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Yesterday Josh Koscheck wrote on Twitter that the UFC had just offered him a fight with BJ Penn, but the Hawaiian has now poured cold water on the match-up.
"@joshkoscheck I know it costs a lot of money to live that lavish lifestyle, big house, fast cars & you need big fights but sorry I'm not coming back anytime soon!" Penn replied on Twitter.
That suggests that the UFC were indeed just testing the waters by asking Koscheck if he'd be interested in the fight rather than having been given the go-ahead by Penn himself.
Since Koscheck wasn't a name that would entice Penn back into the cage it's hard to see who would at welterweight.
As I've said all along, if he does come back I'd much prefer to see him do so at lightweight, but it looks like he's planning on a long layoff now (if not full-one retirement) and therefore it's only going to get harder for him to get back down to 155lbs in the future.
In the mean time, having lost to GSP twice now which will keep him out of the title mix for the forseeable future, Koscheck will surely be frustrated by Penn's snub as it's as high-profile a bout as he could get in the division at the moment.


text:
Resource For Educators: Vietnam
Vietnam Educator's Guide Activity: Rights of Passage
Vietnam Educator's Guide Activity: Rice
Vietnam Educator's Guide Activity: Holidays
Vietnam Book List
Vietnam Web List
Journeys Through Time and Space
Journeys of Gods, Family Ancestors
Journeys of People and Goods
Journeys of Life and Death
Journeys of Heroes and Deities
Journeys to Other Worlds
Journeys Through the Year
Meet the Curator
Interview Part of the Vietnam exhibition
Interview main content.
Part of the Vietnam exhibition.
How did you become an anthropologist?
I grew up on the West Coast, and East Asia was always the place just beyond the horizon. When I was a junior in college I had a chance to study in Hong Kong, which was as far away from home as I could get at that moment, and I think that's when I decided to become an anthropologist of East Asia. I was thoroughly excited. I had already decided to go into anthropology. When I was a freshman I was asked to decide on a major and I had quite an array of interests, that ranged from literature to political science, and in my first anthropology class I learned that anthropology was the study of human beings in their entirety. And I said "That's fine—I don't have to make a choice. I can do it all, or as much or as little as I find interesting!" So I've always been a fairly eclectic anthropologist.
All right, there was Hong Kong and then suddenly I was a graduate, degree in hand, and the logical thing to do was to prepare for a career in anthropology. Rather than bouncing into graduate school, I joined the Peace Corps and the Peace Corps sent me to Korea and that became my specialty. Korea has a very difficult language, and in some respects a difficult culture to get inside. It was so challenging, it was so tough that by the end of the second year I felt I had so much invested in it that I'd never give it up—Korea had become my second home.
Can you tell us about some of the cultures you've studied? How has your wider cultural perspective aided you in creating this exhibition?
As I've mentioned, I'm an anthropologist of Korea, and to be an anthropologist of Korea means knowing something about China and something about Japan. These are all cultures that at one point used Chinese script and took a lot of cultural learning from China. I was in interested in Vietnam because when I went to Vietnam I saw it as a place that was, like China, Korea, and Japan, a Confucian-influenced, Mahayana Buddhist culture. It was a place where things looked familiar, but were just different enough to be interesting. In my dealings with Vietnam I had found that my prior experience with Korea taught me what questions to ask, but my experience in Vietnam also taught me that I couldn't answer them without a deeper knowledge of Vietnam than I possessed.
I'll give you an example. In Vietnam, as you will see in our exhibit, on the ancestral altar you usually put a huge branch of a flowering peach tree. Why? Because in East Asian symbology, peaches are symbols of spring, of the awakening of young forces that are very warm, hot, potent–very auspicious. So they're not only beautiful, but also a good wish for the new year. Now, in Korea that symbology is shared. Peaches are very hot, very young, very potent, but you would never put peaches or peach flowers on the ancestral altar in Korea because they would repel the ancestors who come from the yin world (a cold and shadowy place)! Although the symbology is shared, it is used in very different ways.
Similarly, when the exhibition designer Gerhard Schlanzky showed his design for the installation of votive paper for the exhibit, he showed it installed against a red background, I questioned the use of red because, in my experience, red has to do with life and vitality, and in China people talk about weddings as red business and funerals as black business. However, my Vietnamese colleagues really loved his use of the color red. They said, But black isn't the funeral color, it's white. And I responded that yes, I knew that, but shouldn't it be white, not red? And they said, But votive paper isn't just about funerals! And I said, Yes, but isn't it about the dead? And they said, We wish good, auspicious, happy things for the dead! OK, I was educated! I had been taught to ask the question, but I had to ask it to get the answer.
What is the role of a curator in creating an exhibition?
Every exhibition is different. The role of the curator is very different depending on the exhibition itself. And this was a fairly unique exhibit. In Vietnam: Journeys of Body, Mind & Spirit, I sometimes thought of my role as that of a midwife or a matchmaker—someone who goes between the world of the Vietnam Museum of Ethnology and the world of the American Museum of Natural History. Because as you know, this exhibit is a collaboration between these two museums and so my task was to work with my co-curator Dr. Nguyen Van Huy in developing the ideas for the exhibit and then ethnologists on his staff would work collecting, planning, developing and then I would arrive and we would discuss what was appropriate for an exhibition in the Big Apple. They would educate me about the key points in the particular journey they were trying to illustrate—what was important, what was right, what was vivid and exciting, they would get me excited about it—and then I would come back and in discussions with the designer and the label writer, we would talk about how to present this as a tangible, three-dimensional exhibit that our public in the U.S.A. could enjoy.
What is especially important or unique about Vietnam: Journeys of Body, Mind & Spirit?
There are many things that are especially unique and important about Vietnam: Journeys of Body, Mind & Spirit. First of all, this is the first presentation of Vietnamese culture as it is in the present tense to an American public. It's the first major cultural statement about Vietnam that Americans have seen since 1975 and I believe very strongly that meeting Vietnam as it is today thirty years after the war—we've all grown, we've all changed—is an absolutely critical step to healing, to bringing closure, to moving on.
Second, as I've said, this is a collaboration. This is a Vietnamese museum and an American museum working together on something neither of us could have done by ourselves. My colleagues in Vietnam have the scholarly expertise and the superb collections that we're exhibiting, AMNH has its experience in putting together world-class exhibitions that are beautiful, informative, and fun. Something else that's very special about this exhibit although perhaps less unique, is that by presenting culture in the present tense, we're helping people to understand culture as a living, changing thing. Culture, to be alive, is constantly bringing in new material. Whether that means that the ancestors now get votive paper offerings in the shape of motorbikes and Peugeot bicycles and electric rice pots, or whether that means that in the Mid-Autumn festival, when they parade in masks some of those masks look a little bit like Donald Duck, Mickey Mouse, and some characters from Japanese animated cartoons that my son recognizes but I don't.
Could you tell us about some of your experiences in Vietnam?
Some of my best moments in Vietnam have included the opportunity to work with the Vietnamese ethnologists. and sometimes the people we have interviewed have also been excited about the exhibit and have been even more willing to talk with us.
There is a gracious elderly woman who lives in the old quarter of Hanoi. Ba Mien is a relative of one of the members of the Vietnam Museum of Ethnology staff, a woman who is working with us here now in New York. Lan Huong thought that Ba Mien, her grandmother's sister, would be willing to show us the ancestral altar in her home—it's a very traditional, very elaborate altar—and we wanted to study it because we wanted to try to replicate an altar in the exhibit. So she kindly allowed us to come into her home. On several occasions she allowed us to take measurements and photographs, and she explained the arrangement and the customs of her family to us. Then this was supremely special: On New Year's Eve night we wanted to do some documentation in downtown Hanoi. We didn't think that we would be able go inside anyone's home because we understood that New Year's Eve is a very special family time. In particular, the first person who steps over the threshold has to be a lucky person—someone with a good, happy, virtuous life, that the family chooses. It's not a time when a lot of outsiders come in with their cameras and their measuring tapes and their tape recorders and so on.
We were meeting Lan Huong and her husband and we were going to the lake to interview people who were there to celebrate. We had some good conversations with all kinds of people, but then as midnight approached she said, Come on, we're going to the house in the old quarter. They've invited us to pass the new year with them. And we had to hurry because we had to get in before midnight so that the designated lucky person could come in. And I was very touched to be taken into a family's celebration, to share those moments when the year's luck was set, and our hostess was so gracious, she said, We feel that we will have an especially lucky new year because we shared it with you.
