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to be directed through to the Wanderers Player matchday centre. CLICK HEREWanderers Player subscribers can listen to live commentary and pre-match build-up of Wanderers' Sky Bet Championship clash with Fulham from 7.30pm.
Subs: Kiraly, Parker, Roberts, Woodrow, Dembèlè, G. Williams, Burn.


text:
Коле́гія () —  у 1711 — 1802 роках профільне відомство (міністерство) центрального уряду в Російській імперії. Колегії змінили стару московську систему приказів, а згодом, за європейським зразком, були самі замінені на міністерства. Створені за прикладом колегій у німецькомовних державах.

Список
 Колегія закордонних справ
 Адміралтейств-колегія
 Комерц-колегія
 Юстиц-колегія

Джерела та література
 Гончаренко, В. Д. Колегія  //
 Исаев, И. А. История государства и права России. Москва, 2006.
 История государства и права России / под ред. Титова Ю. П. Москва, 2006.

Посилання

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redpajama_set_name: RedPajamaWikipedia


We recently had a fantastic holiday on Islay, in the Hebredes. We stayed in a B&B called The Old Excise House which is next door to Laphroaig distillery, and also in walking distance to the Lagavulin and Ardbeg distilleries. It was a brilliant holiday, and The Old Excise House is probably the best accommodation I have ever stayed in.
It was totally worth a days driving up from Cambridge, the scenery gets better and better as you go, and when you get past Glasgow it gets really good. So we're already making plans to go back.


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Another Person's Culture is Not Your Halloween Costume
Erin Pepler October 16, 2019
October is here, and that means several things: school and extracurriculars are back in full swing, summer clothes can finally be packed away for the year, and it's time to get creepy with your Halloween decor and costume planning. Halloween is the best, honestly – I can't wait to cover our yard in skeletons and steal my kids' miniature chocolate bars for weeks on end. It's going to be great.
But here's the thing. Can we collectively agree to NOT be cultural appropriators this year? Because it's high time we knew better but clearly, as a society, we do not. (Just watch the news.)
It's not just overt racism that's a problem (though to be clear, that's a HUGE problem). Each and every year, I see them: costumes that stereotype, mock and even sexualize non-white cultures. I'm talking about geishas, sugar skull makeup, 'Indian Princesses' (the language alone being problematic) and other trivialized representations of people of colour. Sometimes, the costume represents a specific person or character (Pocahontas, for example) and other times, it's something vague, like "Mexican Man" (a real costume sold in stores). Don't even get me started on costumes that involve blackface, which I cannot believe we are still debating in 2019.
Let's address one thing immediately because it's important: I am not a person of colour. I'm white and so are my kids. I've never experienced racism or had it directed at my family, and I'm absolutely not the most important voice in this conversation – not even close. That said, I'm not comfortable staying quiet or apathetic about an issue that hurts marginalized communities. Apathy can be just as loud as hatred, and that's not how I want to raise my children. It's not enough to 'not be racist' – that's the bare minimum of standards, honestly – it's about being conscious of how our actions affect others, particularly if you're a privileged person such as myself.
So back to costumes.
There are literally ENDLESS possibilities for what children (and adults) can be for Halloween. A shark, a wizard, an evil clown, a crime-fighting cartoon puppy, a banana, a giant hot dog, a creeper from Minecraft, a velociraptor, whatever. Follow your dreams and get weird, kids. When I was six, I dressed up as a flower pot and it was awesome. For years, I went with different characters from The Wizard of Oz – Dorothy, the witches, even one of the lollipop kids. There are no limits.
…except there are if you really care. And there should be.
Another person's culture is not your costume. It's not okay, even when your intentions are good. People of colour do not exist for the amusement of white people, and that includes dressing up in a way that mocks or hurts marginalized communities – even inadvertently.
When you "celebrate" your love for a character or culture by dressing up as a caricature of it, you're not honouring anyone – you're hurting them. This is true whether you want it to be or not, and even if someone in that ethnic group told you it was okay. That person may have been avoiding conflict or trying not to hurt YOUR feelings, and even if they truly don't care, they certainly don't speak for an entire community that does – so stop. And please, for the love of all things holy, don't be a "sexy" version of any culture. That's beyond awful, and there's no fathomable reason for it. Be a flower pot instead.
Let's use Indigenous culture as an example of Halloween costumes gone wrong. It's very common to see "Indian Princess" and "Indian Warrior" costumes for sale in popular costume stores. I use quotation marks here because that's not my language – it's the way these costumes are labelled, often with a sexualized twist. But let's look at the reality: Indigenous people have been horribly mistreated and discriminated against for hundreds of years. Sometimes, they are completely ignored. There are First Nations communities in Canada RIGHT NOW that don't have clean drinking water. Some haven't had it for decades. There is a full-on epidemic of missing and murdered Indigenous women (MMIW) in this country, and the last residential school was in operation until 1996. This is but a FRACTION of the list I could make, but you get the point.
Indigenous people have been abused by this country. Think about that – really, truly sit with that information and imagine yourself in that life – and then try to tell me that it's okay for a non-Indigenous person to wear some knock-off version of a sacred ceremonial headdress, just for fun. It's not okay. It's not just headdresses or sexed-up 'Native Girl' costumes or the problematic representation of Pocahontas – it's all of it. In no way, shape or form should a non-Indigenous person dress in costume as an Indigenous person. The same goes for other cultural appropriations. We need to accept this, and we need to teach our kids not only what is hurtful, but WHY. This is how we do better.
Granted, the person wearing the costume often doesn't mean to offend – and that's a good start. It means there's room for compassion and an informed desire to change. When I see a person trick-or-treating in a feather headdress, I cringe hard and feel sad – but I don't necessarily think the wearer is a bad person. I think they're unaware of the impact their actions may have, and I'm hopeful they will learn and grow. That headdress may be beautiful, but it's not yours to play with.
A simple way to tell if a costume is problematic is to ask the following questions:
Does this costume marginalize or sexualize a culture other than my own?
Is it attempting to honour a person or culture by wearing items that are unique to that culture, even though I/my child won't face the same discrimination this person/culture faces?
Have I/my child altered my skin tone for this costume?
If you even HESITATE when answering one of these questions, it's time for a new costume idea.
There may be areas of genuine confusion (should my white daughter dress up as Princess Jasmine? What about Moana?) and honestly, there are some grey areas there. The character of Jasmine was from a fictional country but used many harmful stereotypes of Arabic cultures, which is why it's often considered offensive. The team behind Moana, however, was praised for working with cultural advisors to avoid this same fate and was applauded for doing a pretty great job (there have been minor criticisms, but largely, the film is viewed as being celebratory and respectful of Polynesian culture).
Knowing this, a Moana costume (clothes only, without any altering of skin tone) may seem harmless to a lot of people – including those of Polynesian descent. But others of Polynesian descent have expressed displeasure in seeing their culture in costume form, much in the same way an Indigenous headdress is sacred. Maui costumes were actually pulled off the shelves with apologies, as they involved brown mesh sleeves that darkened the wearer's skin tone while depicting cultural tattoos (this is understandably different than simply putting on a Moana skirt or a Princess Tiana dress). But where is the exact line? That can be harder to determine, especially if you're not a part of the culture being depicted. My opinion, personally, is when in doubt, move on.
It's better to play it safe than it is to cause deep, lasting hurt to another person.
I'm not trying to be the fun police or super politically correct. I don't want to ruin your Halloween. I just want people to acknowledge and consider the harm that befalls people of colour when they are treated like a dress-up game. It's a terrible cycle of behaviour that has no place in my house or modern society. Let's end racism, already, or at least stop being so damn complacent about it. We made a little progress on addressing sexism this year, sort of, and that helped (because what is racist Halloween's best friend? Sexist Halloween! But that's another post.)
Halloween should and can be fun for EVERYONE – not just the most privileged among us. Let's be awesome parents that teach our children love and respect, uplifting others instead of pushing them further down. Kindness is a look you'll never regret.
There are many excellent articles that dive deep into the impact of cultural appropriation, many of which were written by individuals who have experienced racism in their own lives. I encourage you to seek out and read these articles, as their words need to be heard far more than mine do.
Tagged under: Halloween,halloween costumes
Category: seasonal,family-life
seasonal,family-life
It's True: Kids Need Two Halloween Costumes
Like a celebrity attending an international fashion week, it feels like kids need at least two outfit changes when it comes to this seasonal celebration. Here's why.
Tween Halloween Costume Trends and Tips
Wondering what the hottest Halloween costumes for tweens will be this year? Here are the top Halloween costume trends for 2016 and tips for making them work for your kids.
Halloween Costumes and Gear to Get Now...Before It's Gone
Halloween is almost upon us and we have learned through bitter experience that it really pays to be organized early. Here are some ideas for the hottest costumes (that will sell out) as well as some tools and accessories that are not to be missed.
28 Spectacularly Spooky Halloween Crafts, Treats and Costumes
Make sure your Halloween is the most spook-tacular one yet for your little goblins. We've got 28 Halloween recipes, crafts and costumes from our frightfully savvy bloggers.
Erin Pepler
Erin Pepler is a freelance writer, mom, and reluctant suburbanite living outside of Toronto, Ontario. She is usually drinking a coffee, or thinking about getting one. Erin is prone to terrible language, though not in front of her kids, and yes, she has an opinion on that thing you're talking about. She loves music, books, art, design, cooking, travel, and sleeping more than four hours at a time (a rarity). You can find her at www.erinpepler.com or on Instagram @erinpepler, where she documents her passion for motherhood and caffeine.
Erin Pepler 3 months ago
Dianne: You're right, I dressed up as a Lollipop Kid from The Wizard of Oz when I was six years old, in 1991. I didn't actually suggest that others wear this specific costume today, but I did reference it and in fact wear it myself as a child (it was a white dress with swirly, colourful stripes and a lollipop headpiece, actually - not really what the characters in the film wore, but it was a homemade costume and most people understood the reference of lollipop + me, a kid). Your comment about the treatment of Little People during the filming of that movie could have been interesting food for thought - I hadn't considered that angle, and would be genuinely interested to know if Little People find a Lollipop Kid-inspired costume offensive because they were part of the 'munchkin' characters in the film. If so, it's a valid point and very true that I didn't consider it (especially in kindergarten). It's thought-provoking for me now, as an adult (though honestly, it feels like you're looking for a reason to attack, given the rest of your comment and your overall tone). We could have had an interesting conversation about it, probably, had you not approached this by repeatedly insulting me and then, in the next breath, suggest I be kinder. So, am I not allowed to reconsider things like this myself when necessary? Because I wrote an article suggesting that white people don't wear blackface or dress up as Indigenous people, and that we avoid grey areas that *might* be equally hurtful to other cultures, particularly marginalized communities? The whole point of this piece was opening your mind to other people's suffering and then actively avoiding actions that contribute to that. This is something I very much try to do as a parent and a human being. I'm not without flaw, obviously, but I genuinely try to be considerate of others. I may punch up sometimes, but never down. I'm all about critical thinking and living with empathy and kindness, and if you feel angry or shamed by what I wrote, that's your own thing to sort out.
Dianne 4 months ago
Erin Pepler, By suggesting that people dress up as Lollipop kids, you are being hypocritical. Little peope who played the parts of the Lollipop kids were abused on set and suffer from being stereotyped in urban legends which claim suicide on set and many other lies and atrocities. They were underpaid, put on display as lesser and generally mistreated. Do you think it's funny to dress up as a little person when as you say about other costumes, you will never suffer what they were subjected to? See how that works? You didn't mean to insult and degrade little people did you? But you went there and you didn't even know it. Ironic, right? And I hope this helps you be kinder in your future articles, more thoughtful and less reactive before hitting the publish button. Of course some costumes are wrong and racist and people should know better but not everything on this earth is a conspiracy and education is key to eliminating hurt. You made a mistake suggesting dressing up as a little person right? Should your name be hauled through the mud? No. Are you embarrassed that you did the very thing you are judging others for with your admitted heavy cringing? People might cringe at your choices even if you meant no harm and that is not nice to make judgy assumptions as you do about what you call grey areas. A downtrodden girl might choose Jasmine because in the live action version she was a strong, female leader who will not stand for abuse that girls of every colour and nation suffer from. Have a happy, positive day, Dianne

