text:
ANGRY BABY TRUMP BLIMP Will Fly Over London During His Visit
On July 5, 2018 July 5, 2018 By Geri UngureanIn Muslim London
The "Midget Muslim Mayor" of London, Sadiq Kahn, has given the go-ahead for the ridiculous blimp to fly over London during Trump's visit.
Okay, so he's not a midget – but 5'6″ is truly a little man. I would stand eye to eye with him – perish that thought!
Theresa May could put a stop to this, but do you think she will? Highly unlikely. Either she has converted to Islam herself, or she is fearful of the Muslims who have overrun and overtaken London.
After all, they are the only group who runs down crowds in their vehicles to produce mass casualties, or sets off bombs during concerts. Whatever it takes to instill fear in the hearts of the infidels – the Muslims will do it in the name of their prophet.
They are instructed to do so in the Qur'an.
Read the verses from the Qur'an in which their moon god Allah tells them to murder:
The Truth About Islam <click to read article
From skynews.com
Trump 'angry baby' blimp gets green light to fly over London during president's visit
London mayor Sadiq Khan's Greater London Authority has approved a request for the flight after thousands signed a petition and a crowdfunding campaign raised more than £16,000 to get the six-metre inflatable off the ground.
Strict rules are in place for the flight from Parliament Square Gardens, with the balloon being tethered to the ground and restricted from floating higher than 30m (98ft).
It will fly between 9.30am and 11.30am on Friday 13 July – coinciding with the president's visit to the UK and a "Stop Trump" march in central London.
A spokesperson for the Mayor of London said: "The Mayor supports the right to peaceful protest and understands that this can take many different forms.
Oh – kind of like Tommy Robinson speaking out against Muslim rapists?" Oh wait – he is in jail for 13 months for his "crime."
His city operations team have met with the organisers and have given them permission to use Parliament Square Garden as a grounding point for the blimp."
Campaigners say the Met Police are in charge of local airspace on the day, have seen their plans and are currently happy for the flight to go ahead – but maintain a right of veto on the day.
The group behind the stunt – who call themselves anti-fascist "art activists" – are now liaising with the Met and the Civil Aviation Authority to ensure airspace over London is managed safely on the day.
Activist Leo Murray told Sky News: "We didn't get off to the best start with the Mayor's office over this, who originally told us that they didn't recognise Trump Baby as legitimate protest.
"But following a huge groundswell of public support for our plan, it looks like City Hall has rediscovered its sense of humour. Trump Baby will fly!"
Mr Murray has described the balloon as an "obscene mutant clone of the president" and says it will "hold up a huge mirror of truth" to the world.
Describing Mr Trump as a "dangerous excuse for a president", the group's spokesperson, Nona Hurkmans, said: "We are just a small group of friends who set out to show that fascists are not welcome in the UK.
Oh, but terrorists ARE welcome, right?
"We have been genuinely overwhelmed and touched by the incredible levels of support we have received for our project." – source
I'm certain that these people are SO grateful to George Soros for funding this project.
We know the anger comes from Muslims and Leftist/Marxist liberals because of Trump's actions towards Israel, which are unprecedented. They cannot deal with a U.S. president who Loves Israel!
Perhaps the ridiculous balloon will touch one of the sharp points on Parliament's structure and will go……
KABOOM!!!!
After all, radical Muslims love THAT sound.
Brethren, I am sorry if you detect anger in this piece and you might feel that it's not Christian-like to write such words. There is an anger which is called "Righteous Indignation" and Jesus showed this to us when dealing with the Pharisees.
And please note that I am fully aware that not all Muslims are radicals. There are approximately 1.8 billion Muslims in the world. There are about 500 million radicals. That is more people than we have in all of the U.S.!
And for those who will undoubtedly scold me for not writing that I will pray for all involved – I assure you that my prayers for the lost are a given. But when I pray for the "Peace of Jerusalem" I must also pray against her enemies.
Shalom b'YESHUA!
Shalom to JERUSALEM!
UPDATE ON TOMMY ROBINSON: The Most Senior Criminal Judge In U.K. Will Hear His Appeal – CANCELLED.
Seducing the Vulnerable – the NAR CULT Part 2: Stories of Survivors
9 thoughts on "ANGRY BABY TRUMP BLIMP Will Fly Over London During His Visit"
Barbara Anderson
Anger or not, I hope some British patriot shoots it down.
As a Brit, I wished this would have happened too. It was so cringey and embarrassing. The time spent constructing it and flying it uh. Money and time could have been spent in charitable works to help society.
Rich DeJarnett
When I was learning to drive a truck across this country, my first seat kept telling me "to never assume you've seen it all",
and usually before it gets all the way out of your mouth, some idiot does some of the most "stupidest" things with an auto,
one can ever see … and for certain and for sure, there are an abundance of idiots.
Now that I am retired, I am thurally amazed at how people think … or maybe, it is the LACK of thinking. It is no longer of opening
ones mouth, and inserting ones foot. It is no longer opening ones mouth, and then engaging ones brain. Society does not have a brain to think with.
LOL … one of these brain-dead morons in your article makes the mention of calling Trump a "fascists".
Personally, I don't think this Nona knows what a "fascists" is. In fact I am surprised she even made an attempt to make a "complete" sentence.
One can tell that "common sense" is NO longer a product of humans anymore … they mostly love to point fingers, yet there is several of those
fingers pointing back at them. I guess one could also say they are "blind", as they CAN'T see their own fingers pointing back at themselves.
I "cringe" at how "fast" this nation has turned it's back on God. And I cringe all the more when most of my family has either walked away from
God and His Son; or never bothered to know Him. I once was reading Revelation.. and came across passages that mentioned mankind "cursed" God.
That was years ago, and when I reread Revelation today … it is No Longer a mystery to me as to why mankind "curses" God …
I seriously doubt mankind is ready for God's Judgement … BUT it is coming … and I can see why Yeshua will wipe away ALL tears.
But most of ALL, Come Yeshua, Come
Pingback: ANGRY BABY TRUMP BLIMP Will Fly Over London During His Visit — Absolute Truth from the Word of God | Gitardood's Weblog
gitardood
Geri I think you'll like the commentary I added when I reblogged this
amessengerforgod
TO SOLVE AMERICAS PROBLEMS MAKE THIS CHOICE WE THE PEOPLE' HAVE THE POWER OF OUR VOICES AND OUR VOTES, TO VOTE OUT THE ENTIRE LYING,CORRUPT, TREASONOUS DEMOCRAT PARTY COME NOV 2018, VOTE TO MAKE AMERICA GREAT AGAIN AND TO END ALL CORRUPTIONS IN WASHINGTON GOVERNMENT
Reblogged this on Kristi's Political Place and commented:
Shameful of Fallen London!!
alexiawoolard
I, for, one, like your "righteous" anger. America needs to see and hear more of it. We do speak righteously,…but it is usually more quiet, almost "apologetic". We get it from Brigitte Gabrielle, and some others…but, not enough Americans or American Christians use their voice to express righteous anger. We did do so at one period of time…that is why we live free and were able to worship God freely for a period of time. But, we have lost that voice, the ability to speak truth as Yeshua consistently and righteously did every day of HIS Life on earth. Shame on us!
Leave a Reply to Kristi Ann Cancel reply


text:
Q: Cypher - Aggregation with optional match I have the following node structure in database:
Artifact {id:'art1'}
|ArtifactProperty {key:'prop1_1', value:1}
|ArtifactProperty {key:'prop1_2', value:2}
=Artifact {id:'art1_1'}
=|ArtifactProperty {key:'prop1_1_1', value:1}
=|ArtifactProperty {key:'prop1_1_2', value:2}
==Artifact {id:'art1_1_1'}
==|ArtifactProperty {key:'prop1_1_1_1', value:1}
==|ArtifactProperty {key:'prop1_1_1_2', value:2}
==Artifact {id:'art1_1_2'}
==|ArtifactProperty {key:'prop1_1_2_1', value:1}
==|ArtifactProperty {key:'prop1_1_2_2', value:2}
==Artifact {id:'art1_1_3'}
==|ArtifactProperty {key:'prop1_1_3_1', value:1}
==|ArtifactProperty {key:'prop1_1_3_2', value:2}

