text:
Crookwood M1
Mastering Console
Hardware > Mixer, Monitor Controller
By Hugh Robjohns
Crookwood M1 mastering console (centre).
Designed to meet very specialised needs, mastering consoles can be scarily expensive. Crookwood's modular system offers faultless sound quality at a surprisingly affordable price.
Mastering is a specialised sector of the pro-audio industry, with its own particular equipment requirements. For example: everything is usually adjusted with rotary switches, so that the settings are easily repeatable; passive, balanced analogue and/or elaborate digital matrices are employed to insert outboard signal processing equipment in whatever order might be required; and the monitoring controller must incorporate facilities to adjust the relative levels of monitored sources, so that the original and processed versions can be compared fairly at equal volumes. There are usually at least two distinct signal paths, too: the main 'source' monitoring path and the 'transfer' path, which incorporates the inserts and feeds the analogue or digital recording destinations.
There are several manufacturers of dedicated mastering consoles brimming with all these kinds of facilities, but generally with prices starting from frighteningly expensive and continuing up to 'if you need to ask you really can't afford it'! At slightly less eye-watering expense, companies such as Dangerous Music and Manley produce analogue insert switchers (the Liaison and Backbone, respectively), but even these will set you back between £2000 and £5000several thousand dollars, and you'll still require some form of additional monitoring controller, as well as a bunch of high quality A-D and D-A converters... and probably a digital router, too. So a modest 'mastering system' constructed in this way would still cost as much as a decent car.
I recently found myself exploring these options for real, because I decided that I needed to streamline my own studio facilities, and a simple mastering console was the obvious solution. I often indulge in small-scale private mastering work but, more importantly, reviewing equipment for Sound On Sound involves inserting the product in a signal chain and comparing the signal source, the review equipment and possibly a reference product, to evaluate their sound quality and characteristics. Up until now I had been using a complex mishmash of equipment to achieve this, including an analogue patchbay, a Coleman Audio analogue switcher, a Z-Sys digital router, a custom-built monitor controller... and an awful lot of re-plugging! My initial exploration of the small mastering console market was quite a frightening experience, and I nearly gave up the idea. It was then that I discovered Crookwood, a small independent British company with the marketing tag line 'bespoke audio engineering'.
Crookwood have been in business for 20 years but have a surprisingly low profile, despite having an extremely high reputation amongst those 'in the know' — which includes the likes of Glenn Meadows and Bob Katz. Crookwood's founder, Crispin Herrod-Taylor, has worked previously as a design engineer for the high-end hi-fi company Meridian, as well as pro-audio manufacturers including Focusrite and SSL. He set up Crookwood to design and build his own range of modular monitoring controllers and mastering consoles, as well as impressive mic preamps (such as the innovative Paintpot), and other bespoke products. These are all essentially built to order, but at prices that don't require the donation of surplus body parts!
After a lengthy exchange of emails with Crispin, to explore the various options and customisation possibilities — and I have to say he was extremely patient and helpful throughout — I commissioned a Crookwood M1 mastering console with a few minor customisations which, I gather, have been integrated into future consoles. After placing my order, I was reminded that a fellow SOS reviewer and mastering engineer, Eric James, purchased the company's C2 monitoring controller a few years ago, and you can read his review in SOS August 2007 (there are some shared elements between the C2 and M1).
Racing Down The M1
The I/O side of things is handled by rack units, which keeps the desktop controller nice and compact.
The M1 is Crookwood's 'flagship' stereo mastering console, not because it is the largest, but because it incorporates both analogue and digital inputs and inserts. The M2 version is digital-only, while the M3 is analogue-only, and for anyone interested in surround-sound mastering, the equivalent consoles are the M10, M20 and M30. Having chosen the basic console form, the next decision is how many insert points are required, with the options being three, seven or 11. Apparently, the seven-insert model is the most popular for commercial mastering rooms, but I opted for the three-insert version, which accommodates two analogue and four digital input sources, with three analogue and three digital inserts — the model M1-3AI. However, should requirements change, any Crookwood console can be upgraded to any other model relatively simply, thanks to a clever modular design. It's just a case of installing new cards, control panels or I/O racks, and replacing the EPROM that stores the system configuration data.
Crookwood's mastering consoles feature an entirely analogue monitoring path, with all signal switching and level control performed passively via sealed relays, just as it is on the Dangerous ST-SR and Cranesong Avocet monitor controllers. The active audio circuitry is fairly minimalist, employing LME49720 op-amps, which are very high-quality devices with low noise and a high slew rate. However, since the monitoring sources include digital inputs, a dedicated monitoring-path D-A is also required. This can be a suitable commercial model wired up externally, if preferred, or a Crookwood-designed module can be installed instead. Selecting a digital monitor source automatically routes that source to the D-A's input, and feeds the outputs to the analogue monitoring path.
In contrast, the console's 'transfer path' is fundamentally digital and so, to accommodate the three analogue insert points, an A-D and D-A converter pair is required to move signals between the digital and analogue domains. However, with only one pair of converters available, the three analogue inserts always work together as a block inserted into the digital path, before, after, or between the digital inserts. These transfer converters are switched into circuit automatically in a seamless way whenever the analogue inserts are enabled. The transfer path's digital output is fed to three separate record destinations simultaneously.
In commercial studios, where it might be desired to select different converters for different roles as part of the sound-shaping process, the larger Crookwood mastering consoles have facilities to freely allocate converters from a pool of devices to serve in different parts of the signal path. For my little M1-3AI console, though, I opted to use Crookwood's own internal converters throughout. These are SRC-based designs, similar in concept to those of Cranesong, Benchmark and Drawmer, where the actual A-D or D-A converter chip runs from a local crystal clock at all times, to ensure optimal jitter performance. A sample-rate converter chip handles the different input or output sample rates, removes external jitter, and ensures a very fast lock-up time if the digital source is changed, the last being essential where input sources are being compared and insert processors switched in and out.
The A-D converter's clock source (internal or external) and sample rate (44.1-192 kHz) can be selected via the console's configuration menu, while the two D-As simply follow the sample rates of their inputs, of course. In my installation, I can easily patch in my lovely old Apogee PSX100, Benchmark DAC-1 and customised Drawmer A2D2 converters, should I need different converter characters or additional domain translations.
The controller's front panel puts all functions within easy reach, and features clear labelling.
The M1 console hardware is accommodated in two deep (480mm) 1U rackmount units referred to as the Brain and the Channel I/O rack (larger systems involve additional I/O racks). The signal routing is based around an 8x8 asynchronous digital router card and a balanced passive analogue relay input switcher and insert matrix cards. All audio connections with the racks are via 25-pin D-sub connectors, and standard Tascam-wired breakout cables can be used. However, I chose to add optional 1U XLR breakout panels, each housing 16 XLRs, to serve as a convenient integral patchbay. These XLR panels are elegantly designed, with a small printed circuit board mounted across the back of each group of eight XLRs to collate the connections directly onto a D-sub socket. Simple ribbon cables with D-sub connectors at both ends are supplied to link each group of XLRs to the relevant I/O ports on the Brain and I/O racks. This solution occupied an additional 5U of rack space in my installation, but adds a lot of flexibility.
Power for the two racks is provided by a small in-line 12V DC universal power module which is double-insulated, so a spade terminal is provided on the rear of the Brain rack for a proper technical earth connection. Inside the Brain rack, a switched-mode power supply generates the required internal audio and logic power rails, with additional local regulation on each individual analogue and digital audio card. Power and control data is passed from the Brain to the I/O rack via a short link cable with nine-pin D-subs at each end, and the front panels of each rack unit incorporate LEDs to indicate the presence of the power rails and control data.
Operational control of the mastering console is via a pair of modular and customisable panels mounted alongside each other in a neat wooden pod (they can also be rackmounted, if preferred). The right-hand panel handles the monitoring controls, while the left looks after source selection and transfer-path inserts. Both panels feature a bank of 16 illuminated push-buttons on the left, with a second, smaller set of mode buttons on the right. They also both incorporate clear blue-and-white LCD panels at the top, while the monitoring panel also features a large rotary encoder with a ring of LEDs.
Monitoring Facilities
The monitoring controls are truly comprehensive: I really can't think of any functions that could be added! The top eight push-buttons on the left-hand side 'condition' the monitoring signal, while the bottom eight select the outputs. So there are facilities here to audition just the left or right input channel on both speakers, as well as the mono sum (mid) or the stereo difference (sides) signals. Polarity (phase) can be inverted independently for the left and right channels, or the absolute polarity can be flipped to make bass drums suck instead of blow (or vice versa!). The left and right channels can also be swapped over and muted individually, and there are buttons to switch in bass management and to mute a subwoofer, if the appropriate modules are included and configured (see 'Cost Options' box).