In the exhibit, you can see a film of the wedding of Lan Huong's cousin in Ba Mien's house.
In what ways is contemporary Vietnamese society different from its past?
All societies are different from their pasts because a culture that's alive is constantly in motion. One point the Vietnamese would like to make in representing their society is that it is a multiethnic society. The Vietnamese state recognizes 54 distinct ethnicities. Organizations like the Vietnam Museum of Ethnology are working to preserve and inculcate respect for minority cultures. That's at the level of serious scholarship. At the level of popular culture you see things like ethnic chic in some of the boutiques.
Another thing about Vietnamese society today of course has been the transition to the market economy. It's a very dynamic place. Every time I go to Hanoi it's a little bit different. There are new enterprises, there are more motorbikes on the streets, more things are possible. I went to Vietnam first in 1991. It was already in the era of economic renovation, the free market had begun, but it was a very poor and very quiet place. It was, I think, the poorest place I'd ever been and it was very isolated. It was very difficult to send a fax, most offices didn't have them. It was difficult to make a telephone call to the United States.
Now, fast forward to the late 1990s when we began work on Vietnam: Journeys. This is an exhibit that was aided and abetted by the internet. We were in electronic communication daily with our colleagues in Hanoi, an issue would come up and an image would be jpeg'ed and sent either from Hanoi to New York or New York to Hanoi, questions would be answered, decisions would be made, we were all connected.
How does this exhibition approach the Vietnam War?
As I said, the exhibit is about healing, it's about showing how we've all moved on. We wanted this to be a portrayal of Vietnamese culture—we wanted people to know Vietnam as a country, not a war. I appreciate the concern of many Vietnamese Americans that their culture, their home culture, is only known to people in the United States as a place where there was a war. So we wanted to handle the war lightly. We didn't want everything to disappear in a dark cloud of war, which could happen if we conjured up the emotions people my age had at the time, whether they were pro or whether they were anti, whether they fought or whether they were out on the streets demonstrating.
At the same time we recognize that the intensity of Vietnam War era experiences and memories brings many of our visitors to the exhibit—it's the common touchstone that Americans of a certain age have. We couldn't do the show and pretend that the war didn't exist, that would be totally dishonest. We touch on the war in the entry to the exhibit, we touch on the war with the sense of then-and-now. Our photo researchers were lucky enough to find photographs from Hue, a city that saw heavy fighting during the Tet offensive in 1968. And you see a street of rubble, you see people looking shocked standing on the street, and then miracle of miracles, the photographer went back to that same street in 2000, photographed it, and you see it's a recognizable street. It's all freshly painted, the road is nicely paved, you see someone zipping by on a motorbike—it's Vietnam today.
We have a timeline, and the war is in that timeline, but it's in that timeline for a very specific purpose. To show how this was one episode in the long rich cultural history of Vietnam, and it's a history that has included heroic resistance to many foreign invasions.
Then, we touch on the war as it touches on the present. We have a section in the exhibit on life journeys including the journey from life to death and funerals portrayed as journeys. We have a large collection of votive paper—paper goods that are made and burned for the dead so that the dead will have their television sets, and the dead will be clothed, and the dead will have their kitchen equipment and so on in their other life—and we mention the man who made much of this votive paper. He was himself a war veteran, and he tells his story. He says many people might think of making votive paper for the dead as a very inauspicious enterprise, but he considers himself the luckiest man alive. He came back from the war and many did not, he came back in one piece, and many did not, he came back to find his parents still alive, many did not, and he met his wife on the Ho Chi Minh trail. He was transporting things, she was one of the women volunteers who kept the trail open. In both of these occupations there were heavy casualties and neither of them expected to survive and marry each other. But they are happily married and living in a four-generation family. He says, I've seen love stories in movies—mine is a real love story.
So we touch on that, the war as personal history, and then in the emotional heart of the show we show how Vietnamese care for the dead, how important for the Kinh (the Vietnamese majority group) and for several of the other minorities the ancestors are. The ancestors look out for you and protect you and you tend them, you feed them, you provide them with goods in the form of paper votives. We describe how really devastating it is when the dead cannot be tended either because they have no living relatives or because they died in battle far from home—their bones can't be collected and washed and put in a reburial coffin and set in an auspicious place. And to mark this, we show a reburial coffin but it's empty and we dedicate this space to all of the dead—civilian and military, Vietnamese and foreign—who fell in Vietnam's wars of the 20th century. And then we set out the kinds of offerings that Vietnamese set out for wandering ghosts, those who aren't properly tended: incense and a few roses, in a vase, you see this all over Vietnam. And then on the wall there's a bit of classic poetry commemorating war dead—not the dead of the second Indochina war (what we call the Vietnam War or what's sometimes called the American War), but war dead in general. And we bring concerns that Americans recognize, concerns for MIAs, the tremendous effort that has been invested in retrieving the remains of Americans missing in action, and show how these concerns are shared—how they're very deep concerns in Vietnamese culture. And we allow for a certain moment of common grieving.
How has working with the Vietnamese Museum of Ethnology enhanced this show?
Working with the Vietnamese Museum of Ethnology (the VME) has done a lot more than merely enhance this show—there would be no show if we weren't working closely with the VME. Not only in terms of the objects that are in the exhibit from the VME collections, some of them collected specifically for the stories we want to tell in this exhibit, but for all of the intellectual content as well. The themes of this exhibit were developed in brainstorming sessions between VME staff and members of the AMNH community. We've worked together on all aspects from the conceptualizing to the collecting to the developing of label copy.
Just yesterday I was in the gallery and the preparators were getting ready to install the offerings that are brought from the family of the groom to the family of the bride on the wedding day. We have from VME some lovely red lacquer boxes that are meant to transport these goods, but since we're showing this as living culture, Mrs. Mai, the collections manager from VME was setting up the offerings and we had cake boxes and tea boxes and liquor boxes and bottles. These were all being wrapped in pretty paper and tied with bows and she was being assisted by a couple other members of the VME staff, it was all women, and everybody had ideas about where the bow should go and how the paper should be arranged. And they were exercising as much concern, as much effort as if it were for their own family member's wedding. And they were doing it for the exhibit. I was very touched. The result also is gorgeous.
What is your favorite thing about this exhibition? How is it special?
Well I think I've touched on the specialness already. It's special because we are working so closely together, it's special because we have been able through our work with VME to bring a high degree of ethnographic richness, and a richness that exists in the contemporary. We wanted to show an initiation of the Yao people, a young man's journey to adult status, and not only did our colleagues at VME go out and collect the material and do a lot of interviews so we have some first-person quotes, but they also made a wonderful visual document and we're able to work with our AV people in reducing the hours and hours of footage into a very sharp, very crisp little media moment. It's not just an initiation in the abstract. We meet Lee Van Hop, the young man of 14 who has to pitch himself backward off a ladder and be caught in a net. We see him moving through the ceremony, through that moment, and to the conclusion where he returns in triumph, successfully initiated.
We don't get that kind of depth, that kind of personal contact in the average ethnographic show. This is special, it sets a new standard for us I think and one that we can only do with colleagues who are very close to the field situation.
Another thing that's special is that in a lot of these ethnographic moments, people have gone into their own homes and communities. We have, for example, a Thai wedding documented again in another media moment, and the ethnologist was the uncle of the bride. So this is very special access.
What ideas do you hope visitors will take away with them after they leave the exhibition?
When they leave the exhibition I hope that to the degree that they came to this exhibition with images of Vietnam at war, images of helicopters, images of body bags, they'll go away with a sense that Vietnam connotes some other things as well, that it will connote a very rich cultural tapestry. I hope they also come away with a notion that Vietnam is a multiethnic society, and I hope that they come away with a broader refined sense of culture as a living, changing thing, as something that has very playful elements. It reaches out to include the plastic Hello Kitty lantern that beeps out the theme of Love Story that has been very seamlessly incorporated into a traditional celebration of the Mid-Autumn festival.

