text:
Management of Congo's non-timber forest products starts with und ...
Bringing the genebank back to the field: researcher argues for on-farm conservation
Farmers help tiger conservation efforts in India
Management of Congo's non-timber forest products starts with understanding trade
Defining stakeholders and value chains first step in sustainable management.
Melati Kaye
Management of intact forestlands by Indigenous Peoples key to protecting climate
Forest science for the future: Back to the drawing board?
Life lessons: Teaching conservation and celebrating culture in Guyana
Supporting Indigenous peoples to restore the balance between wildlife and food security
Congo Basin - HYDERABAD, India (30 October, 2012)_The first step to managing bushmeat and other non-timber products taken from the Congo Basin forest is to understand the market, a scientist said, noting that while this informal, often illegal trade accounts for up to 80 percent of household incomes, data is still needed in order to make informed decisions.
Robert Nasi, a scientist with the the Center for International Forestry Research, made the comments during a presentation at an Observatoire des Forêts d'Afrique Centrale side event at the 11th Conference of the Parties on the Convention on Biological Diversity in Hyderabad, India.
He focused largely on bushmeat.
The Congo Basin forest spans 1.6 million square kilometres and is home to 75 million people — making it nearly half the size of the Amazon with four times the population density, he noted. And research shows, the 4.5 million tonnes of the wild game consumed annually by those living in and around the forest can account for more than three-quarters of all protein intake.
Many believe the only solution is to find sustainable ways to manage the harvest and trade. But with a very limited understanding about the market, that's nearly impossible.
"If you don't know the resource and the demand, you cannot manage it," said Nasi, who is also the director of the CGIAR Program on Forests, Trees and Agroforestry.
And bushmeat is not the exception.
The same can be said for all non-timber forest products (NTFP) — which can include anything from nuts, fruits and mushrooms to barks, charcoal and fuel wood.
In addition to subsistence use, these products represent 17 percent to 67 percent of all trade in the Congo Basin.
Non-Timber Forest Products: contribution to national economy and sustainable use in the Congo Basin from CIFOR
To get an idea about how vast the market is, one need only consider this: The capital city on the Democratic Republic of Congo, Kinshasa, consumes 4.5 million cubic metres of wood for cooking purposes: an amount that dwarfs national official timber production (less than 400,000 cubic metres in 2010)
So what are some of the issues?
For one, Nasi said "it is very difficult to manage products that move and/or don't belong to anyone, such as wildlife, fruits or barks."
Another issue lies in the NTFP value chains themselves. Currently trade of these products is widespread but as most of it is informal or illegal it doesn't enter national accounting systems and hence is largely overlooked.
It's a "free-for-all," said Nasi.
"A classic example of the tragedy of the commons."
"There is bad governance, the influence of the elites and corruption, as well as the lack of motivation of many players to do something about it."
So what are the solutions?
Nasi says the first step is to define the stakeholders in the NTFP value chains, including those creating a large demand for the products outside the forest areas. Scientific methods need to be employed to quantify the amount of non-timber products being used.
"Right now we don't know how to measure sustainable harvesting of rattan or hunting for bush meat," Nasi said.
It's important, too, to recognise that a ban on these products is not an option.
"If you ban or stop the use of these products, you create a problem for livelihoods, particularly for women," said Nasi referring to the high proportion of women and children involved in the trade in non-timber products.
"If NTFPs get scarce, it means more time away from the house collecting and gathering and less time looking after household."
Women especially need to be considered in the debate about bushmeat policy because they tend to re-invest money back into their households.
Their husbands, on the other hand, "often invest in non-essential goods".
Roland Melisch, Director of TRAFFIC's Africa & Europe programmes, was presenting at the same meeting,
He reminded the audience that bushmeat can be anything from primates to terrestrial vertebrates like turtles, snakes, birds and medium sized mammals.
"Bushmeat harvest and trade is considered a crisis among those in the Western Hemisphere," he said noting that they often look only at chimpanzees, gorillas and bonobos.
"But these are not the only fauna "used" or consumed," he said, adding that this protein source was particularly important to rural populations.
"For farmers who don't raise cattle and chicken, [eating and participating in the bushmeat trade] this is about survival."
CIFOR's research and recommendations on the sustainable management of bushmeat were recently submitted by an advisory body that assesses the status of biodiversity around the world and then accepted by the Convention of Biological Diversity (CBD) as part of the CBD's mandate to improve sustainable use of biodiversity in a landscape perspective.
The recommendations will provide guidance to policy makers, NGOs, and practitioners working in conservation and development on how to sustainably manage bush meat resources.
The Forests of the Congo Basin - State of the Forest 2010
Non-timber forest products from the cloud forests of the Cameroon highlands
Topic(s) : Wildlife Food & diets Bushmeat
Keyword(s) : bushmeat CGIAR Research Program on Forests Trees and Agroforestry commons Congo Basin Convention of Biological Diversity COP11 markets non-timber forest products Robert Nasi Roland Melisch wildlife
Location: Congo Basin
More by Melati Kaye
Small businesses band together to meet high cost of Indonesia's timber certification scheme
Missing trade records signals threat to Mozambique's Miombo woodlands
See all stories by Melati Kaye
More in Wildlife or Food & diets or Bushmeat
How safe are our wildlife sanctuaries?
On the Menu: Forests
Grubs in tubs: Cameroon's larvae love just got so much better
What's on CIFOR's holiday reading list?
See all on Wildlife or Food & diets or Bushmeat or The Congo Basin: The State of the Forest
3 responses to "Management of Congo's non-timber forest products starts with understanding trade"
Tim Upham says:
The problem is the reliance on bush meat. With an increasing population, and easier access into the forest, because of logging roads, the pressure on wildlife will be so great, that wildlife populations will not be able to keep up. So alternatives will have to be found for bush meat, such as the farming of blue duikers. This can reduce the pressure on wildlife populations to provide bush meat.
Farming blue duikers in DRC will not work against bush meat…..
you cannot replace the consumption of bush meat by farming animals (wild ones or domesticated). A lot of the consuption of bush meat in DR Congo cannot be classified as luxury consuption as in in other parts of Africa (ie West Africa). Bush meat consumption is still in most parts a simple need for protein. In this country a live animal (living) is worth so much more money that as long as there is wild animals to kill the meat from them will be cheaper and therefore always in demand.
Somehow one has to make bush meat more expensive or the strategi will alwyas fail.
Furthermore, farming animals like blue duikers is really "crossing the stream to get the water"…we have many good domisticated species that would be far better to invest in
When it comes to domesticating wild African mammals, at least the blue duiker is a process that has already begun. It has already begun with eland as well, but more so in southern Africa, especially with the eland's milk production, and for Africans in the southern part of the continent, milk is consumed more than in equatorial Africa. As for invertebrate species, there is the giant African land snail. But what they like to do with them, is collect them and ship them off to France. Because they can make money off of them. So this goes back to your argument, that food production has to be tied into making money off of it.


