Others have tried, but Call of Cthulhu is one of the first games to date to succeed at presenting a completely clutter-free first-person viewpoint. There are no health bars or ammo counts or anything to get in the way of your suspension of disbelief, yet the game still provides sufficient visual and audio feedback to keep you informed while playing. While there will probably be times when you'll wish the game were a bit more transparent about telling you when your health is low or when you're in danger of being detected by enemies, Call of Cthulhu's invisible interface definitely is to the game's credit. There isn't even an aiming reticle for any of the guns--you just aim down the sights to line up your targets. And you know you've taken damage when you see spurts of blood along the edges of the screen, and subsequently start to hear Jack gasping in pain and losing color vision. You can even have your limbs broken--you'll cringe listening to Jack trying to walk with a busted leg. Fortunately, he's got first aid kits to bring him back into shape. First aid takes a few seconds to apply, so you can't use your kits in the middle of a fight, but you can use them in a safe spot to cure fractures, bullet wounds, and so on. No, that's not realistic, but it's a good-enough system that's in keeping with the spirit of the game--Jack can't survive much damage in the first place.
Call of Cthulhu also features heavy adventure elements, in the form of exploration and puzzle-solving. A couple of puzzles involve pattern recognition while others simply require you to use the right inventory objects in the right places. The puzzles aren't very difficult, but when combined with the game's rather large and complex environments, they can make it tough to figure out how to proceed. You don't have a map in Call of Cthulhu, and there's no mission-objectives screen or anything like that, so it's possible that you might get confused and disoriented at times--yet even this is roughly in keeping with the feel the game is trying to evoke, unless you become too frustrated or completely stuck. Fortunately, the plot and premise is compelling enough that it's worth suffering through the occasional tight spot. It's all the more exciting and satisfying when you finally get past those parts and set foot in new territory.
There's some shooting to be done, but you'll also need to do some good detective work and some good old-fashioned running away.
The game also deserves praise for creating some truly harrowing chase sequences. For whatever reason, horror games tend to be heavily focused on combat, but the scariest things are the ones that force you to flee. While Call of Cthulhu's escape scenes are scripted to play out a particular way each time, they absolutely make you feel desperate to survive. To slow down your foes, you're able to bolt doors, which buys you precious seconds as you continue your escape. The music swells to a crescendo and your enemies' screams are deafening as you scramble to find a way out. These escapes are definitely some of the moments that stick out the most vividly in hindsight.
Call of Cthulhu has a lot of great moments in it, actually. You view the action through Jack's eyes practically the whole way through, so all the game's noninteractive cutscenes are still done from a first-person viewpoint, where you see Jack manipulating various objects and so on. Some of these interactions are amazingly lifelike in a subtle way, like how Jack gingerly manipulates the combination lock on a safe, for instance. So it's a bit of a shame that these bits tend to switch to a grainy letterboxed view, which informs you that you no longer have control for the moment and takes you out of the experience. And for all the great attention to detail, it makes you notice things you might take for granted in other games, like how Jack doesn't put away his gun when he climbs a ladder, or how you can't see your feet when you look down. Nevertheless, Call of Cthulhu is much more convincing than many other first-person games in how it makes you feel as though you're really there in the environments. When you reach some of the later stages, you'll truly get the impression that you're exploring places that no normal person was ever meant to find.
You'll also feel sorry for Jack, who goes through an awful lot, all the way up through the game's disturbing, fittingly Lovecraftian ending. As he begins to see the truth behind the Esoteric Order of Dagon--the religious cult that seems to have Innsmouth under its complete control--his sanity will be threatened. Specifically, your vision will start to blur if not swim, and you'll start hearing Jack muttering to himself or his teeth chattering. These purposely distracting effects are well done and help make some of the game's bigger confrontations all the more bewildering. The sanity effects are temporary and tend to dissipate quickly if you find one of the game's save points, which take the form of unusual white glyphs painted on certain walls. These glyphs look ominous, but in a testament to how effectively creepy Call of Cthulhu can be, you'll catch yourself breathing a sigh of relief whenever you spot one of these safe havens. You might still be frustrated by the limited save system, which is a holdover from the Xbox version. Not only can you not save your progress except at these certain points, but you also have a limited number of save slots to work with. However, the limited save system is probably for the best, since being about to quicksave your way through a game like this would sap a lot of its tension.
What the game lacks in high-fidelity graphics it makes up for with surprising variety. Character animations are sometimes a little choppy, textures are noticeably blurry, and weapon models look plain, so you might catch Call of Cthulhu looking like a second-rate shooter from time to time. Much more often, though, you'll find a lot of great little touches in the environments, which are surprisingly expansive in spite of how much there is to see and do in them. Unfortunately, Call of Cthulhu lacks support for wide-screen resolutions, which would be perfect for viewing a cinematic game such as this. But the game manages to look great anyway, thanks to excellent art direction that results in some highly atmospheric locales. You could easily imagine that had it been released a few years ago when it was originally supposed to, it would have looked amazing. Luckily, the visual style still succeeds at drawing you into the experience, even despite some graphical holdovers from the Xbox, like the ugly, low-res inventory system.
What Call of Cthulhu lacks in fancy effects, it makes up for with style and originality.
The noticeable repetition in Jack's and his enemies' dialogue is the main knock against the often-outstanding sound. As mentioned, Jack's narration isn't a perfect fit for the circumstances, but most of the speech throughout the game is delivered convincingly, and Jack's enemies sound especially good. Gunfire is piercingly loud, and various ambient effects help thicken the atmosphere. There's also some great music throughout Call of Cthulhu, which tends to cue up nicely with whatever's happening onscreen.
Jack Walters' journey to the dark corners of the Earth should take you at least a good, densely packed 10 to 12 hours, but it could easily take more, depending on how long the tougher bits stump you. You then unlock a tougher difficulty mode (there's still another one to unlock after that), which heightens the challenge by making ammo scarcer and enemy encounters harder to survive. The game also ranks you based on how quickly you reached the end, how often you saved your progress, and other factors, in case you want to pay another visit to Innsmouth and its outskirts. So there's some value in revisiting the adventure--but your first time playing through Call of Cthulhu: Dark Corners of the Earth is liable to leave a lasting impression no matter what.
H.P. Lovecraft's series of horror novels is brought to life in this upcoming action-adventure game.


text:
What's Cooking 89
75 Years of Pakistani Music
Drake and Brent Faiyaz have dropped a new single called 'Wasting Time'. The R&B style cut was produced by 'The Neptunes'. The latter half of the track features Drake with his signature flow laying back to back verses. The track is available on all streaming platforms.
Spanish pop sensation Enrique Iglesias is back with new music. The track is entirely in Spanish and is titled 'Me Pase'. Enrique dropped a music video to go along with the track as well.
K-Pop boyband 'BTS' have recruited another pop-star for their upcoming collab. This time around their brand new single features singer Ed Sheeran. Their label 'Big Hit Music' announced on Twitter that the track is called 'Permission To Dance'. The song is slated for release later this month.
BLACKPINK members Jennie and Rosé have headed out to LA to work on new music. The group's agency YG Entertainment confirmed the news. The pair haven't confirmed which artists they'll be collaborating with yet though they were spotted with Jaden Smith.
Lana Del Rey has shared an update about her upcoming album titled 'Blue Banisters'. She took to insta to drop a teaser for a new single off the record along with the album cover art as well. Lana also said that the album will be out soon but didn't mention an exact date.
Sooper Hai Pakistan Ka Junoon
25th December, 2018; a date burnt in the books of musical history as the kings of Sufi Rock, Junoon reunited after 13 long years! CityFM89 was exclusive radio media partners with Peek FreansSooper who arranged the greatest musical reunion of the decade 'Sooper Hai Pakistan Ka Junoon'. It happened to be on the original legend Quaid-e-Azam Muhammad Ali Jinnah's birthday, which only fuelled our nostalgia. CityFM89 gave away 10 couple passes to the ultimate 'Sooper Junoon Fan'. Our 89 RJs Ali and Zeeshan spoke to the Junoonis about their sentiments at the event regarding the reunion of the power band. We also had a CityFM89xJunoon wall where people came and poured their hearts out with their heartwarming and gratifying messages.
https://cityfm89.com/wp-content/uploads/2019/02/10000000_794852844469693_8747721155455190361_n.mp4
It was a night of glamour, fantastic music, and fond memories and we felt the JUNOON run through our souls as the whole stadium sang, danced and reminisced to some of the most iconic music Pakistan has ever produced.
Top 10 Songs played this week
cityfm89
Pakistan's Premiere Radio Network 📻
Like, comment, tag 3 friends and mention your city
Like, tag 2 friends and mention your city by Janua
RIP 🕊 Singer Lisa Marie Presley, the only
Tune into Jazz presents Strictly Professional with
What was your favourite song this year? 🎶 In
As Pakistanis, we find it difficult to express our
Like, tag 2 friends and mention your city in the c
Copyright © 2018 CityFM89