redpajama_set_name: RedPajamaCommonCrawl


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It's always nice when our hard work finally gets to see the light of day–I'm sure the good folks at Psynergy, a California-based community living solution for individuals with psychiatric problems, will agree.
And I'm sure you'll agree this isn't your typical bare bones institutional website.
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We made a real effort to balance all of the information in design with the generous use of images from the actual programs and properties. Believe me, Psynergy has been working hard to make sure there is no shortage of information for people seeking out community living options in the San Francisco Bay Area and California's Central Coast.
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text:
Tatiana Bazzichelli – Networking Art
Tatiana Bazzichelli
Disruption Network Lab
Artistic Director & Curator
Tatiana Bazzichelli Disruption Network Lab Books Artistic Director & Curator Network Projects Research Teaching Blog Contact
Blowing the Whistle, Questioning Evidence
SAMIZDATA: Evidence of Conspiracy
Networked Disruption – The Exhibition
Welcome to deadSwap 2.0
Towards the 31st Chaos Communication Congress (31C3)
The schedule of the upcoming 31C3 Chaos Communication Congress (December 27-30, CCH Congress Centre, Hamburg), seems to prove whistleblower Daniel Ellsberg right when he said: "Courage is contagious". The internationally well-known yearly conference and hacker party running since 1984, is organised by the Chaos Computer Club (CCC), who calls themselves "one of the longest established and most influential civil society organisations dealing with the security and privacy aspects of technology in the German-speaking world" (www.ccc.de).
Since its beginning in 1981, the CCC has actively worked to promote freedom of information and communication, struggled for greater transparency in governments and supported the principles of the hacker ethic, such as free access to technology and computers for everybody. Wau Holland, one of the CCC co-founders who passed away in 2001, described the 1981 meeting of various people in the rooms of Die Tageszeitung (taz) newspaper, which for many is considered crucial for the foundation of the CCC in an interview:
"When we left we were enthusiastic. We saw that there was the possibility to exactly determine the electrical energy consumption of a city like Berlin, or do a census of the vacant houses and distribute this data to occupation movements. We understood that the people who have the power in this society derive part of this power from data processing, and that not only the police or 'power' could use the databases, but we could do it too" (Decoder, 1989).
At the upcoming CCC Congress, Wau Holland's idea of 'social hacking' – exchanging social ideas and social inventions with other people –, is carried on by many members of the German and international hacker community, addressing issues of public interest connected with a conscious and aware use of technology. The main tracks of the conference are linking hacking with art and culture, ethics, society and politics, making and crafting, security and science. Both for people interested in better understanding the geopolitical dimension of technology usage after the Snowden disclosures, and for hands-on enthusiasts that want to get from theory into practice, we have excellent speakers worth the trip to Hamburg:
Citizenfour director Laura Poitras, with Nadia Heninger and Julia Angwin, will give the presentation "Crypto Tales from the Trenches" (27.12, 23:00) about the usage of cryptography and privacy enhancing technologies, and about their limits. Together with security analyst and developer Jacob Appelbaum, Poitras will also cover a range of popular narratives about the Surveillance State, while reconstructing them from the point of view of providing "transparency in the service of justice" (28.12, 20:30). The Courage Acting Director of WikiLeaks Sara Harrison, and the Jeremy Hammond campaign manager Grace North will discuss the importance of protecting sources of sensitive information not only before publishing, but most of all after, when the media radar is off, and they are more vulnerable (28.12, 23:00). American bestselling author and journalist James Bamford will provide an insight of "A century of secret deals between the NSA and the telecom industry" (27.12, 12:45), while the member of the band Atari Teenage Riot, Berliner Alec Empire, will give a keynote speech immediately after the opening event (27.12, 12:00). In the Art & Culture track net.artist Olia Lialina will introduce pearls of the early web culture of the 1990s in her talk "The Only Thing We Know About Cyberspace Is That It's 640×480" (29.12, 16:00). If you have ever wondered who is watching you while you are reading your favourite media online, Claudio Agosti will present the project Trackography (29.12, 22:00). If you are into science, the talk "Living Drones" by Anja Drephal will describe physical drones usage, from pigeons in 1914 to cyborg moths today. Finally, if you want an overview of the year most important hacker issues, some of the CCC Congress organisers, Frank Rieger, Linus Neumann, Gerd Eist and "heckpiet", will give their personal insights (29.12, 12:45).
In addition, in the Art & Culture track, as pointed out by one of the organisers Mey Lean Kronemann, "there will not only be lectures, but loads to see and smell and hear and feel. For instance, I am looking forward to try out BeAnotherLab's 'Machine To Be Another', a virtual-reality-installation that allows users to virtually switch bodies in a telepresence experience. Just like last year, there will be a Seidenstrasse pneumatic tube system, so visitors will not only be able to send (and receive) bits and bytes via the usual super-hyper-speed WiFi, but also 'real' things – be it cookies, hard drives or – onions (Seidenstrasse supports onion routing). Still not sure whether you should visit 31C3? Think you're not enough of a 'hacker', don't know enough coding or cracking? No problem, the 'Chaospatinnen' will take you by the hand. Just like last year, we're offering a mentee system to encourage people to visit the Congress".
Edward Snowden, in his speech at the Whistle-blower Award last year (delivered by Jacob Appelbaum in Snowden's absence) said: "Governments must be accountable to us for the decisions that they make. Decisions regarding the kind of world we will live in. What kinds of rights and freedoms individuals will enjoy are the domain of the public, not the government in the dark". You can start by enjoying the next CCC Congress, and you will be already on the right path.
https://events.ccc.de/congress/2014/wiki/Main_Page
https://events.ccc.de/congress/2014/Fahrplan/schedule.html
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Ian joined DNW's photography department in 2011, bringing with him a vast experience in numismatic photography, gained taking pictures for the coin and medal departments at Spink. At DNW, Ian is the main photographer responsible for coin and commemorative medal auctions, as well as providing images across all the other disciplines dealt with by the company.
An accomplished sports press photographer, Ian's photographs are regularly published online and in British newspapers as well as throughout the world, his coverage including Premier League football matches, Wimbledon, MotoGP and the 2012 London Olympics.