redpajama_set_name: RedPajamaCommonCrawl


Well it's official: Marvel Studios is the Superman of Hollywood. No offense to Henry Cavill, but the superhero movie factory has a lot in common with the Man of Steel, in good and bad ways. There are those that love Marvel Studios for their vision and approach to superheroes, but there are others that pan them for having the same old story for every single movie. Some claim Marvel Studios create visual eye-candy and action-packed thrill rides, other claim that the formula for their movies has already gotten stale and don't have enough substance. One thing's for sure, Marvel Studios and Superman are impervious to damage and damn near unstoppable. Case-in-point, Ant-Man.
In 1989, Dr. Hank Pym (Michael Douglas) decides to leave S.H.I.E.L.D. in order to protect his breakthrough shrinking technology (called the Pym Particle) from being used just as a weapon. 26 years later, Dr. Pym discovers his successor, Darren Cross (Corey Stoll), has nearly mimicked the science of the Pym Particle in order to create shrinking suits (called Yellowjackets) that'll sell to the highest bidder. Fearing the worst, Dr. Pym and his daughter Hope (Evangeline Lilly) plot to steal and destroy Cross' technology so it doesn't fall into the wrong hands. Who do they choose to pull off the heist? Recently released con-man Scott Lang (Paul Rudd), who's looking to redeem himself for the sake of his young daughter and find his true calling. Working with Dr. Pym, Hope and Scott's three buddies (Michael Pena, David Dastmalchian and rapper T.I.), Scott uses Dr. Pym's shrinking suit and becomes (SPOILER) the Ant-Man.
Ant-Man has been on people's watch list for a while now, mostly due to its drama behind the scenes. Originally, writer/director Edgar Wright (Shaun of the Dead, Scott Pilgrim vs. the World) was supposed to helm the movie, but he left after Marvel Studios denied him of his vision (though he and Joe Cornish are still given credit to writing the screenplay and story). The final product, directed by Peyton Reed (Bring It On, Yes Man) and rewritten by Paul Rudd and Adam McKay (Anchorman, Step Brothers), is more like someone trying to make an Edgar Wright movie, at least from a director's standpoint. Many of the sequences, like Scott's training with the Ant-Man suit or Michael Pena's character explaining how he gets information, are cut and move with the same energy of Wright's movies. It's even peppered into the action scenes, showing the Ant-Man using his shrinking abilities to dodge enemies and grow just in time for some quick jabs. Peyton Reed may not have his own distinguishable style on this movie, but he knows to give the movie a steady pulse and some hustle in its action. The script is also solid, with Wright and Cornish's clever pacing blending well with Rudd and McKay's cocky dialogue. The combination of the Wright-ish directing and the funny dialogue is probably why Ant-Man easily flies by in its 1 hour and 57 minute duration, making for what feels like the quickest movie in the Marvel Cinematic Universe.
The cast is more of a mystery, specifically Paul Rudd. He's known primarily as a supporting player in comedies, but whenever he's in a lead role he's always given another lead to support him (Seann William Scott in Role Models, Jason Segel in I Love You, Man and Tina Fey in Admission). Ant-Man is no exception, as Rudd is given very little solo scenes to entertain or stake his claim as a character. He's either with Michael Douglas training or with Michael Pena planning a heist. Rudd's not bad here, he just doesn't show enough charisma or character development to hold certain scenes. If anything, his Scott Lang is meant to be a comedic punching bag, the struggling every man (though he is a criminal) thrusted into an extraordinary situation. It's as if the movie knows you don't care about Scott Lang the way you care about Tony Stark or Steve Rogers, so it doesn't take the time to make him unique. Scott Lang may be the easiest character Marvel Studios have ever written, but then there's Darren Cross. Corey Stoll's villain is the typical "evil guy because he's evil" character, much like Jeff Bridges in Iron Man. All he does is look creepy and yell when he gets mad. Don't lose hope because the real star of Ant-Man is Michael Douglas, who acts everybody else under the table. The best thing is that Douglas isn't just some old acclaimed actor doing a superhero movie for cash or to get props from their grandkids. Douglas is invested in the story and character of Hank Pym, even enjoying himself throughout the movie. Evangeline Lilly is the most badass character of the movie, showing Hank how to punch and keeping all the cocky nerds of the movie in line. Michael Pena, known more for dramas than comedies, steals every damn scene he's in with his jovial energy.
While the energy and comedy is on point here, Ant-Man is more of a typical heist movie than a typical superhero movie. That said, "typical" is still a common word used here, with the usual montages of training for the heist, planning the heist and getting the rag tag team together. Still, Ant-Man is a welcome burst of fun in the MCU canon. It's still a similar vehicle, with different parts and the order of the set-up switched around a bit. Even though Edgar Wright's vision wasn't fully formed, the good bits break through to make a more exciting movie and keep the Marvel success story rolling. In fact, it may be the least important film in the set-up to the next Avengers movie, and maybe that's a good thing. Ant-Man is much better as a stand-alone movie, trying to do Marvel's formula a bit different, and that's something Marvel Studios needs to do more often before they, like Superman, face their Doomsday.
This entry was posted in Movie Review and tagged ant-man, Avengers, Marvel, Michael Douglas, movie review, Paul Rudd. Bookmark the permalink.