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: How get a URL from EditText to play a radio stream? I want to play a radio for example from here: "http://legacy.scahw.com.au/3rmr_32". and I want to get it from an EditText that the user should enter it.
When I put the url directly to a string it works but when I write it to an EditText and pass it to a string, it doesn't work.
Can anyone help me where is the problem?
MainActivity
    public void onCreate(Bundle savedInstanceState) {
        super.onCreate(savedInstanceState);
        setContentView(R.layout.activity_main);

        url = (EditText) findViewById(R.id.edit);
        final String urlString = url.getText().toString();

        playSeekBar = (ProgressBar) findViewById(R.id.progressBar1);
        playSeekBar.setMax(100);
        playSeekBar.setVisibility(View.VISIBLE);

        buttonPlay = (Button) findViewById(R.id.buttonPlay);
        buttonPlay.setOnClickListener(new OnClickListener() {
            @Override
            public void onClick(View v) {

                startPlaying(urlString);
            }
        });

        buttonStopPlay = (Button) findViewById(R.id.buttonStopPlay);
        buttonStopPlay.setEnabled(false);
        buttonStopPlay.setOnClickListener(new OnClickListener() {
            @Override
            public void onClick(View v) {
                stopPlaying();
            }
        });

        player = new MediaPlayer();
        try {
            player.setDataSource(urlString);

        } catch (IllegalArgumentException e) {
            e.printStackTrace();
        } catch (IllegalStateException e) {
            e.printStackTrace();
        } catch (IOException e) {
            e.printStackTrace();
        }

        player.setOnBufferingUpdateListener(new OnBufferingUpdateListener() {

            public void onBufferingUpdate(MediaPlayer mp, int percent) {
                playSeekBar.setSecondaryProgress(percent);
                Log.i("Buffering", "" + percent);
            }
        });
    }

    private void startPlaying(String sp) {
        buttonStopPlay.setEnabled(true);
        buttonPlay.setEnabled(false);

        playSeekBar.setVisibility(View.VISIBLE);

        player.prepareAsync();

        player.setOnPreparedListener(new OnPreparedListener() {

            public void onPrepared(MediaPlayer mp) {
                mp.start();
            }
        });
    }

    private void stopPlaying() {
        if (player.isPlaying()) {
            player.stop();
            player.release();
            initializeMediaPlayer();
        }

        buttonPlay.setEnabled(true);
        buttonStopPlay.setEnabled(false);
        playSeekBar.setVisibility(View.INVISIBLE);
    }

    private void initializeMediaPlayer() {
        player = new MediaPlayer();
        try {
            player.setDataSource(urlString);
        } catch (IllegalArgumentException e) {
            e.printStackTrace();
        } catch (IllegalStateException e) {
            e.printStackTrace();
        } catch (IOException e) {
            e.printStackTrace();
        }

        player.setOnBufferingUpdateListener(new OnBufferingUpdateListener() {

            public void onBufferingUpdate(MediaPlayer mp, int percent) {
                playSeekBar.setSecondaryProgress(percent);
                Log.i("Buffering", "" + percent);
            }
        });
    }

    @Override
    protected void onPause() {
        super.onPause();
        if (player.isPlaying()) {
            player.stop();
        }
    }
}

Main.xml
<ProgressBar
    android:id="@+id/progressBar1"
    android:layout_width="wrap_content"
    android:layout_height="wrap_content" />
<EditText
    android:id="@+id/edit"
    android:layout_marginTop="100dp"
    android:hint="Enter URL"
    android:layout_centerHorizontal="true"
    android:layout_width="match_parent"
    android:layout_height="wrap_content" />
<Button
    android:id="@+id/buttonPlay"
    android:layout_centerVertical="true"
    android:layout_centerHorizontal="true"
    android:text="paly"
    android:layout_below="@+id/edit"
    android:layout_width="200dp"
    android:layout_height="wrap_content" />
<Button
    android:id="@+id/buttonStopPlay"
    android:text="stop"
    android:layout_centerHorizontal="true"
    android:layout_below="@+id/buttonPlay"
    android:layout_width="200dp"
    android:layout_height="wrap_content" />

A: You are using final String urlString = url.getText().toString();
So string will contain blank and will not change in future when you type in it.
In place of final variable please use url.getText().toString() directly to pass value.

A: This line
final String urlString = url.getText().toString();

you should write in onClickListene, as show below
buttonPlay.setOnClickListener(new OnClickListener() {
    @Override
    public void onClick(View v) {
        String urlString = url.getText().toString();
        startPlaying(urlString);
    }
});

may this will help you, all the best

A: Replace:
final String urlString = url.getText().toString();

with this:
final String urlString = URLEncoder.encode(url.getText().toString(), "UTF-8");

redpajama_set_name: RedPajamaStackExchange


TORONTO, ONTARIO--(Marketwire - Sept. 11, 2012) - Hudson River Minerals Ltd. ("Hudson River" or the "Company") (TSX VENTURE:HRM) announces the resignation of Brian Prill as Corporate Secretary and Director of the Company. The Company wishes him well in his future endeavours. The role of Corporate Secretary will be assumed by David Jarvis who is also CFO of Hudson River, subject to regulatory approval.
About Hudson River Minerals Ltd.
Hudson River is focused on the discovery of precious metals and base metals in Ontario. The management team identifies underexplored areas that have historical intersections of economic minerals and has experience exploring in areas with little geologic outcrop and that rely heavily on geophysical technologies for discovery. For more details on Hudson River's properties visit our web-site at www.hudsonriverminerals.com.
This document may contain forward-looking statements relating to Hudson River's operations or to the environment in which it operates. Such statements are based on operations, estimates, forecasts and projections. They are not guarantees of future performance and involve risks and uncertainties that are difficult to predict and may be beyond Hudson River's control. A number of important factors could cause actual outcomes and results to differ materially from those expressed in forward-looking statements, including those set forth in other public filings. In addition, such statements relate to the date on which they are made. Consequently, undue reliance should not be placed on such forward-looking statements. Hudson River disclaims any intention or obligation to update or revise any forward-looking statements, whether as a result of new information, future events or otherwise, save and except as may be required by applicable securities laws.
About this company Hudson River Minerals Ltd.


text:
Q: How to configure the TypeORM module in NestJS without 'process.env' and values unknown at advance? Typical example of the configuration of TypeOrmModule via decorator:
import { Module } from '@nestjs/common';
import { TypeOrmModule } from '@nestjs/typeorm';

@Module({
  imports: [
    TypeOrmModule.forRoot({
      type: 'mysql',
      host: 'localhost',
      port: 3306,
      username: 'root',
      password: 'root',
      database: 'test',
      entities: [],
      autoLoadEntities: true, // Must be only on local development mode
      synchronize: true,
    }),
  ],
})
export class AppModule {}

All settings has been hardcoded. What if we don't know at advance the host, port, environment name on which autoLoadEntities flag depends etc.? "At advance" means "when the static fields and values inside decorators has been resolved, but of course, the picking up of all configuration will done before await NestFactory.create().
import { NestFactory } from "@nestjs/core";
import type { NestExpressApplication } from "@nestjs/platform-express";
import Path from "path";
import { Logger } from "@yamato-daiwa/es-extensions";
import { ConsoleCommandsParser } from "@yamato-daiwa/es-extensions-nodejs";

(async function runApplication(): Promise<void> {

  const configurationFromConsoleCommand: ConsoleCommandsParser.ParsedCommand<ConsoleLineInterface.ParsedArguments> =
      ConsoleCommandsParser.parse(process.argv, ConsoleLineInterface.specification);

  const normalizedConfiguration: NormalizedConfiguration = ConfigurationNormalizer.normalize({
    configurationFromConsoleCommand
  });

  ConfigurationRepresentative.initialize(normalizedConfiguration);

  // The preparing of the configuration is complete

  const nestJS_Application: NestExpressApplication =
      await NestFactory.create<NestExpressApplication>(NestJS_ApplicationRootModule);

  await nestJS_Application.listen(normalizedConfiguration.HTTP_Port);

})().

    catch((error: unknown): void => {
      Logger.logError({
        errorType: "ServerStartingFailedError",
        title: "Server starting failed",
        description: "The error occurred during starting of server",
        occurrenceLocation: "runApplication()",
        caughtError: error
      });
    });

One way is a usage of environment variables (process.env.XXX). However it violates the condition "unknown at advance" and must NOT be the only solution.

A: type: 'mysql',
      host: 'localhost',
      port: 3306,
      username: 'root',
      password: 'root',
      database: 'test',

these properties can not be undefined or unknown you must configure them first
import { ConfigModule, ConfigService } from '@nestjs/config';
@Global()
@Module({
  imports: [
    TypeOrmModule.forRootAsync({
      imports: [ConfigModule],
      useFactory: (configService: ConfigService) => ({
        type: 'postgres',
        host: configService.get('DATABASE_HOST'),
        port: configService.get<number>('DATABASE_PORT'),
        username: configService.get('DATABASE_USER'),
        password: configService.get('DATABASE_PASSWORD'),
        database: configService.get('DATABASE_DB'),
        schema: configService.get('DATABASE_SCHEMA'),
        synchronize: !!configService.get<boolean>('DATABASE_SYNCRONIZE'),
        logging: false, //!!configService.get<boolean>('DATABASE_LOGGING'),
        autoLoadEntities: true,
      }),
      inject: [ConfigService],
    }),
  ],
})