text:
Comitatele Coreei de Sud (în hangul 군, gun) reprezintă un nivel administrativ al Coreei de Sud.

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 Comitate din Coreea de Sud


text:
FactoryBot.define do
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redpajama_set_name: RedPajamaGithub


text:
Q: Как в android реализовать такую ситуацию? Есть activity - по нажатию на кнопку переходим 2-ое activity, В 2-ом activity запускается таймер. Следующее надо убить процесс приложения, и обратно по клику по приложению должно открыться 2-ое activity все еще работающим таймером? в какую сторону копать? может подкините какой нибудь пример

A: Копать следует в сторону Intent, startActivity, finishAffinity, возможно, Service.

redpajama_set_name: RedPajamaStackExchange


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This SPACIOUS first floor apartment, situated within the popular Fountain Court development, specifically designed for the over 55's. This lovely apartment has undergone REFURBISHMENT throughout to provide a Refitted Kitchen, Refitted Bathroom, new decor, new carpets and flooring, The accommodation comprises an communal entrance with security intercom, entrance hall, lounge/diner, kitchen, two DOUBLE BEDROOMS and bathroom. Communal benefits include gardens and parking. This particular apartment enjoys a position with views across the water fountain and landscaped gardens.
You enter the building through a communal entrance door which has security intercom. The communal entrance has stairs to the first floor.
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What did it mean to be `civilized' in Early Modern England?
With all the author's distinctive authority and brilliance - based as ever on wide reading, abounding in fresh insights, and illustrated by many striking quotations and anecdotes from contemporary sources - In Pursuit of Civility transforms our understanding of the past. In so doing, it raises important questions as to the role of manners in the modern world.


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This Woman's Sister Became Her Surrogate After Her Fight With Breast Cancer
"Finding out I could not get pregnant was more devastating than finding out about the cancer."
By Madison Alcedo
Stevie Cruz Photography
When a couple is struggling to conceive, it's common to look to surrogates as a way to start a family. Often couples have to go through surrogacy agencies in order to find a woman who is prepared to be a surrogate, yet sometimes it's a woman closest to you that might selflessly volunteer—just like Maggie Paxton's sister, Morgan Williams, did for her.
Meet Maggie, Danny, and Morgan: Danny and Maggie Paxton were married in June 2013, and they knew they wanted to start a family, yet unforeseen complications made their family plan take a different path. Maggie was diagnosed with breast cancer in January 2015 during the time the couple was trying to conceive their first child.
From left to right: Maggie, Morgan, and Danny
Unfortunately Maggie would learn from her oncologist that because her breast cancer was brought on by hormones, she wouldn't be able to ever carry a child without also putting her life at risk.
"Finding out I could not get pregnant was more devastating than finding out about the cancer," Maggie said in an interview with Stevie Cruz Photography.
Maggie underwent a double mastectomy and chemo shortly after discovering the cancer, yet she still couldn't believe she would never really be able to have children.
This is when Morgan, Maggie's sister, decided to give her sister and brother-in-law one of life's most precious gifts—something Maggie always wanted. The idea was thrown around while Maggie was still being treated in chemo, but once Morgan's prognosis was in a better state, Maggie and Danny officially asked Morgan to be their surrogate.
In June 2016, the couple found out that after there were two embryos implanted into Morgan, they would be having twin girls—something they never thought would be possible for Maggie after her cancer treatment.
When Stevie Cruz, an Orange County newborn photographer, received an email about a deserving mother-to-be and her sister as her surrogate, she could not refuse the chance to grant them a photography session to capture the special gift Morgan was giving to Maggie.
How amazing that Maggie, Danny, and Morgan all got to share the experience of a pregnancy photo shoot just like any other couple?
If you look closely in the photos, you will see the sisters are both wearing a "key" necklace, which are giving key necklaces. Maggie gave one to Morgan as she is "the key that unlocks [their] family."
"Planning for the birth of my twin daughters has given me a new outlook on life," Maggie said in an interview with Fit Pregnancy. "Maybe I have gone through all of this to put me right where I am today, knowing that my daughters are safe and healthy, and so am I. My husband and I will forever be indebted to her, and I can't wait to see her be the best auntie to these little girls."
Madison Alcedo Assistant Editor Madison Alcedo was the Assistant Editor at WomansDay.com and Redbookmag.com.
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VaynerX Names Marc Yudkin as First Global Chief Operating Officer
The announcement follows a successful 18 months for VaynerX, experiencing exponential growth across the company
VaynerX has announced Marc Yudkin as its first ever global chief operating officer, effective immediately. Marc was most recently general counsel - a role he will retain in addition to COO. In his new role, Marc will oversee the operations across all VaynerX companies globally, including VaynerMedia, VaynerProductions, Gallery Media Group, The Sasha Group, Tracer, VaynerSpeakers, and the recently launched, VaynerCommerce and VaynerTalent.
Marc's appointment is reflective of the ongoing expansion of VaynerX, as the company continues to broaden its global remit and capabilities. VaynerMedia expanded to the Asia-Pacific region in 2019, and VaynerCommerce and VaynerTalent launched in April 2020 and January 2021, respectively.
"Over the last 18 months, we've launched new companies under the VaynerX umbrella and expanded globally. The need for a chief operating officer role to oversee the entire organisation had become increasingly important," said Gary Vaynerchuk, chairman of VaynerX. "Marc has been an architect of the company for over a decade. During the global pandemic, he took the lead on operations and has been instrumental in its overall success, so this role both makes sense and is well deserved."
Marc has been with the Vayner family of companies since 2011, joining VaynerMedia as general counsel. In 2020, he was named by his peers and received an Icon award as one of the country's top corporate counsels. Marc graduated from Emory University School of Law in 2002 and, prior to joining VaynerMedia in 2011, was an attorney at Riker, Danzig, Scherer, Hyland & Perretti, LLP.
"Being named as VaynerX's global chief operating officer demonstrates our commitment to company growth and desire to build a global machine to continue our rapid expansion," said Marc. "I am thrilled to continue to work alongside Gary and our talented, world-class leadership teams around the world as we push the company into new territories. I am excited and look forward to what is to come."
Marc will report directly to Gary Vaynerchuk, and will assume his new responsibilities with immediate effect.
VaynerMedia, Wed, 27 Jan 2021 09:35:25 GMT
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The yeast extracts -- U-13C (ISO1) and unlabeled (ISO1-UNL) -- are designed for internal standardization (i.e., matrix spike-in) quantitation experiments and for quality control evaluations in untargeted and targeted metabolomics. The compounds in these extracts span broad metabolic classes (e.g., amino and organic acids, sugar phosphates, coenzymes) that are linked to various biochemical pathways (e.g., citrate and glyoxylate cycle, amino acid and nucleotide metabolism, pentose phosphate) and cellular/molecular processes (e.g., immune system, blood coagulation, DNA metabolism). These metabolites have been rigorously characterized by several LC-/GC-MS methodologies and are amenable to a variety of research uses after simple reconstitution.
For further information on the metabolite yeast extracts and its applications, please visit ISOtopic Solutions.
What does the U in U-13C (98%) refer to?
The U denotes a uniformly labeled compound. For example, NADP+ with a formula C21H29N7O17P3 has 21 C in its 13C-labeled form.
What sample types have these yeast extracts been measured in?
The extracts have been applied to human tissues (e.g., plasma) and cells (e.g., colon cancer) for QC or quantitative analysis by a variety of LC- and GC-MS methods. Outlined in the user manual (supplied with the kit shipment on USB) of ISO1, for example, are three application examples that utilize isotope ratio analysis for absolute or relative metabolite quantification.
What are the commonly identified metabolites in the yeast extracts?
A tabulated list of metabolites observed across routine, batch-to-batch measurements is indicated on page 24 of our metabolomics catalog. This list is not finite, as other metabolites have been identified with alternate protocols (e.g., coenzyme A's – acetyl, malonyl, propionyl; glucose-1-phosphate; fructose-1-phosphate) or are subject to degradation (e.g., reduced nicotinamide adenine dinucleotide phosphate – NADPH). Please inquire if other metabolites are of interest and we will investigate.
What are examples of other cofactors observed in the yeast extracts?
Additionally detected by HILIC-MS (positive ESI, Q Exactive HF) are NADPH (nicotinamide adenine dinucleotide phosphate), NMN (nicotinamide mononucleotide), and ADPR (adenosine diphosphate ribose).
What classes of metabolites are commonly observed?
These extracts enable the routine identification of a breadth of metabolites across a panel of classes. This minimally includes amino acids and derivatives, organic acids and conjugates, sugar and sugar phosphates, vitamins, and co-enzymes. Additionally characterized are a collection of nucleobases, nucleosides, and nucleotides as well as lipids.
What part of the life cycle is the yeast extract from?
The yeast (Pichia pastoris, strain CBS 7435) is in the exponential growth phase. In this phase, the cell is using most of the available substrate to reproduce. The doubling time for the yeast strain employed is a little less than 3 hours. Exponential growth is ensured through verification of the OD 600 measurements during fermentation. The extract preparation is detailed in PMID: 23086617.