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La Route Transalpina (DN 67C) est une route de Roumanie traversant les monts Parâng de Ciocadia (dans le județ de Gorj) à Sebeș (dans le județ d'Alba). C'est la plus haute route de Roumanie culminant à  d'altitude.

Elle a été construite pendant la Première Guerre mondiale.

Elle est bloquée par la neige généralement entre mi-octobre et mi-juin.

Images

Liens internes
 Réseau routier roumain
 Route Transfăgăraș
 Alpes de Transylvanie

Liens externes
 Photos de Transalpina

Route nationale en Roumanie
Transport en Transylvanie

redpajama_set_name: RedPajamaWikipedia


Brad Terrance Jordan was arrested late Friday and remains in jail Sunday evening with a bond of $482,190.50.
Just before the arrest, the rapper received the "I Am Hip Hop" award at the 10th annual BET Hip-Hop Awards.
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We live in an age where we may truly see, within a generation, flying cars and colonies on the moon or Mars. And our food? It will be grown and perfected in a laboratory, customized to meet our nutritional needs down to the microbial—if not molecular—level, thanks to a suite of technological tools and techniques that are making the design of our food system as simple as cutting and pasting text with the swipe of a computer mouse.
In this Deep Dive on biotechnology, we will attempt to define the term, which has many interpretations, and understand not just the science behind it but the ethical questions that arise from its use on both sides of the debate. We will also explore the biotech landscape of today and see what is cooking in the labs of startups around the world, from the now-famous bleeding plant burger to apples that never brown.
Biotechnology is re-engineering the apple and offering us paradise. Should we bite?


SPRINGFIELD, Mass. -- Caleb Rondeau homered and drove in a pair of runs to help the McCann Tech baseball team earn a 20-0 win over Duggan Academy on Tuesday.
Michael Ferrara went 5-for-5 with two RBIs. Billy Bohl, James Hamilton and Rondeau each had two hits.
Bohl went the distance on the mound, striking out seven and allowing just two hits and a walk.
McCann Tech (8-0) goes to Mount Greylock on Thursday.


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www.blackfield.org
When I first got this CD I hadn't heard of it, but knowing that Steve Wilson of Porcupine Tree was involved in the project was enough to get my attention. As it turns out the album is a duo between Wilson and Israeli avant-garde hero Aviv Geffen.
Blackfield - Live in New York City DVD
Filmed at the Bowery Ballroom in New York on 16 March 2007, Live in New York City documents the second touring cycle for Blackfield, the collaborative project of Israeli musician Aviv Geffen and Porcupine Tree mastermind Steven Wilson.
Interview with Porcupine Tree's Steve Wilson from 2005
Porcupine Tree - Deadwing
Porcupine Tree may be strangers to these shores, but 2002's "In Absentia" made people stand up and take note, and with good measure. This outfit may have found the perfect balance of prog, metal, and gothic melancholia, and "In Absentia" was met with excellent reviews all around.
Porcupine Tree - Fear of a Blank Planet
Review by Bill Knispel
Fear of a Blank Planet, Porcupine Tree's third album on major label Atlantic Records, shows them refining their mix of progressive rock, pop and metal influences, adding in a few twists and new/old touches to keep their sound from becoming static. A conceptual album based around consumer culture and the dulling of senses in a society overrun with sensory stimuli, the album flows in a manner more consistent with the band's earlier prog/space rock efforts than their more modern song-oriented efforts.
Steve Wilson's pet project (the group started as nothing more than just a fictional band several years ago) released their latest work, In Absentia, last year. The album is a thoughtful blend of melody, metal, and progressive.
No-Man - Mixtaped DVD
I have to say that I've liked the CD's released by No-Man, but they just don't do justice to this outfit.
No-Man - Schoolyard Ghosts
Porcupine Tree's Steve Wilson is half of this outfit. In many ways the music is similar to the output of that group.
Porcupine Tree - Staircase Infinities
This disc is made up of outtakes from the Up The Downstair album. It is a brief, but quite strong, nearly instrumental album.
Porcupine Tree - The Incident
Porcupine Tree has been riding a pretty significant wave since signing their first major label contract with Atlantic.
No-Man - Wild Opera
No-Man are re-releasing their Wild Opera album. It's available now is a double disc set.