Two push-buttons directly above the encoder knob provide global Mute and Dim functions, the latter being adjustable and remembered separately for each monitor output. A new menu option, added at my request, remembers the mono and polarity settings associated with any output. This allows a single 'mono check' speaker to be connected to one output, with a summed mono signal being sent automatically whenever it is selected.
Output switching (with balanced and unbalanced modes) is provided for main, nearfield or mini loudspeakers, as well as headphones, and a powerful headphone amp is built in. Volume attenuation is controlled by the large rotary encoder in 1dB steps from 0 down to -50dB, with larger steps from there to -99dB. A ring of LEDs around the knob indicates the current setting in 3dB increments, and the precise output attenuation level is always shown in decibels in the LCD panel, alongside a 'V' (for volume) label.
Calibrated listening levels can be set up individually for each monitor output and, once set, the volume label on the monitoring LCD shows levels in dBr (relative decibels) rather than simply attenuation dB, with 0.00dBr being the set reference level. The actual monitoring level can be adjusted above or below this reference in the usual way (subject to the inherent attenuation range of the monitoring section), but with the benefit of an accurate display of the relative amount of volume adjustment. Essentially, this is the basis of Bob Katz's 'K-cal' monitoring reference concept, where any volume-control adjustment away from the reference level becomes usefully representative of the comparative 'loudness' of the source.
Every monitoring source has an associated Trim, to allow different monitoring sources to be compared at similar perceived volume, with the current source's trim value being displayed on the LCD alongside a 'T' (for trim) label. The available range can be set for ±5 or ±10dB (in 0.25dB increments), and the trim level for the current monitoring source is adjusted by pressing and holding the Opt-B button while turning the volume knob. The system works by introducing an offset to the selected monitoring level, rather than inserting some additional gain stage into the signal path, so it is entirely transparent and artifact-free. Trim levels are normally forgotten when the console is powered down, but they can be stored permanently if required. The Opt-A button, at the top of the monitoring panel, accesses the setup menus.
Source & Transfer Selector
The left-hand panel is just as logical as the monitoring panel, with the top eight push-buttons selecting the various monitor-path sources, and the bottom eight dealing with the transfer-path source and inserts. A Microsoft Word template is available if you want to print your own button labels. In addition to the two analogue and four digital monitoring-path inputs, there are four other monitoring options. These are the transfer-path source or output, and the analogue insert block's D-A output or A-D input. These make checking and comparing the effect of any insert processing very fast and easy — especially since all of these monitoring selections' volumes can be trimmed independently.
Selecting the transfer-path source, and the introduction of analogue and digital inserts, is controlled with the lower eight buttons. To avoid accidentally disturbing the transfer path, the Opt-C button must be pressed first, although it can be left permanently enabled if preferred. Assigning the transfer source requires it to be selected to the monitor path first, and then pressing the 'Tfr Assign Src' button routes it to the transfer path. Once assigned, the monitoring source can be changed as required without affecting the transfer path.
The insert points are configured in the same order that they are selected, with the only limitation being that the analogue inserts are always chained together in a block between the transfer A-D and D-A. However, within this group they can be placed in any desired order, and the block placed before, after, or in between any of the digital inserts (which can also be placed in any order).
Normally, if an insert is deselected and then reselected, it is added to the end of the chain. So if you program the inserts in the order 1,2,3, and then deselect and reintroduce insert 2, you'll end up with 1,3,2. However, the order of the analogue inserts can be locked, if required, so that analogue processors can be switched in and out of the transfer path while always retaining their programmed positions in the signal flow. Strangely, this functionality isn't currently available for the digital inserts, but it is a planned feature for a future firmware update.
Mysterious letters and numbers adorn the LCD at the top of the source-selection panel, but the manual quickly makes sense of them all. Across the top left-hand side, the letters C:O:S are shorthand for the transfer Converter, transfer Output, and Source assign. More letters below these tags indicate the corresponding sources. For example, the transfer Converter displays A or D depending on whether the analogue block's A-D input or D-A output is being auditioned. The transfer Output display toggles between 'S' and 'O', representing either the transfer path Source or Output, while the transfer Source display indicates the selected transfer source: the two analogue inputs (A1, A2), or the four digital ones (D1 to D4).
The right-hand side of the LCD window logs the order of the inserts. The digital inserts are listed after the label 'D', while the analogue inserts are listed after the labels 'A' and 'B'. The small letter 'c' appears within the digital insert list to indicate the location of the analogue insert block's converters. This might seem complex, but it's actually very logical: a display of D23c1 A21 means that the transfer source is routed via digital inserts 2 and 3 before being converted for analogue inserts 2 and 1. The transfer path concludes with digital insert 1. A little familiarity and experimentation quickly makes sense of it all, and it is very easy to use and understand in practice.
Since the transfer path is primarily digital, selecting an analogue signal as the transfer source inherently requires the use of the transfer A-D. The inevitable result is that any analogue inserts must be placed at the start of the transfer path too, before any digital inserts. This probably doesn't matter in most cases, but an external A-D could be used to convert the analogue source to digital for presentation to one of the mastering console's digital inputs, if a digital processor must be used before analogue processing.
Usefully, the analogue transfer path can also be split into two, called the A-path and B-path (hence the two insert labels mentioned above). This is a very handy feature in the larger consoles with a lot of analogue inserts available, catering for parallel-processing configurations. However, the last insert point's send connection is redeployed as the B-path's output, so in the little M1-3AI, parallel processing is restricted to using the first and second inserts with one in each path.
The Crookwood M1 is deliciously straightforward to configure and use, and the facilities are remarkably comprehensive and versatile. I can't really tell you what the console sounds like, because it doesn't have a recognisable sound at all! With analogue sources, it is utterly transparent, and I also failed to tell the difference between digital inputs routed through Crookwood's own D-A and my Benchmark DAC-1, which is an impressive achievement. To test the complete A-D and D-A transfer path, I looped across the first analogue insert send and return sockets, and then switched the monitoring between the direct input source and the transfer-path output and, again, I really struggled to hear any degradation at all, with stereo imaging, transient attack, noise floor and bandwidth all remaining impressively consistent.
There is no doubt that this is a very high-quality mastering console, with excellent technical specifications and operational features. But it is also astonishingly cost-effective. The superb level of integration between the analogue and digital sources, monitor and transfer paths, makes mastering jobs much faster and easier to set up and work through. Auditioning and testing products is so much quicker and more repeatable, too. In fact, I'm now wondering how I coped before I installed it! If you are in the market for a cost-effective monitoring or mastering console, I can thoroughly recommend investigating the Crookwood options. I am very pleased indeed with my investment.
Cost Options
As the Crookwood mastering console is a modular system, various cost-options are available to expand its functionality. For example, there are three optional control-panel modules, one of which is a dual VU-meter panel with a control to adjust the 0VU reference level, while another is a simple talkback module. A very attractive option is a Trimmer/mixer panel to adjust the send and return levels of analogue inserts, or to combine and mix the returns from two parallel-processing paths. It also includes Mid/Sides encode/decode and stereo-width facilities. Optional internal signal processing cards include a bass management module, and additional A-D and D-A converters. The number of analogue and digital inputs, as well as the number of analogue and digital inserts, can also be expanded with extra interface cards, if required. There really are no limits.
Extremely cost-effective in comparison to the alternatives.
Truly comprehensive monitoring facilities.
Fully balanced and transparent analogue path with passive switching and volume controls.
Excellent converter performance.
Automatic integration of A-D and D-A converters.
Versatile analogue and digital insert switching options.
Direct and responsive communication with manufacturer over customisation options.
Digital insert positions can't currently be locked in place.
The M1 is an extremely comprehensive, versatile and ultra high-quality modular mastering console, with little or no competition at this surprisingly affordable price.
M1-3AI (review model, including two D-A and one A-D) £3852 including VAT. Price excludes XLR panels and breakout cables.
Crookwood +44 (0)1672 811 649.
sales@crookwood.com
www.crookwood.com
M1-3AI (review model, including 2 x D-A and 1x A-D) £3852 (around $5960) including UK sales tax and excluding XLR panels and break-out cables.
Buy PDF version
Published December 2012
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text:
Evelyn "Ed" Bulling (1889–1963) was an English professional footballer who played for Tottenham Hotspur.