(AFRICAN EXAMINER) – "African leaders do not resign, that's cowardice and the fact that UK Prime Minister-David Cameron has just resigned confirms everything I have said about him—he is weak and a coward." President (now Ex) Robert Mugabe of Zimbabwe in 2016.
The recent confusion about what is happening in Zimbabwe, with President Robert Mugabe refusing to resign, (now he has finally resigned, 21 November 2017) even when pressured and being pampered has again brought to the fore the obstinacy that exists in Africa when it comes to resigning or relinquishing power voluntarily.
In Mugabe's case, as a friend from Kenya wrote to me, the Zimbabwean Defence Forces are merely exercising "soft power" – getting others to want the outcomes you want – and co-opting people rather than coercing them. This can be contrasted with "hard power", which is the use of force and coercion. In other words, the Zimbabweans are being very civilised about removing Mr Mugabe, even after 37 years of holding absolute power.
In our modern history, after most African countries became independent from their several colonial masters, very few African leaders relinquished power voluntarily. In most cases, they are forcibly removed, and in some cases, their ends were not pretty. Did they need to go through the shame, or put their family and even people through such terrible and uncertain times? In some cases, the whole country is plunged into civil strife, instability, poverty, and misery.
African and Nigeria's top political leaders and their cohorts in the civil service don't resign as a way of assuming political or civic responsibility for problems in their portfolios. They very rarely account publicly for their responsibilities, or own up when problems arise. Instead, the usual trend is to sit tight and wait to be forcibly pushed out or, if they are lucky, die in office.
Equally rare are resignations of senior people associated with, or in government. Even public pressure fails to force them to resign. In other words, they do not take public culpability for their actions or in most cases, inactions.
Have you ever wondered why public officers (appointed or elected), officials, civil servants, and politicians never offer to resign or step aside while investigations go on when they are accused of wrongdoing and corruption issues?
Primarily, the Indiscipline, Impunity, and Disregard for the laws of the land, because they are not strictly, even if partially, implemented and enforced, allows a lot of impunity from everybody, most especially, people in government. This kind of thing hardly happens in private sector.
Secondly, some of our warped cultural and moral values also give backing to the fact that people in high places deem it as a loss of face for them to resign. Resignation or stepping aside when accused of wrongdoing is tantamount to admission of guilt. And it seems alien to our culture to admit guilt when millions of people are looking up to you as a "Big Man". Resign? No, Sir, Africans don't resign, they are either forced out or die in office.
Third, Cover-up: If I resign when accused of wrongdoing, then I am exposing myself, exposing my arse, because if I do that, then I will not be able to conceal or destroy evidence. I will not be able to have a measure of control over the impending investigation. No, I must be there when they are conducting their so-called farcical investigations!
Fourthly, my enemies have won if I resign. God forbid bad thing! I will be back down at the bottom of the ladder and all those I climbed over to get to the top will ridicule me and get back at me. All arrows shot at me by my enemies shall not prosper. It will not be in their eyes that I will go down.
Number five; why resign when I know I won't be found guilty anyway? I will weather the storm. Isn't it Nigerians? They will shout and cry and splash the news of my alleged wrongdoing all over the newspapers, and let me just keep a low profile, go to the church and mosque, do some praying and offer tithes, and God will deliver me from the hands of mine enemies, and in a few months, the brouhaha will die down.
Sixth, Association: Am I the only one doing it? Others are doing it too and not resigning, and getting away with it, so what is mine to leap into the water and drown? Naah! If I go down, others involved will have to go down too.
Seventh, the word RESIGN or as we say it in the UK, GO ON GARDEN LEAVE does not exist in the Nigerian lexis. It is alien. Virtually unknown and unheard of. It never crosses the mind that that is the right thing to do, both under the law and morally.
Eighth, it is Disrespectful to be asked to resign or leave your position in government. For many "Big Men" in public or political office, we take it as a personal insult of the highest order to be asked to proceed on temporary leave or to resign. That means you don't respect them or their office.
Ninth, according to ex-President Robert Mugabe above, it is Cowardice for an African leader or in high position of public trust to resign. What the heck!!! The man is a warrior of many ages past, coming from a long line of fighters and celebrated heroes. He must die at the warfront as a valiant soldier. He/she could even have descended from one of the Fathers of the Nation, an icon in his own right. No, you don't disgrace such people even if they are wallowing in culpability and shame. There must be a way out, and that way is to stay put.
Tenth, according to Chris-Vincent Agyapong Febiri, the Editor of GhanaCelebrities.com, African politicians are always on "a desperate run to remain at post because politics is the source of his daily bread and fused with their power drunkenness, ego and greed". The same could be said of the civil servants and other elected or appointed public officials too.
And eleventh, unbelievably, there are always sycophants and hangers-on, who have benefitted from the official's illegal and ill-gotten largesse, who will be spurring him on to stay and fight, because if their man resigns, then "chop don comot for dem mouth too". Simple as that. Yet, if the man falls, they don't go to prison or disgrace with him, they find another source of easy income. That's life anyway.
It is indeed difficult for the African public official to resign from an office or position or to relinquish power when he's a leader. In a way, I have some pity and understanding for them; they are products of the society that begets them, so it is difficult to depart from the norm and genetic trait.. Now you know the reason our political emancipation, socio-economic and human developments have always been in jeopardy.
The good news however, is that this phenomenon, a typical African trait, is changing. Leaders and public officials are finding it increasingly difficult to hide, and to sweep thing under the carpet. The people are becoming more aware of issues of governance, development, and service delivery, and the misdemeanours, corruption, and other malfeasances (conduct by a public official that cannot be legally justified or that conflicts with the law) of political leaders, public officials and civil servants are increasingly being exposed. It is not business as usual.
They must be made accountable and responsible for their actions, or inactions. They must be made to know the "seats of power or authority" that they occupy is not divine; not their birth right and is only temporary. Power is transient; it does not belong to any one person. And power, when you have it, must not be abused and is to be used justly and fairly for the benefit of the weak.
Let's keep applying pressure, all kinds of pressure, on our leaders and public servants. Let them know and feel the power of the people, by whose grace they got into power, instead of them alluding to God for letting them get into power.
Let the Truth be told always!!!!!


text:
Q: Why does my Javascript return [object HTMLScriptElement] instead of expected text? I am having similar issues from
unable to run an external javascript using a bookmarklet.
But I am executing my JavaScript inside a Java application via injecting script headers into the current DOM loaded via Java application.
This problem seems to occur randomly. Some cases it returns [object HTMLScriptElement] and other times returns the text...
When I alert() the object, it returns text!
I have tried return String(hi); but still no effect.
function returnsomeText(){
    var hi = someArray.join(':');
    alert(hi); //returns text:text:text:text as expected.
    return hi; //returns [object HTMLScriptElement]
}

I am very confused to as what is causing this problem! If JavaScript returns [object HTMLScriptElement] then my Java application cannot process the text.
This question is in more detail here:
Exception in thread "AWT-EventQueue-0" java.lang.NullPointerException when trying to execute Javascript

A: Try return hi.toString();

A: TRY adding .text somewhere like:
function returnsomeText(){
    var hi = someArray.join(':');
    alert(hi); //returns text:text:text:text as expected.
    return hi.text;
}

HERE is a demo:
document.write(document.body.children[3]); //writes [object HTMLScriptElement]
document.write(document.body.children[3].text); //writes text data

A: try hi.outerHTML
and there is also an innerHTML, just saying so it may come handy someday