Where an Artifact is a node that can be related to other Artifact nodes via a CURRENT relation and/or ArtifactProperties also via a CURRENT relation. The CURRENT relation holds the id of the root
My goal is to fetch all artifacts whith its children and properties.
The following request:
MATCH (a:Artifact)-[:CURRENT {root: 'art1'}]->(c:ArtifactProperty)
OPTIONAL MATCH (a:Artifact)-[:CURRENT {root: 'art1'}]->(b:Artifact)
WITH a {.id, children: collect(b {.id}), properties: collect(c {.key, .value})} as mapped
return mapped.id, mapped.children, mapped.properties

Provides the following result:
╒═══════════╤══════════════════════════════════════════════════════════════════════╤══════════════════════════════════════════════════════════════════════╕
│"mapped.id"│"mapped.children"                                                     │"mapped.properties"                                                   │
╞═══════════╪══════════════════════════════════════════════════════════════════════╪══════════════════════════════════════════════════════════════════════╡
│"art1_1"   │[{"id":"art1_1_3"},{"id":"art1_1_2"},{"id":"art1_1_1"},{"id":"art1_1_3│[{"value":1.0,"key":"prop_1_1_1"},{"value":1.0,"key":"prop_1_1_1"},{"v│
│           │"},{"id":"art1_1_2"},{"id":"art1_1_1"}]                               │alue":1.0,"key":"prop_1_1_1"},{"value":2.0,"key":"prop_1_1_2"},{"value│
│           │                                                                      │":2.0,"key":"prop_1_1_2"},{"value":2.0,"key":"prop_1_1_2"}]           │
├───────────┼──────────────────────────────────────────────────────────────────────┼──────────────────────────────────────────────────────────────────────┤
│"art1_1_1" │[]                                                                    │[{"value":1.0,"key":"prop_1_1_1_1"},{"value":2.0,"key":"prop_1_1_1_2"}│
│           │                                                                      │]                                                                     │
├───────────┼──────────────────────────────────────────────────────────────────────┼──────────────────────────────────────────────────────────────────────┤
│"art1"     │[{"id":"art1_1"},{"id":"art1_1"}]                                     │[{"value":1.0,"key":"prop_1_1"},{"value":2.0,"key":"prop_1_2"}]       │
├───────────┼──────────────────────────────────────────────────────────────────────┼──────────────────────────────────────────────────────────────────────┤
│"art1_1_2" │[]                                                                    │[{"value":1.0,"key":"prop_1_1_2_1"},{"value":2.0,"key":"prop_1_1_2_2"}│
│           │                                                                      │]                                                                     │
├───────────┼──────────────────────────────────────────────────────────────────────┼──────────────────────────────────────────────────────────────────────┤
│"art1_1_3" │[]                                                                    │[{"value":1.0,"key":"prop_1_1_2_1"},{"value":2.0,"key":"prop_1_1_2_2"}│
│           │                                                                      │]

The issue is my results are repeated for Artefacts with children (properties and children fields contain twice the same result).
There is probably a better way to perform this aggregation than to do an OPTIONAL MATCH so let me know if   I did not pick the best option.
EDIT:
This is the result I am trying to get, note that each child and property appear only once:
╒═══════════╤══════════════════════════════════════════════════════════════════════╤══════════════════════════════════════════════════════════════════════╕
│"mapped.id"│"mapped.children"                                                     │"mapped.properties"                                                   │
╞═══════════╪══════════════════════════════════════════════════════════════════════╪══════════════════════════════════════════════════════════════════════╡
│"art1_1"   │[{"id":"art1_1_3"},{"id":"art1_1_2"},{"id":"art1_1_1"}]               │[{"value":1.0,"key":"prop_1_1_1"},{"value":2.0,"key":"prop_1_1_2"}    │
│           │                                                                      │                                                                      │
│           │                                                                      │                                                                      │
├───────────┼──────────────────────────────────────────────────────────────────────┼──────────────────────────────────────────────────────────────────────┤
│"art1_1_1" │[]                                                                    │[{"value":1.0,"key":"prop_1_1_1_1"},{"value":2.0,"key":"prop_1_1_1_2"}│
│           │                                                                      │]                                                                     │
├───────────┼──────────────────────────────────────────────────────────────────────┼──────────────────────────────────────────────────────────────────────┤
│"art1"     │[{"id":"art1_1"}]                                                     │[{"value":1.0,"key":"prop_1_1"},{"value":2.0,"key":"prop_1_2"}]       │
├───────────┼──────────────────────────────────────────────────────────────────────┼──────────────────────────────────────────────────────────────────────┤
│"art1_1_2" │[]                                                                    │[{"value":1.0,"key":"prop_1_1_2_1"},{"value":2.0,"key":"prop_1_1_2_2"}│
│           │                                                                      │]                                                                     │
├───────────┼──────────────────────────────────────────────────────────────────────┼──────────────────────────────────────────────────────────────────────┤
│"art1_1_3" │[]                                                                    │[{"value":1.0,"key":"prop_1_1_2_1"},{"value":2.0,"key":"prop_1_1_2_2"}│
│           │                                                                      │]

A: Try to use DISTINCT:
MATCH (a:Artifact)-[:CURRENT {root: 'art1'}]->(c:ArtifactProperty)
OPTIONAL MATCH (a:Artifact)-[:CURRENT {root: 'art1'}]->(b:Artifact)
WITH a {
  .id,
  children: collect(DISTINCT b {.id}),
  properties: collect(DISTINCT c {.key, .value})
} AS mapped
RETURN mapped.id, mapped.children, mapped.properties

redpajama_set_name: RedPajamaStackExchange


Dana Point City Guide is in the process of building better communications between local business owners, locals, and tourists.
Our aim is to provide the most current and accurate information about Dana Point businesses to the world. We want to share information about events that are or will be taking place, and all the fun things there are to do in Dana Point.
The public expects accurate and up-to-date information on such things as restaurants, night clubs, entertainment, events, retail shops and boutiques, personal services, etc.
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text:
static void _vita2d_read_png_file_fn(png_structp png_ptr, png_bytep data, png_size_t length)
{
	SceUID fd = *(SceUID*) png_get_io_ptr(png_ptr);
	sceIoRead(fd, data, length);
}

static void _vita2d_read_png_buffer_fn(png_structp png_ptr, png_bytep data, png_size_t length)
{
	unsigned int *address = png_get_io_ptr(png_ptr);
	memcpy(data, (void *)*address, length);
	*address += length;
}

static vita2d_texture *_vita2d_load_PNG_generic(const void *io_ptr, png_rw_ptr read_data_fn)
{
	png_structp png_ptr = png_create_read_struct(PNG_LIBPNG_VER_STRING, NULL, NULL, NULL);
	if (png_ptr == NULL) {
		goto error_create_read;
	}

	png_infop info_ptr = png_create_info_struct(png_ptr);
	if (info_ptr == NULL) {
		goto error_create_info;
	}

	png_bytep *row_ptrs = NULL;

	if (setjmp(png_jmpbuf(png_ptr))) {
		png_destroy_read_struct(&png_ptr, &info_ptr, (png_infopp)0);
		if (row_ptrs != NULL)
			free(row_ptrs);
		return NULL;
	}

	png_set_read_fn(png_ptr, (png_voidp)io_ptr, read_data_fn);
	png_set_sig_bytes(png_ptr, PNG_SIGSIZE);
	png_read_info(png_ptr, info_ptr);

	unsigned int width, height;
	int bit_depth, color_type;

	png_get_IHDR(png_ptr, info_ptr, &width, &height, &bit_depth,
		&color_type, NULL, NULL, NULL);

	if ((color_type == PNG_COLOR_TYPE_PALETTE && bit_depth <= 8)
		|| (color_type == PNG_COLOR_TYPE_GRAY && bit_depth < 8)
		|| png_get_valid(png_ptr, info_ptr, PNG_INFO_tRNS)
		|| (bit_depth == 16)) {
			png_set_expand(png_ptr);
	}