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text:
Lincoln Springs Project
Julia Creek Project
Ashburton Cobalt Project
Morabisi Lithium / Tantalum / Rare Earths Project
Coals to Liquid Project – OHD
Share and Option Capital
Half Year Reports
Induction procedures
Audit & Risk Management Committee Charter
Remuneration & Nomination
Gerard King | Chairman
Gerard King graduated in law from the University of Western Australia, then after articles with Sir John Lavan, was admitted as a solicitor in 1965. He became a partner in the law firm Lavan & Walsh, senior partner in 1978. In 1985 the firm became Phillips Fox Perth (It is now Lavan Legal).
Gerard practised law in the areas of commercial contracting/property, banking/finance, revenue/tax, corporate and ASX compliance and mining law. He taught part-time at UWA law school for 5 years, joined the Taxation Institute, and the Australian Mining & Petroleum Lawyers Association, served on the Law Society of WA and its committees. Gerard was involved in the management of his law firm from 1968 to 1991. He retired from the firm in 1997.
He has been a director of a number of listed public companies including Australian Mining Investments 1983 to 2002, and is currently Chairman of Directors of ASX listed Astron Limited. He was honorary chairman of the WA St.John Ambulance Service Board, 1987 – 1996, then honorary Chairman of the WA St. John Ambulance State Council until retiring in 2016.
Gerard and his family have beneficial interests in 163,477,516 Greenpower shares and 10,000,000 Greenpower share options.
Cameron Mclean | CEO & Managing Director
Cameron McLean has more than 20 years' experience leading and managing a range of commercial activities, including co-directing London business, iBase Limited in the geo-technology sector and as CFO at Snowden Mining Industry Consultants, Kagara Limited and Atrum Coal. Mr McLean has a background in accounting and finance with experience originating at Western Mining in Melbourne. Mr McLean is the founder and major shareholder of the mining investment platform, Mineral Intelligence. Through Mineral Intelligence Mr McLean has facilitated over $100M in mining transactions over the past 5 years. Mr McLean identified, secured and introduced the cobalt and vanadium projects through Ion Minerals of which he is Managing Director.
Alistair Williams | Non-Executive Director
Alistair Williams is an experienced London based finance executive with a background in natural resources as a result of management roles undertaken at BG Group and Rio Tinto. His last major corporate role was Deputy CFO at BG Group where, in addition to running the Finance function for the Group, he was also Chair of the Investment and Energy Trading and Risk Committees. Since leaving the large corporate world in 2011, Mr Williams has pursued a successful career as an entrepreneur and private investor in early stage companies and has developed a diversified portfolio of investments in natural resources, life sciences and IM technology. In Australia, he has served as a Director of Ion Minerals since inception and has also been a Director of Goldfield Argonaut Pty Ltd since 2015. Goldfield Argonaut recently concluded the sale of its interest in the Mulwarrie gold exploration licence to Spitfire Materials.
Simon Peters | Non-Executive Director
Mr Peters is a mining executive working for both contractors and exploration/mining companies in both hard and soft rock mining industry. He has 12 years in management positions across 3 continents (Africa, Australia & Asia) in 3 main commodities (Iron Ore, Gold and Industrial Minerals), covering all sections of the exploration & mining development process, including large scale and complex feasibility studies, stakeholder engagement, permits and approvals.
More recently he was project executive for a ASX listed entity Astron Ltd and a director of 3 subsidiaries including a joint venture subsidiary involved in funding and commissioning an African mineral sands operation and gold exploration programs. He has gained experience in production of industrial minerals, chemicals, iron ore and gold and has held senior operational and management positons within Rio Tinto and Henry Walker Eltin. He holds a bachelor of engineering (mining) with Honors from Federation University Australia and an unrestricted WA quarry managers certificate.
Simon is Managing Director of the currently listed public gold exploration company E2 Metals Ltd, and a partner of Sustainable Project Services which provides strategic & technical management consultancy advice to government, mining and agricultural sectors.
Simon and his family have beneficial interests in 75,000 Greenpower shares and 3,000,000 Greenpower share options.
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text:
www.common-place.org · vol. 3 · no. 3 · April 2003
Benjamin Reiss is assistant professor of English at Tulane University. He is the author of The Showman and the Slave: Race, Death, and Memory in Barnum's America (Cambridge, Mass., 2001). He is currently at work on a cultural and literary history of nineteenth-century American insane asylums.
"As white fascination with black actors imitating white theatrical performances began to give way to the more racy thrills of minstrelsy, Hewlett found diminishing interest in his act as 'Shakespeare's proud representative.'"
Black Shakespeareans in Old New York
Shane White, Stories of Freedom in Black New York. Cambridge: Harvard University Press, 2002. 260 pp., cloth $27.95.
Review by Benjamin Reiss
The story most often told of African Americans in nineteenth-century American theater is of the appropriated black forms and caricatured black behaviors that fueled the rise of the blackface minstrel show in the 1830s and 40s. In recent decades, historians and cultural critics have mined minstrelsy to show, among other things, its reflection of Northern racism, its egalitarian undertones, its meanings within the white working class, its commercialization and co-optation by cultural entrepreneurs, its European origins, its African origins, its urban origins, its plantation origins, its complex musical structure, its status as "noise," and its influence on everything from Mark Twain to vaudeville to Mickey Mouse and M.C. Hammer. Amidst all this argumentation and critical play, the one thing that has been taken for granted is that an Africanist presence on the stages of America emerged through the distortions of white actors in grease and burnt cork.
Now along comes Shane White to tell us that blackface minstrelsy actually supplanted a vital–if not fully realized–tradition of black actors seizing hold of the European theatrical tradition, mimicking and even one-upping the greatest white actors of the day. The focus of his elegant, beautifully researched, and compellingly sad (though misleadingly titled) new book is the African Company, a troupe of African New Yorkers who took to the stage before mixed-race audiences in the 1820s. In recounting their minor triumphs and especially their failures in the face of overwhelming obstacles, White provides a genuinely stirring counterpoint to all the mockery and exploitation of the minstrel acts that would follow.
The story begins not with the Company's debut of Richard III on September 27, 1821, but in 1799, when the New York State Legislature passed an act that brought about the gradual emancipation of slaves. This "glacial" process, which initially only "liberated" slaves born after the passage of the law by placing them in a form of indentured servitude, was eventually revised in 1817 so that all slaves would be emancipated by 1827. The African Company's career began, then, in a time of great hope for the city's burgeoning black community. But as White sets the stage for their debut, he also shows that this transition to freedom had unstable and even dangerous meanings for blacks. As newly freed local blacks were joined by fugitive slaves from the South and by immigrant blacks from around the Atlantic rim, they competed for jobs previously held by whites and established an assertive, often defiant, culture that flourished in the streets. Black New Yorkers' freedom and their attainment of a degree of cultural autonomy, however, brought a serious backlash from whites, who frequently mobbed black institutions and even took sporadic measures to rid the city of its perceived black menace. These included several apparently successful schemes to transfer blacks convicted of vagrancy and other minor offenses to virtual enslavement on plantations in the South and the West. Add to this the constant threat of kidnapping, the emerging Jim Crow laws, and the scant opportunities for blacks' economic advancement, and it is difficult, as White remarks, "not to be impressed by the vitality of urban black life" (67).
The emergence of the African Company represents both the possibilities and the danger of this moment for African New Yorkers. It was founded by William Brown, a black former ship steward and tailor who was the proprietor of African Grove, a tea garden that catered to blacks who were excluded from elite white establishments and wanted a space to pursue the same cultural and gustatory delights as the whites had. African Grove, tellingly, was quickly shut down by the authorities, but Brown decided to turn the space into a theater. But apparently seeking more white clientele, he soon moved the performances to a rented hall in the Hampton Hotel, next to the successful Park Theater. The Park's managers were not amused by these upstart competitors, and within six months, one riot temporarily shut them down, and another saw Brown and an actor in his company badly beaten in their new home on Mercer Street. Brown blamed the Park's agents for this violence; but the case of the Park was taken up by the well-known newspaper editor and playwright Mordecai Noah, whose frequent sneering reviews of the African Company were perhaps the best publicity the troupe ever had. In apparent retaliation, the African Company chose for its next play a work by Noah himself, a disastrous early work called The Fortress of Sorrento that had never before been performed. White doesn't say so, but it seems safe to assume that they deliberately butchered it.
Although the African Company lasted only through 1824 (with a brief revival in 1828-29), its principal actor, James Hewlett–a former servant of two English actors who had toured the U.S.–carried their torch through the rest of the decade. Without the structure of a theatrical company to support his enormous talent, and apparently barred by prejudice from working with white actors, Hewlett developed a one-man show that won him considerable fame, and also considerable mockery (especially from Noah). Incorporating popular songs, arias, Shakespearean monologues, and–most famously–impressions of famous actors into his routine, Hewlett became a genuine celebrity, one of the two most famous African New Yorkers of the time. (White also claims that he is an unacknowledged progenitor of the one-man show in America, ranging from Lenny Bruce through Anna Deavere Smith and Richard Pryor. This is something of a stretch; perhaps a more apt analogue would be the pre-political stage career of Paul Robeson, who, a century later, would make further inroads into elite European and musical spheres.) Along the way, Hewlett turned the tables on numerous detractors, including the famous English actor Charles Mathews, who spoofed Hewlett's performances after seeing him perform in New York, and Mordecai Noah, who continued his perverse fascination with black theatricals. Somehow managing to convince Noah to publish his retort to Mathews, Hewlett quoted Shakespeare back at the renowned tragedian, offering Desdemona's love for Othello as proof that Shakespeare would never ridicule blacks, and concluding poignantly that "he is our bard as well as yours" (133).
That Shakespeare was not his is cruelly reinforced by the story of Hewlett's demise. As white fascination with black actors imitating white theatrical performances began to give way to the more racy thrills of minstrelsy, Hewlett found diminishing interest in his act as "Shakespeare's proud representative." He attempted to remain in the public eye by turning increasingly to music and dance, but eventually he was reduced to exhibiting himself under the effects of laughing gas in the New York Museum in 1830. From there, White is able to trace him only in the court records and crime news of New York papers, where he emerges as a pickpocket and confidence man–apparently teaming up with a white woman whom he married. In this final New York episode, White writes, Hewlett apparently made use of "his verbal dexterity, his actor's poise and his mastery of mimicry" to fleece whites when the legitimate stage ceased to be an option (177).
The book's final chapter is a somewhat out-of-focus account of cultural borrowing, racial passing, and mistaken racial identity in New York. The stories White tells here are meant to explore the issues of impersonation and cultural hybridization outside the doors of the theater, but the effect is nearly to lose the main thread altogether. In an epilogue, though, White returns us to Hewlett, who–faced with T.D. Rice's meteoric blackface career as well as his own legal troubles and the notoriety surrounding his mixed marriage–opted for exile from New York. He put on a few shows in Trinidad, where he performed scenes from Othello and sang the "Banner of the Battle," and the "Marseilles Hymn." "What a spectacle," White writes: "a black man, an African New Yorker" performing this range of material "on a stage in Port of Spain, before an audience of British colonial officials, French planters, and newly freed blacks. Indeed, this is a fine example of the cross-cultural possibilities attendant on slavery's slow demise in the Atlantic World" (222).
And yet the story of Hewlett and his fellow players may seem to us less cross-cultural than assimilationist. There were a few instances in the African Company's history in which the troupe daringly portrayed scenes of slave life; and the interludes of music and dance in their typical performances seem to have incorporated "dynamic, unruly music and dance forms that anachronistically we can label as 'hot'" (98). But as Hewlett moved on to his solo career, there is almost nothing–other than his limited partnership with the pioneering black musician Frank Johnson–that suggests a conscious attempt to fuse European forms with either African ones or the uniquely hybridized accents of black culture in the Americas. And so this episode may come across as a kind of cultural dead end, in which a black man in a rabidly racist culture tries to assert that the culture that excludes him is his. But Stories of Freedom presents another way of looking at it. Whites were claiming, in the 1820s as now, that Shakespeare's work was an exemplar of universal human values, and it seems that the black performers in White's tale wanted to test them at this claim. African New Yorkers, after all, wanted not just freedom, but everything the whites had: their public spaces, their fine clothes, their tea gardens, their opportunities for fame and self-transformation, and their supposedly superior cultural treasures. More than anyone since the poet Phillis Wheatley, James Hewlett demonstrated to a white audience that African Americans could not only appreciate, but actually produce and reproduce such treasures. Wouldn't it have been better, Shane White's book prompts us to ask, if white Americans had taken more seriously the accomplishments of Hewlett than of T.D. Rice?
Discuss this article in the Common-place Coffeeshop
Copyright © 2003 Common-place The Interactive Journal of Early American Life, Inc., all rights reserved