text:
Treorchy Flood Petition
Leanne - Why I Joined Plaid
Leanne - The Teenage Years
Leanne - Valleys Kids
Leanne Wood - Jobs, Jobs, Jobs
Covid Volunteers
Documents / Policies
Ewch i wefan Gymraeg
Leanne Wood Member of the Senedd for the Rhondda
An Open Letter to Everyone Opposed to a Conservative / DUP 'Regressive Alliance'
Posted on June 15 2017, 2:26 PM
Plaid Cymru warned during the election of the dangers of a Tory government with an increased mandate. An inept Conservative campaign saw Theresa May snatch defeat from the jaws of victory and lose her precious 'mandate'. We now face the prospect of a regressive Conservative Prime Minister backed by the even more out-of-touch Democratic Unionist Party, which is seeking to drag us back to the dark ages.
To get her Budget and policy programme through, Theresa May is to rely upon the votes of the DUP - a party endorsed by armed terror groups, with official party policy being to criminalise women who have an abortion, and prominent members who have spoken out against gay rights and climate change mitigation. In all likelihood, the DUP will demand extra resources for the north of Ireland and exemptions to various pernicious Tory welfare reforms that apply only in the north of Ireland, while Wales and other parts of the UK lose out.
Plaid Cymru fought the recent election on a platform of defending Wales. This was founded on our single and unrelenting purpose – to get the best possible deal for the people of Wales. This means ensuring Welsh jobs are protected and our key sectors, like agriculture and steel, can trade freely with Europe through our membership of the Single Market. It means additional powers for our National Assembly - so that whatever the whims of Westminster, we will have the powers to defend ourselves and to promote our own interests. It means rejecting the austerity that has undermined our economy and impoverished our communities. It means, more than anything, the people of Wales getting our hands on the tools we need to build Wales's future.
Plaid Cymru has been the sole Welsh voice to warn consistently against the devastating effects of austerity. Not only does this ideology serve to undermine our economy, it has also ripped the heart out of our communities and blighted the hopes of young people.
The effect of stagnant wages and miserable job prospects created by austerity is being aggravated by the soaring cost of living created by the Conservative's reckless approach to Brexit. If the Tories, supported by their DUP bedfellows, continue to force an economically devastating Brexit on us at this time, the consequences for the people of Wales could be disastrous.
Wales's biggest private sector employer, Airbus, has already confirmed that, if this government continues down the extreme Brexit path it set before the election, they will be relocating thousands of jobs outside Wales and the UK. Inside and outside of the political system, Plaid Cymru will work with others to make sure these jobs, and so many others reliant on our relationship with Europe, are protected.
The election result is clear – no single party has a mandate to negotiate Brexit. The Tories can no longer blindly force through their agenda. It is evident that there must be a delay in the Brexit negotiations until such time as all parties and all countries represented in Westminster have the chance to genuinely input into the UK's negotiating position before talks commence.
A majority of the electorate voted for parties committed to remedying austerity, creating well-paid secure jobs and supporting measures that protect our environment. A Parliament where there is no clear majority means we can work with each other to create real change and carve out a better way, through determined opposition to the Tories turbo-charged by the dangerous DUP.
I call on everyone who wants to see this alternative politics to write to their MP and encourage them to act. Do it now. Today.
For a better way,
Leanne Wood
Leader of Plaid Cymru
Westminster open letter Conservative DUP
This starts with you
I want to register my support for Leanne Wood MS and Plaid Cymru in the Rhondda.
Or sign up by email
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Give carers and ALL care home staff the £500 bonus
As I look around the Rhondda, I am reminded that if we keep doing the same thing we will get the same results. As the MS for the Rhondda, I am committed to policies that will provide solutions to our problems. There is no problem that cannot be solved. My vision for the Rhondda includes a plan to create jobs, to support and improve public services and to make the Rhondda and Wales a better place for all of us to live.
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Home › Photo Diaries › Day 26: One Mississippi, Two Mississippi…Black Mississippi, White Mississippi…
Day 26: One Mississippi, Two Mississippi…Black Mississippi, White Mississippi…
By Drew Gibson on July 28, 2013 • ( 1 )
I'll let the pictures do most of the talking, but Clarksdale, Mississippi and Oxford, Mississippi are separated by only 60 miles of highway. They each have populations of around 20,000 and have rich histories: Clarksdale as the birthplace of the Blues (The intersection of Highway 61 & Highway 49 where Robert Johnson supposedly sold his soul to the devil for the ability to play the guitar like a bat out of hell is right on the edge of the city) and Oxford as a de facto literary capital of the south (William Faulkner and John Grisham have called Oxford home) and the home of Ole Miss, aka The University of Mississippi.
According to US Census data, Clarksdale has about an 80/20 split between blacks and whites, while Oxford is essentially the inverse image, with 73% white and 19% black (the remaining population identifies as Asian or "Other"). During my brief day hopping between the two towns, I saw only a small handful of whites in Clarksdale, most of whom were Australians at The Ground Zero Blues Club who evidently had come to see The Delta Blues Museum, but were unaware that Jesus still holds court on Sundays in the Delta and that the museum (and everything else besides Ground Zero–which has amazing pulled pork, btw) would be closed. As for Oxford, it seemed slightly more integrated than Clarksdale, but was still overwhelmingly white.
Being a Sunday, it was hard to tell if Miss Del's was closed for the day or for good. One can only hope it's the former.
This was smack dab in the middle of Downtown Clarksdale. Some made you feel like you were in 1940s Dresden more than the Delta.
There is nothing new about The New Roxy
Seriously, is this Mississippi or the set for Black Hawk Down?
I get the feeling it's been a while since any appliances were sold here.
Sad street piano
Can you tell we've moved to Oxford? This is the city courthouse.
That's actually their state flag. It's a wonder race relations aren't better down here.
Like I said…it's a wonder racial harmony hasn't happened here yet.
OK…stop. You put your town's MLK Jr. street in the historic "Freedmen Town" district of Oxford and trumpet their brief (I repeat, brief) assertion of their basic human rights without mentioning anything about the white government systematically outlawing every right they had just won after the Civil War or the fact that more than 30 blacks were lynched by the KKK over the next few decades or that Nathan Bedford Forest's fucking KKK-leading son was born in Oxford? Nice…oh, and right next to this sign was the city's juvenile detention facility. Fantastic.
‹ Day 25: Ain't Gonna Fool Me Again!
Day 27: When The Saints Go Marching In ›
Categories: Photo Diaries
Tags: Clarksdale, Delta Blues Museum, Ground Zero Blues Club, KKK, Mississippi, MS, Ole Miss, Oxford, Segregation, University of Mississippi, urban blight
bobturansky
Great photos and commentary.
@David_C_Steele @ESPNNFL Mr. "We're gonna take the ball and we're gonna score" needs to shut it. 21 hours ago
RT @drvolts: Arguments against the minimum wage are an x-ray into the souls of some extremely broken-ass people. 23 hours ago
@TheWayWithAnoa @AttorneyNora "Who would have thought that arresting a serial arsonist would result in fewer fires?" 23 hours ago


"Mechanism and energetics of dimerization of SiH2 radicals on H-termina" by S Sriraman, P Mahalingam et al.
Sriraman, S; Mahalingam, P; Aydil, ES; and Maroudas, D, "Mechanism and energetics of dimerization of SiH2 radicals on H-terminated Si(001)-(2 x 1) surfaces" (2003). SURFACE SCIENCE. 372.


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Daisy Lowe's Biography: Siblings, Age, Parents, Boyfriend, Height
Daisy Lowe is a British fashion model and actress who has graced many catwalks throughout her career. She is also known for being the daughter of British fashion designer Pearl Lowe.
Everything you need to know about supermodel Daisy is contained in this biography. Dig in to find out!
1 Early Life, Family, Educational background
2.1 Modeling
2.2 Strictly Come Dancing
3 Personal Life, Relationship
4 Appearance, Clothing Style
5 Hobbies, Favorite Things, and Interesting Facts
6 Net Worth and Salary
Early Life, Family, Educational background
Daisy Rebecca Lowe was born on 27 January 1989, under the zodiac sign of Aquarius, in Westminster, London England. While she holds British nationality, Daisy retains her Jewish ethnicity. Daisy's mother, Pearl Lowe (a former singer turned fashion designer) raised her, with the help of her step-father, Bronner Handwerger, who worked as a fertility specialist.
A post shared by Daisy Lowe (@daisylowe)
They lived together in Primrose Hill, North London. When the couple split, Pearl's mother moved to Hampshire, leaving Daisy in the care of her grandparents.
It was widely believed that Bronner was Daisy's biological father, while Gavin Rossdale (singer and actor) served as her godfather. It was not until 2004 that a DNA test revealed Gavin was her biological father due to a one-night stand he had with Pearl Lowe in the '80s. Daisy didn't know her father until she was 14! Pearl Lowe dissected the story in her autobiography, "All That Glitters, " released in 2007.
Daisy had her education at South Hampstead High School.
She had dreams of becoming an archaeologist, but she lost interest in that field when she started making money from modeling.
Even after the huge discovery, Daisy Lowe and her father did not get off to a good start. Gavin Rossdale neither spoke to Pearl nor Daisy until he was ready. However, it appears that the duo are back on track. Describing her relationship with Gavin, Daisy says to the Evening Standard, 'I now have a really good relationship with my father.'
Daisy now has three step-siblings from her mother: Alfie, Betty, Frankie Goffey, and three from her father: Kingston, Zuma, and Apollo Rossdale.
Daisy Lowe has been around famous people all her life, so it's not surprising that she chose a career in entertainment.
Between 12 and 14 years of age, Daisy did some random shoots for several companies. Her modeling career officially started in when a talent scout approached her in Camden Town. Subsequently, they linked her to Select, a London-based modeling agency. She was 15 at the time. In February 2006, Daisy was photographed by Steven Klein, a New York-based photographer, for her feature in Vogue Italia. Later in September, she modeled for Urban Outfitters, appeared on printed ads for French Connection, and was profiled in Harper's Bazaar.
She worked with Steven Klein again in March 2007 for Xurbia, a W magazine pictorial. In the same month, she featured in Jane Magazine alongside Lydia Hearst-Shaw.
In May of 2007, Daisy made her second appearance in Vogue Italia, then the following month she posed nude for the cover of i-D Magazine, with Will Cameron (her partner at the time), in a shoot by Terry Richardson.
Fast forward to 2010; throughout May, Daisy documented her daily fashion choices in the "Today I'm Wearing…" series for Vogue UK. A few months later, she was announced as the face of Biba's and Stephen Webster's jewelry campaign.
In 2015, Daisy Lowe was 89th on the FHM 100 Sexiest List.
She has subsequently appeared on catwalks for Chanel, Topshop, PPQ, Nanette Lepore, Sue Stemp, Vivienne Westwood, and Henry Holland. She has also modeled for numerous fashion brands, such as Louis Vuitton, Agent Provocateur, Dr. Martens, Burberry, Whistles and Ben Sherman.
Her soaring career has also led her to appear in prominent magazines such as Elle, GQ, Paradis, Maris Clair, Grazia, and Instyle, among many others.
Daisy's career as a model means that she has to travel far and wide for shoots and fashion shows. Some places she's worked in are New York, Milan, Paris and London.
In 2009, Daisy Lowe kicked off her acting career with the role of Diane in "The First Days of Spring". She landed her first lead role in a psychological thriller, "Confine" (2013), playing the troubled ex-model, Pippa, after which she took on roles in "Pressure" (2015), "Absolutely Fabulous: The Movie" (2016), and "Teen Spirit" (2018).
Ms. Lowe has also appeared in music videos, such as "Come Closer" in 2011 for Miles Kane and "Leave Your Lover" in 2014 for Sam Smith.
In October of 2014, Daisy was featured in Channel 4's "Feeling the Nuts Comedy Night" alongside Jimmy Carr and Rylan Clarke, to raise awareness of testicular cancer.
"Strictly Come Dancing" is a British television dance contest in which celebrities are paired up with professional dancers to compete against each other. The dance of choice was a ballroom and Latin dance. On 17 August 2016, Daisy Lowe was announced as a contestant for the 14th series of the show, partnered with the Slovenian dancer, Aljaz Skorjanec; judges eliminated them in week eight of the 14th series.
Daisy Lowe undoubtedly wears many hats.
Daisy Lowe wears a dress we'd LOVE to get married in like it's no big deal… http://po.st/vAUZOz
Posted by InStyle UK on Friday, April 24, 2015
In her 15-year career, she has been a model, TV host, DJ, video vixen, podcaster, and actress. When asked how she manages fame and the attention that comes with it, Daisy said to The Guardian, 'when I turned 19, I decided never to read anything about myself'.
Personal Life, Relationship
In typical celebrity fashion, Daisy Lowe has been in several public relationships, including her share of terrible ones. The model revealed on The Truth Flirts Podcast that she was body-shamed by an ex-, who said she was 'disgusting and needed to lose weight'. However, she, didn't identify which ex- said such demeaning things to her.
After Daisy broke up with Cameron McMeikan, she started dating English singer Jack Penate, but the duo split after few months, apparently due to the lockdown.
When her best friend Matilda Napier was running late for their walk on The Heath, Daisy met Jordan Saul. They bonded over their mutual love for dogs and officially became a couple on 4 June 2020. They were sighted celebrating Daisy's 32nd birthday together, and seem to be very much in love, with no intentions of slowing down. Daisy took to Instagram to pen a beautiful message to her lover for their first anniversary, saying, 'Thanks for feeling like home…I'm so grateful that you're mine….'
Daisy Lowe lives in London with her boyfriend, her puppy Monty, and her boyfriend's Belgium Shepherd, Kai.
Appearance, Clothing Style
Daisy Lowe is 5ft 10ins (1.78m) tall, and weighs about 134lbs (61kgs). She has naturally brown hair and hazel eyes.
As a supermodel, Daisy's wardrobe consists of varying outfits. She doesn't have a set pattern of dressing, and just goes with whatever feels good; she often wears bikinis and bodysuits for commercial shoots, but goes with elegant evening gowns for red carpet events, while casual outings have her in sexy sundresses.
Hobbies, Favorite Things, and Interesting Facts
Daisy Lowe practices transcendental meditation every morning.
She loves traveling.
She's interested in all things fashion.
Baking is her favorite form of therapy.
Daisy is passionate about reversing climate change.
Net Worth and Salary
After years of working as a model and dabbling in other careers on the side, Daisy Lowe has accumulated a net worth estimated at $6 million. Her mother, Pearl Lowe, has an estimated net worth of $1.9 million, while Gavin Rossdale's net worth is reputedly over $45 million.
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Full kitchen: stainless steel French-door refrigerator; 5-burner cooktop stove; double oven; large, deep stainless steel sink; microwave, extended counter space.
Note: The Clubhouse at Durand Eastman Park Golf Course cannot be reserved through our online reservation system. However, you can check availability through the online reservation system.