	if (bit_depth == 16)
		png_set_scale_16(png_ptr);

	if (bit_depth == 8 && color_type == PNG_COLOR_TYPE_RGB)
		png_set_filler(png_ptr, 0xFF, PNG_FILLER_AFTER);

	if (color_type == PNG_COLOR_TYPE_GRAY ||
	    color_type == PNG_COLOR_TYPE_GRAY_ALPHA)
		png_set_gray_to_rgb(png_ptr);

	if (color_type == PNG_COLOR_TYPE_PALETTE) {
		png_set_palette_to_rgb(png_ptr);
		png_set_filler(png_ptr, 0xFF, PNG_FILLER_AFTER);
	}

	if (color_type == PNG_COLOR_TYPE_GRAY && bit_depth < 8)
		png_set_expand_gray_1_2_4_to_8(png_ptr);

	if (png_get_valid(png_ptr, info_ptr, PNG_INFO_tRNS))
		png_set_tRNS_to_alpha(png_ptr);

	if (bit_depth < 8)
		png_set_packing(png_ptr);

	png_read_update_info(png_ptr, info_ptr);

	row_ptrs = (png_bytep *)malloc(sizeof(png_bytep) * height);
	if (!row_ptrs)
		goto error_alloc_rows;

	vita2d_texture *texture = vita2d_create_empty_texture(width, height);
	if (!texture)
		goto error_create_tex;

	void *texture_data = vita2d_texture_get_datap(texture);
	unsigned int stride = vita2d_texture_get_stride(texture);

	int i;
	for (i = 0; i < height; i++) {
		row_ptrs[i] = (png_bytep)(texture_data + i*stride);
	}

	png_read_image(png_ptr, row_ptrs);

	png_destroy_read_struct(&png_ptr, &info_ptr, (png_infopp)0);
	free(row_ptrs);

	return texture;

error_create_tex:
	free(row_ptrs);
error_alloc_rows:
	png_destroy_info_struct(png_ptr, &info_ptr);
error_create_info:
	png_destroy_read_struct(&png_ptr, (png_infopp)0, (png_infopp)0);
error_create_read:
	return NULL;
}

vita2d_texture *vita2d_load_PNG_file(const char *filename)
{
	png_byte pngsig[PNG_SIGSIZE];
	SceUID fd;

	if ((fd = sceIoOpen(filename, SCE_O_RDONLY, 0777)) < 0) {
		goto exit_error;
	}

	if (sceIoRead(fd, pngsig, PNG_SIGSIZE) != PNG_SIGSIZE) {
		goto exit_close;
	}

	if (png_sig_cmp(pngsig, 0, PNG_SIGSIZE) != 0) {
		goto exit_close;
	}

	vita2d_texture *texture = _vita2d_load_PNG_generic((void *)&fd, _vita2d_read_png_file_fn);
	sceIoClose(fd);
	return texture;

exit_close:
	sceIoClose(fd);
exit_error:
	return NULL;
}

vita2d_texture *vita2d_load_PNG_buffer(const void *buffer)
{
	if (png_sig_cmp((png_byte *) buffer, 0, PNG_SIGSIZE) != 0) {
		return NULL;
	}

	unsigned int buffer_address = (unsigned int)buffer + PNG_SIGSIZE;

	return _vita2d_load_PNG_generic((void *)&buffer_address, _vita2d_read_png_buffer_fn);
}

redpajama_set_name: RedPajamaGithub


Document Texas User Group - Doing it big!
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Roadmap presentation that Oudi Antebi presented at the Dallas User Group.
Final Deck for first official user group event in Dallas!
Check out the photos from this quarter's Jive Texas User Group Meeting, Thur, 6/6/13.
Ryan Rutan Here is the list of TX User Group attendees for Q2 2012.


I recently deployed to afghanistan and shipped my xbox with me. My delima is that the isp here requires you to log on through a web page before you connect. is there any way to connect an xbox to this kind of isp or am i out of luck?
the issue is not that i cant connect my xbox to a network. its that the isp has pre-built wireless networks around the FOB that force a computer to a web page before you gain access to the internet. that web page has a login box and it only allows one device per customer on at a time. unfortunately the IE app on Xbox needs a connection to xbox live before it opens making connection to these networks seemingly impossible. My question is if there is a way around this issue. also there are no other authorized isp's on the FOB that don't have this problem so im really hoping there is a way around this. any help is appreciated!


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text:
Polski Trambesh Municipality () is a municipality (obshtina) in Veliko Tarnovo Province, Central-North Bulgaria, located in the Danubian Plain. It is named after its administrative centre - the town of Polski Trambesh.

The municipality embraces a territory of  with a population of 15,309 inhabitants, as of December 2009.

The main road E85 crosses the area centrally, from south to north, connecting the province centre of Veliko Tarnovo with the city of Ruse.

Settlements

Polski Trambesh Municipality includes the following 15 places (towns are shown in bold):

Demography
The following table shows the change of the population during the last four decades.

Bulgarians form a majority in 14 out of 15 settlements. One village, Petko Karavelovo, has a Turkish majority with 58,7% of its population belonging to the Turkish minority in Bulgaria. The village of Radanovo has the largest Roma population in the municipality of  Polski Trambesh, with 367 out of 508 Roma living in the village of Radanovo. Roma make up 29,0% of the population of the village of Radanovo.

See also
Provinces of Bulgaria
Municipalities of Bulgaria
List of cities and towns in Bulgaria

References

External links
 Official website

Municipalities in Veliko Tarnovo Province

redpajama_set_name: RedPajamaWikipedia


Notes: 36 cars attempted to qualify for 18 starting positions.
Roy Prosser, Smoky Blake, Skip Redican, Mel McGaughy, Jack Turner, Don Freeland, and Bob Veith.
The starting order was inverted for the main event.


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The British pound jumped against the dollar and shares in London fell on Wednesday as unexpected dissent from a Bank of England policymaker and robust jobs data cast doubt on the central bank's pledge to keep interest rates low.
Strong growth in the largest euro zone economies, France and Germany, helped pull the 17-nation bloc out of its 18-month old recession, helping support European shares near a 10-week peak as some investors booked profits after recent sharp gains.
The news left the euro zone's blue chip Euro STOXX 50 index up 0.1 percent and near its best levels of the year, set in May. Britain's FTSE 100 index slipped 0.2 percent, although it stayed within its recent trading range.
Sterling hit a high of $1.5507 after data showed a sharp drop in jobless benefit claims in July and minutes of the central bank's last meeting revealed one policymaker had voted against a historic move to tie interest rates to unemployment.
New Governor Mark Carney outlined the BoE's flagship policy - which will see rates kept low until joblessness falls to 7 percent, subject to certain safeguards including inflation staying in check - on August 7 after its nine policymakers met.
The minutes and data pointing to a stronger labour market prompted money market traders to price in a greater chance of a hike in the bank's base rate in two years - a year earlier than the BoE has signalled.
"Before the ink is hardly dry on the forward guidance document there is someone saying they don't like the idea," said Brian Hilliard, UK economist at Societe Generale.
"If the numbers improve the market will question the limits of the time horizon of forward guidance out to 2016."
The euro gained in early trading as stronger than expected German and French GDP data reinforced expectations the bloc's economy had grown after six quarters of contraction.
The European Union's statistics office later confirmed a 0.3 percent expansion in the three months to June, after which the euro drifted back to be 0.1 percent lower at $1.3250.
Bailed-out Portugal posted the best growth in the region with a 1.1 percent expansion in the second quarter, but it was Germany's 0.7 percent quarterly growth rate, its largest in over a year, which powered the recovery.
"The euro zone has been hauled out of recession and Germany has done the lion's share of that," said Andreas Scheuerle, economist at Dekabank.
Prices for 10-year German government debt were mostly steady after the data, though as traders adjusted positions after a slump in demand at a subsequent bond auction, yields were slightly lower at 1.8 percent.
The dollar was broadly firmer after forecast-beating data on Tuesday increased the prospects of the Federal Reserve scaling back its stimulus as early as next month.
Against a basket of currencies, the dollar stood near one-week highs touched on Tuesday, while against Japan's currency it was little changed at 98.13 yen.
Yields on benchmark U.S. 10-year Treasuries edged away from Tuesday's 2.72 percent peak, the highest rate in nearly two years, as investors prepared for the Fed to start tapering its $85 billion a month of bond purchases.
Talk about the Fed's next step had escalated when Atlanta Fed President Dennis Lockhart said it was too early to detail plans to taper, while not ruling out the possibility of it starting next month.
His suggestion any move would neither be sudden or drastic boosted sentiment in U.S. stock markets that carried into Asian trade, though U.S. stock index futures point to modest retracement of the gains when trading resumes later..
Asia's MSCI's broadest index of Asia-Pacific shares outside Japan was little changed though Japan's benchmark Nikkei stock average finished at a one-week high. Hong Kong markets were closed due to a typhoon.
The evidence of improving global growth from the latest European and U.S. data helped copper gain 0.5 percent to $7,317 a tonne but worries about the Fed curbing its commodity-friendly stimulus saw gold slip to $1,324 per ounce. Brent crude edged down towards $109 a barrel.