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How 'Mega Landlords' Threaten Housing Stability for Renters
It's no secret that "mega landlords"—corporate entities that invest in rental housing—have bought thousands of homes across the country since the pandemic began. But what is less clear is how this buying spree threatens the housing stability of renters.
As housing costs continue to climb, families across the country face intense competition in the housing market from investment firms. This keeps many high-income renters from purchasing their own homes and threatens the stability of low-income renters who cannot afford the slightest rent hike.
"The mega-landlords argue, though, that while the number of houses they own is large, the proportion overall is small—too small, they say, to afford them any market power," Suzanne Layni Charles, a professor of city and regional planning at Cornell University, wrote in an op-ed for The Hill. "But in neighborhoods, a much different picture emerges."
Investment firms have increased their real estate holdings since the 2007 recession caused a spike in single-unit home foreclosures.
The federal government helped mega landlords through the process by selling vacant homes in bulk to businesses that agreed to rent them out for a set number of years. This allowed mega landlords to amass huge portfolios. It also resulted in higher rents for many tenants who still lived in the units.
The impact effectively shut renters out of the housing market at an opportune time to buy a home. The program resulted in landlords spending approximately $36 billion to purchase more than 200,000 homes. In one Atlanta zip code, mega landlords accounted for 90 percent of the total purchases between January 2011 and June 2012.
These mega landlords now own approximately 20 percent of America's rental stock.
And recent events such as Zillow shutting down its home-flipping business have exacerbated this buying spree. Pretium Partners, the second-largest landlord in the U.S., reportedly purchased more than 800 homes from Zillow for approximately $300 million, with a tentative agreement to buy more than 400 more for $150 million.
Mega landlords also threaten the housing stability of renters by increasing rents. Chad Ellingwood, who lives in the Los Angeles area, said he was forced to pay rent higher than both of the mortgages he held before he got divorced combined after a corporate landlord purchased the apartment complex he lives in.
The company said it would streamline many processes that used to frustrate Ellingwood, like calling in a maintenance request. But soon after the company took over the property, Ellingwood found himself hiring a lawyer to fight back against the company charging him unreasonable fees and hiring contractors to perform shoddy repairs to his home.
"It was anything but convenient," Ellingwood said.
These landlords also threaten housing stability because mega landlord tenants often face higher eviction rates than tenants in other housing situations. A study by the Federal Reserve Bank of Atlanta in 2016 found that renters in Atlanta who live in units owned by institutional or corporate investors received eviction notices at nearly twice the rate of renters in units owned by a smaller landlord.
Meanwhile, the need for affordable housing continues to grow.
According to the latest Household Pulse Survey from the Census Bureau, more than 1.6 million households say they are "very likely" to face eviction within the next two months. Black and Hispanic households make up more than 1 million households likely to be evicted. Another 884,000 of those households have children.
And eviction filings across the country continue to rise, which heightens the risk that low-income households may be forced onto the streets if they can't make ends meet. Data from Princeton University's Eviction Lab shows that there have been nearly 927,000 eviction filings since March 2020 across the six states and 30 cities that the lab covers.
Many of these filings have come from states with sizable homeless populations. For example, there have been more than 110,000 eviction filings in New York City compared to the city's nearly 49,000 homeless. The four cities in Texas that Eviction Lab tracks combine for more than 189,000 cases compared to the state's more than 27,000 homeless.
To Charles, this is exactly why there needs to be greater regulation of mega landlords. She proposes requiring these entities to disclose their properties rather than obscuring them through aliases. Charles also suggested strengthening protections for renters from scrupulous rent increases and evictions.
"Housing is one of our most basic human needs, the setting for our most personal and cherished moments," Charles wrote. "Still, it is also a lucrative vehicle for profit for far-away investors. We must strengthen affordability and stability for families who rent their homes from mega-landlords."
The pandemic proved that we need to rethink housing in the U.S. It also showed that providing additional support and protections for renters is a clear-cut way to reduce future increases in homelessness.
That's why we need you to contact your officials and representatives. Tell them you support keeping many of the pandemic-related aid programs in place for future use. They have proven effective at keeping people housed, which is the first step to ending homelessness.
Join the campaign to end homelessness by supporting the only newsroom focused solely on the topic of homelessness. Our original reporting — posted five to seven days a week — can also be found on Apple News and Google News. Through storytelling, education, news, and advocacy, we are changing the narrative on homelessness.
Invisible People is a nonprofit organization. We rely on the support of friends like you — people who understand that well-written, carefully researched stories can change minds about this issue. And that's what leads to true transformation and policy change. Our writers have their fingers on the pulse of homeless communities. Many are formerly or currently homeless themselves. They are the real experts, passionate about ending homelessness. Your support helps us tell the true story of this crisis and solutions that will end it. Your donations help make history by telling the real story of homelessness to inspire tangible actions to end it.
Your donation, big or small, will help bring real change.
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Sadly, criminalizing homelessness is the top news story of 2022. There is a concerted effort to blame homeless people for living in poverty and punish them for it. Our capitalist society not only fails to help our...
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Q: Share Data Between One Member Variable and Several Controls w/DoDataExchange /Force Update Controls on All Windows I have a VS 2005 C++ MFC project that contains several CDialog based windows.  The program communicates with a custom piece of hardware and displays different readings on the different windows.  The data is read from the hardware using a public static member function named ReadHardWare() of a class named CTools.  ReadHardWare() places the data read from the hardware in an array with global scope and each window has the ability to read from this array.  On each window I have an indicator that lights up showing that a read from hardware operation is in progress.  This indicator is a National Instruments
Measurement Studio CNiButton class control.  CTools has a public static member variable of the CNiButton type named m_read_in_progress_status that I use to identify if a read operation is in progress (m_read_in_progress_status.Value == 1) or not (m_read_in_progress_status.Value == 0).  My goal is to have all the read indicators on all the opened windows show a read is in or not in progress at the same time.  I regularly use DoDataExchange to connect variables with controls but always on a one-to-one basis.  In this case I want several controls to connect with a single variable and to automatically update with that variable.
I seem to have two problems:
1) It seems that I am only able to have one control connect with the variable at the same time.  Apparently the only control that the variable shares data with is the first one instantiated (i.e. first window opened)
2) If I send a read command from the second window opened, not only does the read indicator on the second window still not show the read status but neither does the read indicator on the first anymore.  The only time any of the read indicators work is when I perform a read command from the first window opened.  The first window does not seem to want to update its controls when the second window is sending the read command.
So my questions are:
1) How can I allow two controls on two different windows to share the same member variable and update immediately when that member variable's value is changed?
2) How can I make the ReadHardWare() member function (or some other event) force the first window to update its controls even though it is not the window actively calling that function?
In the current case the first window is the parent of the second.  However this will not always be the case.
Below is an excerpt of my code.
//Globalvariables.cpp
NI::CNiButton CTools::m_read_in_progress_status;

//Tools.h
class CTools
{
public:
    static ReadHardWare();
public:
    static  NI::CNiButton m_read_in_progress_status;
}

//Tools.cpp
CTools::ReadHardWare()
{
    //Declare and initialize variables and other setup code is here

    m_read_in_progress_status.Value == 1  //Set read in progress flag high
    //Read operations here
    m_read_in_progress_status.Value == 0  //Reset read in progress flag low
}

//FirstWindow.cpp
#include "Tools.h"
#include "SecondWindow.h"
void CFirstWindow::DoDataExchange(CDataExchange* pDX)
{
    CDialog::DoDataExchange(pDX);
    DDX_Control(pDX, IDC_First_Window_Read_in_Progress_Indicator,   CTools::m_read_in_progress_status);
}

//SecondWindow.cpp
#include "Tools.h"
#include "FirstWindow.h"
void CSecondWindow::DoDataExchange(CDataExchange* pDX)
{
    CDialog::DoDataExchange(pDX);
    DDX_Control(pDX, IDC_Second_Window_Read_in_Progress_Indicator, CTools::m_read_in_progress_status);
}