Football career
Bulling, a right back, began his career at Notts Olympic. He joined Tottenham Hotspur in 1910 where he made two appearances.

References

1889 births
1963 deaths
Sportspeople from Retford
Footballers from Nottinghamshire
English footballers
English Football League players
Tottenham Hotspur F.C. players
Association football fullbacks

redpajama_set_name: RedPajamaWikipedia


'It is a dangerous business, Frodo, going out your front door.' So says Bilbo to his kin in a mischievous tone that seemed intended to entice him out that same door. Adventure was the promise Frodo saw in the twinkle of his uncle's eye. Does going out your front door seem to hold this same promise? More to the point, did it ever hold that promise?
For a photographer, adventure is part-and-parcel with capturing great images, though it doesn't necessitate dragons, wizards, or even a zip line. This photo was taken on a leisurely walk to the dining hall at the camp where we have lived for the past five years. This walk crosses a bridge over one of the two creeks that run through the property on their way to the farmland across the highway. As you can imagine, we have crossed this creek many times during our tenure here, and we often comment on the effort it takes to renew our eyes to the beauty that surrounds us every day.
This shot represents that effort. It is a ten-minute long exposure taken through a Hoya® proND100 filter on my old SMC Pentax-F 28mm prime. The camera was covered with an Optech® Rainsleeve™ due to the rainy conditions, and this made a cursory glance at the settings more difficult. The first ten-minute wait proved fruitless because I hadn't noticed that the mode dial was still on manual instead of bulb mode. It was immediately apparent, though, when I saw the blank rear display. This error in no way reflects poorly on the product, but rather on my impatience with the process. After getting everything set correctly, though, and waiting for another ten minutes, I finally got the shot I was looking for.
Looking is easy; seeing is hard. Looking simply happens when our eyes are open. Seeing engages the mind in the process. Seeing is harder. This is often what stops us from being more fully alive. The rush that sweeps our minds away is the idea that we need to get more to feel more. This is so far from the truth. Truly seeing our world; the natural realm all around us, and the people who move past us, is the key to retaining and invigorating our humanity. It is not easy, but what worthwhile endeavour ever is?


This recipe is very good and healthy its an original from Ukraine. It includes juicy pig ribs with sour cream witch taste delicious.
1.) To start wash your barley until it's clean. In a large pot add your water and barley boil for 10 minutes. In a separate pot add your ribs, water and salt. Boil for 10 minutes on a medium heat. Wash, dry, peel and cut your mushrooms, carrots and onions.
2.) In a hot oiled skillet add your mushrooms, onions and carrots. Fry for 5 minutes while mixing occasionally. Wash, dry, peel and cut your potatoes. Add your potatoes to the boiling ribs and boil for 10 more minutes. If you want you can take the bubbles off the top. Drain your other pot so you just have the barley and add it to your pot with the ribs.
3.) Continuing add your chicken bullion and your fried vegetables, boil for 10 more minutes. On a cutting board shred your pickles and add them to the soup. Last but not least add your seasoning and bring it to a boiling point. Enjoy!!
NOTE: Eat With Sour Cream For Extra Taste!
This recipe is very good and healthy its an original from Ukraine. It includes juicy pig ribs.
To start wash your barley until it's clean. In a large pot add your wanter and barley boil for 10 minutes. In a separate bowl add your ribs, water and salt. Boil for 10 minutes on a medium heat. Wash, dry, peel and cut your mushrooms, carrots and onions.
In a hot oiled skillet add your mushrooms, onions and carrots. Fry for 5 minutes while mixing occasionally. Wash, dry, peel and cut your potatoes. Add your potatoes to the boiling ribs and boil for 10 more minutes. If you want you can take the bubbles off the top. Drain your other pot so you just have the barley and add it to your pot with the ribs.
Continuing add your chicken bullion and your fried vegetables, boil for 10 more minutes. On a cutting board shred your pickles and add them to the soup. Last but not least add your seasoning and bring it to a boiling point. Enjoy!!
Great soup to have during cold weather. Very simple soup to make ??


The Gunnison River runs 2500' below the rim of the Black Canyon. While it's not a spectacular capture, it's my favorite this year in part because I feel I'm getting better at foreground captures, and this one was particularly challenging due to the steep cliffs and new moon. This was taken while I was home last summer visiting my dad who passed away just a couple months later, so it has some special meaning for me that way too.


text:
package com.agapsys.http;

import org.apache.http.client.methods.HttpRequestBase;

/** Represents a HTTP 'OPTIONS' request. */
public class HttpOptions extends HttpRequest {

    public HttpOptions(String uri, Object...uriParams) {
        super(uri, uriParams);
    }

    public HttpOptions() {}

    @Override
    protected HttpRequestBase getCoreRequest(String uri) {
        return new org.apache.http.client.methods.HttpOptions(uri);
    }
}