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Hong Kong bourse pulls plug on $39 billion play for London Stock Exchange
By Sumeet Chatterjee, Scott Murdoch
HONG KONG (Reuters) - Hong Kong's bourse has scrapped its unsolicited $39 billion approach for London Stock Exchange Group LSE.L after failing to convince LSE management and investors to back a move that could have transformed both global financial services giants.
FILE PHOTO: The name of Hong Kong Exchanges and Clearing Limited is displayed at the entrance in Hong Kong, China January 24, 2018. REUTERS/Bobby Yip/File Photo
Last month's surprise cash-and-shares approach threatened to upend the LSE's $27 billion plan to buy data and analytics firm Refinitiv. The Hong Kong exchange had said the LSE would have to ditch the Refinitiv deal for its offer to go ahead.
LSE shares slid 6% by 0848 GMT, close to their lowest since Hong Kong Exchanges and Clearing Ltd (HKEX) 0388.HK announced its approach on Sept. 11. Shares in the Hong Kong bourse were up 2.3% near the end of its trading day.
HKEX chief executive Charles Li wrote in a blog post: "We still believe the strategic rationale for the combination of our two businesses is compelling and would create a world-leading market infrastructure group."
"Despite a huge amount of work and discussions with a broad set of regulators and extensive shareholder discussions, the level of engagement from LSEG led us to conclude that the continued pursuit of a combination of the two businesses would not be in the best interests of our own shareholders," he said.
LSE said in a statement it remained "committed to and continues to make good progress on its proposed acquisition of Refinitiv".
Investors were due to vote on the Refinitiv deal next month and the transaction was expected to close in the second half of 2020, the LSE said, subject to regulatory approvals.
Refinitiv is 45%-owned by Thomson Reuters TRI.TO which owns Reuters News.
SLIM CHANCE
On the HKEK offer, one LSE investor told Reuters it would have been "very, very hard to get the LSE board to engage as they rebutted the offer on grounds of strategy, not price." The investor spoke on condition of anonymity due to the sensitivity of the matter.
Analysts had viewed HKEX's chance of success as slim after it was rejected by the LSE just two days from the HKEX going public with its interest. Political turmoil engulfing Hong Kong and perceptions of Beijing's growing influence over the city, were seen as another key obstacle to any deal.
Subsequent efforts by HKEX officials to engage with LSE shareholders had also met with resistance. Some investors told Reuters the HKEX would have to raise its offer by at least 20%, mostly in cash, to tempt LSE shareholders.
"The price tag from the Hong Kong exchange perspective was getting a bit too high, so it's good for the shareholders that they decided to walk away," said Hao Hong, head of research at broker BOCOM International.
Since the HKEX announced its interest in mid-September, its shares had fallen 8%, compared with a 5% drop in the Hang Seng benchmark index.
The failure of the bold move leaves open the question of what Li might try next to fulfill the HKEX's strategy of being "China-anchored and globally connected".
The HKEX has been the world's largest capital-raising venue in five of the past 10 years, but has been working to diversify its equities focus, launching a bond trading platform with China and buying the London Metal Exchange in 2012 for 1.4 billion pounds ($2.2 billion).
"HKEX will continue to try other things. Charles Li has done a lot of deals, most notably the London Metal Exchange. It may not be a stock exchange, but other related areas," said Bocom's Hong.
Under British takeover rules, the HKEX had until Oct. 9 to make a binding offer for LSE. The withdrawal of the approach means it cannot bid again for the LSE for at least six months unless the LSE's management agreed to an offer, another group made a bid for the London exchange operator, or other events were deemed to be a material change in the LSE's circumstances.
"If the Refinitiv deal surprisingly fails to get approval, I think we could see HKEX come again," said China Galaxy Securities analyst Chi Man Wong.
"The (LSE) shareholder meeting (to approve the Refinitiv purchase) has been tentatively set for November but there is no firm date. If that deal fails then HKEX will be there."
Analysts at Bank of America said investors had been worried that the HKEX's pursuit of a deal could have led the exchange to raise fresh funds - weighing on the price of existing shares.
"We think there may still be questions as to why HKEX proposed the acquisition when it seemed somewhat challenging to bring to fruition, but we believe investors will likely focus more on the fundamentals of the company and the market in Hong Kong," they said in a research note.
Reporting by Sumeet Chatterjee and Scott Murdoch in Hong Kong, additional reporting by Sinead Cruise in London and Devika Syamnath in Bengaluru; Writing by Jennifer Hughes; Editing by Kenneth Maxwell and Edmund Blair