text:
Q: New users automatically following all users I'm building a fake social network for a project in Django. I've implemented allowing users to 'follow' others if desired (or none at all if they choose). But so far every time I create a user, that user automatically 'follows' all other users in the database. I do not know how to fix this.
Here is the model:
class Profile(models.Model):
    user = models.OneToOneField(User, on_delete=models.CASCADE, related_name='profile')
    bio = models.CharField(max_length=200, blank=True)
    followers = models.ManyToManyField('Profile',
                                       related_name="followers_profile",
                                       blank=True, symmetrical=False)
    following = models.ManyToManyField('Profile',
                                       related_name="following_profile",
                                       blank=True, symmetrical=False)
    avatar_thumbnail = ProcessedImageField(upload_to='profile_images',
                                        processors=[ResizeToFill(320, 320)],
                                        format='JPEG',
                                        options={'quality': 40},
                                        blank=True)
    feed_type = models.CharField(max_length=8, choices=GENDER_CHOICES,
                                    default='Both')

    # @receiver(post_save, sender=User)
    # def create_user_profile(sender, instance, created, **kwargs):
    #     if created:
    #         Profile.objects.create(user=instance)
    #
    # @receiver(post_save, sender=User)
    # def save_user_profile(sender, instance, **kwargs):
    #     instance.profile.save()

    def get_number_of_followers(self):
        if self.followers.count():
            return self.followers.count()
        else:
            return 0

    def get_number_of_following(self):
        if self.following.count():
            return self.following.count()
        else:
            return 0

    def __str__(self):
        return self.user.username

Here is the View that constructs User and Profiles and the form that processes user creation data:
def signup(request):
    form = UserCreateForm()

    if request.method == 'POST':
        form = UserCreateForm(request.POST)
        if form.is_valid():
            form.save()
            user = User.objects.get(username=request.POST['username'])
            user_profile = Profile(user=user)
            user_profile.save()

            new_user = authenticate(username=form.cleaned_data['username'],

            password=form.cleaned_data['password1'])
            login(request,new_user)
            return redirect('index')
    return render(request, 'userapp/signup.html', {
        'form': form
    })

Here's the UserCreationForm:
class UserCreateForm(UserCreationForm):
    email = forms.EmailField(required=True)

    class Meta:
        model = User
        fields = {"username", "email", "password1","password2"}

    def save(self, commit=True):
        user = super(UserCreateForm, self).save(commit=False)
        user.email =self.cleaned_data["email"]
        if commit:
            user.save()
        return user

redpajama_set_name: RedPajamaStackExchange


text:
Avon in North America gets a new name: The Avon Company
© Getty Images \ (HAKINMHAN)
Related tags: LG Household & Healthcare, Avon, North america
Previously known as New Avon, the North American business hopes to focus attention away from recent corporate history and toward the 135 years of success the brand has in this region.
"Our name has changed to more clearly represent our vision and provide a more independent front as we continue to grow and build upon the business," says CEO Paul Yi, in this week's media release about the name change.
And, says, Yi, "It better captures Avon's diverse array of brand and product offerings such as belif, Mission Luxereve, CHI, Physiogel, and Daily Essentials home products."
The Avon Company and Avon Products are not the same
In late 2015, Avon accepted a sizable equity investment from Cerberus Capital Management that meant the North American Avon business would effectively be a separate entity going forward, as Cosmetics Design reported. The main company continued on as Avon Products, and in 2017 moved its headquarters to the UK.
Then in 2019, Korea – based LG Household & Health acquired New Avon. (The previous year, LG H&H acquired Avon Japan.) At the time, Suk Cha, CEO of LG Household & Health Care, summarized the company's thinking on the deal saying, "We recognize Avon North America's strong brand, leading market position in the region, and talented employees and Representatives. Avon North America's innovative social selling model builds deep connections with customers and we are excited to leverage this as we continue to expand," he said.
And Suk Cha added, "We look forward to building on Avon North America's success to drive customer engagement and long-term growth in this market." Read more about LG H&H's acquisition of New Avon here on Cosmetics Design – Asia.
Avon reclaims its place in the North American beauty marketplace
In late 2020, LG H&H made headlines and shocked industry insiders by opening an on-trend Avon flagship retail store and beauty education space in Los Angeles, California. The two-level, 19,000 square-foot store is a space for Avon customers, representatives and curious beauty consumers to connect, and of course to buy product—and not just from Avon brands but from LG H&H favorites too, like The History of Whoo.
Now, as 2021 gets underway, the company has announced a formal name change. What was New Avon is now The Avon Company. "The new name is effective immediately and kicks off Avon's 135th year in business. The former name was a by-product of corporate restructuring and will be officially retired," explains Monday's media release.
Without sharing any real insight into what the company's future in this region holds, The Avon Company release notes that it will bring new products to market this year and continue "the proud history of empowering women through economic opportunity and entrepreneurship."
Related topics: Business & Financial
Women now outnumber men on Coty's Board of Directors
LG H&H continues North American retail expansion with K-Beauty flagship in Richmond, British Columbia
Avon to launch skin care for women in menopause
New Avon teams up with Gyrl Wonder


For many, women's boxing should not exist, which I radically rule out. Many believe that the ladies do not offer good same show, and I have to disagree on that too.
I defend women boxing not because I am a woman, but as an option. I believe it is a free choice for many to progress and emerge, to work and to do what she want not harming anyone.
The problem I do see in women boxing is that there are not the same amount of quality fighters to give a good show. Although that quality concept may defer from each other, but the situation is that they do not fight as much as they want because that lack of available opponents.
Recently, we saw the WBA featherweight champion Ogleidis "La Niña" Suárez who had to fight for the second time with the Colombian Liliana Palmera. There was a lot of criticism for this second fight in a raw, and people thought it will not be a good fight.
It turned out different, it was a great fight. Even though Suarez has some defense faults that she knows them, we could see a more technical fighter. She might not look in TV as well as in live, but as always there will be criticism.
The truth is that in feminine boxing we will see very often that they had to fight the same opponent several times, or that they request special permit to fight not ranked boxers putting off their mandatory defenses. The reason is that there are not enough quality boxers.
There are many talented boxers, very capable, resourceful and skillful boxers who hold world championship belts, or are about to fight for them. But let's be honest we can also find very boring boxers who make a professional fight look like a dispute for a lost husband.


We baptize new followers of Christ by immersion in water, which was the way Jesus was baptized and the way the Bible describes baptism. Baptism is a word that means to immerse or to dip. Jesus was fully immersed in water as a sign of submission to God and His followers were later immersed in water as a sign of trusting in Jesus. We baptize new followers of Christ by fully immersing them in water, in the name of the Father, the Son and the Holy Spirit – in the name of Jesus.
Water baptism declares publicly what has happened privately. At King's Park, we have water baptism every first and fifth Sunday of the month.
If you prayed this prayer, we would like to celebrate with you! Please submit your name and email address below and let us know if you would like someone to contact you.