text:
Louisiana Voice
Politics at its worst!
« Louisiana Inspector General issues power puff scolding of Jindal for presidential campaign letter on state web page
LouisianaVoice reader pens open letter to all 144 members of Louisiana Legislature: asks each, 'What are you going to do?' »
Retired State Budget Office Director: finding consistent clear, unambiguous state finances data nearly impossible
June 3, 2015 by tomaswell
Editor's note: (Even as Bobby Jindal is preparing for the publication of his second ghostwritten book, we at LouisianaVoice are working to complete the manuscript for our own book about the Bobby Years which will most likely offer a slightly different perspective on his eight years in the governor's office. We hope to publish our e-book about the same time as Bobby's epic. Until then, we will probably be posting less frequently and instead depending more on knowledgeable people like Stephen Winham to make contributions like the one below.)
By Stephen Winham (Special to LouisianaVoice)
"Figures don't lie, but liars figure" – attributed to Mark Twain [and others]
Every day we are bombarded with numbers about our state and its finances. We are told one day there is a $1.6 billion dollar structural deficit in Louisiana's budget. A few days later we are led to believe it is all but fixed – just a little tweaking and fiscal legerdemain at the end and we will be okay – for a little while, at least long enough for the governor to move on.
Governor Jindal tells us the number of state employees has been reduced by over30,000, but we are not told how many of them (the vast bulk) are still being paid by the state via contracts with private companies. Not only that, we can't find documentation among civil service or other official records to substantiate the 30,000 number itself. The governor also claims to have reduced the budget by 26%, but we can't figure out how he came to that percentage either.
One day we are told Governor Blanco left a $1.2 billion surplus that has now been squandered. The next day we are told it was $800 million and that it wasn't squandered. One day we are told the budget is now and has always been in balance. Then, we look at the Governor's own Executive Budgets and see financial statements clearly showing operating budget deficits in 2 of the 3 first years of the Jindal administration (and as recently as FY2013-2014 – the last year the audited total is reported – when a subtle format change enabled use of the undesignated general fund balance to show a positive bottom line – more on this shortly).
We even read conflicting reports of the size of the budget. The State General Fund, on which the most focus was placed before we started "sweeping" dedicated funds, is one number. Total state funding from all sources is another, the total budget including federal funds is another and spending including double-counts resulting from interagency transfers by individual departments is yet another. All these numbers get reported at different times by different sources.
So, are we being lied to, or is that too strong a term? One thing is for sure – finding clear, consistent and unambiguous data about state finances is next to impossible.
Over a quarter of a century ago, state leaders agreed there was a need for one set of numbers upon which everybody could agree for things like how much revenue we could expect, how much spending could be expected to grow based on trend data, how many state employees there were, etc., etc.. After all, everybody was entitled to their own opinions, but there should be but one set of facts, right? Right, but has this become a reality? Obviously not.
Let's take just one example of what I am talking about here – the Blanco surplus and what happened to it during the Jindal administration. Examining this one issue requires me to bombard you with even more numbers, but I hope you will see why this is necessary to make my point.
Many consider the best measure of the surplus for a given year the Undesignated Unreserved General Fund Balance shown on the balance sheet of governmental funds contained in the Comprehensive Annual Financial Report (CAFR) prepared by the Division of Administration in accordance with Governmental Accounting Standards Board rules and audited by the legislative auditor. This number reflects how much money was available in the general fund in a given year, how much we spent or firmly obligated, and how much was left. But, as we will see, using this source is problematic, particularly since recent practice has been to use dedicated funds as if they weren't and the CAFR reporting format has changed.
Blanco's last budget submission was the one for fiscal year 2007-2008. However, Governor Jindal took over the last 6 months of that budget year and the budget changed dramatically by fiscal year end. For that reason, we could say 2006-2007 was Blanco's last full budget. The CAFR surplus as defined above for FY 2006-2007 was $1.158 billion. The total fund balance line shows $1.778 billion. The comparable numbers for FY 2007-2008 were $442 million and $783 million.
The Governor's Executive Budget proposal includes a comparative statement each year that shows the audited budget for the prior year, the estimated budget for the current year, and the governor's recommended budget for the coming year. The audited actual prior year numbers appearing on these statements seem to be the most consistent budget numbers of those currently available. Those statements show operating surpluses of $1.088 billion for fiscal year 2006-2007 and $865.7 million for 2007-2008.
So, how much of a surplus did Blanco leave Jindal? It apparently depends on where you look, when you look, and how you define surplus. For lack of a better source, I would choose the ACTUAL column of the Comparative Statements in the Executive Budget documents for the time being. But, because budgets cross one year of administrations, it may be hard to come up with a definite answer from any source.
What happened to the surplus? Well, using the governor's own budget documents, we see the surplus decreased by $790 million (from $865.7 million to $76 million) between FY 2007-2008 and FY 2008-2009. The subsequent statements show a deficit of $108 million at the end of the next fiscal year, and a deficit of $14 million the next year. The statement shows a zero balance the following year (FY 2011-2012). That analysis, and the fact we raided every fund we could to "balance" the budget in recent years tells me it got spent. It would appear most of it was spent on capital outlay projects (the statement for FY 2008-2009 shows a reservation of $782 million for FY 2009-2010 capital outlay appropriations). This is a good use, so let's hope that's where it went. But, if so, why would anybody want to deny the surplus was used in the budget, much less that it ever existed in the first place?
If you find all of this confusing, join the club – it's a big one. Does it have to be this way? No. We, all of us, could demand a governor back up his statements with hard evidence. We could ask questions like this of his budget people, "When was the last time our budget was really balanced, and what can you show me to prove it?"
Somebody knows exactly how many employees no longer show up on the state's payroll, but were shifted to private sector jobs paid for through state contracts. Even if you don't care about that, wouldn't you like to see hard evidence of how many people actually work for the state? Believe it, or not, that would seem to be currently impossible.
There are a lot of good data out there. Look at the publications of the Legislative Fiscal Office and the House and Senate fiscal staffs for proof. These folks are providing a lot of excellent information right now that is being ignored by most of the very people they work for, along with the mainstream media. Go to their websites and see for yourself. You might be amazed at the amount of understandable fiscal information you find there. But our legislators and the press take the easy way out – they accept far too many ad hoc statements from almost anybody as fact without questioning them as to the basis. As a result, we are ALL done a great disservice.
The truth is out there. We simply need to agree on what the truth is and demand to see it and to see it consistently reported.
A warning to our next governor: You are walking into a fiscal nightmare. Find some good people – Consider the staffs of the legislative agencies above and look closely for career employees currently working at the Division of Administration and elsewhere who are competent, brave, and have the inside knowledge you desperately need. Do not look entirely for sycophants who put numbers together to please you. You certainly need moral support for your positions, but you have a greater need for people who will tell you the truth. By retaining them, you, and we all, will be well-served.
(Stephen Winham is the retired Director of the Executive Budget Office for the State of Louisiana.)
Posted in Budget, DOA, Finances, Governor's Office, Legislature, Legislators | 8 Comments
on June 3, 2015 at 4:32 pm | Reply Robert Burns
Great post from a very knowledgeable source, Stephen. I still can't help but reflect back to my days of governmental accounting at LSU under Dr. Kyle, when he would say, "Poor Stephanie Alexander must be pulling her hair out with some of the fiscal problems she's having to deal with." As I've said before, I'm sure Dr. Kyle could have a field day with this crew.
Tom, I knew once that June 24 date became fixed, your fingers started picking up the pace of the pecking. Looking forward to the release of the upcoming e-book.
on June 3, 2015 at 5:06 pm | Reply De Netherland
Regarding your title: Me, too!!!
on June 3, 2015 at 5:33 pm | Reply dasgs730
Stephen great posts. Doesn't Contract Review have a total number of contracts approved by them along with dates, ten limits and amounts? I remember whee if the amount was under $49,000 the contracts could go through without having to be approved by that office. There is no telling how many are on the payroll under those guidelines so for every one employee under civil service probably two or three where contracted to do that employees position. So the salary goes up with the civil servant goes down but the number of contractors goes. So it's quite a magical number trying to figure it all out especially deleting one position and adding two new contractors who are not civil servants. So spending money increases as employees decrease. The result is why we have a million dollars deficiency. Great article and you know many of the loopholes they like to use cause you've seen many of the excuses used over and over again.
on June 3, 2015 at 7:01 pm | Reply Mirelle Peak
Date: Wed, 3 Jun 2015 20:34:03 +0000 To: mpeak54@hotmail.com
on June 3, 2015 at 10:10 pm | Reply Veritas
I look forward to the upcoming e book and wish you the best!
on June 4, 2015 at 6:47 am | Reply Bayouvon
Stephen … those were the good years with Frank Barret and his crew. Building a system to balance each departments budget and produce a final state budget that match the appropriations bill was an awakening … awesome task. Stephanie Alexander … had a great staff in the team you managed.
on June 4, 2015 at 12:14 pm | Reply Jerry
It's amazing how the state is trying to figure out how to rob Peter to pay Paul while a select few are raking it in. Last session Mike Edmonson managed to get a 20% pay raise for troopers while the same week many state workers were laid off losing all benefits. What Edmonson didn't tell legislators is that he also reinstated the "LOST" merit increases to troopers even though it was ordered that state agencies could not give merit increases to employees who qualified for the raises even if their agency had the funds to do so. His other employees, who are not troopers who qualified for a merit increase because of job performance were not given the "LOST" merit raise. He likes to say that he can "turn a Monday into a Sunday," meaning he can do as he pleases. Edmonton turned a Monday into a Sunday for troopers giving them approximately 10% more. Not everyone employed by Edmonson was blessed with a Sunday as he only gave the "LOST" merit increases to troopers. That gave troopers a total of a 30% pay raise. Now an add on to a bill will give troopers another 10% raise beginning July 1st. In less than a year, troopers will have received a net pay raise of more than 40% when the compounded increases are taken into account. This resulted in as much as a $40,000 a year raise for some troopers. There are now troopers who make more than statewide elected officials.
on June 4, 2015 at 5:52 pm | Reply Gregory Foreman
In addition to the examples cited by Mr. Winham, Jindal's administration, specifically the Department of Revenue, fails to report statutorily required reports in a timely fashion. Case in point, the Annual Tax Collection Report for 2013-14 has yet to be published even though the fiscal year ended June 30, 2014. I have also noticed the reports that have been published are progressively less informative providing little information with respect to the history surrounding revenue sources. For example, earlier reports provided information such as the statue reference establishing the state's authority to collect the given revenue as well as when the last increase occurred. Such information is no longer provided. In addition, the information that is presented is cumbersome to discern. OK, I'm not a trained analyst, but based on studying earlier years reports, 2008-09 for example, I find the information reported is far less "user friendly. I guess the law requiring the report be issued fails to provide a time frame for both producing and publishing the report nor does the law require the report, once produced, be comprehend-able for the "everyday" analyst.
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text:
Q: No GUI Program for Network(Both for WiFi and Ethernet) {Ocurred after reinstalling some packages} I am using Kali Linux
grep VERSION /etc/os-release
VERSION="2021.1"
VERSION_ID="2021.1"
VERSION_CODENAME="kali-rolling"