redpajama_set_name: RedPajamaCommonCrawl


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Distinctive Sonic Qualities- 10 Years Of Another Timbre [2017-08-19]
Sheffield based improvised and contemporary music label Another Timbre is now in its tenth year. And over this time it's slowly, fairly quietly, yet consistently released a slew of quality bound sonically experimental fare- going from creative & sub-bass lined improv, though to fragile & angular piano compositions, onto changeling-yet- creative chamber works, and beyond. It's fair to say it's now one of the most respected labels in both improvised and contemporary fields- and with each new batch of releases from the label, it's building on its impressive sonic legacy. I tracked down Simon Reynell the label's owner & curator for an email discussion- discussing the labels ten-year existence, present releases & its future.
M[m]: Another Timbre is now in its tenth year - how did the label first come about, and what's the relevance of the name & how did you select it?
Simon I started the label at a point when two things were happening in my life: (1) my children had started to leave home, so my headspace cleared enough for me to able to take on a new project, and (2) my job was getting me down. I was a sound recordist on TV documentaries, but I felt the quality of work was declining or being dumbed down – practically every documentary had to be a show, with a competition element or fronted by a celebrity etc. I used to get cross about this and grumbled all the time until my partner told me I had to do something new. I've always been a fan of experimental music and spend a good deal of my spare time listening to it, but I'm not a musician, so there was obviously no chance of making a living from music. I decided that I'd carry on doing TV work, but to do much less than before, and spend the rest of my time running a CD label. I'm not rich, so the label has to break even, but I don't take any money from it in wages, so breaking even isn't impossible, even given the small size of the audience for experimental music. As TV work is still well-paid and I'm old enough to have paid off my mortgage, I only have to work a few days a month to pay the bills and can then focus on the music.
Simon I chose the name because at the time I set up the label (10 years ago) timbre was the aspect of music which interested me most; I was most excited by music that was seeking out new sounds, textures, and colors.
M[m]: You mention that you're not a musician, but have you ever attempted to create your own sounds/compositions?
Simon Yes, at various times I have attempted this, but I don't feel I ever produced anything really interesting or original. When I was primarily interested in sound textures and timbres, it felt like a possibility, but now that I've become more interested in pitch and harmony, it's a non-starter as I just don't have the skills necessary to produce the kind of music I now like best.
M[m]:You worked for many years as a sound recordist TV documentaries - are there any docs you were involved in that you are particularly proud of?
Simon In the old days when the BBC, in particular, made a lot of good documentaries, I worked on a number of programs which I felt were good and enjoyed watching, but now I don't even own a TV and so never watch the things I work on, or anything else. I'm pretty jaundiced about TV and think that on balance the world would probably be a better place if nobody watched television. If I scraped around the bottom of my memory I could think of a few good programs I worked on, but I'd really rather not have to think about it. I'm lucky in that I enjoyed the first decade or so working on documentaries, and I earned a decent amount of money for about 20 years, but in retrospect, it was really good for me that things in TV went downhill because I've found being involved with music far more fulfilling than television ever was.
M[m]: Still on the subject of you been a sound recordist - have you ever made any field recordings, sound art, or similar? And is this a genre you are interested in & listen to?
Simon In its pure form field recording isn't a genre that has ever interested me very much, so I've never really got into listening to field recording CDs, and I never tried making them myself. Where field recordings can become interesting to me is when they are worked on and combined with other things, becoming one layer in a musical composition. Michael Pisaro is particularly good at this, I think, and I love some of his pieces where field recordings are combined with other – often very simple – elements. His first 'Fields Have Ears' piece, for instance, or his 'Transparent Cities' project, where pure field recordings are combined with occasional sine tones. It's a very minimal addition, but for me, the tones lift it for into being something much more interesting and satisfying than field recordings on their own tend to be. But that's subjective, of course – as always!
M[m]: Over the labels ten-year existence how do you feel your output & focus has changed?
Simon Over the past five years, my primary focus as a listener has shifted a little away from timbre, and I've become much more interested in pitch: melody and harmony, for instance. I still like music best when it is experimental and trying out new things, but now I find that if a piece is only really working at a timbral level, then I can get a bit frustrated. Music that doesn't engage with pitches at all seems a little one-dimensional to me now. I don't really understand how or why that change in my tastes came about, but a shift has definitely occurred.
The label's output follows my taste very closely, so there has been a shift there too. When I started 80% of the music I put out was improvised and 20% composed; those ratios have inverted now, and most of what I have released in the past 5 years has been scored chamber music, though many of the scores still leave some freedom to the interpreters. I think I'm still drawn to pieces where each performance is unique, whether the music is written down or not. But none of this is absolute; we're talking about a shift in emphasis as my subjective taste has moved on, not a total change of direction arising from a change of policy or ideology.
In terms of instrumentation, there has also been a slight shift, with less emphasis on electronics than when the label started, and more on conventional instruments. This obviously goes along with my greater interest in pitch and my slightly lesser interest in exploring new timbres.
M[m]: Tell us a little bit about your first introduction to more experimental music? And was there any one release that made a real impact on you?
Simon I grew up in a house where classical music was played almost all the time, so my teenage rebellion took the form of rejecting Mozart, Beethoven, and Wagner, and listening to Webern, Stockhausen and Boulez instead. From about the age of 17 I started borrowing LPs from Bradford City Library and worked through all the experimental stuff they had. The single work that had the biggest impact on me was the 7 LP box set of Stockhausen's 'From the Seven Days', which are a set of text scores which were pretty much improvised by the group of musicians Stockhausen was working with at that time. I copied the LPs onto reel-to-reel tape and played them again and again until I knew every last sound. I also discovered Derek Bailey's music through some Radio 3 broadcasts at about the same time, so free improvisation was there from the start too. That's over 40 years ago now, and I've stayed with those two strands (improv and contemporary classical) ever since as a listener. For a very long time I didn't really know anyone else who shared my tastes, so it remained a very private passion, just me lying on my bed in my room listening to LPs, and later CDs. There weren't many experimental music concerts in Sheffield, where I live, and when there was one I was often working away. So recordings have been really fundamental for me, and live music less so.
M[m]: You are often credited as recording many of the label's releases - tell us a little bit about how this began, and has the way you capture works changed?
Simon I was working as a TV sound recordist and had quite a lot of equipment, so it made sense to try to record the music once I'd decided to start the label. It's obviously cheaper than hiring someone else, so kept the costs as low as possible, which has always been necessary if the label is to break even.
I've had to learn a lot, and have found it both challenging and fulfilling, but I think I've become pretty good at it over the years. I've also had to work hard at editing and post-production mixing/mastering, and I have definitely improved in this area since the early days of the label. I get a lot of complimentary comments about the sound quality of Another Timbre discs, but part of me still feels that I'm blagging it because I have never had any formal training in music recording, but I seem to get by ok.
M[m]: I know this is going to be a difficult question to answer- but are you able to select ten of your favorite releases from Another Timbre back catalog?
Simon It's difficult to choose ten absolute favorites, but below are some that I really like – though I should add that there's a bias in play in my selection. I always get the most satisfaction from CDs which I myself have produced, recorded and edited; it feels like more of an achievement than just publishing a recording that someone else has sent to me in a finished form. So my list of ten is heavily weighted towards ones that I have been involved in from start to finish:
Jürg Frey - 'Grizzana',
Morton Feldman 'Two Pianos',
Linda Catlin Smith - 'Dirt Road',
Laurence Crane - 'Chamber Works',
Angharad Davies & Tisha Mukarji - 'Ffansion',
John Cage - 'Four4',
Magnus Granberg - 'How Deep is the Ocean, How High is the Sky?',
Antoine Beuger - 'Cantor Quartets',
Isaiah Ceccarelli - 'Bow',
JohnTilbury, John Lely & Dirar Kalash - 'Seaside'
M[m]: Tell us a little bit about how you select what you are going to release?
Simon Now that the label has a reputation, I get sent loads of demos – more than I have time to listen to properly, I'm afraid. A lot of these submissions are good, but I only have time to release about 15 discs in any one year, so only a very small percentage of submissions make it through to release. About a third of the label's releases are things sent to me by musicians that happen to fit in with my particular interests at that moment. But most of the CDs are projects that I myself initiate by contacting musicians or composers whose work I have heard and am really struck by. It's very subjective and – as I said before – follows the evolution of my personal tastes very closely. I don't think of myself as someone who has any particular or special insights into developments in experimental music, or as any kind of trendsetter; I just focus on the music I like best at any given time.
M[m]: Who's behind the label? And who does what?
Simon It's virtually all me. I find the administrative side of running the label really boring, so skimp on it as much as I can get away with, and focus most of my time and energy on the bits that I like – recording and editing. I currently have a huge backlog of financial book-keeping, and I wish I could afford to employ someone to take on that work, as well as the publicity and promotion side of things, which I'm also not very good at. But unfortunately the label will never make enough money for me to employ someone to do the boring bits, so I have to do it all myself.
Simon Musicians and composers are generally happy to put in a lot of time helping on the finer details of the editing, and I'm very grateful for that - and I would have made several bad mistakes without their guidance. The other people whose contributions I should acknowledge are two of my children – now grown up – who has designed most of the label's covers. When I started I didn't think that design mattered; I thought it should all be about the music, but after a few years I had to admit that I was wrong and that the visual appearance of the CDs matters. One of my sons and one of my daughters went to the Glasgow School of Art, and are visual people in a way that I'm simply not. They designed the template that we now use for all the label's releases, which has helped improve the cover designs a lot.
M[m]: How did the label's now house style packaging of stark white gate-fold come about? Also, You mention your son & daughter been involved with the cover designs - do they select the images used, as they are often most fitting to the music?
Simon I mentioned before that when I started the label I felt that the music was all that mattered and didn't care about the cover designs at all. I assumed that most of the people who bought experimental music would think the same. But I was wrong, and after a couple of years, I realized that a lot of people did want covers that looked good and complemented the music. My son – who is a designer - did most of the technical work preparing the covers for the printers, but he too was very critical of the look of most of the covers on the early discs. So around the time that we changed from using plastic jewel cases to card covers I asked him to produce a basic template that would make the label's CD's look both more stylish and more coherent. So he was responsible for designing the current look of the label that we have used for the past five years. Nowadays he's too busy with his own work to help out, but his sister is at the Glasgow School of Art and she has taken on the technical work preparing the covers for the printers. But I still ask the musicians concerned with each release to come up with a cover image that fits into the basic design template. Sadly I have no budget to come up with rights payments, so it has to be something out of copyright or self-generated. If the musicians can't come up with anything suitable, then there are a few artists who like the label's music and are happy for us to use their artwork on the covers.