The Critias is a fragment which breaks off in the middle of a sentence. It was designed to be the second part of a trilogy, which, like the other great Platonic trilogy of the Sophist, Statesman, Philosopher, was never completed. Translated by Benjamin Jowett.
s. They were careful to preserve the number of fighting men and women at 20,000, which is equal to that of the present military force. And so they passed their lives as guardians of the citizens and leaders of the Hellenes. They were a just and famous race, celebrated for their beauty and virtue all over Europe and Asia.


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Published in: GIA Reader, Vol 28, No 1 (Winter 2017)
Cathy Edwards
501(c)(3) non profit grantmaker
Private Foundation
Culturally-specific arts
Non-profit management
Project-specific support
GIA Reader (2000-present)
Moving Dance Forward
Twenty Years of Grantmaking for a Changing Landscape
As a new administration enters our nation's White House, it is timely to reflect on the way that private philanthropy and public foundations joined forces to step into the gap when federal funding for the arts was dramatically reduced in the early 1990s.
In 1996, the New England Foundation for the Arts (NEFA) responded to the demise of the Dance on Tour program of the National Endowment for the Arts (NEA) by designing a grantmaking program to invest in dance artists to create and tour new work. The NEA provided critical start-up support to launch this new initiative, the National Dance Project (NDP), which has now been making grants and providing support to the dance sector for twenty years. In that time, NDP has made $33 million dollars in grants to support 344 unique artists' work with 787 cultural organizations across all fifty states and Washington, D.C., reaching over 2.7 million audience members.
National Dance Project grant recipient Aparna Ramaswamy, Wesleyan University. Photo by Ed Rudman.
Why did NEFA and our partners and investors at foundations, such as the Andrew W. Mellon Foundation and the Doris Duke Charitable Foundation, step into this particular gap when the NEA was forced to retreat? Dance artists had historically been forming into dance companies with a lead artistic voice at the helm, attaining nonprofit status, and relying on earned income from touring as an engine to create new work and sustain operational costs. To ensure the security of the dance sector, initiatives to invest in the cycle of creation and touring were essential. For those who believe that dance occupies a unique and powerful place in our cultural landscape, it was a critical moment for philanthropic action.
Building a new funding stream for dance in the mid-1990s provided an opportunity to acknowledge a shift in the landscape. Dance artists were beginning to work as individuals, with a choreographic practice that was project based, and a business model that did not necessarily involve organizing themselves into a 501(c)(3) organization and sustaining a company. NDP organized itself to make grants to individual choreographers working in a project-based manner, who received their funds under the auspices of a fiscal sponsor, as well as to organizations and dance companies.
To assess the impact of twenty years of philanthropy in the dance sector, NEFA commissioned Metris Arts Consulting to evaluate trends in NDP grantmaking data. We also asked Metris to ask the dance field about current needs related to creation and presentation of dance. Our goals were to learn about the strategies of our grantmaking in dance that had the most impact for our constituents, and separately to assess the current needs of the field so we could identify gaps for ourselves and for other stakeholders. Metris accomplished these objectives through surveys (534 dance makers and 250 dance presenters participated), interviews, focus groups, a literature review, an inventory of existing NDP data sources, and secondary quantitative sources. In this article, we share findings from the Metris report, Moving Dance Forward: NEFA's National Dance Project at 20 and Critical Field Trends, related to twenty years of grantmaking in the dance sector and current needs of dance makers and organizations that present dance in communities.
Holistic Support Is Critical
In the dance ecosystem, the holistic model that NDP has employed of providing grant dollars to both artists and to presenters, with an eye to engaging audiences and communities, is viewed as critically important to sustaining the field. It will be no surprise to learn that today's dance makers and presenters operate in a climate of resource scarcity and rising costs, documented in the Moving Dance Forward study.
Cambodian Stories by Eiko & Koma. Photo by Marc Ray.
We learned that receiving a grant of creation funds enables artists to undertake more ambitious projects. A less-anticipated finding is that artists credit the addition of funding for tour support as contributing both to the evolution of their work and to their professional development by enabling them to learn new producing skills and build their relationships, network, and capacity. Artists who received grant support for the end-stage production residencies (in addition to their creation and touring support) and who participated in the Regional Dance Development Initiative experienced particularly high professional development and networking benefits.
We also learned how grants to dance presenters incentivize presentation of dance, even though they cover only a portion of costs (in the case of an NDP grant, averaging 25 percent). For example, over a third of presenter survey respondents indicated that they present less or no dance in years when they do not receive an NDP grant. Grantmaking to subsidize dance presentations is especially critical to colleges, rural presenters, newer dance presenters, and those with smaller budgets.
Grants also play a critical role in allowing presenters to take risks: high majorities of presenter survey respondents said presentation grants enabled them to work with new artists, present artists with more complex projects, and take artistic risks. This was an exciting finding that indicated that curators and programmers are eager to be innovative in their work and that grants serve as a catalyst and as risk capital for them to try something new.
Is Touring Relevant?
Twenty years of consistent grantmaking through a single initiative is a remarkable achievement, but the environment has changed in those two decades, and a critical question for us was, is touring still a relevant goal for dance makers? We found strong evidence that dance makers and presenters perceive touring to have declined, but our data show that within the universe of NDP grantmaking, touring has remained consistent over time. For instance, both the median and average number of NDP-supported engagements per tour are six, when looking at five-year periods across NDP's twenty years. This suggests grantmaking is a high-impact bulwark against decline in touring.
Do dance makers want to tour? And why? Findings from our research indicate that in 2016, 73 percent of survey respondents tour their work, and of those that don't, 83 percent would like to. One key change in the environment since the launch of NDP is that touring as an economic motivator may be growing obsolete. Although dance touring may have once been a source of sustaining revenue, for both presenters and dance makers, costs are now the top barrier for each to do their work.
The top motivators for dance makers to tour are to reach new and wider audiences and to increase their visibility. And the top motivators for presenters to present dance on tour are intrinsic — because it is tied to their mission, because individual curators are committed to the art form of dance, and because dance connects audiences to diverse cultures and art forms.
Audience testimonials and the sheer numbers of individuals reached during twenty years of grantmaking for dance presentations across America illuminate how providing philanthropic support for dance benefits audiences and communities. Evidence reveals that grantmaking expands access to the arts by reaching youth, audiences of color, and rural and transgender audiences. Research data credit grants with enabling presenters to deepen relationships with existing audiences, attract new audiences, and diversify their audiences. This is of special importance because the field faces challenges with audience diversity in terms of education levels, income, and race, although non-ballet dance attendance rates increased somewhat from 2008 to 2012, and rates of attendance by audiences of color increased for dance from 2002 to 2012.
Diversity and Equity: Geography, Race, and Aesthetics
From its inception NDP strived to celebrate the strength and diversity of dance in America by supporting a wide range of dance projects and artists with regard to aesthetics, career stage, gender, race, ethnicity, disability, and geography. How many artists have received grants, and what are their characteristics?
NEFA has awarded grants to 344 unique dance artists, of whom 296 have received core production and touring awards, from twenty-four states and the District of Columbia. The vast majority of grants are made to those living in nonrural areas, and strikingly, grants awarded to New England, southern, and mid-American artists make up only 5.5 percent of all awards, so there are needs and gaps to address in those regions of the country when it comes to supporting dance makers to achieve visibility in a national context.
Available data reveal that grantmaking through NDP has consistently supported artists of color. We have individual data on the race/ethnicity of 53 percent of our grantees, and of those grantees, half are artists of color and Native American artists. The five dance artists/companies who have had the most NDP-supported touring engagements are all dance companies headed by artists of color.