uname -v
#1 SMP Debian 5.10.28-1kali1 (2021-04-12)

uname -r
5.10.0-kali7-amd64

I accidentally deleted some packages such as  dnsmasq-base libndpo libnma-common libnma0 libteamdctlo network-managaer. (since these deleted packages were associated with Network,I was unable to connect internet), But I was able to reinstall it successfully and I was able to reconnect to internet again.But I found that there was no icon of Network(Both WiFi/Ethernet) in task bar,But I was able to connect to internet .( only because it was a saved network)         Output of ip aiswlan0: <BROADCAST,MULTICAST,UP,LOWER_UP> mtu 1500 qdisc mq state UP group default qlen 1000. And Ethernet is also working properly , But I can't see available networks and option to switch the available networks, output of service network-manager status is giving Unit network-manager.service could not be found. I don't know why it is giving error,before it used to print current status.
I am assuming from above situation that my I have no Program for Network GUI.
I founded some alternates to connect to unknown-WiFi  using terminal, But it's very difficult to connect to wifi (To connect to encrypted WiFi, I would have to manually type the Hexadecimal/ASCII form of the password)
Is there anyway to restore the old Network GUI program, in any ways ?
lastly, I am not using any external adapters.
Network controller: Realtek Semiconductor Co., Ltd. RTL8723BE PCIe Wireless Network Adapter


New rev. ed. of "The Palestine-Israeli conflict".
Publisher: Includes bibliographical references (p. 227-230) and index..
Includes bibliographical references (p. 227-230) and index.
The Get Book Club service executes searching for the e-book "The Palestine-Israeli conflict" to provide you with the opportunity to download it for free. Click the appropriate button to start searching the book to get it in the format you are interested in.


text:
Opinion: Speed Up Pace Of Games, MLB
Stevie Larson
Major League Baseball, Opinions & Predictions
Rob Manfred, the incoming commissioner, has some very unique challenges facing him. The most important one is the issue with baseball games taking too long. According to Baseball Prospectus, in 2014 the average MLB game took a little over three hours to play. That's an average, meaning that some games took longer, and some games took less. For example, a Yankees vs Red Sox game took over 4 hours to play just 9 innings during the season.
"Why does it take so long to play nine innings?" You may be asking. The reasons are simple. Batters love to delay the game. They step out of the box after every pitch, they take their time walking to the plate, and adjust seemingly every piece of equipment before the next pitch is thrown. Pitchers love to delay the game too. They take a long time between pitches, they look in for extended periods of time to agree on sign, before stepping off the rubber just before pitching to try to throw a hitters concentration off. In addition, catchers frequently go out to the mound to talk to their pitchers.
The problem is not an easy one to fix, but it can be done. The Arizona Fall League, which is a place Major League Baseball tries new rules first, took steps forward this year. They adopting new rules designed to speed up the game, like instituting a 20 second pitch clock in between pitches, and requiring batters to always keep one foot inside the batters box, and limiting mound visits to 3 non pitching change visits per game. Those had to be divided up between coaches, catchers, and other fielders.
These rules, while a step in the right direction, are not going to fix the problem instantly. More has to be done at the Major League Level to speed up games. There are still some other rules I would like to see MLB put in place to further speed up games.
The first is to require pitchers to run in from the bullpen instead of casually walking in. Some other people suggest they should get a golf cart to drive pitchers in from the bullpen. That would be funny, but a little extreme. Another rule they should implement is one eliminate throwing the ball around the horn. For those of you who do not know, throwing the ball around the horn is when a defensive team throws the ball to each other after an out. It also takes a while to complete, especially if somebody misses a catch in it.
Another rule that should be implemented is one to minimize the length of signs that a catcher can give to the defense. Most of the signs are dummy signs anyways, designed to confuse the other team. Those also take a while for the catcher to give all of the signals to all of the fielders.
Replay is another problem that needs to be fixed. To get a play reviewed, a manager goes out to the umpire, and chats with him, further delaying the game, while a coach reviews the video to determine if it should be reviewed. If it is not reviewed, then you just wasted a minute or two on literally nothing. Also, a review shouldn't take so long. If an umpire can't overturn it in three or four views, then it should stand. No more looking at 10 angles to uphold a call.
Having been a center fielder, I can attest to the fact that a fielder does not like standing around while the pitcher and hitter do twenty things after each pitch. I once stood in the outfield for 39 minutes for one half inning! The pace of play is a serious problem for Major League Baseball, and Rob Manfred, the incoming commissioner, needs to make it a top priority.
Baseball Essentiallength of gamesMajor League BaseballMLB pace of gameRob Manfred
New York Mets: Ranking the Top 10 Prospects
Reasons To Cry: Yoenis Cespedes Trade
Stevie Larson currently writes for Baseball Essential, as well as VAVEL USA and FantasyPros. He wants to have a career in sports journalism, and welcomes comments as long as they are submitted respectfully.
Finding Homes for 10 Non-Tendered MLB Players
Bang-for-the-Buck MLB Free Agents at Every Position