M[m]: All the releases on the label thus far have been CD's - what made you decide on this being the label's release format? And have you ever considered release vinyl or DVD releases?
Simon Although they have become unfashionable in many circles, I still like CD's as a format; they carry a decent length of music, don't scratch easily and retain a clean sound however much you play them. When I started buying music in the 1970's vinyl was the only format around, and I associate it with scratches and a general wooliness of sound which comes after multiple playings. When cassettes came in they were even more hissy, which just didn't fit the kind of quiet music I like. So it was a huge relief when CD's emerged in the early 90's and suddenly I could hear the music that I had loved afresh and clear again. So I loved CD's and still do. I think it's sad that vinyl has become trendy and that most young people don't use CDs. I think vinyl is bulky, expensive, inconvenient and not as good technically. So no, I've never been tempted to try other formats for Another Timbre, though I do sell downloads to people who really don't want the physical object anymore.
I'm now 61, so probably will only keep on running the label for another 5 years or so. By that time it may well not be economically feasible to run a CD label as most people simply won't have any way of playing CDs anymore. But I hope that it'll be possible to carry on with the CD format for a little while yet.
M[m]: recently you've released a fair few releases by Canadian composers- what do you think is so compelling, interesting & distinctive about these composers' works?
Simon Yes, we've just released the first 5 of what will eventually be 10 portrait CDs called the Canadian Composers Series. I didn't set out with the idea of doing a Canadian series, but a couple of years ago found myself talking to 3 or 4 composers who happened to live in or originate from Canada. It struck me that it could be interesting to release their music together rather than individually, which would pose the question as to whether there was anything specifically 'Canadian' about their music. Once I'd decided that I did some research and discovered more excellent composers in various corners of Canada, so the whole thing has snowballed into a large series of 10 discs. But what's interesting about the composers, I think, is precise that they don't constitute a Canadian 'school' and are in fact stylistically quite diverse, each having their own individual voice. So if there is a common factor, it's a certain stubborn individuality – which is a quality you can find in a lot of my favorite musicians, from Derek Bailey to John Cage to Jürg Frey through to Canadians such as Linda Catlin Smith, Cassandra Miller, and Martin Arnold.
M[m]: Still on the subject of Canadian composers- you recently released what I believe is the label's first book, featuring interviews/ write-ups about various Canadian composers. Tell us a little bit about how this book came about? And are there plans for other books in the pipeline?
Simon Yes, having embarked on the Canadian Composers Series, I thought it would be good to underpin it with a written publication that made explicit that underlying question as to whether these various diverse composers did, in fact, have anything in common. So the book was born. It was a lot of work, and certainly hasn't made any money, but I don't regret it because I think it did help to increase the profile of the individual composers. There's an excellent essay by Nick Storring, who is another Canadian composer, but also a music journalist, and he is able to set the composers' work in context in a way that I couldn't. Plus one of the composers in the series – Lance Austin Olsen - is also a visual artist, and he allowed us to use some of his stunning abstract paintings to illustrate the booklet, so it looks really good too.
But it was a bit of a one-off situation, and I can't imagine doing another book in a hurry. In fact, the design of the CDs is generally very minimal, with only the smallest amount of text on the covers. We do have information about every disc we release on a web page on the label's website, but the CDs themselves are normally minimal in design and are presented pretty barely, as if to say 'here's the music; you can like it or leave it; we aren't going to try to justify its existence, or convince you that you ought to like it if you don't'.
M[m]:You recently did a small season of shows at Café Oto- how did these go, and is there anything else similar in the pipeline?
Simon The three evenings at Cafe Oto went very well. It was a kind of retrospective launch of the Canadian Series CDs – though we also included some pieces by Jürg Frey, who's Swiss, but then his music is so beautiful that it's always a good idea to program something by him! Audiences at Cafe Oto are always good, both in terms of numbers and in the quiet concentration which they give the music. We were lucky enough to get some grant money which enabled some of the composers to come over for the concerts, so Marc Sabat, Chiyoko Szlavnics and Isiah Ceccarelli were all there in person, which was great.
I've organized other concerts at Cafe Oto before, and it always seems to work well, but if I'm honest I don't enjoy organizing concerts as much as recording sessions, so it isn't a regular thing. However, there is one big event coming up at the end of the year as part of the Huddersfield Contemporary Music Festival. Last year I commissioned two of my favorite composers – Jürg Frey and Magnus Granberg – to write new works loosely based on two fragments of early music, one by the Renaissance composer Johannes Ockeghem, and the other by William Byrd. From this common starting point, Magnus and Jürg worked independently and have each produced very different pieces for an ensemble of 10 musicians, but both compositions are still haunted by the original music from which they began. The works will be premiered on the final day of this year's Huddersfield Festival in November, and then we'll record them immediately afterwards, so a CD with both pieces should be out sometime in 2018. That concert will be a big event for the label, and it's great that the Huddersfield Festival have backed the project.
M[m]: What have you got lined-up for the next year release wise?
Simon We've got some excellent things coming up for the later in 2017 – a double CD of music by John Cage, yet more Jürg Frey, a new piece by Olivia Block – and the second batch of Canadian Series discs will be out in early 2018. After that, there are just one or two things in the pipeline, but I've tried to hold off committing to very much because I feel that I need to keep my options open and have a good listen to what will be around and fresh in 2018. At that point, I'll see precisely where my tastes have migrated, and move in whatever direction that is.
Another factor is that I might also try to find time in my life to do a bit more political campaigning. For the two weeks leading up to the recent election, I dropped the label entirely and campaigned voluntarily for the Labour Party. I really enjoyed it, and it's given me a taste to do more. I've always been left wing, but what with working and bringing up kids, I haven't been politically active for ages. But the left's on a bit of an upswing at the moment, so it's possible that I might give over some of the time I have been spending on the label to political work. That would mean that I'd have to do a bit less with music than I have in recent years, but things could change, so we'll see how that pans out in due course.
Thanks to Simon for his time & efforts with the interview. The labels site can be found here- where you can buy releases direct, check out samples, and get a overview of the labels 100 plus releases.
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Rudy Giuliani avoids indictment in NYC over seized devices: feds
Ben Feuerherd
November 14, 2022 4:48pm
Manhattan federal prosecutors said Monday charges against Rudy Giuliani will not be filed. William Farrington
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Rudy Giuliani won't face criminal charges in Manhattan, prosecutors revealed in a court filing Monday — a decision that comes more than a year after the FBI raided the ex-mayor's apartment and seized a trove of electronic devices.
An independent special master was appointed to review the seized material, and prosecutors and Giuliani's defense attorney have periodically submitted letters to keep a Manhattan federal court judge up to date on where the investigation stands.
On Monday, prosecutors wrote to let Judge Paul Oetken know criminal charges against Giuliani will not be coming.
"The Government writes to notify the Court that the grand jury investigation that led to the
issuance of the above-referenced warrants has concluded, and that based on information currently available to the Government, criminal charges are not forthcoming," they wrote.
Federal prosecutors from the Southern District of New York had been investigating Giuliani's relationship with a former top prosecutor from Ukriane, Yuriy Lutsenko, a source told The Post soon after his Manhattan apartment was raided.
Giuliani was probed over ties to a Ukrainian prosecutor who played a key role in Donald Trump's first impeachment.
The source said the feds were probing if Giuliani represented Lutsenko — a central figure in former President Donald Trump's first impeachment — in some capacity and violated the foreign agents registration act.
Lutsenko was one of several Ukrainian officials who reportedly fed Giuliani potentially damaging information about Trump's political rivals.
Trump was impeached by Congress in 2019 for allegedly seeking dirt on Joe Biden from officials in Ukraine in an attempt to swing the 2020 election in his favor.
Trump was acquitted by the Senate and later lost the 2020 presidential election to Biden. Trump and Giuliani refused to accept the results of the 2020 election, leading to the Jan. 6 attack on the Capitol — and ultimately, Trump's second impeachment.
Trump impeachment hearings
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Somali Cat Names
If you love the confident air and athletic physique of the Abyssinian but prefer the glamour of a longhaired cat, take a look at the Aby's sibling, the Somali, a foxy lady if ever there was one. Like the Abyssinian, the Somali bears a look of the wild and is characterized by large ears, a masked face, a full ruff, britches on the legs, a bushy tail and a ticked coat in ruddy, red, fawn and blue. The Somali is endowed with more than its fair share of good looks. It is an attention getter from the start, an Abyssinian with long hair, often full at the chest and around the chin (the area referred to as the ruff), ending in a thick fluffy fox-like tail, and topping with large fox-like ears. If one judged by appearance, the Somali appears feral, but one look into its eyes and it is clear that this cat has a lot more going on in its head than the average cat. The Somali is so well known for its alertness that the standards for the breed include "alert" in the physical description. The eyes are almond-shaped, and may be green or copper-gold.
Gulshan originates in Persian language and means "garden of roses". As a feminine given name it is mainly popular in Iran and Pakistan. It is also the name of several places in Iran, Pakistan and Bangladesh.
Connie is a diminutive of Constance. Constance originates in Latin language and means "steady, permanent". It is a feminine form of Constant. Over the years, it has been a fairly popular feminine given name in the United States. Constance is the name of several places in the U.S. and Canada and it functions as a surname as well
Alois is a Czech variant of Aloysius, ultimately derived from Louis. Louis originates in Germanic languages and means "well-known fighter". It is ultimately derived from Ludwig. It has always been a popular name among royalty and it used to be a very popular masculine given name in the United States as well. Lately, its usage has declined. It remains popular in French-speaking countries.
Lyosha is a diminutive of Aleksey, itself a Russian form of Alexis. Alexis was originally a name given to men in ancient Greece. Today this Greek name is a popular name given to more girls than boys. This name is a derivative of the name Alexander which means helper of people. The name Alexander is a general European name that is derived from the Old Greek name 'Alexandros', which is derived from the words, 'Alexein', which means 'to ward off or to defend' and 'andors or aner', which means man. It means defender, helper, guardian of people. In other words it is a name which signifies strength or protection. It was a name given to one of the greatest kings on Earth, Alexander The Great.
Travis is derived from Travers. Travers is an English name, derived from the word 'traverser', which means 'to cross'. The name was given to toll collectors who used to stand by a bridge or crossing to collect toll.
Lucky is a diminutive of Luke. Luke originates in Greek language and means "from Lucania". It is ultimately derived from the name Loukas and Lucania is a region in Italy. As a masculine given name, Luke has been popular over centuries and in different spellings all over the wold. This was the name of the author of the Gospel of Luke. More recently, it was popularized by the fictional character of Luke Skywalker in the Star Wars series.
Browse Names Gulshan Connie Alois Lyosha Travis Lucky