Does grantmaking through NDP provide onetime support or sustaining support? Metris research into NDP data revealed that 65 percent of NDP artist grantees have received one award over the twenty years of grantmaking, 35 percent have received multiple awards, and a subset of twenty artists have received five or more awards. These data demonstrate that NDP provides some artists with a sustained source of funding but that there continue to be opportunities for artists to "enter" the national touring context in dance and that grantmaking is an important gateway opportunity for artists. Of the twenty artists who have received five or more awards, over 50 percent are artists of color, and one is a mixed-ability dance company.
The data show that 30.3 percent of all choreographers in the workforce are people of color or Native American, a higher percentage than for all artistic occupations combined. While we celebrate the diversity of the individuals who work as choreographers, and NDP's sustained robust support for artists of color, we conducted focus groups specifically related to issues of diversity and inclusion in dance, and our focus groups spoke to systemic inequities that affect support systems for ALAANA (African, Latino/a, Asian, Arab, and Native American) artists working in the dance field. In particular, focus group participants challenged us and other grantmakers to ensure that participants on grantmaking panels possess more cultural fluency and intentionally include people of color and panelists who understand different cultural contexts. Focus group participants also encouraged grantmaking support that honors authentic and sincere community engagement, recognizes that it is often artists of color whose work requires the additional time and investment in community practice, and takes into account systemic inequities when it comes to access to resources, both racial and geographic.
Who and Where Are the Cultural Organizations That Present Dance?
Metris research revealed a robust and large cohort of organizations that present dance in the United States. NDP has made grants to subsidize the costs of dance presentation to 787 different presenters in all fifty states and the District of Columbia. Research findings reveal that grant support plays especially important roles in seeding presenters new to dance, and provides sustaining support for a core of committed dance presenters. Grouped by "type" of presenter, grant support has gone to over thirty kinds of presenters, from colleges and universities, to festivals, to museums, to parks and rec departments.
NDP has supported presenters in all fifty states and the District of Columbia. California (12.2 percent) and New York (9.9 percent) top the list as the states claiming the most grants — unsurprisingly given the reputations cities within these states have as dance hubs and population centers. California and New York are followed by Pennsylvania (6.8 percent), Massachusetts (5.7 percent), and Florida (4.8 percent). In all five-year periods of NDP grantmaking, California presenters were associated with more NDP grants than presenters in any other state except for 2011–15, when New York presenters received slightly more.
Of special interest in today's climate is that the number of organizations located in rural areas who receive grant support to present dance is slowly climbing. The five-year period 2001–05 saw the lowest percentage of NDP grants to rural presenters (5.6 percent), followed by a steady increase in the five-year periods since (7.3 percent in 2006–10, 8.4 percent in 2011–15, and 10.4 percent in 2016).
The Moving Dance Forward research revealed that participation in NDP's holistic processes heightens artists and presenters' connections, knowledge, confidence, and standing. Seventy percent of presenters surveyed said NDP support improved their standing and reputation, and 61 percent said it helped them make the case to present dance to boards and/or funders. These findings were especially intriguing, indicating that curators and programmers give credit for being part of a national grantmaking initiative and that caring for the dance ecosystem writ large adds value to their own practice and professional credibility.
Looking Forward: Community Engagement and Structures for Sustaining Practice
Deep community engagement is a shared interest of both dance makers and dance presenters. Pairing tours with deep engagement is the top-ranked model that dance-maker survey respondents plan to use in the next five to ten years to meet their touring goals. Presenters agree: 73 percent believe it is very important to include community engagement and educational offerings alongside dance presentations. Dance makers also envision that future touring practice will include presentations in unconventional dance venues, and peer-to-peer touring opportunities.
To support the creation of dance work, survey data suggest project-based models are used most extensively by dance makers, not 501(c)(3) company models. The second most highly used model is equal collaborations with cocreators. However, fundraising through grants is still the form of support dance makers rely on most heavily, pointing to the importance of fiscal sponsors to the dance sector. The second most important resource for dance makers is in-kind support, speaking both to donations of space for creation, and to donations of time from collaborators. Fundraising from individuals is the third most relied-upon source of support, but through traditional means of cultivation, as crowd funding ranks lowest of all means to support the development of new work. In dance, a strong bench of fiscal sponsor organizations appears to be critical to the success of the field.
Core values of supporting diverse artistic voices, engaging deeply with community, and innovation and risk taking in practice are closely associated with dance making and dance presenting, and Moving Dance Forward research suggests that both artists and presenters seek tools to adapt dance touring models accordingly, to share knowledge, and to deepen relationships and partnerships that support the dance ecology as a whole.
The Moving Dance Forward report reveals a number of critical areas for those funders interested in supporting the evolving needs of the dance sector. How can we better support dance makers and communities affected by systemic inequities, from race to geography? How can we create funding structures that will support holistic professional development in addition to providing a financial investment? What opportunities do we have to reinforce especially vulnerable dance presenters, including those in rural areas and of small budget sizes? And how can our grantmaking models make room to award grants to collaboratives and artists organizing themselves outside of the 501(c)(3) system?
For NEFA's National Dance Project, the findings of this study will inform our strategies for the coming five years. Among our key areas of work will be to offer additional support to presenters working in rural areas and geographies that are less served by dance, where grantmaking support has a critical impact in enabling the presentation of dance. We are also developing a new fund to support community engagement practice for those artists whose work engages community deeply while on tour, and who require additional resources to underwrite their time and practice. And we will provide additional professional development support to first-time grantees, to ensure that the opportunity to receive a national grant on the scale of an NDP grant is a catalyst for learning and opportunities that will serve artists for the long-term, even after the multiyear cycle of their NDP project is complete.
Cathy Edwards is the executive director of the New England Foundation for the Arts.
The report Moving Dance Forward: NEFA's National Dance Project at 20 and Critical Field Trends, by Metris Arts Consulting (Anne Gadwa Nicodemus and Rachel Engh), is available at www.nefa.org/moving-dance-forward.
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Last Friday, Sawyer had a complete abdominal ultrasound scan to determine if his bile duct was obstructed and to look around for any other explanation for his GGT level rising to toxic levels in his blood. No obstruction was found, which raised concerns about the source of the problem.
The good news is may never know the source because recent lab results show that the GGT level is going down! It has already dropped in half and continues to head south!! This news is a big relief. Our little guy has been through so much. We praise God for His mercy.
This also means less itching for Sawyer as the toxins reduce. Poor little guy has been scratching incessantly for weeks. In the last few days the itching has been easing up and I don't think I saw him scratch one time today.
We also learned today that Sawyer's anti-rejection meds are maintaining appropriate levels in his blood. His doses were changing daily and now they are stabilizing. With the GGT level dropping and the meds stabilizing, Sawyer will not have to have blood draws every other day. More relief!!
Karen continues to improve. Her energy level is up and she rarely takes anything for pain. Yesterday, her doctor told her to take it easy, but released her to start driving again. On the way home from the doctor's office, she barely stopped the van to let me out so she could go shopping.
It is finally starting to feel like we are turning a corner in this healing process. It's been a tough few weeks (and months), but God has given us what we needed when we needed it. We are looking forward to a few uneventful days.
Praise God for His mercy and goodness. We will continue to pray for healing and thank you for allowing us to pray specifically-your updates are so inspiring. What a special family you are. God bless!
Hallelujah! Praising God with you!
Such wonderful news! Praise God!!!
Praise the Lord, so happy to hear it !! Can't wait to see y'all next Saturday. God is so good. God bless.
Yay!! Great to hear such good news!! Love you guys!
What an awesome praise to our awesome God for answering prayers and confounding the medical world! :-) Love that! And Karen looks awesome!
We praise God with you! We agree with the other comments. Karen, you look great, and so does our little hero, Sawyer! See you soon!