For our event photos, please see our Photo Gallery page.
ELS and CBLA Welcome Cravath and Allen & Overy!
Join us for our annual spring hike on Saturday, April 14th! Contact els@law.columbia.edu for more information.
In the wake of the election results, legal action at the state level to fight climate change is more important than ever. The Sabin Center for Climate Change Law is seeking volunteers to help compile a database of actions undertaken by state attorneys general (AGs) to advance environmental law and policy within their respective states. The database will be posted online at StateAG.org – a website aimed at educating state AGs and other stakeholders about the role that AGs can play in the U.S. legal system, and helping them initiate lawsuits and other legal actions.
Student volunteers will identify examples of environmental actions undertaken by state AGs, compile relevant resources (such as press releases and case documents), draft summaries of each example, and organize these into a user-friendly database. They will work under the supervision of Sabin Center Faculty Director Michael Gerrard and Staff Attorney Jessica Wentz. The project will likely be eligible for pro bono credit (but please confirm with the public interest office). Work can be carried out during winter break or afterwards.
To volunteer for the project or request additional information, please contact Jessica Wentz, jaw2186@columbia.edu. Please also let Jessica know if you can't take on this project but are interested in learning about other volunteer or summer internship opportunities at the Sabin Center.


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Photo: Tim Mosenfelder/WireImage.com
Report: Hip-Hop Leads In Listeners hip-hop-reigns-king-cardi-b-lil-uzi-vert-explode
Hip-Hop Reigns King As Cardi B, Lil Uzi Vert Explode
Recent figures reveal R&B/hip-hop is now the top genre when it comes to music consumption
The results are in: R&B/hip-hop bests all other genres when it comes to music consumption.
This marks the first time since Nielsen began tracking the music industry back in 1991 that hip-hop is king, Billboard reports. The tipping point may have been recent megahits. Cardi B's "Bodak Yellow," Lil Uzi Vert's "XO Tour Llif3" and DRAM's "Broccoli" have all made a dent in the charts this past year, largely thanks to streaming, and now the numbers are really adding up.
DRAM Talks Favorite Kendrick Lamar Tour Off-Day
"That Cardi B song is everywhere, and it started because people just like it," says Ibrahim "Ib" Hamad, J.Cole's manager and Dreamville Records president. "Nobody can tell you what to like anymore. If people love a song, you'll see those numbers."
Just as many were surprised by the popularity of country music when Nielson first illuminated the music industry in 1991, these latest ratings numbers on streaming reveal the modern reality of hip-hop's dominance. Naturally, this information will influence how labels move forward.
"Streaming was just a big reveal of what was already happening," says Ethiopia Habtemariam, Motown Records president and president of urban music/co-head of creative at Universal Music Publishing Group. "[But] I don't think people were equipped to handle it. Now I see [companies] hiring a lot more people that come from the culture."
At 25.1 percent of total music consumption, a full 7 percent ahead of rock in second place, hip-hop is officially king.
Read More: Taylor Swift Sends Cardi B Flowers
Photo: Astrid Stawiarz/Getty Images
What's Q-Tip's New Role At The Kennedy Center? q-tip-takes-role-kennedy-center-institutionalize-hip-hop
Q-Tip Takes On Role At Kennedy Center To "Institutionalize Hip-Hop"
The smooth voice from A Tribe Called Quest seeks to bolster the culture and art of hip-hop in new artistic director position for the Kennedy Center
Oct 9, 2017 - 6:13 pm
Hip-hop culture has emerged as perhaps the most prolific, disruptive and important movement of the last 50 years. Now, the Kennedy Center has recognized this by naming A Tribe Called Quest co-founder Q-Tip as the first-ever artistic director for hip-hop culture.
"I think it's a great opportunity for this country in a lot of different ways," Q-Tip told NPR. "It would be great to see the Mormon family from Utah running into a family from Harlem, African-American family, and they both are looking at something or sharing something about hip-hop whether it be like a Tupac display or a Grandmaster Flash DJ mix, and they see that they have something in common. The church of the arts, it's a great idea."
https://www.instagram.com/p/BZ7jNBmhJek/?taken-by=kennedycenter
One last look at @qtiptheabstract kicking off our first #KenCenHipHop season with @thejasonmoran. An incredible night in our new Terrace Theater. #kennedycenter #hiphop #dchiphop 📷 @jatiphoto
A post shared by The Kennedy Center (@kennedycenter) on Oct 6, 2017 at 7:43pm PDT
Q-Tip performed recently for a special one-night only show with Jason Moran to usher in the hip-hop era at the Kennedy Center. With Tip now in the creative driver's seat, there's no limit to how the arts organization can honor hip-hop music and culture.
Exclusive Interview: CyHi The Prynce On Kanye Brainstorms, Lil Wayne Tour, "Nu Africa"
Poll: Who Will Win Best Rap Performance? poll-who-do-you-think-voters-will-pick-best-rap-performance-2020-grammys
Poll: Who Do You Think Voters Will Pick For Best Rap Performance At The 2020 GRAMMYs?
J. Cole, J.I.D., Bas, EARTHGANG, Young Nudy, DaBaby, Nipsey Hussle, Roddy Ricch, Hit-Boy, Offset and Cardi B are all in the running for Best Rap Performance at the 62nd GRAMMY Awards—tell us who you think will win!
And the Best Rap Performance GRAMMY goes to…
We'll have to wait until the 62nd GRAMMY Awards on Jan. 26, 2020 to find out how the sentence will be completed, so, for now, let's revisit the talented artists and fire tracks that are currently nominated for Best Rap Performance. Take the poll below to pick who you think Recording Academy voters will select as the winner, and read on to learn a bit more about the songs and artists in the running, which include J. Cole, J.I.D., Bas, EARTHGANG, Young Nudy, DaBaby, Nipsey Hussle, Roddy Ricch, Hit-Boy, Offset and Cardi B.
Who Do You Think Voters Will Pick For Best Rap Performance?
"MIDDLE CHILD," J. Cole
"Suge," DaBaby
"Down Bad," Dreamville Feat. J.I.D, Bas, J. Cole, EARTHGANG & Young Nudy
"Racks In The Middle," Nipsey Hussle Feat. Roddy Ricch & Hit-Boy
"Clout" Offset Feat. Cardi B
Former 2012 Best New Artist nominee J. Cole has become one of the biggest names in hip-hop over the past decade, and with his talent-rich Dreamville Records imprint, is bringing many younger rappers up with him. This past January, the North Carolina legend released "MIDDLE CHILD," which would serve as a lead single to the Dreamville compilation album, Revenge of the Dreamers III, released later in the year, on July 5.
Not only is Cole up against himself in this category, as "Down Bad" is also nominated, he and the Dreamville squad are also up for Best Rap Album for Revenge of the Dreamers III.
Related: Find Out Who's Nominated For Best Rap Album | 2020 GRAMMY Awards
Following a series of mixtapes, first-time GRAMMY nominee DaBaby, also from North Carolina, released his debut studio album, Baby On Baby, this past March. It was indeed a huge year for the rising rapper, as not only was his album well-received, but he also saw viral success with its single, "Suge," and he was featured in XXL's 2019 Freshman Class. He also served up several high-profile features, including for remix versions of both Lizzo's "Truth Hurts" and Lil Nas X's "Panini."
"Suge," whose title is a reference to Death Row Records co-founder Suge Knight, is also nominated for Best Rap Song, a songwriters' award.
"Down Bad" was released on June 12, 2019, one week after Revenge of the Dreamers III finally dropped, as its next single. As the album itself is a product of the collaboration of many artists, the majority who are signed to Cole's Dreamville label, this track is a shining example of both a solid rap posse cut and the collab-led album.
"Down Bad" features J.I.D., Bas, EARTHGANG—all of whom are on Dreamville, Young Nudy and Cole himself, who offers his flow to a bulk of the LP's 18 tracks.
Another Poll: Who Will Win Best Pop Vocal Album At The 2020 GRAMMYs?
"Racks In The Middle," was the last empowering single Nipsey Hussle released before we lost the Los Angeles icon this spring. The track features emerging L.A. rapper Roddy Ricch, another XXL Class Of 2019 inductee and GRAMMY-winning producer Hit-Boy. Like "Suge," "Racks In The Middle" is also both up for Best Rap Song.
The late, great Hussle is also up for a third nomination this year, for DJ Khaled's track "Higher," which also features vocals from John Legend and was released after Hussle's death. At the 61st GRAMMYs earlier this year, the hip-hop hero received his first GRAMMY nomination for his long-time-coming debut studio album, Victory Lap.
Hip-hop powercouple Offset and Cardi B slayed at the 2019 GRAMMYs this past February. Not only did they look fly on the red carpet, they shared a major moment onstage earlier this year when Cardi took home her first golden gramophone, for Best Rap Album for her 2018 killer debut studio album Invasion Of Privacy.
Later that month, Offset released his first solo album, FATHER OF 4, the final Migos' member to release their solo project. The album's second single, "Clout," features none other than Cardi B, who adds a big dose of bad b***h attitude to the track and music video.
Stay tuned to GRAMMY.com (sign up for our weekly newsletter digest above!), our social media channels (follow us on Facebook, Instagram and Twitter), YouTube page, to keep up on all things 2020 GRAMMYs. And don't forget to catch the big show live on CBS on Jan. 26, 2020.
Find Out Who Just Made History With Their GRAMMY Nominations: 2020 GRAMMYs By The Numbers
Cardi B Pushes Against The "Press" In New Video cardi-b-pushes-back-against-press-nsfw-new-video
Cardi B Pushes Back Against The "Press" In NSFW New Video
The track is the GRAMMY-winning rapper's second single of the year, both of which follow her GRAMMY-winning debut studio album, 'Invasion Of Privacy'
Today, GRAMMY winner Cardi B released the music video for "Press," her second single of the year, which she dropped on May 31. The gritty, NSFW visual was directed by Jora Frantzis, who also led the rapper's "Money" video, and features a well-dressed (and sometimes not-dressed, yet semi-censored), vindictive Cardi murdering a lot of people.
PRESS MUSIC VIDEO OUT NOW !!! Tell me what ya think !!!! https://t.co/LnrXZ3DaTK
— iamcardib (@iamcardib) June 26, 2019
The new video follows her performance of the song at the BET Awards on June 23. Offset and Cardi opened the show with "Clout," their collab on his Father Of 4 album, as she delivered her verses while giving him a lap-dance and then took center stage for "Press."
Cardi took home two BET Awards that night, for Best Female Hip-Hop Artist and Album of the Year for Invasion Of Privacy, her GRAMMY-winning debut studio album. Asserting their place as hip-hop's premier power couple, Offset also took home a win, for Best Group as one-third of Migos.
In February, at the 61st GRAMMY Awards, the rap queen made history as the first-ever woman to win the GRAMMY for Best Rap Album, also for 2018's Invasion Of Privacy. Shortly after the momentous win, she released her first single since the album on Feb. 15, "Please Me" featuring Bruno Mars.
She has yet to announce a follow up LP, but "Press" follows as her second new release of the year. In addition to her spot on Offset's track, the prolific rapper's other 2019 features include a spot on DJ Khaled's "Wish Wish," along with 21 Savage, and "Rodeo" by Lil Nas X.
Watch: YG Releases New Video "Hard Bottoms & White Socks"
Photo: Dan MacMedan/WireImage
Cardi B, Post Malone Among 2019 GRAMMYs Performers cardi-b-camila-cabello-post-malone-janelle-monae-more-perform-2019-grammys
Cardi B, Camila Cabello, Post Malone, Janelle Monáe & More To Perform At The 2019 GRAMMYs
Kacey Musgraves, Dan + Shay and Shawn Mendes also set to take the GRAMMY stage on Feb. 10 for Music's Biggest Night
The 61st GRAMMY Awards are beginning to come to life as the Recording Academy has announced the first group of artists to perform at this year's show. Current nominees Camila Cabello, Cardi B, Dan + Shay, Post Malone, Shawn Mendes, Janelle Monáe, and Kacey Musgraves will take the GRAMMY stage on Feb. 10.
JUST ANNOUNCED: @Camila_Cabello, @iamcardib, @DanAndShay, @PostMalone, @ShawnMendes, @JanelleMonae, and @KaceyMusgraves will be performing on Music's Biggest Night Feb. 10! ✨#GRAMMYs https://t.co/D2liFYM8X8
— Recording Academy / GRAMMYs (@RecordingAcad) January 17, 2019
Making her GRAMMY performance debut, Cabello received two nominations for Best Pop Solo Performance for "Havana [Live]" and Best Pop Vocal Album for her debut full-lenght, Camila.
Cardi B has five nominations this year, including Record Of The Year for "I Like It", Album Of The Year and Best Rap Album for her debut full-lenght, Invasion Of Privacy, Best Pop Duo/Group Performance with Maroon 5 for "Girls Like You" and Best Rap Performance for "Be Careful."
First-time GRAMMY nominees Dan + Shay are up for Best Country Duo/Group Performance for "Tequila," while fellow first-time nominee Post Malone received four nominations: Record Of The Year and Best Rap/Sung Performance for "Rockstar" with 21 Savage, Album Of The Year for Beerbongs & Bentleys and Best Pop Solo Performance for "Better Now."
Taking the GRAMMY stage for the first time, Mendes is nominated for Song Of The Year for "In My Blood" and Best Pop Vocal Album for Shawn Mendes.
Current two-time GRAMMY nominee Monáe is up for Album Of The Year for Dirty Computer and Best Music Video for "PYNK."
Two-time GRAMMY winner and current nominee Musgraves is up for four GRAMMY Awards, Album Of The Year and Best Country Album for Golden Hour, Best Country Solo Performance for "Butterflies" and Best Country Song for "Space Cowboy."
Hosted by Alicia Keys, the 61st Annual GRAMMY Awards will be broadcast live from STAPLES Center in Los Angeles in HDTV and 5.1 surround sound on the CBS Television Network, Sunday, Feb. 10, 2019, at 8:00 p.m. ET/5:00 p.m. PT.
Alicia Keys To Host the 2019 GRAMMY Awards