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Home / Uncategorized / bags helmets and $28 baseball
bags helmets and $28 baseball
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Q: What ports are open on xbox? Will it respond to pings/TCP connection? I'm trying to write an application to shut down my pc when I shutdown my xbox. The issue I'm having is my xbox dosent seem to respond to pings.
I downloaded a port scanning tool and that didn't find any open ports on it. So I put up wireshark and ran a trace while streaming media to it. I can see TCP traffic travelling initially on 6453 then as "complex-link" on various other ports. I cant connect on telnet to 6453 or the other few I tried.
Any advice on how to progress? I'm not sure if the xbox even listens on any ports or how I find out if it does. Possibly there is a more elegant way of doing what I want? (I'm intending to use C# for the actual application)

A: It's fairly common security practice to not listen to pings. It can be considered a security risk.
I don't think there's a reliable way to do what you want. The Xbox is going to only open ports when it wants to go out and contact other boxes. It's probably not going to sit there and leave ports open.


Has anyone had to instruct bailiffs to gain possession of their property? Can you walk me through the steps!?
Its 2 weeks tomorrow since I got the court order which said tenant had to leave due to rent arrears. However he hasn't gone yet!
My solicitor said it will take approx 8 weeks for her to action the bailiffs.
I've been down to the county court today and they have said if I pay and instruct the bailiffs myself it will only take 3 weeks. Has anyone done this?
I will wait until Wednesday ie 15 days after county court judgement.
1) I have form N325 request for warrant of possession. I'm assuming I hand deliver this to the court on Wednesday?
2) I think ?? I then have to write to the tenants saying I'm instructing bailiffs I can hand deliver this letter to the tenants on Wednesday.
3) Then I'm assuming I try and get a bailiff appointment at least 14 days later than Wednesday, I think the bailiffs have to send form N54 to the tenant to confirm bailiff appointment a few days before the appointment date.
4) I arrive with my locksmith at the time and date of bailiff appointment.


Shuiku no Kai is hosting a virtual seminar tonight for the Wolfburn Distillery at 8PM JST.
The seminar will be emceed by Whisky Advisor Muneyuki Yoshimura, and features none other than the founder of the Wolfburn Distillery, Andrew Thompson, as the live guest. Four whiskies will be covered in the seminar: Northland, Aurora, Morven (scheduled for Nov release in Japan), and the limited edition Batch 128.


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Карл фон Біраго (; 24 квітня 1792 — 29 грудня 1845) — австрійський військовий інженер, математик, педагог, винахідник названої його іменем системи понтонних переправ, барон.

Біографія
Карл Біраго народився 24 квітня 1792 року в Кашина д'Ольмо поблизу Мілана.

Спершу вивчав математику в Павійському університеті, потім у 1812 році вступив до Павійської військової школи, а в 1813 році став підпоручиком і призначений у цій військовій школі викладачем.

У 1816 році Біраго був прикомандирований до Військово-географічної інституту в Мілані, де займався зйомками і рекогностуванням в Ломбардії і Пармському окрузі. Пізніше був призначений на посаду вчителя математики школи корпусу піонерів в Мілані.

У 1825 році опублікував власну наукову працю «Система мостів і понтонів», в якій представив вигадану ним систему понтонних мостів для військових цілей, яка практично відразу була прийнята на озброєння. Пізніше він брав участь у зведенні Лінцських укріплень, для чого розробив спосіб установки в баштах гаубиць.

У 1835 році Карл фон Біраго керував укріпленням переправи через річку По поблизу міста Брешелло.

У 1839 році він також побудував у Брешелло військовий міст через річку По для Моденського герцога Франческо IV д'Есте, причому керувався тими теоріями, які виклав у своїй науковій праці. Зведений міст перевершив всі очікування, і в 1840 році йому доручили виготовлення великої кількості понтонних мостів за розробленою ним системою. Успіх Карла у даній справі був настільки великим, що офіцери з багатьох європейських армій прибували в австрійську столицю для ознайомлення з винаходом Біраго, якому було доручено командування піонерним і понтонним корпусами. Розроблена ним понтонна система з часом була прийнята за основу практично всіма великими європейськими арміями, включаючи Російську імператорську армію. Згодом дерев'яні понтони замінили на металеві, проте принцип Біраго довгий час залишався легко впізнаваним.

Сам інженер за найвищим указом став дворянином; йому було надано титул барона.

Карл фон Біраго помер 29 грудня 1845 року, був із почестями похований на кладовищі Святого Марка у Відні. Пізніше останки перепоховані на Центральному кладовищі.

Див. також

 нім. Birago-Kaserne
 Понтонний міст

Бібліографія

 «Anleitung zur Ausführung der im Felde am meisten vorkomenden Pionierarbeiten» (1836)
 «Untersuchungen über die europ. Militärbrückentrains usw» (Відень, 1839).