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After the success of last year's CLAW (Crisis Management Workshop), organized for the NREN community (National Research and Education Network) at PSNC headquarters, this year's edition was held online. The coronavirus pandemic did not allow to organize the meeting in the capital of Wielkpolska Region once again, but this exceptional situation did not prevent the development and organization of the next interactive crisis management classes.
Guilder Kingdom, a fictional state in Europe, with a fictional history, flag and coat of arms, and even an anthem and language. For the purposes of last year's workshop, PSNC created a map of the NREN network (GuilREN), in which = an imaginary history of the crisis related to digitization at the national level was presented. The biggest challenge was the organization of the workshop, held simultaneously in 7 parallel rooms: six teams and a team of coaches were solving the scenario at the same time, along with multimedia prepared especially for this occasion. The similar scenario was planned during this year's edition.
The COVID-19 epidemic, however forced the organizers and the whole idea to be transferred to the virtual world. How was it heandled? The biggest challenge, as Damian Niemir from the PSNC Social and Business Environment Department admits, was to focus attention in front of the videoconference screen of nearly 80 people who have spent most of their time in this way for many months. The organizers asked themselves: how to construct an attractive scenario, giving the illusion of time pressure, while allowing people who are hundreds of kilometers apart to work together?
The participants of the virtual meeting went to Guilder again. This time, however, the convention of an interactive movie in comic book slides was adopted, with background music, sound effects and a voiceover in the background. During the session, participants had to "stop" five times to discuss the best solution in subgroups. Finally, they all voted together for one of the four alternative solutions to see the effect of their choices.
The fictitious crisis revolved around an intelligent solution for integrated transport and an electronic "ticket" based on NFC was introduced in Guilder. It was unfortunate that a bug crept in somewhere. Or maybe it was not a bug? And he didn't creep in, but the man behind did? This story was told in such a way that the participants could continue last year's threads and somehow announce the next edition.
The entire production facility for this year's CLAW was based on the ZOOM platform, which made it possible to share the screen along with the sound. Powerpoint tool was also used, which was also enriched with animation, video sequences and soundtrack. Depending on the situation, the scenario could be controlled by jumping into appropriate alternative parts. Streaming on YouTube was also used in a quite unusual role, as an additional contextual screen with content that each user launched on a smartphone, as a second multimedia screen, apart from the computer monitor.
This year's edition has shown that quite unexpectedly, the workshop on solving crisis situations can take place in exceptional, specific crisis circumstances.
PreviousInterview for TOK FM: The magic of science is going online this year. Researchers Night takes place on November 27


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Red Sancerre
Jim Budd August 21, 2009
By changing its dominant grape from Pinot Noir to Sauvignon Blanc the famed Loire AC made its fortune. But the future looks red again, says Jim Budd
When Alphonse Mellot Jr told his father he wanted to make serious red Sancerre, Mellot Sr told him it wasn't possible. He is now happy to admit that he was wrong, as proved by his son's series of single-vineyard reds and the premium Generation XIX, a wine that stands comparison with premier cru Burgundy.
The return of Alphonse Mellot Jr to join his father to run the family vineyards in 1993 was a key moment in Sancerre's red revolution. Today, as Sancerre rouge celebrates its first 50 years of appellation contrôlée status, the movement that started in the early 1990s has gathered pace. After years of making light, often dilute reds from Pinot Noir, an ever-increasing number of Sancerre producers are making noteworthy, substantial reds.
Mellot Jr's recipe for success was not complicated – yields were cut and he started to take the same care in the vineyard with Pinot as his father had with Sauvignon Blanc. I first became aware of the change in the late 1990s when I tasted the 1995s and '96s from Mellot, Domaine Vacheron and Nicolas and Pascal Reverdy. Others have followed, says Gilles Guillerault of Domaine des Caves du Prieuré: 'Things started to change in 1996. Between then and 2002 yields fell from 60hl/ha (hectolitres/hectare) to 40hl/ha. In 2003 we started picking by hand, and now we sort both in the vineyard and the winery.'
The increased profile these wines have attracted has led some to the mistaken belief that producers have jumped on the global Pinot bandwagon and that its planting in Sancerre is a recent development. In fact, the reverse is true. Before the arrival of phylloxera at the end of the 19th century, Sancerre was mainly planted to red varieties, Pinot among them but also Gamay and other grapes that have since disappeared. Sauvignon Blanc was present before phylloxera, as it was just across the Loire river in Pouilly, but it didn't become the main variety until the vineyards were replanted in the early 20th century.
Thereafter, Pinot was so overshadowed by Sauvignon that when the first ACs were created in 1936, the Sancerre appellation was for whites only. It was not until 1959 that it was extended to cover reds and rosés made from Pinot Noir.
The push to Pinot
I have long been intrigued as to why this established, predominantly red wine area was transformed into a white one. Was it a far-sighted move that anticipated the success of Sancerre's Sauvignon in the latter part of the 20th century? 'It was a commercial decision,' says Jean-Marie Bourgeois of Domaine Henri Bourgeois. 'Producers wanted to offer both white and red.' This may have played a part but, when Sancerre was replanted in the early 20th century, polyculture was the norm and farmers had just two or three hectares of vines – barely enough for more than one variety. It wasn't until the 1950s that Sancerre producers launched their wines on the Paris market.
While there are likely to have been many reasons for the change, several producers, such as Stéphane Riffault of Domaine Claude Riffault, mention that the first Pinot grafted onto US rootstocks did not take well here, whereas Sauvignon did. Another factor may have been the loss of their market in Champagne – before the tightening up of rules, Sancerre used to supply Pinot to Champagne houses.
Whatever the reason for Sancerre's transformation from red to white, the change made its fortune, making it the Loire's wealthiest, best-equipped AC. Sauvignon continues to dominate: of the 2,808ha planted, only 619ha (22%) are Pinot. As some is made into rosé and yields for Pinot are lower than Sauvignon, red production accounts for just 11%. Nevertheless, it is Sancerre's reds that are providing the excitement. Unfortunately, the excitement is somewhat of a French secret, as reds from the Central Vineyards represent less than 3% of their exports.
In December 2008 the Bureau Interprofessionnel des Vins du Centre (BIVC), the promotional organisation for the Central Vineyards, arranged a tasting of 160 reds, with more than half from Sancerre but also examples from Reuilly, Coteaux-du-Giennois, Châteaumeillant and Menetou-Salon. It was a fascinating opportunity to get an overview of how the red revolution is progressing.
The tasting underlined that, with the exception of Coteaux-de-Giennois, quality in reds has improved dramatically (though there are still big variations and some faulty wines). Consumers are also confronted with a range of styles, from light and fruity to concentrated cuvées that spend a year or more in wood.
The red revolution has not yet run its course, says Benoît Roumet, director of the BIVC. 'Many producers have changed the way they work in the vineyards but some still have things to learn about vinifying Pinot Noir successfully. That will take time.' In the meantime, for adventurous, informed consumers, there is much reward to be had.
Written by Jim Budd