redpajama_set_name: RedPajamaGithub


Back from our recent travels abroad, we have renewed appreciation for the little conveniences that makes for an enjoyable stay for travellers.
Top of the list after securing a comfortable and safe room/bed is the ability to move around freely. This freedom to explore was most liberating and greatly appreciated when we had access to free use of bicycles at some of the places we stayed.
'Bed & Bike' another travellers' perk to ensure you enjoy a fantastic time in Kuching.
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RIP 2016 – What's It All About?
It's now been two months since we woke up to the news that you had been found dead on Christmas Day – Of all the shock departures from the world of entertainment last year, yours was the one that affected me most and I still can't quite believe that you will never again pop up on our screens chatting, singing, campaigning or joining forces with some of our finest comedic talents in one of their fund-raising sketches – Kind of cornered the market with those of late and raised an awful lot of money into the bargain so good on you.
But of course we are now well into Awards Season – Last week we had The Grammys and this week it was our own Brit Awards. Every year there is a short interlude where they give remembrance to those of you who have passed away since the last awards ceremony – 2016 will go down in history I think for being a freakish year in terms of loss. So many of you who were still so young and had so much more to give, left this mortal coil. I did think at the start of the year that this would just be something natural that we would have to get used to, but no, it was indeed a mathematically freakish year and one I don't want to see repeated for some time.
At both The Grammys and The Brits, there was a very moving tribute paid to you George, but by golly, for me it just doubly-emphasised what a fantastic singer you were. I never heard you sing out-of-tune ever, which is not something that the people who were given the job of singing your songs seemed to be able to do. First of all we had Adele at The Grammys who is generally very good at the old "live singing", but even she had to stop and restart her rendition of your 1996 No. 1 Fastlove, because she had messed up. As a means of explaining she said, "I can't do that to him, I just can't" which was quite magnanimous of her I suppose. I have a feeling that you and her were probably friends and shared a similar sense of humour but I can't be sure – Hopefully though you were looking down at her and appreciated what she was trying to do albeit in a bit of a, dare I say it, botched fashion. As for the really slowed down version of Fastlove (oh the irony), I can understand how an up-tempo number would have been inappropriate but somehow it just didn't work for me. I am therefore going to remind myself of how it should be performed by none other than your good self. I am noticing however that in this video you were going through one of your crisis of confidence phases in terms of how you looked – Yes, it was your "I don't want to show the right side of my face anymore because it doesn't look so good" period which was just ridiculous as you were a fantastically attractive man from any angle. Just goes to show how these things can really get into the psyche however and although totally unreasonable, are difficult to shake off. I have a terrible feeling that at the time of your death you were not at all happy with how you looked which is just so sad – Could have been easily resolved if you'd had the right people around you to help.
So, we've had Adele with Fastlove complete with a brilliant set of images of you on the big screen – Yes George we even saw the right side of your face and it was lovely. Next up we have The Brit Awards and this time we had none other than Chris Martin of Coldplay doing the tribute song. Hmm… Not my first choice but he does seem to sell an awful lot of records so got the gig – Again not really appropriate for him to have performed one of your more up-tempo numbers (can't really imagine Chris Martin in a pair of little white shorts and a Choose Life T-shirt singing Wake Me Up Before You Go Go) so what did he go for? – A Different Corner from 1986. But hey, this wasn't just any old version of A Different Corner – Oh no, it was a really, really bad one! Thankfully at one point they did that really clever thing where a duet is possible with you on the big screen and him on stage (singing out-of-tune) so again your brilliance, from beyond the grave, saved the day.
I have always loved the song A Different Corner and here is a bit of a funny story George. Many years ago before I met Mr WIAA I had a great friend called Anne. We lived in flats only a few doors away from each other and were practically joined at the hip for a few years – We both loved going out socialising at the weekend but often bemoaned the fact that we just hadn't found "The One" yet, the person we would perhaps marry. We decided that we must always have been turning the metaphorical "wrong corner" – If it had been a different corner, as per your song, we might have bumped into "The One". Oh how we laughed! Anyway, Anne eventually got a new job in another town and she, and the different corner jokes, were sorely missed for a while – I had to shop solo on a Saturday afternoon which was a bit of a lonely business. One day I was heading up the high street when I saw Mr WIAA walking just ahead of me – I knew him from our social circle but despite getting on really well we always went our separate ways at the end of the evening. I decided it was time for action. The day had come for me to turn the correct corner. It was a race against time but I managed to head into the shopping mall, quickly ran past all the shops and emerged at the exit right at the top of the high street just as Mr WIAA was arriving at that point. I was breathless but managed one of those convincing, "Gosh fancy bumping into you" greetings as I met him. After a bit of a chat we organised a date for later on that evening and that my dear George was 28 years ago now, so thank you for inspiring me to take the initiative that day and make sure I didn't indeed turn a different corner.
I am most definitely not going to share the Chris Martin version of the song here but a version you sang live on television some years ago, perfectly as ever. I think the time has come for me now to let go, and this will probably be my last letter to you. I hope that wherever you are, you have found peace. Despite the less than perfect singing at The Brits it was lovely to see your old pals Andrew Ridgeley, and Pepsi & Shirley read out their own tributes to you – It was a shock however to see Andrew looking like a bit of an old man. If he is looking older then so must we but there is nothing to complain about as at least we will have the luxury of growing older, whereas now you never will.
Farewell then my old friend – As these tributes show, you are sorely missed by so many and we thank you for all the wonderful songs you have given us. Because of them (and your amazing acts of generosity) you will never, ever be forgotten.
This has been a truly dreadful year for loss. In my first 10 days of blogging I had written about the deaths of three of my heroes from the world of music and film, and as the year has progressed there seems to have been little respite. Of course once I thought about it a bit more, this being a blog mainly about artists from the '60s and '70s, it was going to be highly likely that some may well leave this mortal coil before I got round to writing about them. Most of these people will be of advanced years by now and in many cases already past their biblical three score and ten.
There were exceptions however. I wrote about the 57-year-old Prince only 10 days before we heard of his sudden death and I was actually in the process of writing about music from the '80s which featured an amusing story about Pete Burns (also 57), when his sudden death was announced. Will have to come back to that one now from a different angle.
"After a confusing 1st Year at University where my friends and I still had ties to our old lives and friendships from school days, by the start of 2nd Year we had finally morphed into late-'70s students. We dressed in interesting clothes from charity shops (they weren't called vintage in those days), hung around dingy bars and listened to "The Songs of Leonard Cohen" (in between attending lectures of course). Looking back, the tracks of my years had up until then, revolved around what was on Top of The Pops, what was played on BBC Radio 1 and the music from film soundtracks so this was a whole new branch of music that I hadn't really experienced before. Artists like Cohen didn't release singles that would appear in a chart show run-down, but whole albums of songs to be listened to late at night, in a soporific condition with preferably, a significant other.
Since then his name has cropped up many times when researching other artists, specifically women artists. I got the impression that he really "liked" (in the truest sense of the word) women and they liked him right back, often helping him out at times when a little nudge in a certain direction was required.
Judy Collins recorded his song Suzanne in 1966 and it was she who persuaded him to get out on stage and start performing his songs himself. She first introduced him to television audiences during one of her shows in 1976, where they performed duets of his songs, and was once quoted as saying, "People think Leonard is dark, but actually his sense of humor and his edge on the world is extremely light". I like that considering his style of music produced albums often quoted as being full of songs to slash your wrists to!
His songs often had girl's names in their titles and So Long, Marianne was inspired by Marianne Ihlen whom Cohen met on the Greek island of Hydra in 1960. Cohen said she was the most beautiful woman he had ever met. The two hit it off and lived together throughout the '60s. She died earlier this year and Cohen's words, written to her before her death were read out at her funeral. "Know that I am so close behind you that if you stretch out your hand, I think you can reach mine… Goodbye old friend. Endless love, see you down the road".
The song Suzanne was inspired by Cohen's platonic relationship with Suzanne Verdal, the then-girlfriend of sculptor Armand Vaillancourt. Its lyrics describe very literally the routine they enjoyed when they met. Suzanne would invite Cohen to her apartment by the harbour in Montreal, where she would serve him tea, and they would then walk around Old Montreal past the church of Notre-Dame-de-Bon-Secours, where sailors were blessed before heading out to sea. I have always loved that song and am amazed how he managed to convert such seemingly simple routines into such colourful and romantic lyrics, "And she feeds you tea and oranges that come all the way from China".
When I wrote about Jennifer Warnes a couple of months ago it came as a surprise to me that this American singer, songwriter, arranger and record producer, most famous for having performed on no less than three Oscar-winning songs from movies, was also a close friend and collaborator of Mr Cohen. In the '70s, Cohen toured twice with Jennifer Warnes as a backup singer and she would become a fixture on Cohen's future albums, receiving full co-vocals credit. In 1987 she recorded a tribute album of Cohen songs, "Famous Blue Raincoat" even though her career at the time was in much better shape than his. "So this is a real friend," he said. "Someone who in the face of great derision, has always supported me". The tribute album helped restore Cohen's career in the U.S.
I am glad that Mr Cohen's music entered my life when it did and he has left a great body of work for us to enjoy forever. I also love that he had all these great relationships with women who seemed to really appreciate having him as a friend. Says a lot about the man. RIP Leonard.