The more brains, the better the solution.
I'm a passionate lead product designer and researcher. I rally UX teams by running the Design Thinking process, strategy, standards, collaborative workshops, and user research. I take concepts through the entire design process, from understanding and ideation to flows, wireframes, prototypes, supporting dev's and measuring success. I inspire corporate companies and startups alike in B2C, B2B, and e-commerce by increasing your customer base, satisfaction and retention.
Reach out and let's grab coffee.


Got the update and had my first crash part way through the new event quest. Sat at a loading screen for 1-2 minutes then I thought I saw the Android not responding error message but the game crashed. When I went back in it recovered to the fight that it failed to previously load.
Check your 1* it should still be there. I think the update automatically drops it down to rank 1.
Can we get a better frame for the new profile pic?
iPhone overheating issues. Has anyone had an issue with their iPhone overheating as a result of upgrade?
With the next set of profile pictures, can we buy a Tier 1 Summoned Symbioid pic? I can't help but feel like something is missing from my life without him. I need to be able to see my favorite symbiote whenever I look at the top of my screen to be happy.
For a small cost of 500 units you can get collector with rare frame, and only a fraction of that, 150 units you can get new champions profile pic with gold frames.
I just started the new heroic event quest and noticed there are now nodes on non-bosses. I was wondering, was anything mentioned about this? I've tried looking through update notes, the forum, reddit and in-game mail, only to find nothing. Apologies if I'm overlooking it, but if there is mention of this, can someone help direct me towards it? I just don't recall ever seeing this on heroic difficulty and would like some clarification on the issue if possible. I'm really not a fan of this and think it's quite detrimental either way, as it really feels like the last few months the difficulty-to-rewards ratio has been horrendus, to say the least. Any help would be appreciated. Thanks and good luck playing.
You took off the game controller support. FIX IT! I have a neck injury and i paid money to play this game. I want it fixed, not excuses.
Is this just me? AI reaction time is much much faster than last version. Even the "stumbled time" after my combo, which used to got me a parry, is much shorter and I get hit instead of parry.
What will happen if u dont sell the 1* we got?
And power steal its weaker too!
I have tried looking for info on this and I am sorry if I have missed it in another thread; regarding the profile pics in the shop we have 60 days to purchase if we choose too.
If the current ones are not purchased will they return in future or once the 60 days are gone then they are gone forever?
I also think 60 days on the ones purchased for gold is a bit of a stretch - the time frames below would have made more sense.
Anyway it's mainly whether once they are gone from shop whether they will return in future that I want to know about.
When you guys will post the legendary from last month??
Usually 2 weeks or so after the Event ends.
I thought with the update the price for premium hero crystals for those who are uncollected would be 60 units. Not that I would them but the price hasn't changed.


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Lucas School Sustaining Fund (LSSF)
Due to the generosity of a Lucas High School graduate who lives in our school district,a Sustaining Fund (Fund) or Foundation has been established to benefit the Lucas Local School District. The money in this Fund is being held by the Richland County Foundation.This Fund provides an opportunity for any interested person, business, corporation, organization, etc., to make a charitable tax deductible, 501 (c) (3), donation to benefit the school district. Donations may also be made through wills or estates.
The purposes of the Sustaining Fund are to:
Benefit all students enrolled in Lucas Schools.
Strengthen Lucas Schools by funding programs which ensure excellence in the classroom.
Build a supplementary, non-tax base of financial support for Lucas Schools.
Create new resources for enrichment activities for all Lucas students.
Establish a closer tie between the community and Lucas Schools.
Establish creative partnerships between Fund donors and Lucas Schools.
Provide additional academic related support to teachers and students.
Provide a vehicle for Lucas Alumni to be involved with Lucas Schools.
Enhance Lucas Schools to attract businesses and people to locate in the Lucas School District.
Provide financial support for the longevity of the school district.
The Fund will be governed by a Board of Governors of the Lucas Local Schools Sustaining Fund. These nine dedicated Lucas residents will make decisions concerning how the Fund is used to promote the above stated purposes of the Fund. The Fund is not governed by the local Board of Education or school personnel.
The Richland County Foundation invests Fund money and gives final approval for the disbursement of any money from the Fund. The Fund is established via a legal documentThe Board of Governors of the Fund is seeking donors to build the principal in the Fund so that the educational projects may be funded by the interest earned. Charitable tax-deductible donations may be sent to:
Richland County Foundation
% Lucas Schools Sustaining Fund
Make checks payable to the Lucas Schools Sustaining Fund.
You may also go to the Richland County Foundaton website to electronically donate as well.