Bread & Roses, an organization bringing free, live, quality entertainment to people confined in institutions or otherwise isolated from society, was ready to grow its program and reach more adults and children throughout the Bay Area. The organization asked Korwin Consulting to conduct a market analysis to identify the universe of prospective organizations to which they might bring their programming. Findings from this study enabled Bread & Roses to implement steps for strategic growth in the ensuing years.


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Essence of Bhutan
Complete Bhutan
A tour of 9 nights including 1 night in Thimpu, 2 in Punakha, 2 in Gangtey, 2 in Bumthang and 2 in Paro, with a base in the spectacular Amankora hotels.
Arrival to Paro, customs procedure and luggage collection. Welcome by a private English-speaking guide followed by a journer by road to the city of Thimpu (90mins), capital of the Kingdom of Bhutan Arrival to our accommodation the Amankora Thimpu Lodge. Lunch included on arrival. During this first day, we will first enjoy the wonderful views of the valley and the spectacular Dzong Trashi Chhoe, followed by the opportunity to enjoy fabulous visits during the morning including the statue of the Buddha Dordenma, Chorten National Memorial and the Folk Heritage Museum. Dinner included in the hotel.
Thimphu-Dochu La-Punakha. Breakfast at the lodge. Early in the morning, we will depart by road to Punakha, continuing our journey through the winding local roads, ascending to 3000m above sea level of the Dochu La pass, which offers beautiful views of its more than 108 images of Budha, with an incredible mountain landscape, especially on clear days. Picnic lunch included.
From there, we will continue down the valley with a short walk through the farms and rice paddies to reach Chimmi Lhakhang, a fifteenth-century fertility temple dedicated to Drukpa Kuenley, a Tibetan Buddhist saint, perhaps better known as the "Divine Fool". This site has long been a pilgrimage for couples who want to start a family. After arrivl at our spectacular accommodation: the Amankora Punakha Lodge there will be time to rest. Dinner included.
Breakfast at the hotel. Early in the morning, we will begin a full day of exploration through the exuberant valley of Punakha, which at 1,200m above sea level always has a warmer climate and in which, among others bananas and oranges are easily grown.
The morning begins with a short walk through the farms and farmland to Khamsum Yulley Namgyal Chorten, a Sanctuary recently built by the royal family.
Return walk to the lodge with lunch included.
Going deeper into the valley, the 300-year-old Punakha Dzong appears. The fortress, built in the XVII century by Zhabdrung Ngawang Namgyal (who founded the Kingdom of Bhutan), once housed the government of the country and is now the winter home of Je Khenpo, the chief abbot of Bhutan, along with a retinue of 1,000 monks.
Return to the hotel for a free afternoon, where you can rest and enjoy the spectacular scenery or practice the national sport of the country, archery. Dinner included in the lodge.
Early breakfast at the lodge followed by a journey of approximately 2 and a half hours by road towards the east of the country, in the direction of the Phobjikha valley. The journey first follows the course of the Mo Chhu (Male river) and then the course of the Dang Chhu (Dang River), in a very beautiful landscape of forests with imposing oaks, before crossing the Pele La pass and beginning to descend to the heart of the valley, where our lodging will be located: the Amankora Gangtey Lodge.
Lunch included on arrival with stunning views of the entire valley.
In the afternoon, we will have time to get lost in the streets of the village of Gangtey, where we will visit Gangtey Goemba, which is a Buddhist monastic school, as well as an important monastery with hundreds of years of history.
Return to the lodge and free time before dinner (included).
Breakfast at the lodge Early in the morning, a very special activity awaits us: we will hike through wooded paths and pine forests, before ascending to a spectacular viewpoint over the mountain, which will offer us incredible views of the entire Phobjikha Valley. The 3 hours hike is medium-high level and it is convenient to be well acclimatized to the elevation of almost 3,500m at the highest point, being possible to tailor the ride in coordination with the private guide, to reduce the hardness of the route, shortening the itinerary.
Lunch included in the lodge upon return.
The afternoon will bring us a quieter activity, after the morning's effort, visiting the conservation center of the Black necked Cranes, which migrate to the valley during the winter and are protected species in the region. Return to the lodge to rest followed by dinner (included).
After an early breakfast at the lodge time to leave the Phobjikha valley, retracing our steps on the Pele La pass, where we will have a new opportunity to enjoy the spectacular views of the area, before continuing our way to the Bumthang valley. The tour will take us all day by road, visiting en route the spectacular village of Tronsa, one of the most important valleys of antiquity that today still retains a Dzong on the mountainside, with incredible views of all area. Picnic lunch included.
Continuing our route, we will reach the Yatang La pass, which will allow us to enter the Chhume valley, home to the most famous looms in the country, the Yathra looms, where we will have time to observe how some of the country's most traditional costumes are made.
After this visit we will arrive at the Bumthang Valley, where our accommodation will be located: the Amankora Bumthang Lodge which also shares gardens with the former Royal Palace of Wangdichoeling.
Time to rest and enjoy the lodge's facilities after a long day on the road. Dinner included at the lodge.
After an early breakfast at the lodge we will visit Jambay Lhakhang, where at the beginning of the winter some of the most important festivals that bless the local population are organized. Next, we will visit Kujey Lhakhang, considered one of the most sacred places in the country, as it is considered one of the first Buddhist temples in the country and the place where Guru Rinpoche, the main defender of Buddhism in the country lived. From there, we will go for a gentle walk that will take us to the Tamshing Monastery. After this, we will cross the Bumthang River on our way to Bumthap, where we will have the chance to enjoy a lunch based on very traditional food, in the kitchen from a local family.
In the afternoon, we will have the opportunity to visit the local brewery RED PANDA, as well as learn about the different local cheese making processes, with is used in most of the typical dishes of the country, such as EMA DATSHI, which is a mixture of cheese and chili, with potatoes and beans accompanied by white rice.
Return to the lodge at sunset, with time to rest. Dinner included at the lodge.
Breakfast at the lodge followed by transfer to the local airport of Bumthang, for a 45 minute domestic flight to the Paro valley.
Upon our arrival to Paro, we will cross the entire valley until we reach our accommodation in the exclusive Lodge Amankora Paro that has a spectacular location in a lush pine forest. Lunch included at the lodge.
In the afternoon, we can enjoy the facilities of the lodge, or have the option to take a bike ride through the valley. We can also try our luck with archery, taking advantage of the lodge's private shooting range. In addition, at sunset, we can enjoy the spectacular view of the ruins of the Dzong Drukgyel and we may be able to see in the distance the snow peak of Mount Jomolhari, which rises 7326m above sea level and separates Bhutan and Tibet. Dinner included at the lodge.
Breakfast at the hotel. The historic Paro Valley is the center of the activities of our last day of visits, which culminates with a visit to the 'Tiger's Nest', also known as the Taktsang Monastery, one of the most important architectural pieces of Bhutan. According to legend, this cliff is where Guru Rinpoche (Padmasambhava) landed on the back of a flying tigress, taking Buddhism to Bhutan from Tibet.
The trip starts early to avoid the heat of the sun during the two-hour climb to the "Tiger's Nest" viewpoint, a steep walk past a waterfall and ending between beautiful murals at the main entrance of the monastery. If time permits, there is the possibility of going further to visit other remote temples. After lunch (included, either a Picnic or in a traditional local house) we will return to the lodge and enjoy a well-deserved rest after the physical effort of the morning.
Dinner included at the Lodge.
Breakfast at the lodge. At the agreed time, we will begin the last day of visits visiting the National Museum, which brings together one of the largest collections of antiquities in the country, as well as offering a review of all the geography of the country and its singularities.
Next, we will visit the Dzong de Paro, which offers beautiful views of the valley, before the private transfer to the airport for the return flight.