Recently, I started my final year in college.
As the day I returned to campus approached, I found myself reflecting on my past three years as a student. I'm definitely a changed person. I've stepped into my skin, gotten acquainted with myself, and I've stepped out and explored areas outside my comfort zone.
The changes I've been through have been essential, even though many were the result of difficult times–yet I'm grateful, because I've come out stronger as a follower of Christ.
1. My alone time became my quiet time.
Blessed are they that keep his testimonies, and that seek him with the whole heart (Psalm 119:2).
One thing about college that quickly became clear is that people are everywhere. This might sound obvious, but I really mean everywhere. My first lecture had 700 students (of course, class size depends on the size of your school). When I started college, I loved interacting with many people on a daily basis, but when I finally had time to myself, I just wanted to kick back and relax. When I became busier, down time became shorter, and I felt I had no time for God. I attended church, Bible studies, and prayer groups, but my personal time with God was virtually nonexistent. I'd go weeks without even talking to Him, until I realized how much I needed Him. When things became stressful and I needed direction, I turned to God, and He happily welcomed me back. Reopening dialogue with the Lord made me realize how much I had missed out all along.
An intimate relationship with God sets your life on the right path. Your perspective is directed, your attitude corrected. Spending time with God better equips you for the day ahead. Through prayer and Bible study, you hear God's voice, His secrets, and He's able to reveal His plan for your life. I missed out on several days of this, wishing I had direction in various scenarios–yet the One who had all the answers was right there!
Since then, I've learned to make God a priority throughout my day. If I'm walking to class, have a morning alone to myself, or have time between classes, I communicate with God and meditate on His Word, instead of being idle. It's fine to relax and enjoy your favorite hobbies in your free time, but if these things take precedent over your relationship with God, you're missing out on crucial moments with Him.
2. I learned to value community more.
Though I love my alone time, I love being around others as well. However, when I first started college, I didn't realize how valuable and essential a Christian community was for my walk with the Lord. I grew up in church and accepted Christ at a young age, but I never had many Christian friends, because there weren't many believers my age around me. I entered college ready to find them.
It took time, but when I built relationship with other believers who shared my values, I noticed how impactful these friendships were in my life. I have had the most challenging and encouraging conversations with other Christians. When I felt discouraged, it was amazing to know there were others who could pray for me–and I could do the same for them. I've grown as a leader in my Christian fellowship because of these relationships. God has given me a heart to know others and care for them.
I value all solid friendships–with believers and non-believers–but as a Christian in college (or anywhere, really), it's vital to have people around you who share the same beliefs and can push you forward. Iron sharpens iron (Proverbs 27:17). Those you spend time with will rub off on you, so if you want to grow in Christ, stay connected to those who want to do the same–whether it's on campus, at church, or another Christian community.
If you're having trouble finding these people, bring it up to the Lord, and be patient. When opportunities to build relationships emerge, be a friend, and be consistent. God will provide the company you need in your life.
3. God's power became more evident to me.
I will say of the Lord, He is my refuge and my fortress: my God; in him will I trust (Psalm 91:2).
In high school, I often noticed that after I prayed, I wouldn't always have peace. I'd ask God to help me not to worry, yet I still found myself worrying. I didn't realize at the time, but I had little faith when it came to prayer. I doubted whether whatever I prayed about would come to pass. Ultimately, I was doubting God. Even when He was answering prayers, I wasn't able to see His blessings, because my perspective was wrong.
I also failed to realize that answered prayers didn't have to manifest the way I wanted them to. Nevertheless, I only wanted my way–not God's way.
However, in college, my mindset changed. I learned to surrender large and small requests to God. When I was a freshman, I had lunch with a dear friend who was a junior and a fellow believer. I told her about all the assignments I had coming up–particularly a paper due soon that I hadn't started. She had a simple response to my workload: "Don't worry. Trust God. Everything will get done." It was a simple answer, yet it inspired me to change my entire mindset.
I started seeing my assignments in this way–that as long as I put in the necessary effort, the work will get done. Not only that, but God was with me wherever I went–in and out of class, even if I had forgotten.
Over time, I saw God in every detail of my life as I continually pushed to have this mindset. All my successes and failures could and would be used for His plan for my life as I walked with Him. As I grew in my relationship with God, spent time with Him, and spoke about Him with others, I realized He was everywhere. I prayed and left things up to Him. Even if I didn't know how to surrender, I asked Him to help me do so.
Through faith, I now pray and leave things up to God–and praise Him through it. When my prayers aren't answered as I think they should be, they are answered nonetheless–only His solution is better–whether I realize it now or a year from now.
Transitional periods in our lives can be fruitful experiences. I cannot express the gratitude I have for not just the good times but the hard ones that God has allowed over these past three years in college. We can use trials and triumphs to grow in our relationship with Christ–or let this relationship crumble. I've realized for myself that it's up to us to make this choice. God will not force us to choose Him, but if we do choose Him, He will help us through it all. Please, make it easier and follow Him. There's no better way to transition into a new season than with the God who brought you there. And if you didn't get a great start, walking with Him will get you a strong finish.
For my final year of college, I'm excited to take the lessons I've learned with me, and I'm ready to learn new ones. I'm ready for the challenges, the blessings, knowing that I get to experience them with my heavenly Father by my side.


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Primes World > Biography > Sportsman Biography > Cricketers > Indian Cricketers > Manish Pandey Biography, Height, Weight, Age, Salary, Net Worth, Wife, Family, Facts & More
Manish Pandey Biography, Height, Weight, Age, Salary, Net Worth, Wife, Family, Facts & More
Anmolpreet Singh Biography, Height, Weight, Age, Salary, Net Worth, Wife, Family, Facts & More
Manish Pandey is an Indian cricketer who plays for Karnataka in domestic matches and sunrisers Hyderabad in the Indian premier league. He is right handed middle order batsman. He played multiple international matches including the world T 20 world cup and the champions trophy.
Manish Pandey Biography, Lifestyle, Wiki, Height, Weight, Age, Salary, Net Worth, Income, Girlfriend, Wife, Family, House, Cars, Records, Awards & Facts
Manish Pandey Salary
Manish Pandey Net worth
Some Lesser Known Facts About Manish Pandey
J. Arunkumar
#9 India International Cricket Team
#10 Sunrisers Hyderabad (IPL)
National Team – India International Cricket Team
Domestic Team – Karnataka Domestic Cricket Team
IPL 2021Team – Sunrisers Hyderabad (IPL)
Manish Pandey was born on 10 September 1989 in Nainital, Uttarakhand.
Nainital, Uttarakhand
Kendriya Vidyalaya ASC Centre, Bengaluru
St. Joseph's College, Bangalore
Father – G. S. Pandey (Indian Army Officer)
Mother – Tara Pandey
Siblings – Anita Pandey (Elder Sister)
Manish Pandey dated –
Ashrita Shetty (Model and Actress)
Wife – Ashrita Shetty (Model and Actress)
Manish Pandey With Ashrita Shetty
He played for Karnataka in domestic cricket and in 2008 he was selected for the under 19 cricket world cup. He was selected for the Mumbai Indians team in the 2008 IPl auctions. In 2009 he was picked by royal challengers Bangalore in this season he scored a century in the match and became the first person to score a century in the Indian premier league. And in 2018 Auctions he was bought in 11 crores for sunrisers Hyderabad.
Not Debuted Yet
Manish Pandey made his one day international debut in July 2015 against zimbabwe Harare where he scored 71 runs.
He made his T 20 debut against zimbabwe on 17 July 2015.
Manish Pandey made his IPL debut for Mumbai Indians. Manish made his IPL debut on 29 April 2008 against Delhi at Dr. y.s.Rajasekhara Reddy stadium.
• First Indian player to score an IPL century. He scored 114 off 73 balls against Deccan Chargers for Royal Challengers Bangalore in the 2009 IPL semi-final.
• Top scorer in the 2009-10 Ranji Trophy with 882 runs.
Manish Pandey's salary is 2 crore per year in the Indian cricket team and he has earned around 52 crores from Ipl since 2008. He also does brand endorsement and advertisement along with cricket.
Monthly Income & Salary Rs. 1 Crore +
Annual Income Rs. 12 Crores +
Brand endorsement Fees Rs. 8-10 Lakhs
IPL 2021 Fees Rs. 11 Crores
IPL Total Income Rs. 51.70 Crores
Manish Pandey's Overall IPL Earnings :
2021 Sunrisers Hyderabad Rs. 11 crore
2017 Kolkata Knight Riders Rs. 1.70 crore
2013 Pune Warriors India Rs. 20 lacs
2010 Royal Challengers Bangalore Rs. 12 lacs
2008 Mumbai Indians Rs. 6 lacs
Total Rs. 51.70 crore
Manish Pandey has an estimated total net worth is around Rs. 60 crores (9.2 million dollars) in 2021.
Net Worth (2021) $9.2 Million
Net Worth In Indian Rupees Rs. 60 Crores
• Manish Pandey is an Indian cricketer. He shot to fame after becoming the first Indian to score a century in the IPL, and he achieved this feat while playing for Royal Challengers Bangalore in the 2009 IPL semi-final against Deccan Chargers.
• When he was 15 years old, he moved to Bangalore with his family. His father, who was in the Indian Army, was transferred to the reserve a few years later. However, Manish decided to stay back in Bangalore and pursue cricket.
• Manish Pandey was born in Nainital his father was an army officer so he transferred to Bangalore at an age of 15 where he started playing cricket.
• He was trained under coach Mr. Sathish from childhood to till he joined Karnataka state cricket Association (KSCA). He is an excellent coach.
• In the Karnataka premier league, he used to play for mysuru warriors in 2014 he and his team won the title.
• His backup plan is to join the Indian army if he does not succeed in cricket.
• He came into the picture when he was selected for the under 19 world cup which was held in Malaysia.
• He is the first batsman, and who scored a century in Indian premier league by making outstanding 114 runs on just 73 balls against Deccan Chargers.
• He was the highest run maker in the Ranji Trophy series 2009-10 by making great 882 runs including five half centuries and four centuries.
• His idol is Rahul Dravid, he used to follow his path.
Tags: Anita Pandey Ashrita Shetty G. S. Pandey Manish Pandey Tara Pandey
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redpajama_set_name: RedPajamaCommonCrawl