Guess it's time you know a little bit about her. On the outside she looks just like any ordenary college student, but the truth is that she is in fact one of Britan's top detectives. She is truly clever (a true genius of her generation) and has solved every case she has ever took - plus, she holds the reord of 37 cases solved in 24h (from were she got her nickname as "the one-day detective").
She dose not remember who her parents were, but she moved in with her "older brother" (not blod-related) at the age of 16 and since then she wished to be like him - he was the chif-inspector with the London police. When she was 18, he died at what she will leter discoved to be risques of the job, leaving her alone once again (in the papaers it said that he performed suicide by trowing himself off a abandoned building).
I know I make her life sound like a living hell, but if she wouldn't have gone trew all that she would never be the gilr she is today.
Most of the times she's fun, tends to wine and moves her arms a lot when explaining. When working with someone other then herself she askes a lot of questions that she already knows the answers to in hopes that her partner will find the answer on his own and not depend on her. She also is a good figter and has knolage in Asian battle tehniques (which she was taught by her current "secretary").
Anyway, you should expect to see more of her and some of my other characters quite soo. I'm shure you'll all love them.
caharcter and art (c) Jessica P.
The character is simply charming. It's realistic because it lacks the perfect anime like features. The idea with the pages is something I've never seen before, so congrats on another splendid creation.
Nice! I love the soft brown colors and the perspective! I also love her character design x3 Great work!
This is beautiful... it's like a cross between an anime character and an old fashioned newspaper etched illustration. Wonderful style, lovely neutral warming colours.


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What You're Doing This Week: March 10-16
An Unbreakable Bond
Emilio Estefan's film, An Unbreakable Bond will debut at the 31st Annual Miami International Film Festival on Tuesday, March 11, at 6:30 p.m. at the Olympia Theater at the Gusman Center. The powerful film chronicles Nick and Marc Buoniconti's story as they fought through his paralysis for decades on the way to establishing The Miami Project to Cure Paralysis. An Unbreakable Bond is narrated by Buoniconti Fund Board Member and Grammy award winner, Gloria Estefan. The film includes appearances by special friends and ardent supporters of The Miami Project including; Academy Award winning actor Tommy Lee Jones, award winning television journalists Tom Brokaw and Bob Costas, NFL Hall of Fame Coach Don Shula, and Golf Hall of Famer Jack Nicklaus. For more information visit: http://miamifilmfestival.com/.
Wine Week
Smith & Wollensky celebrates Wine & Wisdom during its 54th National Wine Week™, March 10-14. The seasonal event offers guests the opportunity to discover new wines from some of the world's most exclusive winemakers. Guests may sample ten wines for $20 with the purchase of a lunch entrée at participating restaurants. Smith & Wollensky will continue its support to raise awareness and help the millions of Americans affected by neurodegenerative diseases, such as Alzheimer's, Huntington's, Parkinson's and multiple sclerosis. Proceeds from Wine Week activities will benefit Keep Memory Alive and the Cleveland Clinic Lou Ruvo Center for Brain Health. To learn more about the 54th National Wine Week featured wines and the Wine Week raffle, visit www.smithandwollensky.com/liquid-assets.
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BrazilFoundation Gala
international supermodel Adriana Lima, Brazilian television personality Sabrina Sato, Latin Grammy Award-winner Ivete Sangalo, and a few other stars will be dancing to live music by Batuque Samba Funk, and enjoying performances by Miami City Ballet School Ensemble and Quabales at the exclusive BrazilFoundation Gala on Saturday, March 15th. BrazilFoundation, a nonprofit organization that raises funds to support social projects in Brazil, will hold its third annual gala at the stunning, shiny-new Pérez Art Museum Miami. Sponsored by American Airlines, Artefacto, Audemars Piguet, St. Regis Bal Harbour, Goldman Sachs and Credit Agricole, the elegant evening will bring together over 450 guests to generate resources for the community-led initiatives funded by the BrazilFoundation. Tickets start at $1,000. For more information, visit: http://www.brazilfoundation.org/english/events/galamiami.php.
Hearts and Stars Gala
The Little Lighthouse Foundation's 5th annual Hearts & Stars Gala will be held at Terra Veritatis, the private estate of Bill Dean, on Saturday, March 15 from 8:00 p.m. to 1:00 a.m. This year, guests will enter the property by water taxi and enjoy live entertainment and cocktails provided by Ketel One, Don Julio, Johnnie Walker, Ron Zacapa, Dos Equis and FIJI water, bites from local restaurants and lots of music and entertainment. For more information visit: www.thelittlelighthouse.org.
Bank Robbery Suspect Fatally Shot by Broward Deputies in Pompano Beach: BSO
From 'Kite Runner' to 'Bluest Eye': Parents Group Pressures Broward Schools to Remove Books
Healthy Summer Foods
Promoted By Zest Communications


When World Education first introduced the Complementary Basic Education (CBE) program in Northern Ghana in 2015, Nimatu had only finished one year of pre-school. She was 11.
Nimatu's parents were farmers who had never attended school themselves. They were completely dependent on their land. When harsh weather destroyed their crops one season, they had no choice but to move. While their new settlement had fertile land, there was no school for Nimatu.
Unfortunately, there are many children like Nimatu in Ghana. In 2012, nearly 800,000 children of primary school age were not in school. To get them into school, the Ghanaian government provided grants and free school supplies, trained teachers, and even abolished school fees.
However, imagine the difficulties for children who have been out of school for several years. They lack literacy and math skills to keep up even with the youngest in-school children, and many fail upon return. World Education's CBE program prepares long out-of school children for reentry in formal school by giving them intense catch-up classes. Since 2013, nearly 13,000 have children enrolled in the program.
After nine years with no schooling, Nimatu's uncle and grandmother brought her to Tolon District in Northern Ghana. Luckily for Nimatu, World Education was introducing the CBE program in her new community. This was her chance.
When Nimatu first enrolled in CBE she was excited to return to school, but she could not solve simple math problems nor read or write. Within nine months, Nimatu achieved minimum proficiency standards in literacy and numeracy and returned to formal school. She is now in grade 3.
The CBE program gave Nimatu confidence, too. She often leads the class in math and reading lessons. Nimatu knows her studies are what will improve her life, and dreams of becoming a doctor so she can improve the lives of others, too.


At the beginning of each year, there is always the question of the trends that will accompany us through the new year. In addition to modetrends, the interior trends are of the same interest to us – our home can not be neglected with all love for fashion and is an important (retreat) place for most of us. Just as the last year has ended, 2016 will start with the term sustainability. Therefore, it is no wonder that this theme is also reflected in the interior design. Vintage is a very big theme in the interior design. We present the five most beautiful interior trends for 2016.
It is the trend colors of the season chosen by Pantone: delicate rose and mint tones will not only be present in fashion: furniture, textiles and decoration will be discovered in pastel ice-cream tones. The delicate tones conjure the Scandinavian flair into our home and spread warmth. Sofas, chairs and vintage armchairs can easily be covered with fabrics of these colors. In no time you have created a "new", old favorite piece. Crockery and wallpaper with mint or pink floral ornamentation create the perfect vintage look for a feminine and modern home.
This year is also being played with metal color and materials. How appropriate – because gold and silver are simply the perfect complement to pastel colors. Cuddly blankets with golden ornaments, silver or copper candlesticks bring warmth and comfort to the private realm. Many vintage interior pieces are often available in gold and silver. High time to plan a flea market visit.
Most of the apartments are filled with technical equipment, and this will probably not change in 2016 either. This is the tip for all stressed workaholics. The trend in the new year is coming back to rest – that is, many are adopting a technology-free zone. All without a TV, radio or iPads can be relaxed without distraction. In particular, the living room or bedroom should instead be a place of silence where one can meet in the evenings and socialize without a technical distraction. To tell each other from the day, unpack company games or sink into a book again – what is more beautiful than these moments?
The year 2015 was dominated by the 1970s, and this trend is continuing in the interior design in the new year – the trend is almost in line with vintage interior design! Ornate chests of drawers, bright colors, regional wood and floral ornaments bring the past time back home. So that the whole thing does not look too nostalgic, vintage pieces should be integrated with the modern decor. For the beginning, an original vintage bedside lamp, sweet patchwork blankets or a velvety chair is suitable. Special statement deco elements of the seventies in combination with the restrained Scandinavian style we find especially great!
Crappy wallpapers and furniture, floral patterns on the walls, patterned pillowcases and many exotic plants – Welcome to the jungle! This interior trend literally transforms the home into a holiday destination and invites you to relax from the hectic everyday life. A playful, red sofa with pink-colored cushions and a full-bodied palm – YES! For those who have enough of wintery gray tones, this trend is just right.