text:
Select.. Paintings AtlasEditionsDrawingsOverpainted PhotographsOil on paperWatercoloursPrintsOther
by size (cm)
H –
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War Cut II
4900 Colours
Watch short videos for detailed views of Gerhard Richter's artworks.
Motor Boat (1. Version)
Motorboot (1. Fassung)
1965 169.5 cm x 169.5 cm Catalogue Raisonné: 79-a
Gerhard Richter Archiv, Staatliche Kunstsammlungen Dresden, Dresden, Germany (loan from a private collection)
This artwork is based on an image included in Atlas:
Zeitungsfotos
Newspaper photos1962–1968Atlas Sheet: 10
This artwork was shown in the following exhibitions:
Baselitz - Richter - Polke - Kiefer. Die jungen Jahre der Alten Meister Baselitz - Richter - Polke - Kiefer. The Early Years of the Old Masters Deichtorhallen Hamburg, Hamburg, Germany 13 September 2019 – 05 January 2020
Baselitz - Richter - Polke - Kiefer. Die jungen Jahre der Alten Meister Baselitz - Richter - Polke - Kiefer. The Early Years of the Old Masters Staatsgalerie Stuttgart, Stuttgart, Germany 12 April 2019 – 11 August 2019
German Pop Schirn Kunsthalle, Frankfurt am Main, Germany 06 November 2014 – 08 February 2015
Gerhard Richter. Bilder einer Epoche Gerhard Richter: Images of an Era Bucerius Kunst Forum, Hamburg, Germany 05 February 2011 – 15 May 2011
Wiedereröffnung des Albertinums in Dresden Re-Opening of the Albertinum in Dresden Albertinum, Staatliche Kunstsammlungen Dresden, Dresden, Germany 20 June 2010 –
Gerhard Richter. Bilder aus privaten Sammlungen Gerhard Richter: Paintings From Private Collections MKM Museum Küppersmühle für Moderne Kunst, Duisburg, Germany 21 May 2009 – 23 August 2009
Gerhard Richter: Retrospektive Gerhard Richter: Retrospective Albertina, Vienna, Austria 30 January 2009 – 03 May 2009
Gerhard Richter: Paintings from Private Collections The Royal Scottish Academy, Edinburgh, UK 08 November 2008 – 04 January 2009
Gerhard Richter: Paintings 1963–2007 National Art Museum of China, Beijing, China 15 May 2008 – 02 July 2008
Gerhard Richter. Bilder aus privaten Sammlungen Gerhard Richter: Paintings from Private Collections Museum Frieder Burda, Baden-Baden, Germany 19 January 2008 – 04 May 2008
Gerhard Richter Kawamura Memorial DIC Museum of Art, Sakura-shi, Japan 13 November 2005 – 22 January 2006
Gerhard Richter: Painting as Mirror 21st Century Museum of Contemporary Art, Kanazawa, Japan 03 September 2005 – 26 October 2005
Gerhard Richter Städtische Galerie im Lenbachhaus, Munich, Germany 04 June 2005 – 21 August 2005
Gerhard Richter K20 Grabbeplatz, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany 12 February 2005 – 16 May 2005
Gerhard Richter Galerie Neue Meister, Albertinum, Staatliche Kunstsammlungen Dresden, Dresden, Germany 21 August 2004 – 29 January 2005
Berlin-Moskau, Moskau-Berlin: 1950–2000 Berlin–Moscow, Moscow–Berlin: 1950–2000 State Historical Museum, Moscow, Russia 21 March 2004 – 15 June 2004
Berlin-Moskau, Moskau-Berlin: 1950–2000 Berlin-Moscow, Moscow-Berlin: 1950–2000 Martin-Gropius-Bau, Berlin, Germany 28 September 2003 – 05 January 2004
Gerhard Richter: 40 Years of Painting Hirshhorn Museum and Sculpture Garden, Washington D.C., USA 27 February 2003 – 18 May 2003
Gerhard Richter: 40 Years of Painting San Francisco Museum of Modern Art (SFMOMA), San Francisco, USA 11 October 2002 – 14 January 2003
Gerhard Richter: 40 Years of Painting The Art Institute of Chicago, Chicago, USA 14 June 2002 – 14 September 2002
Gerhard Richter: 40 Years of Painting The Museum of Modern Art (MoMA), New York, USA 14 February 2002 – 20 May 2002
Gerhard Richter: Atlas Museu d'Art Contemporani de Barcelona (MACBA), Barcelona, Spain 23 April 1999 – 04 July 1999
Zeitzeichen. Stationen Bildender Kunst in Nordrhein-Westfalen Signs of Time: Stations of Visual Art in North Rhine-Westphalia Wilhelm-Lehmbruck-Museum, Duisburg, Germany 30 January 1990 – 25 March 1990
Zeitzeichen. Stationen Bildender Kunst in Nordrhein-Westfalen Signs of Time: Stations of Visual Art in North Rhine-Westphalia Museum der bildenden Künste Leipzig and Hochschule für Grafik und Buchkunst, Leipzig, Germany 10 November 1989 – 07 January 1990
Zeitzeichen. Stationen Bildender Kunst in Nordrhein-Westfalen Signs of Time: Stations of Visual Art in North Rhine-Westphalia Ministerium für Bundesangelegenheiten des Landes Nordrhein-Westfalen, Bonn, Germany 13 September 1989 – 19 October 1989
Gerhard Richter Gegenverkehr e.V. Zentrum für aktuelle Kunst, Aachen, Germany 27 March 1969 – 22 April 1969
Gerhard Richter City-Galerie Bruno Bischofberger, Zurich, Switzerland 30 March 1966 – 16 April 1966
Gerd Richter Galleria La Tartaruga, Rome, Italy 20 January 1966 – 20 February 1966
This artwork is included in the following publications:
The National Gallery in Prague, Prague (2017)
Softcover, 205 pages
Artwork Illustrated: p. 14 (colour)
Gerhard Richter, Národní galerie v Praze (National Gallery), Prague, Czech Republic, 2017
Gerhard Richter Elger, Dietmar / Fajt, Jiří 2017
Routledge, Abingdon (2016)
Hardback, 244 pages
Artwork Mentioned: pp. 41, 52
Discussed: pp. 43-45
Illustrated: p. 42 (b/w)
The Artwork of Gerhard Richter. Painting, critical theory and cultural transformation Ansted, Darryn 2016
Hatje Cantz, Ostfildern (2014)
Butin, Hubertus / Gronert, Stefan / Olbricht, Thomas
English, English
Artwork Illustrated: p. 110 (colour)
The publication Gerhard Richter. Editions 1965 – 2013 updates the catalogue raisonné of his editions that was published ten years earlier. This book includes additionally 35 new and hitherto unknown works
Gerhard Richter: Editions 1965-2013 Butin, Hubertus / Gronert, Stefan / Olbricht, Thomas 2014
German, German
The publication Gerhard Richter. Editionen 1965 – 2013 updates the catalogue raisonné of his editions that was published ten years earlier. This book includes additionally 35 new and hitherto unknown works
Gerhard Richter: Editionen 1965-2013 Butin, Hubertus / Gronert, Stefan / Olbricht, Thomas 2014
Walther König, Köln (2014)
Artwork Mentioned: pp. 75, 226
Illustrated: p. 35 (colour)
German Pop, Schirn Kunsthalle, Frankfurt am Main, Germany, 2014
German Pop Hollein, Max / Weinhart, Martina / Niggl, Selima / Rübel, Dietmar / Bayrle, Thomas / Block, René / Schleiffenbaum, Lea / Müller, Helmut 2014
Hirmer Verlag, München (2011)
Artwork Mentioned: pp. 20, 23, 109, 198
Illustrated: pp. 109, 133, 198, Front Cover (colour)
Gerhard Richter. Bilder einer Epoche, Bucerius Kunst Forum, Hamburg, Germany, 2011
Gerhard Richter. Bilder einer Epoche was published on the occasion of the exhibition at Bucerius Kunstforum in Hamburg in 2011. Both the exhibition and the catalogue focus on Richter's paintings of the 1960s
Gerhard Richter. Bilder einer Epoche Schneede, Uwe M. / Butin, Hubertus / Elger, Dietmar / Rübel, Dietmar / Westheider, Ortrud 2011
Hirmer Publishers, Munich copublished by Heni Publishing, London and Marian Goodman Gallery, New York, NY and Paris (2011)
Gerhard Richter. Images of an Era was published on the occasion of the exhibition at Bucerius Kunstforum in Hamburg in 2011. Both the exhibition and the catalogue focus on Richter's paintings of the 1960s
Gerhard Richter. Images of an Era Schneede, Uwe M. / Butin, Hubertus / Elger, Dietmar / Rübel, Dietmar / Westheider, Ortrud 2011
Sandstein Verlag, Dresden (2010)
Softcover, 47 pages
Series "Schriften des Gerhard Richter Archiv Dresden ; vol. 7"
Artwork Mentioned: pp. 13, 36, 47
Illustrated: pp. 3, 21, 44 (colour)
Gerhard Richter in der Dresdener Galerie is the 7th volume from the publications of the Gerhard Richter Archive Dresden
Gerhard Richter in der Dresdener Galerie. Schriften des Gerhard Richter Archiv Dresden ; Bd. 7 Elger, Dietmar 2010
University of Chicago Press, Chicago, IL (2009)
Artwork Mentioned: p. 97
Gerhard Richter has been widely regarded as a publicity shy artist. However, the biography Gerhard Richter. A Life in Painting gives an insight into Richter's personal history as well as into the development of his artistic œuvre
Gerhard Richter. A Life in Painting Elger, Dietmar 2009
DuMont, Köln (2009)
Artwork Discussed: pp. 84, 87
Illustrated: pp. 80 (Detail), 82 (colour)
Gerhard Richter: Portraits, National Portrait Gallery, London, UK, 2009
The catalogue of the exhibition Gerhard Richter. Portraits at the National Portrait Gallery, London in 2009 focuses on Richter's portraiture
Die Porträts von Gerhard Richter Moorhouse, Paul 2009
National Portrait Gallery Publications, London (2009)
Gerhard Richter. Portraits. Painting Appearances Moorhouse, Paul 2009
Hatje Cantz Verlag, Ostfildern-Ruit (2008)
Illustrated: pp. Frontcover, 59 (colour)
Gerhard Richter. Bilder aus privaten Sammlungen, MKM Museum Küppersmühle für Moderne Kunst, Duisburg, Germany, 2009
Gerhard Richter: Retrospektive, Albertina, Vienna, Austria, 2009
Gerhard Richter. Bilder aus privaten Sammlungen, Museum Frieder Burda, Baden-Baden, Germany, 2008
The catalogue Gerhard Richter: Bilder aus privaten Sammlungen was published to coincide with exhibitions in Baden-Baden, Beijing, Edinburgh, Vienna and Duisburg in 2008 and 2009
Gerhard Richter. Bilder aus privaten Sammlungen Adriani, Götz / Schwarz, Dieter 2008
Corrected and extended new edition.
Artwork Discussed: pp. 118-119
Gerhard Richter has been widely regarded as a publicity shy artist. However, the biography Gerhard Richter, Maler gives an insight into Richter's personal history as well as into the development of his artistic œuvre
Gerhard Richter, Maler Elger, Dietmar 2008
Richter Verlag, Düsseldorf in association with D.A.P Distributed Art Publishers, New York, NY (2005)
Artwork Mentioned: pp. 36-37
Illustrated: p. 112 (b/w)
Gerhard Richter, Städtische Galerie im Lenbachhaus, Munich, Germany, 2005
Gerhard Richter, K20 Grabbeplatz, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany, 2005
This catalogue raisonné records Richter's works in the years 1993-2004. In his work, Gerhard Richter calls into question painting's boundaries, and the labels applied to painting and theories connected with them
Gerhard Richter. Catalogue Raisonné 1993–2004 Zweite, Armin 2005
The Museum of Modern Art, New York, NY (2003)
Artwork Illustrated: p. 25 (b/w)
Gerhard Richter is widely recognized as one of the most significant painters working today, and he is certainly among the most influential. He has worked in a wide range of media since the early 1960s
Gerhard Richter. Doubt and Belief in Painting Storr, Robert 2003
Artwork Discussed: p. 128
Hardback, Softcover, 340 pages
Gerhard Richter: 40 Years of Painting, Hirshhorn Museum and Sculpture Garden, Washington D.C., USA, 2003
Gerhard Richter: 40 Years of Painting, San Francisco Museum of Modern Art (SFMOMA), San Francisco, USA, 2002
Gerhard Richter: 40 Years of Painting, The Art Institute of Chicago, Chicago, USA, 2002
Gerhard Richter: 40 Years of Painting, The Museum of Modern Art (MoMA), New York, USA, 2002
Published on the occasion of the exhibition Gerhard Richter. 40 Years of Painting at the Museum of Modern Art, New York, this publication represents a broad range of Gerhard Richter's paintings of the last 40 years
Gerhard Richter. Forty Years of Painting Storr, Robert 2002
Gerhard Richter. Malerei Storr, Robert 2002
Artwork Mentioned: p. 570
Zeitzeichen. Stationen Bildender Kunst in Nordrhein-Westfalen, Wilhelm-Lehmbruck-Museum, Duisburg, Germany, 1990
Zeitzeichen. Stationen Bildender Kunst in Nordrhein-Westfalen, Museum der bildenden Künste Leipzig and Hochschule für Grafik und Buchkunst, Leipzig, Germany, 1989
Zeitzeichen. Stationen Bildender Kunst in Nordrhein-Westfalen, Ministerium für Bundesangelegenheiten des Landes Nordrhein-Westfalen, Bonn, Germany, 1989
Zeitzeichen: Stationen Bildender Kunst in Nordrhein-Westfalen Ruhrberg, Karl 1989
Museum Boymans-van Beuningen, Rotterdam (1989)
Artwork Mentioned: pp. 21, 22, 23, 24
Gerhard Richter 1988/89, Museum Boymans-van Beuningen, Rotterdam, The Netherlands, 1989
Gerhard Richter 1988/89 Schampers, Karel / Tilroe, Anna / Buchloh, Benjamin H. D. 1989
German, English
Gerhard Richter. Bilder 1962–1985, Museum moderner Kunst/Museum des 20. Jahrhunderts, Vienna, Austria, 1986
Gerhard Richter. Bilder 1963–1986, Kunsthalle Bern, Bern, Switzerland, 1986
Gerhard Richter. Bilder 1962–1985, Nationalgalerie, Staatliche Museen zu Berlin, Berlin, Germany, 1986
Gerhard Richter. Bilder 1962–1985, Städtische Kunsthalle Düsseldorf, Düsseldorf, Germany, 1986
Gerhard Richter. Bilder = Paintings 1962 - 1985 Harten, Jürgen / Hering, Karl-Heinz / Honisch, Dieter / Loock, Ulrich / Ronte, Dieter / Elger, Dietmar 1986
This artwork is shown or mentioned in the following videos:
ExhibitionsGerhard Richter: Strips and GlassDietmar ElgerAlbertinum, Staatliche Kunstsammlungen Dresden, Dresden, Germany, 2014
ExhibitionsImages of an EraUwe M. SchneedeBucerius Kunst Forum, Hamburg, Germany, 2011
ExhibitionsPaintings from Private CollectionsKeith HartleyNational Galleries of Scotland, Edinburgh, UK, 2009
ExhibitionsPaintings 1963-2007National Art Museum of China, Beijing, China, 2008