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FootballLigue 1
Marseille reportedly facing transfer ban over disputed Pape Gueye deal with Watford who will be suspended
Marseille have reportedly been hit with a two-window transfer ban over their disputed deal to bring Pape Gueye to France from Watford in the summer of 2020. L'Equipe report the Ligue 1 club will appeal the decision in front of the Court of Arbitration for Sport and a verdict could be announced within three to six months.
Pape Gueye in azione durante Lokomotiv Mosca-Olympique Marsiglia - Europa League 2021/2022
French side Marseille have been hit with a recruitment ban for two transfer windows, according to L'Equipe.
The reported sanction is in relation to Pape Gueye's move to the Ligue 1 club from Watford in 2020 and will take effect next summer.
However, Marseille are expected to appeal the decision in front of the Court of Arbitration for Sport and the club is hoping for a verdict within three to six months. President Pablo Longoria is said to be "confident" about the situation.
Burnley against Watford Premier League match postponed
Man City target Vinicius Jr as Real Madrid look set to land Erling Haaland - Paper Round
Ghana player runs away after swining punch but referee sends him off anyway
Gueye joined Watford in the summer of 2020 on a free transfer from French side Le Havre, but was sold to Marseille just 17 hours later.
Watford are hoping for a sum of €10 million in compensation.
The Senegal international has also reportedly been suspended from playing for four months and cannot take part at the Africa Cup of Nations.
'We had to suffer' - Conte hails Spurs after battling win at Watford
Watford v Tottenham suspended due to medical emergency
FootballLigue 1WatfordOlympique de MarseillePape Gueye


Contrary to popular perception, this tortoise walked rather urgently.
We pulled over about 50 yards further up the road and began hiking back towards the tortoise. As we got closer, he immediately turned and started running (yes, running!) towards us. Seriously. He reminded me of a puppy that had gotten lost and just seen his master! I don't think I have ever seen something quite like that, and I don't think I can really explain it, either.
Once we got quite close, he turned away and crawled back up onto the road in an attempt to cross to the other side. I had grabbed my big camera, as I did not want to record this encounter with just my iPhone. I also did not want to photograph him on the road surface, so one of my companions picked him up (with gloves on) and brought him back over to the roadside where I began taking photographs on a more natural substrate.
…and he wanted to get there quickly.
This was one enormous tortoise—the carapace easily measured 12 inches in length, which I later read is at the upper end of the range for adults of this species. We marveled at his old-man head and thick, powerfully clawed front legs—an obvious adaptation for a digging lifestyle. I almost wish I had borrowed my companion's gloves and taken advantage of the opportunity to pick him up myself and see how much he weighed. No matter—he was easily the largest testudine that I have ever seen!
Who would think a tortoise could be so hard to photograph!
I don't know where this tortoise was going or why, but I do know that it was, surprisingly, one of the most difficult to photograph subjects I have ever encountered. He was quite capable of moving along at a rather quick pace (tortoise-and-hare fables notwithstanding) and never stopped urgently trying to cross the road. It was difficult to stay low to avoid a "top-down" perspective and still keep in front of him. We moved him to the other side of the road, thinking that might make him happy, but he would then just turn around and try to get back on the road and cross back to where he came from. I decided to just set the camera on autofocus and, with abundance natural light, starting snapping away to play a numbers game. Out of the few dozen or so exposures I got, the ones shown here are all that I kept (the others mostly showing a "bum" leg or two). The first photo at top is my favorite of the bunch.
This entry was posted in Reptilia, Vertebrata and tagged Georgia, herpetology, nature, reptiles, tortoises. Bookmark the permalink.
I have found that they are tricky as well! One thing that helps with all of the turtles is to use a polarizing filter. It is cool to examine their burrows, and if I was in their range again that is one thing I would like to do. It is great habitat for resting mosquitoes, and reportedly rattlesnakes as well!
Excellent burrow photo! How does a polarizing filter help?
It cuts a bit of the glare on the shell and helps make the colour richer. The eyes are always tricky though, I suppose some fill flash is called for.
I didn't think about trying to use fill flash, as bright as the ambient light was. It certainly would've helped fill in the eyes. Great idea about the polarizing filter—I have one for the wide angle but not the 100-mm.
Awesome, Ted! Didn't know you were in the area. I was just there last weekend for BugShot and had an extra day in Jacksonville, FL. So I took my rental car out to Ralph E. Simmons State Forest and greeting me literally under the entrance sign was a female Gopherus polyphemus! I was so excited! She move QUICK too and, like you, I found it hard to get a shot!
I hope to see your photos soon. They are impressive animals!
Very nice post about our friend in Georgia, Ted! I'm still surprised at how fast it could move.