This year's Charitable Giving in the USA 2019 Report has been released, and we love having some new insights into the charitable giving habits of Americans. Many aspects of the nonprofit industry are still struggling, but it is encouraging to see the number of people taking part in charitable activity and volunteerism rising.
70 percent of those surveyed were involved in a charitable activity in the last 12 months, compared to 62 percent in 2017.
62 percent of Americans gave a monetary contribution in the last 12 months, compared with 55 percent in 2017.
Religious organizations continue to be the most popular causes to donate to in America, receiving 38 percent of charitable gifts.
The average donation in the past 12 months was $461, which is a $79 increase from 2017.
The most popular forms of giving are cash and online (using a debit or credit card), both comprising 39 percent of giving forms.
73 percent of Americans said that charities have had a positive influence on their local community, on America and on the world.
The top reason for giving (53 percent) was caring about the cause, while the second reason for donating (42 percent) was helping those less fortunate.
There is always room for growth, but the numbers covered by the report are encouraging. And not only that, but we expect (and hope that) the numbers will continue to rise. Reports have shown that millennials are the most generous generation, and with this generation taking over the workforce, we are hoping to see a positive impact when it comes to philanthropy.
Here's to another charitable year!


I'm really into solo adventuring. I do enjoy the company of people, and I wouldn't call myself anti-social, but I do my recharging when I have my mind to myself. I have a tendency - a flaw, perhaps - of adjusting my behavior to "suit" whoever I'm with. I try to guess which aspects of my personality my companions would find most enjoyable and this is what I provide to them. I'm a people pleaser - I don't like to disappoint, so this could very well be a reflection of that trait. But that isn't being true to myself. It's something I'm working on, and in the meantime, I find my solace and healing in solitude.
My most recent adventure was a scramble up Yellow Aster Butte, a gorgeous alpine hike in Mount Baker National Forest. The past few weeks here in the northwest have seen some incredibly hazy skies due to some rather unfortunate wildfires up in B.C., and I've been missing the views of bright blue sky. I made it a mission on this particular hike to see how high I needed to get to break above the smoky skies, and in hindsight, it seems that it wasn't just literal haze I was escaping. I was craving another sort of clarity.
Mental clarity can be achieved by removing yourself from your perceived problems and instead focusing on what is right in front of you. This is made particularly simple when you've got a pack on your back and a steep incline in front of you - it's hard to focus on anything but your next step and the sweeping views that become more stunning with each foot gained in elevation. This is what I love about hiking, and in particular, solo hiking, because you are in your own dreamworld, and there is no need to think about anything or anyone else. Clarity starts to sweep out the dusty corners of your mind, brushing anxiety and stress right out the door. It's an incredibly healing way to take care of yourself and your mental health, and there's a refreshing realization that this is a place you can return to mentally whenever negative thoughts start to cloud your mind.
Funny, that sounds very similar to my yoga practice.
Hiking, yoga, running, sitting, walking, baking, painting, photography, writing, playing music...what's your meditation? How do you break above your haze? It seems like humanity could use a little more clarity.


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El Grumman F9F/F-9 Cougar és un avió de combat de reacció embarcat de la companyia estatunidenca Grumman. És una modificació profunda de l'anterior F9F Panther incorporant ales en fletxa i un motor més potent.

Variants

XF9F-6  Tres prototips construïts a partir de F9F-5 Panther, incorporant les ales de fletxa.
F9F-6  Primera versió de producció, amb 646 avions fabricats. Redesginats F-9F el 1962.
F9F-6P  Versió de foto-reconeixement aeri, 60 avions fabricats. Redesignats RF-9J el 1962.
F9F-7  Versió amb el motor Allison J33 (la majoria reconvertits al J48). 168 avions fabricats, redesignats F-9H el 1962.
F9F-8  Versió millorada amb un buc central allargat, cabina reforçada i ales modificades. Va augmentar la capacitat de combustible i també era capaç disparar míssils AIM-9 Sidewinder. 601 fabricats i redesignats F-9J el 1962.
F9F-8P  Versió de foto-reconeixement aeri de la versió F9F-8. 110 fabricats i redesginats RF-9F el 1962.

Operadors

 Armada Argentina

 United States Navy
 United States Marine Corps

Especificacions (F9F-6/F-9F Cougar)

Referències

Notes

Bibliografia
 Elward, Brad. Grumman F9F Panther/Cougar. North Branch, Minnesota: Specialty Press, 2010. .

Caces
Avions militars dels Estats Units
Avions de la dècada del 1950


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Four lucky members were excited to share in $10,000 cash at our surprise bonus draws held on the night of the Winnebago Grand Prize draw.


Gwen is the Director of the Vermont Women's Business Center, Center for Women & Enterprise Vermont. Gwen joined CWE's exciting tradition of developing & delivering high quality programming and technical assistance to women in business in 2016. Gwen has worked in local economic development in a variety of capacities and environments. She holds an MS in Community Development & Economic Development from the University of Vermont, where she developed a microbusiness incubator to assist emerging Vermont value-added-food and artisan entrepreneurs through a retail store and academic technical assistance model. She owns a small business consulting firm offering business plan and pitch writing, finance and operation strategy support, and delivering marketing presentations. Before coming on board with CWE, Gwen worked as Director of the Women's Small Business Program and was awarded Vermont Business Magazine's Rising Star Award. While there, she further developed the 25-year-old organization to expand offerings in business planning, personal finance, and networking. She held a contract with the Vt Small Business Development providing one-on-one technical assistance to nascent and early-growth stage entrepreneurs. She has taught entrepreneurship and business skills at a variety of institutions, including the University of Vermont, Green Mountain College, the Community College of Vermont, and the Governor's Institute of Vermont. Gwen has also worked in rural development research, human services, and brief stints in Honduras and Costa Rica.
Gwen has been involved with WBON for around 6 years. She has attended the fall and spring conferences throughout that time and has found the conferences to be enriching and invigorating. Gwen's first WBON conference was the fall conference at Basin Harbor Club, and it was there that she first saw the power and possibility of the women's business community. She has presented at a few chapter meetings and attends chapter meetings to hear about the needs and interests of women entrepreneurs.