A: DDX_Control establishes an association between control identifier in dialog and particular instance of CWnd based object. I am not sure it's a good idea is to share the same object representing a button for two windows. I suggest to sligthly modify the design. You should create a timer for pooling read operation state. If state is changed you will update the button.
class CTools
{
public:
    static void ReadHardWare();
public:
    static int m_read_in_progress_status;
}

class CFirstWindow: CDialog
{
public:
    void OnTimer(UINT nIDEvent)
    {
        if(m_read_in_progress_status != CTools::m_read_in_progress_status)
        {
            m_read_in_progress_status = CTools::m_read_in_progress_status;
            m_button.SetCheck(m_read_in_progress_status);
        }
    }

private:
    int m_read_in_progress_status;  // Cached status
    NI::CNiButton m_button;
};

redpajama_set_name: RedPajamaStackExchange


A major advantage of the cone crusher is its ability to limit the amount of waste material produced. The disadvantage is poor shape in most fraction sizes. Previous work carried out by the authors ( Bengtsson and Evertsson, 2006 ) revealed that the main process parameters that influence shape are average feed size and CSS setting.
It does not appear to be valid in compression crushers, however, since breakage energy is a significant proportion (>50%) of the total energy input to the crusher and markedly different power rates (energy input per unit of crusher feed) can be obtained by varying ore feedrates and/or crusher parameters such as closed side setting.
I am writing a method that should accept as its parameter an object of one of two types which do not share a parent type other than Object. For example, the types are Dreams and Garlic.
Mobile Cone Crushing Plant| Price and Various parameters,- various amounts crusher parameters,Greatwall is the most professional manufacturer and supplier of Mobile Cone Crushing Plant s in china Jaw crusher various detailed parameters, such as the working principle of jaw crusher, jaw crusher, technical parameters, the .Jaw .
crusher field guide CRAWLING MODE (#4) proper gear selection ... fully understand the different ESC parameters, and how they can be used to fine tune your ESC's feel and performance. Most importantly, ... [amount of throw at full throttle] B. Set LOW ATV, EPA, or ATL to .
At the same time, different ore characteristics will have a major impact on the performance of a specific crusher - the same unit may produce large quantities of fines with one ore and much coarser product with a different ore.
The aim of this project was to investigate which geological parameters control the improvement of manufactured sand when using VSI-crushers instead of the traditionally used cone crusher.
First, consider your application parameters, and then conduct crusher tests on your material. Some parameters about your application to consider are: material characteristics, your final product specification, and how you want to impact the downstream process.
fully understand the different ESC parameters, and how they can be used to fine tune your ESC's feel and performance. Most importantly, ... crusher field guide STANDARD MODES (#1-#3) The Crusher ESC is equipped with four throttle profiles. Profiles 1-3 are ... Amount of braking being applied while transmitter is at neutral.
It is the same as Ceiling_CrushAndRaiseA, except that it takes an argument to control the "noisiness" of the crusher. Unlike the other crushing specials where the crush mode is a parameter, the generic version uses a different special type because it already has all parameters in use.


If we were to give you a bit of advice on self-confidence, it would be: try being a pushover, a big one. No, not professionally, not personally, but you know, with your hair. A nonchalantly tossed over mane sends a message that says my life is too fun and I'm too busy to part my hair, and you know what? I don't give a f *ck. Think about every rebel-without-a cause hero(ine) since… Rebel Without A Cause— from Molly Ringwald to Kristen Stewart, James Dean to Leonardo DiCaprio to River Pheonix (were eyes invented for that hair?)—what's the cool-kid "it" factor they all have in common? Here's a hunch: an uncalculated 'do.
As for a perfecting technique, there's really nothing to it. Run your fingers through your hair and throw it to the side. It works on hair that's clean or dirty, straight or curly, with or without product. Our theory is the bigger the better and go deep (in your "part") or go home—like the Nike swoosh: Just Do It.
_Photos of Emily Weiss by Patric Shaw for Lucky Magazine.  Emily is wearing a Reed Krakoff tote, Tibi sweatshirt, Reed Krakoff skirt, Cop Rock sunglasses, and assorted rings from Campbell Collections.  Emily is wearing a 3.1 Phillip Lim bag and Cynthia Rowley shirt.


Is Achoo A Real Word?
Every sneeze has a different ring to it, but there are only a few words in English that name the sound. Achoo is the most favored, but is it really a word?
Where did achoo come from?
Other languages follow the same approach. A sneeze sound in Russian is apchkhi; in Korean it is achee.
In the medical world, ACHOO is an acronym for a sternutation disorder called Autosomal Dominant Compelling Helioophthalmic Outburst Syndrome that results in uncontrollable sneezing.
What about God bless you?
As for the origin of "God bless you," there are a number of ideas. There are superstitious beliefs that connect evil to sneezing, such as the thought that a sneeze releases a soul to the waiting grasp of evil spirits. Hence, a blessing is needed.
A false belief that originated during the Renaissance dictates that a sneeze causes the heart to momentarily stop. The blessing was a brief prayer that the heart would not fail completely.
There are numerous other tales that have to do with sneezing. For example, one folk saying asserts a sneeze means that someone is thinking amorously about you. What sneeze myths do you know about?


First Tribute Album to TOKYO SKA PARADISE ORCHESTRA | JaME U.S.A.
© TOKYO SKA PARADISE ORCHESTRA. All rights reserved.
This April marks the 30th anniversary of veteran ska unit TOKYO SKA PARADISE ORCHESTRA's debut. To commemorate this milestone, a tribute album to the group will be released on March 13th.
Titled Rakuen juusan kei, the release will feature a total of 13 tracks. So far, only six of the participating artists have been announced. Singer-songwriter Seiko Oomori will cover Chie no wa, rapper SKY-HI will offer his take on Paradise Has No Border, alternative idol unit BiSH will handle Kanariya naku sora, pop punk band 04 Limited Sazabys will take on Ginga to meiro, rock band UNISON SQUARE GARDEN will perform Ai ga aru kai? and pop rock singer LiSA will tackle Sapphire no hoshi. The rest of the artists and tracks featured on the release will be revealed at a later date.
HYDE Announces Physical Release for "MAD QUALIA"


Kids, Adults, Seniors, Special Needs – Occupational Remedy, Bodily Remedy, and Therapeutic Exercise. This second floor maisonette has 2 double bedrooms. The Democratic Occasion received management of the U.S. House from the Republican Occasion on November 6, 2018 As of November 17, Democrats had gained a web total of 37 seats, 14 more than the 23 seats they wanted to win management of the House.
Each firms are wholly owned subsidiaries of Nuveen, LLC and provide funding services and products under the identify TH Actual Property. When you cannot, there are alternatives for you to consider, like Residence Improvement Loans. Closing prices: Borrowing in opposition to your home is rarely cheap, however second mortgages tend to be inexpensive than purchase loans (or refinancing).
You may repay the skipped fee at any time. Pelosi addressed this reality when she referred to as for Democrats to deal with well being care costs, growing old infrastructure and corruption in authorities after the election. Not within the least — especially when it helps differentiate your internet presence from that of different competing agents in and around your housing market.
About: is a free A number of Itemizing Service search for real estate MLS listings from licensed Realtors® and different real property professionals which can be members of their native MLS. The Maine House consists of 151 individuals, (seventy three Democrats, 70 Republicans, 1 Inexperienced Unbiased, 5 Independents, 1 Widespread Sense Independent and presently 1 vacancy).
The district was certainly one of seven targeted by Democrats across California after Hillary Clinton carried them in the 2016 presidential election. On November 6, 2018, Democrats received not less than 21 of the 25 Clinton-leaning seats held by Republicans after 2016, whereas Republicans received two of the thirteen Trump-leaning seats held by Democrats.