The beautifully shot "Ocean View," by Orchid Tao and Jarrod Wilson, is coming together with a few long distance editing sessions. It's great to work on such an aesthetically pleasing piece. With all the reality style media taking over, I crave a return to the filmic experience, the stylized design, and thoughtful compositions. Previews and photos to come!


text:
"Love Don't Love Me" Lyrics by Justin Timberlake
When Justin Timberlake released his first single, "Love Don't Love Me," in 2003, he had no idea the impact it would have on the mainstream culture. The song is about the love that is not reciprocated, and its message of love being tested by time and distance resonated with millions of listeners. The song is also a classic in the world of pop music.
"Love Don't Love Me" by Justin Timberlake – Song Credentials
Song Title Love Don't Love Me
Artist Justin Timberlake
Album Bad Boys II
"Love Don't Love Me" by Justin Timberlake Lyrics
Five foot nine
She's got legs for days
(For days)
Green eyes that cut like a knife
And her own little sexy sway
No, she don't waste no time
Moving to the floor
(To the floor)
And when she starts to move she had me
Calling your mama saying you want to go home
Baby, tell me
Why can't I have you
Why you running girl
I just wanted to love you
Baby, I love you
But I guess you don't have time for me
Baby, I want you
But I guess love don't love me, noâ?¦
It's ok to be scared
Cause this girl is super bad
She will probably be
The best thing that you never had
Don't waste no time
(Don't waste your time)
Trying to make her your own (yeah, yeah)
â??Cuz what she says goes
And like Boyz II Men said this is the end of the road
But I guess love don't love me, no
Baby you said you loved me
But you led me on
Left me feeling strong (Feeling so strong, about)
But I can't take no more, so I'm gonna leave you alone
Girl I'm gone girl I'm gone. Oh!
What's it gonna take to get you to love me baby?
â??Cuz I can't take it anymore
(Take it no more!)
And ya gonna be mine for sure, ya know [Repeat x2]
(Repeat x2)
Baby, I love why
Justin Speaking: You know what?! Screw You!
But I guess love don't love me
Watch "Love Don't Love Me" by Justin Timberlake Song Video
Categories L, Justin Timberlake love songs lyrics


If you feel you might like to know more about what the Global Association For Coaching Integrity is all about, please CLICK HERE.
If you decide you'd like to join, now is the time if you'd like to become a Founding Member and support the continued evolution of Conscious Coaching and Coaching Integrity.
I look forward to our potential collaboration and creation of community.