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In the early 16th century thousands of Anabaptists coverts spread throughout Germany and the Netherlands. Although both Catholic and Reformed denominations together persecuted them, they continued to grow in number from 1525-1550. So much that by 1553 the Doopsqezinde, better known as Mennonites were the largest evangelical group in the Netherlands! With that, they became the largest evangelical group which complied an enormous martyrology. Menno Simons through this time and after continued to increasingly rigid church discipline as he grew older, and by 1561 at Menno's death, the Netherlands Mennonites were broken into four orders; the Flemings, the Frisians and Germans, and the Waterlands. By 1580's confession-making was well established through Europe and denominations within protestantism. So John de Rys and Lubbert Gerrits, ministers in the Mennonite denomination wrote The (40 article) Waterland Confession, better known as A Brief Confession of the Principal Articles of the Christian Faith (For Mennonites).
I could be crazy, but seems a bit 2-K to me.
These ideas are almost lifted off the pages from patriarchs such as Tertullian and Justin Martyr. They clearly taught non-participation in matters of the state based on the state's participation in violence and idolatry.
It seems to me like Luther and Calvin bite the hands that feed them.
The problem I encounter with 2K theology is that it negates redemption and transformation of unjust systems because they are relegated to the "wordly" realm of civil authorities or big business or public institutions.
It's my understanding that Luther heavily favored the German authorities. Look at the Peasant's Revolt, for example. Luther's support for civil authority rather than the reformation principles he set in motion lost him a lot of lower class supporters.
Mennonite pacifism wasn't as far-reaching as it is today. They let the state do it's thing and advocated for peace among Christians and non-participation with the state's sword. I think the main difference is in how the two strands understand civil authorities. By and large, Anabaptists understand the state as an authority set in place (i.e. it's there, but we don't care), however, not instituted by God to do God's will. God is in favor of justice rather than civil order and obedience. Again, this is very similar to Tertullian and Justin Martyr.
How was 2K theology received or practiced in its historical context?
Since 2K Theology seems to be a developing influence in the last 2 years I might be walking on dangerous ground in saying what I am about to. While 2K is not a monolithic theological construct, I do concur that Anabaptist separationism, and certain Two Kingdom views have a similarity to them. While we should rigorously defend the spirituality of the church, we should never fear encouraging believers to exercise their gifts in the civil realm if they are being called by God to do so. The question that arises then is the following: "If a believer holds a law-making office, what law should govern his lawmaking?" The 2K guys would span the spectrum from hesitant to radically opposed if one were to suggest that they use special revelation. Herein lies the similarity. The 2K men would not formulate a doctrinal position of believer-separation from political involvement, but I think that they would practically land there. Hope this doesn't confuse matters more!


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Telstra pays tiddlywinks for huge privacy breach
blog We couldn't help but be amused by this media release which Australian Privacy Commissioner Timothy Pilgrim issued this morning noting how Telstra had been reined in for a privacy breach which saw the information of 15,775 customers, including some 1,257 with silent numbers, made available publicly on the Internet between February 2012 and May 2013 (that's right, that's more than a year). Pilgrim made a strong statement regarding the issue, saying:
"This incident is a timely reminder to all organisations that they should prioritise privacy. All entities bound by the Privacy Act must have in place security measures to protect personal information."
And Telstra has agreed to undertake a number of actions, including exiting the software platform on which the incident occurred, establishing a clear policy for central software management, and reviewing contracts with third parties relating to personal information-handling.
However, we can't help but suspect that the telco considers itself to have gotten off relatively scot-free from the debacle, paying an infringement notice of only $10,200 in relation to its contravention of an earlier direction on the issue by the Australian Communications and Media Authority. Just to remind people: Telstra made headline sales revenue of $25.5 billion in 2013, with net profit of $3.9 billion. A measly $10k should not even be counted as pocket change compared to that sum; it's not even what, in journalistic parlance, we usually refer to as a "parking fine". No, in the context of Telstra's finances, it's basically nothing.
Of course, as the media release points out, from 12 March this year (that's tomorrow), new privacy laws will be introduced. The Privacy Commissioner will be able to make a determination, accept written undertakings that will be enforceable through the courts, or apply for civil penalty orders which can range from $340,000 for individuals and up to $1.7 million for companies. That's certainly a lot more than $10k. But we still think it adds up to not much when we're talking about companies as large as Telstra.
For more information on what happened, read the Privacy Commissioner's report here.
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Paul Purcell 11/03/2014 At 5:04 pm
Considering the money and annoyance that can be made/occur from this (personal) information by third parties, even the new fines are totally inadequate.
But it is Telstra. Money first, customers last. Along with a disastrous PR and support history.
Zak 11/03/2014 At 6:15 pm
According to other media reports, it was 15,775 customers (not 1775, as is written above as I post this comment).
Renai LeMay 11/03/2014 At 10:04 pm
Cheers, fixed.
waz_j 12/03/2014 At 9:51 am
Just looking at the revenues generated from the silent numbers (and ignoring the other 15k people affected) we have
1257 silent numbers @ $2.93* per month = $3683 per month
So the fine is less than three months revenue from the no longer silent numbers – tiddlywinks indeed.
* http://go.telstra.com.au/helpandsupport/-/change-your-phone-number-or-make-it-a-silent-line-due-to-nuisance-calls
Ed 13/03/2014 At 1:30 pm
Not to mention the fact that Telstra are charging you an ongoing fee for doing the following ONCE, and ONCE ONLY:
1. Automatically connect to the IPND
2. Set number flag to "silent"
So, $6 a month per client to hit a database once and never touch it again. This kind of garbage should be illegal.
Ryan 12/03/2014 At 9:53 am
So they were fined 65 cents for each breach of privacy. What a joke. There should be some sort of minimum for these kinds of breaches plus an additional sum equal to a proportion of profits/revenue of the offending business. I'm sure that would make a lot of these companies think twice about security surrounding privacy.


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Home > News > Ecumenical service of thanksgiving for sports
Ecumenical service of thanksgiving for sports
By editor - 24 March, 2015
The Revd Vanessa Wyse Jackson, Cllr Larry O'Toole, the Revd Alan Boal, Desmond Campbell, Tony Ward, Canon David Gillespie, Fr Michael Foley and the Revd Yvonne Ginnelly. Pic: Courtesy Lynn Glanville
The value and importance of all sport at all levels was highlighted on Sunday at the 66th Annual Ecumenical Service of Thanksgiving for the gift of sport.
The service took place in St Ann's Church, Dawson Street, and was addressed by former Ireland and Lions rugby player, Tony Ward, who spoke of his life-long involvement in sport.
The church was packed for the service which was also attended by Cllr Larry O'Toole, representing the Lord Mayor of Dublin, along with the presidents of many school unions, secondary school students and people from the world of sport.
Former Irish rugby international, Tony Ward, gave the keynote address and spoke of the enduring friendships created through team sport.
He said the beauty of sport was its unpredictability – anyone could have their place in the sun if they tried hard enough and put in the work.
The former Munster player said it reflected values which were important in life, that you get out if it what you put in. It also taught people to win and lose, to respect the opposition and your teammates and respect the referee.
He added that the weekend's Six Nations win for Ireland was very special, as well as being dramatic and unpredictable.
"What a great day for rugby and sport in general and Ireland. It was spectacular," he said.
Mr Ward praised the humility of Ireland's head coach, Joe Schmidt and captain Paul O'Connell who, he said, were the same in victory as they were in defeat.
In a message to parents, teachers and coaches, the former out–half urged them to be conscious and sensitive towards children in their formative years. He said they must accentuate the positive and encourage children even when they make mistakes.
Tony Ward concluded by underlining that no one sport is the greatest sport.
"Sport, like beauty, is in the eye of the beholder – whether that be hurling or rugby or tiddlywinks. We're here tonight united in thanksgiving for the gift of sport, whatever sport that is," he said.
The annual Ecumenical Service of Thanksgiving for the Gift of Sport began 66 years ago following discussions between the Rev George Crummy and Bob Graves, Irish rugby international.
The service focuses on thanksgiving for all men, women and young people whose lives have been enriched and blessed by the gift of sport, whether through active participation, patronage or through the medium of radio, television or attendance at events.
The congregation was welcomed to the service by Canon David Gillespie, who was joined by fellow clergy from the Methodist, Presbyterian and Roman Catholic Churches including the Rev Yvonne Ginnelly of St Ann's, Fr Michael Foley of St Mac Dara's College in Templeogue, the Rev Alan Boal of Abbey Presbyterian Church and the Rev Vanessa Wyse Jackson of Rathgar Methodist Church.
During the service, lessons were read by the President of the Association of Schools' Unions, Desmond Campbell and Heatley Tector who represented YMCA Cricket Club.
The intercessors were Tom Staunton of Sandford Park School, Felicity Caswell of Mount Temple Shane Winkworth of Gonzaga College and Robyn Lewis of St Andrew's College.
Musical accompaniment was provided by the Alexandra College Choir under the direction of Dervla O'Sullivan.
Tags: coaches, Ecumenical Service of Thanksgiving, hurling, Joe Schmidt, Lions, Lord Mayor of Dublin, out–half, Paul O'Connell, referee, Rugby, secondary school students, Six Nations, Sport, Tony Ward