The list of accepted papers for ESA 2011 is here. (My colleague Magnús Halldórsson was the PC chair for ESA 2011.) Ditto for MFCS 2011.
Dexter Kozen for his paper A Completeness Theorem for Kleene Algebras and the Algebra of Regular Events.
The conference featured 10 invited speakers, 27 talks, 53 poster presentations as well as an afternoon of software demonstrations. The topics ranged from various aspects of combinatorics to applications such as shallow water waves and genome arrangements.
More information can be found on the website http://combinatorics.is/.
There has been a fair amount of discussion recently on the FOM mailing list on whether the consistency of Peano Arithmetic is a legitimate mathematical problem in present day mathematical culture. This discussion has been sparked by the talk Foundational Concerns and Mathematical Concerns that Angus Macintyre gave at the New Trends in Logic meeting. The video of Angus' talk is here. Perhaps some of the readers of this blog will want to have a look and reach their own conclusions. The person who asks most of the questions to Angus Macintyre is Harvey Friedman, whose own talk at the Vienna meeting can be seen here.
I have to say that Angus Macintyre kept his cool and maintained his thread admirably during his talk.
The videos of all the lectures may be found here, including the one delivered by Thierry Coquand when he received one of the prizes for 2008.
Jan Bergstra turns 60 today. Jan is one of the concurrency theorists whose work has had a lot of influence on mine, as well as on that of many others. However, his research interests are much broader and his research so far gives excellent examples of the power of algebraic tools and ideas in TCS.
Program Algebra (starting in 1998, with Marijke Loots).
This gives a pretty fair reflection of the main thrusts in Jan's research work, and match pretty closely the topics covered by the five papers he has published in the JACM.
Apart from his scientific work, Jan Bergstra has had considerable influence on computer science in the Netherlands via his research and organizational activities. As an example of the impact he has had on CS in the NL, I limit myself to mentioning here that he has supervised over 40 PhD students, many of whom have become academic computer scientists (according to Wikipedia, at least 12 at professorial level).
As a recognition of his work, on May 18 this year, Jan has been inducted into the Royal Netherlands Academy of Arts and Sciences.
I wish Jan many happy returns for his 60th birthday and many more years of seminal scientific activity.
Addendum dated June 23: A special issue of Theoretical Computer Science devoted to the festschrift in honour of Jan Bergstra, edited by I. Bethke, A. Ponse and P.H. Rodenburg, is now available.
This is not news anymore, but I am happy to report that Flavio Corradini was elected rector of the University of Camerino (Italy) on June 8. To the best of my knowledge, Flavio is now the youngest rector of an Italian university, and the first concurrency theorist to become rector of an Italian university. I wish him the best of luck for his new role, and hope that he will be able to continue doing some (theoretical) computer science.
On June 1, I congratulated Jos Baeten for officially becoming the new chair of IFIP WG 1.8. Now, more congratulations to Jos are in order. Indeed, today the General Board of the Netherlands Organisation for Scientific Research (NWO) confirmed Jos' appointment as the new general director of the Centrum Wiskunde & Informatica (CWI) in Amsterdam. I learned the news from Jos himself, who is here in Reykjavik to attend Discotec 2011 and to deliver an invited talk at PACO.
The appointment of Jos as general director of CWI is excellent news for concurrency theory, and volume B TCS at CWI and in the Netherlands as a whole. In a way, it is also the "return of SEN 2", It is a bit ironic that Jos, who was one of the early directors of the very successful SEN 2 project, which was closed in 2008, returns now as general director of the whole institute. This may be seen as a case of "SEN 2 strikes back."
In any event, congratulations to Jos. I wish him a very successful term as director of CWI, which is one of the hotbeds of TCS research in the world. I look forward to seeing how CWI will develop under his expert leadership.
Jos Baeten has formally taken over the chairmanship of IFIP WG 1.8 on Concurrency Theory. I say "formally" because Jos has acted as de facto chair of the working group for some time already, since I decided not to run for a second term as chair.
Congratulations to Jos! I wish him the best of luck for his work as chairman of WG 1.8.


The Water Rate Assistance Program is intended to provide a water service discount to eligible single-family residential customers. The Program will provide a credit equal to the amount of the meter charge (fixed-rate) on the monthly Water and Sewer Bill. The Water Rate Assistance Program is a pilot program that will only be in effect from January 1, 2019 to December 31, 2019.
To apply, please bring the completed application along with a copy of your current PG&E billing showing that your household qualifies for the PG&E Care Program to Utility Billing at City Hall.


Congrats to Pilots Mariah Ferber and Paige Kessler! They all took off from KSWW-Sweetwater, TX from Avenger Field home of the WASPS & 99's. Hats off to talented women whom choose aviation for fun or career!
My B-17 crew survived Nazi-occupied France in World War II. Now I'm the last man standing.
Tank you for you & your crewmembers service for our country. The greatest generation!
Very pleased about the expansion! A dream job (sigh) with Lunchaware also!
I miss Preacher and his insight. God Bless Him and His Knowledge. Rest in Peace.


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APPEARANCE: Clear colourless liquid with a mild pleasant odour.
In January 2008 the Zokman product line of Gas Turbine compressor cleaning solutions were added to the operation of Reed Services Inc. Canada.
The Aircraft, Maritime and Industrial Gas Turbine Industries require cleaning of the Gas Turbines to maintain efficiencies and require detergents specifically designed and authorized by OEM's for use with specific Gas Turbines.
The ZOK product line has been designed to effectively clean the Gas Turbines and has lead the industry in its approach of doing so with much consideration given to the environmental and employee safety aspects of dealing with the Gas Path cleaning process.


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Visdonk is de naam van een landgoed dat zich bevindt ten zuiden van Roosendaal en ten oosten van Nispen in de Nederlandse provincie Noord-Brabant. Het gebied omvat 300 ha.

Het gebied omvat een afwisseling aan percelen naald- en loofbos, akkers en weiden, heide, een ven (Rozenven) en houtwallen. De heide wordt begraasd door Kalmthoutse schapen, en er is een herten- en moeflonkamp.

De omgeving van het Rozenven kenmerkt zich door het voorkomen van zeldzame planten als witte snavelbies, kleine zonnedauw, ronde zonnedauw, moerashertshooi, beenbreek en klokjesgentiaan. In het gebied zijn restanten van oude turfvaarten te vinden. De Roosendaalse Vaart die vanuit de Matjens naar Roosendaal loopt doorsnijdt het landgoed.

Geschiedenis
In de 17de eeuw bestond er al een hoeve met de naam Visdonk. Het landgoed is een combinatie van een oude veen- en heide-ontginning.
In het eind van de 19de eeuw was landgoed Visdonk een familiebezit van de familie Laurijssen, De heer Frans Laurijssen hield eenmaal per jaar zitdag in het koepeltje (later theehuis Visdonk) voor de pachters.
In 1952 werd het landgoed aan de gemeente Roosendaal verkocht. Hierbij werd wel bedongen, dat het gebied niet voor stads-uitbreiding gebruikt mag worden, dus dat het landbouw- en recreatiegebied moest blijven.

Het beheer van de 110 ha natuur is begin 2010 overgedragen aan de Vereniging Natuurmonumenten. In samenwerking met de gemeente, de Maatschappij van Welstand en een horeca-ondernemer wordt een landgoed ontwikkeld dat als uitloopgebied van de stad moet dienen. Hiertoe worden de kleine percelen, lanen en houtwallen hersteld.

In april 2012 is op het landgoed het T-huis geopend. Dit moderne en duurzame gebouw biedt onderdak aan het Milieu Educatief Centrum (MEC) Roosendaal, Brasserie T-Huis en een beheerkantoor van Natuurmonumenten.