Примітки

Література

Поховані на Центральному цвинтарі Відня
Барони
Австрійські винахідники
Військові інженери
Австрійські інженери
Педагоги XIX століття
Австрійські педагоги
Педагоги за алфавітом
Вікіпедія:Статті з іншим значенням на Вікіданих
Померли у Відні
Уродженці Ломбардії


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General Election South East Cornwall candidates on the Cornish economy, employment and training
All the candidates have been invited to have their say
Richard WhitehouseLocal Democracy Reporter
(Image: Pexels)
In the final part of our series asking Cornwall General Election candidates for their views we turn the spotlight on the Cornish economy, employment, skills and training.
We asked all candidates to say in their own words their views on these subjects - with all given a limit of 200 words.
Here are the views of candidates in the South East Cornwall constituency. The Liberal candidate was invited to take part but did not respond.
Cornish economy
Gareth Derrick - Labour
Despite Cornwall's lifestyle attractions, its economy is not in good health. Even with excellent highlights like thriving digital and tourist economies, a remarkable number of micro-enterprises, a modern main road network and a regional airport, Cornwall struggles to boost its productivity – languishing at around 70% of the national average.
But the "isolation" of Cornwall and its rurality should not be allowed to hold it back. Attempts by the business-led local enterprise partnership has produced plans, but may never produce much else, as it's failing to counter the endemic and complex challenges faced by so many residents. High debt, high housing costs, low incomes and expensive transport are just some of the factors that I believe are holding people back. It will take a government that's serious about regional inequalities to put things right. We measure economic success not by the number of billionaires but by the ability of our people to lead richer lives, so Labour's National Transformation Fund will deliver investment into Cornwall to overcome these years of neglect.
Hugh Grant calls for tactical voting in St Ives constituency to oust the Conservatives
We will deliver well-paid secure jobs, promote small business, extend public transport networks, build council houses, protect tenants from unscrupulous landlords and more, so everyone has a chance to thrive here.
Martha Green - Green
Martha Green - Green Party
Cornwall lost its major industries of tin mining and fishing in the previous two centuries. A series of investments from the 1990s onwards from the UK government and the EU have all failed to deliver the number of jobs expected or created 'new' industries'.
Sadly, when Cornwall found itself leading a new industry in renewable energy production, the Conservative government introduced planning laws to prevent the installation of wind turbines and abolished the feed-in tariff which would have encouraged the increased uptake in solar panels and wind turbines. Additionally, the Conservatives failed to invest in Cornish grid capacity and stifled Cornwall's fledgling renewables industry and set Cornwall and the whole country behind international competition.
And still they try. There are investment programmes to create illusory hubs. Hubs for renewables, hubs for aerospace – hubs and more hubs. When will the council and government learn the funding culture does not work and does not create jobs?
General election poll results: Cornwall Live readers say who they want to be their next MP
To make a real difference, the Green Party would give Cornwall its independence via a Cornish assembly with the right to tax and legislate for its own planning and investment. It would encourage the re-localising of the economy via council procurement strategies to see investment in local manufacturing and local food production for local people.
Jay Latham - Liberal
Colin Martin - Liberal Democrat
The well-paid jobs of the future are in sustainable energy, the creative industries and digital technology. Cornwall is well placed to lead in all of these fields, just as we did in the glory days of the tin mining industry. We have more sunshine, wind and underground heat than anywhere else in the UK, and our EU-funded broadband means that creative and digital businesses are connected to their customers wherever they may be. But too few people in Cornwall are working in these well-paid jobs and more than 25% of Cornish children are living in poverty. Unemployment may be low for now, but a job is not much good if a Cornish wage doesn't cover the cost of living in a Cornish home.
The Liberal Democrats want to revitalise our high streets and encourage businesses to grow by scrapping business rates.
We'd also invest in a greener, more joined-up transport system so that everyone can get to work, increasing job opportunities and making commuting sustainable.
You could earn cash working on general election night in Cornwall
The pounds in your pocket are now only worth 84p compared to their value before the Brexit referendum; if Brexit goes ahead, Cornwall will be the first to feel the pain and the last to feel any gain.
Sheryll Murray - Conservative
Sheryll Murray
People are often misled about European funding and wrongly claim that the Duchy will lose out when we leave the European Union. We must remember that this is UK money and we pay much more to the EU than we get back in return. I am more optimistic about the future of the Duchy. Once we "get Brexit done", we will be free to set the rules for people who apply for government help, instead of operating schemes under the prescriptive and often complicated rules thrust on us by the European Union. As has already been seen, unemployment in South East Cornwall has more than halved and I am optimistic that a future Conservative Government will be able to ensure the help and support for Cornwall will be able to focus on what is really needed to allow the economy to grow. One thing that will be of great benefit is the improved broadband connectivity which many businesses in South East Cornwall are crying out for.
Employment, skills & training
Gareth Derrick
My comments on the Cornish economy touched on employment but cannot be complete without focusing on skills and training too. We recognise that Cornwall's economic future will rest increasingly on new, higher quality and secure jobs particularly in green technologies that will bring economic benefits here without further risk to our environment. This employment boost will be kick-started by an immediate upgrade programme for the existing housing stock, and by requiring new housing to be built to "zero emission" standards. But we'll add to this by starting a "climate apprenticeship" programme for thousands of people here to address the severe skills shortage, particularly in higher technical skills. This skills gap will only grow due to automation and ongoing environmental challenges, so we'll be on to this right away.
Inside the Cornish constituency with the largest majority and what this means for voters
Businesses will benefit from local workers being trained as apprentice engineers and technicians in renewable energy and transport, civil engineers and skilled tradespeople in sustainable construction, designers, welders and fabricators in low-carbon industries, and sustainable agriculture and forestry specialists. I am convinced that we can bring Cornwall's economy up to par with the rest of the UK, so let's make sure Labour gets its chance to deliver.
As part of the Green New Deal, the Green Party would release a £1bn investment in renewable energy, construction and transport industries. Alongside this investment, responsibility and control is to be devolved to the regions, Cornwall included, so local people can make decisions on local need.
There will be huge growth in the renewable energy industries, which Cornwall can make the most of as it has an abundance of wind and sun. Currently there is a skills gap in this sector with companies unable to find renewable energy engineers. Cornwall may choose to invest in educational programmes to support the renewable industry sector. It may also choose to support local industries like the geothermal project at United Downs so that it can expand across the county.
Former UKIP members are standing in Cornwall with the Liberal Party
And to support the regions, a Green government would introduce a living wage and universal citizen's income where everyone would receive £89 a week from the age of 18 until 65. This would allow freedom to train, retrain, take time off work to have children as well as ending the poverty trap and making work pay. The Green Party will introduce a carbon tax to reduce CO2 emissions which will raise £76 billion a year. This revenue will fund a citizen's income.
Colin Martin (Image: Rob Frost Photography Ltd 2019)
The role of Government is to help people to find employment and to provide dignity and support for those who can't. We would provide a £10,000 "skills wallet" for every adult to spend on training and skills development throughout their working lives so they never need to get stuck in a dead-end job. We would increase funding for apprenticeships and vocational training and ensure that more of this money is targeted at areas like Cornwall where wages are low. We would reform Universal Credit so that people can claim it more quickly when they're out of work and keep a bigger share of it when they're in work. Disability benefits would also be reformed from the current undignified system of assessments by private companies. These changes will remove the fear factor faced by so many people in the current system.
We would also provide more security for those on flexible hours contracts by setting a 20% higher minimum wage for people on zero-hour contracts to compensate for fluctuating hours of work.
Unemployment has more than halved in South East Cornwall since 2010. This is as a result of the hard work of many small businesses throughout the constituency and I thank them for this.
Businesses are the drivers of this country's success – creating jobs, increasing consumer choice and paying the taxes that fund our public services.
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As we leave the European Union we will make the UK the best place in the world to set up, grow and run a business by keeping taxes low, expanding free trade and investing in new infrastructure to help businesses move their products and services around the country.
By championing and supporting business, seizing on our strengths as a centre of innovation and free enterprise we can provide more opportunities for people across Britain and get our country back on the road to a brighter future.