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News Under the Radar
L.A. Times writing more of Union-Tribune stories
Democrat designs on SD City Council
Matt Potter
Artist sketch of new roller coaster at SeaWorld San Diego
Downward trend
The Los Angeles Times, owned by billionaire physician Patrick Soon-Shiong, is accelerating its not-so-stealthy creep into the editorial content of the San Diego Union-Tribune, also purchased by the pharmaceutical magnate last year as part of his $500 million-plus Times acquisition deal. The top of the U-T's January 5 sports page was graced with what was labeled a "guest column" by Times sports writer Helene Elliott in praise of the Chargers, who departed San Diego for L.A. and environs after locals refused to come up with a tax-subsidized stadium. "Their confidence and assurance built as they shrugged off losing two of their first three games and pulled off victories in hostile settings in Cleveland, Seattle, Pittsburgh, and Kansas City," noted Elliott.
Then there was the page-one January 8 story about plans for a new roller coaster at SeaWorld, over which appeared the byline of L.A.'s Brady McDonald. A "senior producer for latimes.com, working on home page production, special projects, and website design," per the Times website, McDonald also "writes the Funland theme park blog for The Times' Travel section, covering the latest trends and newest rides at major parks around the world." The byline of longtime U-T local tourism reporter Lori Weisberg was tucked under McDonald's.
Sign of the times: an LA Times reporter wrote this U-T story about a San Diego institution.
Meanwhile, a memo from Times deputy managing editor Sewell Chan has revealed that online traffic to the paper's website generated by Google, Facebook, and similar sites, has been rapidly evaporating. "We are working on several fronts to try to reverse this trend. We're auditing our technology and reviewing our use of live blogs. (More on this soon.)," says the January 7 missive, posted by L.A. Observed. Pithiness, not depth, is the key, advises Chan. "Search engines and social shares only display 60 characters before cutting off. Aim for a headline count no longer than 85 characters. With few exceptions, headlines need to get shorter. We have too many two-sentence headlines; they should be the exception, not the standard."
More self-referencing web links are also desired. "This is critical: No story should go to the copy desk without at least two or three inline links to relevant Los Angeles Times content," writes Chan. "We are taking urgent steps to rebuild our audience and acquire digital subscriptions to support our investments in journalism. We're grateful for your help and cooperation."
Barbara Bry: "Really? You want my council seat? Please!"
No word on whether the U-T will follow similar practices. The Times website has fallen into 61st place among the world's newspapers, as ranked by SimilarWeb.com. The U-T is also down, coming in at 350. By comparison, the New York Times is fifth, with the Washington Post places ninth. The top online paper in the world is Britain's mid-market Daily Mail.
Political money or bust
Add another liberal Democrat to the growing list of city council hopefuls setting up fundraising committees more than a year out from the March 2020 primary. Latest to join the money-seeking scrum is attorney Will Moore, who filed a January 7 declaration of candidacy for District 1. The coveted La Jolla seat is being vacated by Democrat Barbara Bry, who's declared her intent to run for mayor that year to termed-out Republican incumbent Kevin Faulconer. Filings show Moore's campaign treasurer is Stephanie D Sanchez. She also oversees the electoral funds of two other Democratic council candidates, Scripps Ranch High School alumna Marni von Wilpert, seeking the Fifth District seat of termed-out Republican Mark Kersey, and gun control supporter Wendy Wheatcroft, running for the Seventh District seat currently held by Scott Sherman... Port Commission chairman Rafael Castellanos, whose bitter 2016 battle with attorney Gil Cabrera over who should be city attorney ended with losses for both men and the election of fellow Democrat Mara Elliott, is running for county supervisor to replace termed-out Republican Greg Cox in 2020.
Irwin Jacobs is smiling because, for some reason, he seems to be in charge of Balboa Park now.
Jacobs rules
Final bids for contractors hoping to grab a piece of the massive parking garage and road makeover of Balboa Park masterminded by La Jolla billionaire Democrat Irwin Jacobs are due January 18, per word from city hall. That's nine days later than previously posted, with no explanation for the delay. Whether Jacobs and friends will ante up sufficient cash to cover the massive public layout to stage the controversial project has yet to be announced... An outfit calling itself San Diego Voters' Voice registered itself as political fundraising committee with the city clerk's office on January 3, to sponsor a "New initiative for the City of San Diego: 'San Diego Democracy Dollars.'" Per a November 17 announcement on the League of Women Voters website last year, the measure aims to create "a new form of public financing of elections, in which candidates must abide by reasonable spending limits and political campaigns enhance political equality for all citizens, ensure maximum participation by citizens in the political process, and enable candidates to compete equitably for public office. It also includes transparency and accountability."
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Tangentially related, just yesterday Los Angeles Times music critic Mark Swed raved in his paper about the San Diego Symphony's new young mop-top Venezuelan conductor Rafael Payare, soon to be San Diego's next music director. But apparently Swed has not gotten Mayor Sunny's PR message of positivism about our town.
The Times critic panned Copley Symphony Hall and its neighborhood. Swed called it "dispiriting, a 1929 movie palace in a bland 34-story office building in San Diego's downtown financial district," in an area "not lively on weekends when most concerts are held," a building with "ungracious" acoustics.
Swed praised the Sunday afternoon Payare concert and then walked to another music venue in "the rapidly gentrifying East Village" where "all around are grotesque new apartment buildings that look as though they took their inspiration from Legoland." There, he chided San Diego Symphony for charging $40 a seat for a 30-minute performance.
Then he lowered the boom: "San Diego has, as elsewhere, a terrible homeless problem, but the East Village felt particularly callous. I witnessed ... three confrontations between oblivious operators of electric scooters and terrorized pedestrians or street people. Raucous partying on the patios of sports bars took place within feet of ignored hungry beggars. To a visitor, this San Diego looked like a candidate for the most tasteless and thoughtless major city on the West Coast."
JustWondering
But it's our "tasteless and thoughtless" city. He's welcome to stay in his own ghetto blight in Los Angeles.
Visduh
What he did is referred to as "the pot calling the kettle black." LA tries and tries to have things to be proud of, and keeps coming up short. I suppose now it can proclaim pride in the Chargers, although a recent win would have made that more convincing. It's that old love/hate relationship with LA, now on steroids.
Speaking for myself, I cannot quarrel with a single one of Swed's observations or criticisms, though they do sting.
AlexClarke
Anyone who thinks the San Diego UT is a local paper is and idiot. I think that everyone who subscribes to the UT should cancel their subscription. I wouldn't give any money to Patrick Soon-Shiong.
I can't imagine why you keep saying this, AlexClarke, unless you were a fan of the old-style Union-Tribune under publisher Jim Copley where the news pages were censored by ex-Marine Corps generals and the editorial page was the GOP playbook for running California.
The U-T now has become one of many papers owned by Patrick Soon-Shiong and, as Matt Potter constantly reminds us, it's not getting the infusion of money that the LA Times enjoys.
But Soon-Shiong lives in LA and wants good journalism for SoCal. It's why he invested a record $500 million to rebuild the LA Times and San Diego Union-Tribune, rescuing these troubled papers from the clutches of Chicago Tribune and its exploitive high-flyer Michael Ferro. While we have the chance in otherwise uncertain times, San Diegans should be encouraged to support their local daily newspaper paper.
I agree. One dollar ($1) for nine (9) months of digital access was too irresistible. Although, as usual, content is spotty.
Ponzi
I spend $0 to read their online content. I just manage their cookies and use incognito mode in chrome.
I can't disagree I just don't like San Diego treated like a suburb of LA. I guess it would be too much to want a news paper to just present the news and not be right or left.
danfogel
And when is it exactly that you think the UT under Copley Press was ever centrist and reported the news without bias??
monaghan, I wish that I could see the U-T as "my" local newspaper. I don't and never did. But giving this billionaire credit for "want[ing] good journalism for SoCal" is premature at best. Current trends in the news reporting business will lead to no printed papers at all within less than a generation. If he rebuilds something, it will have to be some sort of electronic reporting.
As to the old days, when the Copley organization put its own particular spin on reporting and editorializing, the U-T now has its own LAT-style censorship and spouts the DNC playbook for running California (and the nation, too.) That's progress?
Chac'un a son gout.