BEIJING, Jan. 18, 2019 /PRNewswire/ -- China Finance Online Co. Limited ("China Finance Online", or the "Company", "we", "us" or "our") (NASDAQ GS: JRJC), a leading web-based financial services company that provides Chinese retail investors with online access to securities trading services, wealth management products, investment advisory services, as well as financial database and analytics services to institutional customers, announced it has signed a strategic partnership agreement with Founder CIFCO Futures Co., Ltd. ("Founder CIFCO Futures"), a leading futures brokerage firm in China.
Pursuant to the partnership agreement, both parties will collaborate and explore in the development of a more advanced trading system, smart news alerts of the market, a cloud-based research platform and industry forums.
Founder CIFCO Futures is a large and comprehensive futures company controlled by Founder Securities Co., Ltd. and has so far established 31 branches in China. Founder CIFCO Futures Co., Ltd. is the council member of China Futures Association (member No.001) and vice-president of Beijing Futures Association. It is the member of Shanghai Futures Exchange, Dalian Commodity Exchange and Zhengzhou Commodity Exchange and is also the trading and clearing member of China Financial Futures Exchange. Founder CIFCO Futures has acquired the license in conducting such businesses as commodity futures brokerage, financial futures brokerage, assets management, investment consulting and risk management.


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All the words which might have been filtered on are broken up by meaningless html comments. Evil. Evil!
Speaking of evils, I started to make a costume last Friday. After a year and a half of going to cons, seeing the costumes and saying 'I'm going to make one', I actually began. If anyone's interested, there's a diary of sorts here (I haven't got very far yet). I don't think anyone is going to be sad enough to copy my techniques, such as they are, but if they do, they deserve all they get. This is the first time I've ever made a costume, and I haven't a clue what I'm doing. But for all that, it's quite fun.


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Asia driving inbound tourism growth
This year's Australian Tourism Exchange (ATE) has confirmed the growing importance of Asia in Australia's future tourism growth, according to Tourism Australia Managing Director Andrew McEvoy.
This year's Australian Tourism Exchange (ATE) has confirmed the growing importance of Asia in Australia's future tourism growth, according to Tourism Australia Managing Director Andrew McEvoy.
Asian markets are proving to be a
winner for Australian tourism
"The latest international arrival figures continue to highlight the growing importance of Asia as the key driver of Australia's future international tourism growth," McEvoy said at ATE, held at the Sydney Convention and Exhibition Centre (SCEC) during the first week of April.
"The number of Asian delegates attending this year's ATE is substantially up on last year, a further sign of the commitment to Australia's tourism product from the Eastern travel trade."
During 2010, international visitor arrivals were up from most Asian countries demonstrated by strong regional increases, including double-digit growth from North East Asia, South East Asia, India and Japan.
North East Asia continued to enjoy strong growth, up 14% overall, led by China (up 24%), South Korea (up 18%) and Hong Kong (up 4%). Arrivals from China in particular were aided by increased aviation capacity by a number of the country's airlines.
Visitors from South East Asia increased 9% during 2010, driven by strong consumer confidence, solid economic growth and, in some markets, increased airline capacity. Indonesia (up 12%), Malaysia (up 12%) and Singapore (up 8%) all performed well. Within Southern Asia, India also delivered a strong recovery in late 2010, with arrivals up 11%.
"Most of the Asian markets were up and finished 2010 strongly, led by China but with strong contributions from a number of other markets in North East and South East Asia, as well as India, which recovered well in 2010," McEvoy said.
"Last year also saw a turnaround in the Japanese visitor market. Sadly, recent tragic events will obviously have an impact on outbound travel from Japan, although it's still a little early to put a figure on this.
"The Asian economy's ability to weather the GFC, plus competitive international air fares and increases in air capacity, has all helped to give us a strong platform from which to tap back into the key family and couples markets," he said.
McEvoy believes a key factor in driving Asia's visitor numbers has been the development of successful airline partnerships within the region.
"We have maintained and strengthened our long standing aviation partners and forged new partnerships with key airlines in the region, including Qantas, Singapore Airlines, Japan Airlines and China Southern Airlines," he said. "This is critical in delivering the additional aviation capacity we need to meet our long term growth aspirations.
"The strong visitor numbers coming out of Asia are certainly good news for the Australian tourism industry but what's especially pleasing is the money these visitors are putting into the economy.
"As we've highlighted in our recently released 2010 Tourism Industry Potential report, it is more than just the visitor numbers that we want to grow.
"Looking ahead to 2020, we're very focused on growing the economic contribution that Asian and other international visitors deliver to the Australian economy," McEvoy said.
As part of its long term tourism vision, Tourism Australia has identified a number of markets in Asia, which will help drive the future growth of the Australian tourism industry, including China, South Korea, Japan, Singapore, Malaysia, India, Indonesia and Hong Kong. It is anticipated that China alone will generate up to $9 billion in total tourism expenditure by 2020.
VIDEO: Tourism Australia recording strong growth from Asia
Tourism Australia's Managing Director Andrew McEvoy says the nation's popularity as a tourist destination continues…
Tourism Australia and Jestar team up to boost inbound tourism from Asia
Tourism Australia has signed a $10 million marketing deal with Jetstar aimed at boosting Japanese…
Inbound tourism showing signs of recovery
Australia's inbound tourism market is showing signs of a minor recovery this year, according to…
Vietnam MICE Tourism Sees Double-Digit Growth
The Saigontourist Travel Service (STS) Company has this year welcomed nearly 18,300 visitors on MICE…
European and Chinese Visitors Driving Tourism in Australia
Visitors from European and emerging Asian markets drove a nine per cent increase in spending…
Tourism Australia Launches New Indigenous Tourism Site
Tourism Australia's new indigenous tourism website showcases a selection of the country's best Indigenous experiences…
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Satirical News: Thesis on Nobitacracy from Harvard University Causes President Nobita to React Rather Badly!
A research work called "The Downside of Nobitacracy: A Closer Look at President Nobita's Administration" written by law student named Marianne Hessler, a Filipino law student who graduated in Harvard. The thesis was just recently published and was sent to Philippine soil as a book which now is available in soft bind for the Filipino readers. The book became sold like hotcakes and unfortunately President Nobita could not take it at all as it became a controversial material that revealed just how stupid he really is!
Philippines before and after Nobitacracy. It also featured how the 1987 Constitution did not help the Philippines recover from the Macoy tyranny at all. Although it highlighted human rights violation during the Ferdinand E. Macoy Sr. administration, it shows how much of a failure things were after that and no different.
Why the 60/40 is not working as much as unrestrained business practices. It highlighted the legal limitations of 100% ownership of business like no selling of land of foreigners and that 100% ownership does not mean that countries just accept businesses indiscriminately.
The budget wasted by the Nobita Administration on its circus trials from Chief Injustice Corona to Janet Naporkes.
Why it is just stupid for President Nobita to keep claiming Gloria Abobo responsible for his current situation.
The violations Nobita's administration did during the botched hostage crisis of Rolando Murderza.
Why pleading for guilty Filipinos abroad is not only a waste of money but a severe and gross thing to do. This includes an analysis of Plor Kontemplasyon up to the three drug mules namely Sally Violationa, Ramon Non-Credo and Elizabeth Bitayin.
The Pork Barrel and Nobita. Why Nobita just did not abolish it immediately.
President Nobita's making mediocrity legal is not helping the Philippines.
How President Nobita as an economic graduate from Ateneo de Manila did not help him as a president of the Philippines.
The illegal distribution of wealth at the Hacienda Loserita and the Aquino family.
The lack of support of Michael Christian Martinez proves how balimbing the Nobitacratic administration is.
Why some provisions of the cybercrime law should be repealed and why the law should be revised.
Marianne Hessler upon returning to the Philippines had been scorned - after all she was half-Chinese and half-American, two races that Pinoy pridists tend to hate. However she did not care about popularity when she wrote the controversial thesis and said, "Filipinos must be awakened no matter what. I wrote the thesis in order to be an eye opener that President Nobita is an idiotic president. Sure I won't get a heroine's welcome but so what? The truth about the stupidity of President Nobita, the Hacienda Loserita and everything about him must be exposed!"
After Nobita read the thesis, he was seen reacting rather badly to why he was being scorned. He really got so mad he decided he should push through with the implementation of the anti-cybercrime law's libel clause so nobody will make fun of him again. Unfortunately, his decision had only caused people to distribute mockeries of him all over the Internet even further as they have read the controversial thesis! Supporters of President Nobita also thrashed the book because of its insulting contents against Presidnet Nobita himself.