Externe links
 Visdonk
 Visdonk
 Visdonk

Roosendaal
Natuurgebied in Noord-Brabant
Landgoed in Noord-Brabant


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AT&T Wins York Insurance Networking Contract
WEBWIRE – Monday, October 31, 2005
LONGWOOD, Fla. – AT&T today announced it has won a contract from York Insurance Services Group Inc. to provide a fully managed, high-speed network integrating the company's 20 locations. Terms of the contract were not disclosed.
York and its subsidiaries provide comprehensive claims services for insurance carriers, self-insured individuals, brokers and other intermediaries.
AT&T will provide an Internet Protocol Virtual Private Network (IP VPN), replacing a "hub and spoke" network that offered limited port speeds. The AT&T network will allow each York location to connect directly with any other company location and at data speeds twice as fast as the old network. The network also includes class of service capabilities, which prioritize network traffic and enable Voice over IP (VoIP) applications.
"AT&T's fully managed, high-bandwidth network allows us to run our business more efficiently and lays the foundation for advanced applications like VoIP," said Henry Eckstein, CIO of York Insurance Services Group. "AT&T has been responsive to our needs and their solution will help us better serve our customers."
In addition, York will have around-the-clock online access to real-time reports on network performance and direct connection to electronic billing and trouble management systems through the secure AT&T BusinessDirect® portal.
About York Insurance Services Group Inc.
Since the 1930's, York's affiliates have served as Third Party Administrators and independent adjusters providing claims data and risk related services to insurance carriers, self-insured individuals, public entities, brokers and other intermediaries. York's claims services include Property & Casualty, Workers' Compensation, SIU and Surveillance, Transportation and Logistics, Environmental, Construction and Inland and Ocean Marine.
About AT&T
For more than 125 years, AT&T (NYSE 'T') has been known for unparalleled quality and reliability in communications. Backed by the research and development capabilities of AT&T Labs, the company is a global leader in local, long distance, Internet and transaction-based voice and data services.
AT&T 'Safe Harbor'
The foregoing contains 'forward-looking statements' which are based on management's beliefs as well as on a number of assumptions concerning future events made by and information currently available to management. Readers are cautioned not to put undue reliance on such forward-looking statements, which are not a guarantee of performance and are subject to a number of uncertainties and other factors, many of which are outside AT&T's control, that could cause actual results to differ materially from such statements. These risk factors include the impact of increasing competition, continued capacity oversupply, regulatory uncertainty and the effects of technological substitution, among other risks. For a more detailed description of the factors that could cause such a difference, please see AT&T's 10-K, 10-Q, 8-K and other filings with the Securities and Exchange Commission. AT&T disclaims any intention or obligation to update or revise any forward-looking statements, whether as a result of new information, future events or otherwise. This information is presented solely to provide additional information to further understand the results of AT&T.
WebWireID5141
Julie Spechler


Vintage Opal Emerald Gold Cocktail Ring - Estate Jewelry. A beautiful mid century cocktail ring featuring opals and emeralds all set in a beautiful 14k yellow gold setting. Multicolored opals together with green emeralds set against a warm sparkle of the yellow gold create a beautiful vibrant effect.
Gemstones: Opals - five marquise cabochon cut opals approximately 8x4mm , one round cabochon cut opal. 3mm, one opal has a chip; round faceted cut emeralds ranging between 4.2-2.2mm.
Gemstones measured and graded while set subject to mounting limitations weight calculated by formula, color gemstones not tested for treatments. Please note, colors of gemstones in photographs may vary on different monitors/different lighting conditions. Metal: 14k Yellow Gold (hallmarked & tested). Ring Dimensions: ring top 18.4mm wide (N-S), shank 2.2mm wide in the back. Condition: estate item in good condition consistent with normal wear.
We make this recommendation in order to secure our customers' investment in case of package loss. Gemstone Grading and Measurements: with all vintage jewelry stones are measured and graded while mounted unless otherwise noted.
All grading is done as mounting permits, jeweler's caliper or cutout gauge and measure are usually used and carat weights calculated by formula, all diamond and gemstone weights and grades are approximate. Photography: Please note, colors and dimensions may vary on different size/quality monitors. We try to always include a photograph of our jewelry either worn or on a mannequin to give our customers better size perspective. · We warrantee and represent that the goods are as described in the above listing.
· We guarantee all items to be 100% authentic. · We pride ourselves on our customer service. The item "Mid Century Opal Emerald 14k Yellow Gold Cocktail Ring Estate Vintage Retro Gift" is in sale since Wednesday, July 4, 2018. This item is in the category "Jewelry & Watches\Fine Jewelry\Fine Rings\Gemstone".
The seller is "kaattt" and is located in North Brunswick, New Jersey. This item can be shipped to United States, Canada, United Kingdom, Denmark, Romania, Slovakia, Bulgaria, Czech republic, Finland, Hungary, Latvia, Lithuania, Malta, Estonia, Australia, Greece, Portugal, Cyprus, Slovenia, Japan, Sweden, South Korea, Indonesia, Taiwan, Thailand, Belgium, France, Hong Kong, Ireland, Netherlands, Poland, Spain, Italy, Germany, Austria, Israel, Mexico, New Zealand, Philippines, Singapore, Norway, Saudi arabia, United arab emirates, Qatar, Kuwait, Bahrain, Croatia, Malaysia, Chile, Colombia, Costa rica, Antigua and barbuda, Aruba, Belize, Dominica, Grenada, Saint kitts and nevis, Saint lucia, Montserrat, Turks and caicos islands, Barbados, Bangladesh, Bermuda, Brunei darussalam, Bolivia, Ecuador, Egypt, French guiana, Guernsey, Gibraltar, Guadeloupe, Iceland, Jersey, Jordan, Cambodia, Cayman islands, Liechtenstein, Sri lanka, Luxembourg, Monaco, Macao, Martinique, Maldives, Nicaragua, Oman, Pakistan, Paraguay, Reunion.


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Leading the way to Responsible Banking
Home / Blog / Leading the way to Responsible Banking
corporate and social responsibility Amalgamated Bank history banking industry
Today, we became the first bank in the United States to endorse the United Nation's Principles for Responsible Banking. The Principles for Responsible Banking provide the framework for the sustainable banking system of the future.
Ivan Frishberg
First Vice President
Sustainability Banking
Email Ivan
The six "Principles of Responsible Banking" are:
Alignment: "We will align our business strategy to be consistent with and contribute to individuals' needs and society's goals, as expressed in the Sustainable Development Goals (SDGs), the Paris Climate Agreement and relevant national and regional frameworks. We will focus our efforts where we have the most significant impact."
Impact: "We will continuously increase our positive impacts while reducing the negative impacts on, and managing the risks to, people and environment resulting from our activities, products and services."
Clients and Customers: "We will work responsibly with our clients and our customers to encourage sustainable practices and enable economic activities that create shared prosperity for current and future generations."
Stakeholders: "We will proactively and responsibly consult, engage and partner with relevant stakeholders to achieve society's goals."
Governance and Target Setting: "We will implement our commitment to these Principles through effective governance and a culture of responsible banking, demonstrating ambition and accountability by setting public targets relating to our most significant impacts."
Transparency and Accountability: "We will periodically review our individual and collective implementation of these Principles and be transparent about and accountable for our positive and negative impacts and our contribution to society's goals."
These Principles for Responsible Banking were developed and launched by UN Environment Finance Initiative (UNEP FI) and 28 banks from around the world at the Global Roundtable in Paris in 2018. Signatory banks are required to identify the most significant positive and negative social, economic, and environmental impacts resulting from their activities, products and services.
As America's socially responsible bank, Amalgamated Bank is proud to join forces with the UNEP FI to address transparency and accountability and report on our progress towards addressing social and environmental challenges. We believe that endorsing these six principles is another testament to our own longstanding commitment to impact and another way to measure and track our progress, but this is not the first step for Amalgamated. We were the first bank to endorse the United Nation's Principles of Responsible Investing. Through our LongView Funds, we used our power as investors to encourage corporate boards to pursue sound governance policies, hold portfolio companies to high standards of social and environmental practices, and enhance shareholder value.
We are also leading a group of banks to create a carbon accounting model to track and monitor the carbon impact of their lending portfolios over the next three years and have worked with the Global Alliance for Banking on Values to turn this in to a global practice.
Additionally, as a certified B Corporation and member of the Global Alliance for Banking on Values, we adhere and report on economic, environmental and social metrics as well – it's not just a part of our business, it's who we are. And it's also why the principles being developed with leading banks and under the stewardship of the United Nations are such a good fit for the work we do and the world we live in.
If you would like to learn more about the Principles, you can read them at https://www.unepfi.org/banking/bankingprinciples/read-the-principles/


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