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Nicox Appoints Doug Hubatsch as new Chief Scientific Officer to lead Clinical and Non-clinical Development
December 13, 2021– release at 7:30 am CET
Sophia Antipolis, France
Nicox SA (Euronext Paris: FR0013018124, COX), an international ophthalmology company, today announced the appointment of Doug Hubatsch to lead all of the Company's non-clinical and clinical development activities. As Chief Scientific Officer, Doug Hubatsch will be responsible for setting the research and development strategy of the Group and will be a member of the Nicox Executive Committee, reporting to Michele Garufi, Chief Executive Officer. He will be based in Nicox's US subsidiary Nicox Ophthalmics Inc., in Durham, North Carolina.
"Doug will be responsible for implementing the future development strategy for all of our pipeline assets. He brings Nicox extensive experience in life sciences, focused on ophthalmology for the last 14 years, covering mid-late stage development, pre-marketing and commercial assets, specializing recently in glaucoma and ocular surface disease. He has successfully worked with the US FDA on a number of therapeutic products and his late-stage development and medical affairs expertise will be essential as Nicox prepares for the approval and potential launch of NCX 470. Overall, Doug's broad scientific experience and multi-disciplinary background are an excellent fit for Nicox." said Michele Garufi, Chairman and Chief Executive Officer of Nicox.
Doug Hubatsch joins Nicox from Novartis Pharmaceuticals, where he was Global Medical Head for Ocular Surface Disease and Digital Medicines within Global Medical Affairs. He has more than 25 years' experience in Discovery Research, Development and Medical Affairs in Novartis, Alcon, Roche and AstraZeneca and has been involved with the launch of more than 10 products through his career including Simbrinza (Alcon) for glaucoma and Xiidra (Novartis) for dry eye disease.
"The Nicox pipeline has great potential in two key areas that I have focused on recently – glaucoma and ocular surface disease, which includes blepharitis and dry eye. I look forward to using my experience to benefit the development of Nicox's pipeline, in strong collaboration with the existing experienced and international R&D team of the company. " said Doug Hubatsch.
About Nicox
Nicox S.A. is an international ophthalmology company developing innovative solutions to help maintain vision and improve ocular health. Nicox's lead program in clinical development is NCX 470, a novel nitric oxide-donating prostaglandin analog, for lowering intraocular pressure in patients with glaucoma. The company is also developing NCX 4251, a proprietary formulation of fluticasone, for acute exacerbations of blepharitis. Nicox generates revenue from VYZULTA® in glaucoma, licensed exclusively worldwide to Bausch + Lomb, and ZERVIATE® in allergic conjunctivitis, licensed in multiple geographies, including to Eyevance Pharmaceuticals, LLC, in the U.S. and Ocumension Therapeutics in the Chinese and in the majority of South East Asian markets.
Nicox is headquartered in Sophia Antipolis, France, is listed on Euronext Paris (Compartment B: Mid Caps; Ticker symbol: COX) and is part of the CAC Healthcare, CAC Pharma & Bio and Next 150 indexes.
For more information on Nicox, its products or pipeline, please visit: www.nicox.com.
Bryan, Garnier & Co Victor Floc'h Paris, France
Cantor Fitzgerald Louise Chen New York, U.S.
Edison Investment Research Pooya Hemami London, UK
H.C. Wainwright & Co Yi Chen New York, U.S.
Kepler Cheuvreux Damien Choplain Paris, France
The views expressed by analysts in their coverage of Nicox are those of the author and do not reflect the views of Nicox. Additionally, the information contained in their reports may not be correct or current. Nicox disavows any obligation to correct or to update the information contained in analyst reports.
Nicox
Gavin Spencer
Executive Vice President, Chief Business Officer
& Head of Corporate Development
communications@nicox.com
United States & Europe
LifeSci Advisors, LLC
Sandya von der Weid
svonderweid@lifesciadvisors.com Media
Sophie Baumont
sophie@lifesciadvisors.com
The information contained in this document may be modified without prior notice. This information includes forward-looking statements. Such forward-looking statements are not guarantees of future performance. These statements are based on current expectations or beliefs of the management of Nicox S.A. and are subject to a number of factors and uncertainties that could cause actual results to differ materially from those described in the forward-looking statements. Nicox S.A. and its affiliates, directors, officers, employees, advisers or agents, do not undertake, nor do they have any obligation, to provide updates or to revise any forward-looking statements.
Risks factors which are likely to have a material effect on Nicox's business are presented in the 3rd chapter of the 'Document d'enregistrement universel, rapport financier annuel et rapport de gestion 2020' filed with the French Autorité des Marchés Financiers (AMF) on March 1, 2021 which are available on Nicox's website (www.nicox.com).
Nicox S.A.
Drakkar 2
Bât D, 2405 route des Dolines
CS 10313, Sophia Antipolis
06560 Valbonne, France
F +33 (0)4 97 24 53 99
EN_AppointmentDHubatsch PR_20211213_F
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