Posted byDave the Wine Merchant	 September 23, 2011 Leave a comment on Pinot is for Salmon. Right?
Ask any wine geek what to pair with a Pinot Noir, and you'll soon hear the word "salmon". It's almost a knee-jerk reaction. But unless your taste buds are completely dead, you've likely noticed that many new world Pinots fight mightily with the fishy oils that are part of the tasty goodness of salmon.
Not All Pinots Are Salmon Pinots!
Which Pinots are the biggest offenders? Pinots high in alcohol, deep in color, big in fruit and resplendent with Volatile Acidity that borderlines on too much (but which helps the nose and initial flavor pop out of the glass!)… in other words, some of the wine world's highest scoring wines. These Pinots can be delicious wines, and I carry many such wines and sometimes recommend them heartily. Just not with salmon.
But if you find just the RIGHT Pinot, and pair it with a wild caught salmon (when pairing with pinot, I prefer the salmon grilled rather than poached), it can be a little slice of heaven. To find such a wine is easy – just peruse my tasting notes in my rather extensive portfolio of Pinots. My favorite salmon wines from my current portfolio? Labyrinth, Four Graces, Phillips Hill and Staete Landt (New Zealand).
Cheap Salmon – Not Worth the Savings!
But as with any food topic these days, and particularly with the gourmet food and wine crowd, the conversation quickly turns to sustainability. And any posting that involves salmon seems irresponsible if it doesn't excoriate one against the consumption of farm-raised salmon. Such farms, as you likely know, result in such toxic conditions that not only does it kill all life for the many square miles under the salmon confinements, but the salmon must also be fed huge doses of anti-biotics to avoid becoming ill. And the genetically altered fish, when the inevitable lucky few escape, can breed with wild salmon and alter the genetic blood line, making the wild salmon less sustainable in their own right.
Fortunately, there are some highly sustainable farms beginning to emerge in inland lakes, where the salmon farm is by definition, self-contained. Such farms don't use anti-biotics, as there is no need. And the lake remains healthy and vibrant as an ecosystem. But other than these pleasant exceptions, I urge you to "just say no to farm-raised salmon". Fortunately, more and more of us are voting with our pocket books, and the "Salmon Safe" movement is well afoot, as you can see in the following video I found on the E'Cole Winery website.


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Published on Development and a Changing Climate
Climate Investment Funds: The quiet motor behind our most impactful climate investments
John Roome
It does not happen often that one of the finest actors of our time tweets about a World Bank supported project and invites all his fans to have a look at the impressive pictures taken from space. In fact, I can't remember having seen that before.
But this is what Oscar winner and climate activist Leonardo DiCaprio did a few months ago when the Noor Concentrated Solar Plant (CSP) in Morocco—the largest CSP plant in the world - was opened. Once finalized, in two years, it will provide clean energy to 1.1 million households. I visited the plant two weeks ago and it is truly an impressive site. The indirect benefits of the project might even be larger: it has advanced an important and innovative technology, it has driven down costs of CSP, and it holds important lessons for how public and private sectors can work together in the future.
I am proud that the World Bank, jointly with the African Development Bank and a number of foreign investors, supported this cutting-edge solar energy project. But it was made possible thanks to the Climate Investment Funds (CIF), which put in US$435 million to "de-risk" the investment, playing an essential role to kickstart the deal.
While at the CIF Trust Fund Committee in Mexico last week, I spoke with all its members, consisting of donor and developing countries, about the urgent need for action between now and 2020 as a direct consequence of the Paris Climate Agreement. Last year, developing countries prepared so-called Intended Nationally Determined Contributions laying out their pathways to a low-carbon and climate resilient future. The World Bank and other development partners are ready to help our client countries implement these plans urgently and effectively. A functioning global climate finance architecture is essential to help these countries reach their climate goals. Developing countries need to know that funding is available for these plans now and in the coming years.
Concessional financing is essential to unlock climate-smart investments which are deemed too risky for investors, and even in some cases for multilateral development banks. Well-targeted use of this type of financing is necessary to push new technologies, clean tech markets to commercialization, and to crowd in private sector financing, just like with the concentrated solar power project in Morocco. Concessional finance is also necessary to support investments in climate resilience and adaptation, especially in the poorest and most vulnerable countries.
It may sound abstract but well blended concessional finance leads to projects, for example, in roof-top solar energy, flood-proof roads and bridges, reforestation—all projects that have real, positive impacts on people's lives.
The climate revolution we need, however, is not only about concessional financing. Perhaps even more importantly it's about changing policies, practices and institutions, based on global and local experiences and lessons learned. For example, as we have recently seen in Zambia, well-structured renewable energy contracting based on good practices has led to very low bid prices.
In all of this, the Climate Investment Funds (or CIF), a US$ 8.3 billion fund founded in 2008, dedicated to climate-smart investments and implemented by the multilateral development banks, has been essential. It is a quiet, but very effective motor sitting in the middle of the climate financing architecture. It is an essential coordination mechanism for the most important players in this space, aligning them around country-driven climate investment plans and sharing lessons and experience across countries
The CIF has a strong record and has been transformational. For example, it has been a global leader in supporting geothermal deployment in 17 low and middle-income countries. It has enabled the Sere wind farm in South Africa, one of the largest wind energy complexes in Africa. It is supporting major solar power developments in Central America, jointly with IFC and the private sector. It made possible that climate resilient planning is central in all of Zambia's national development planning. Thanks to its dedicated forest investment program, it will improve the land management of 27 million hectares of forests. Just to mention some examples of its impressive portfolio.
Perhaps more importantly, beyond the investment level, the CIF has influenced our way of working. It is the driver of the so-called "programmatic" approach, meaning broad-scale investments are paired with country planning, domestic policy changes and consultations with a wide number of stakeholders.
The climate finance architecture is evolving. Last week in Mexico, we agreed that all the main actors—the CIF, the MDBs, GEF, the Green Climate Fund (GCF) and others—need to intensify their collaboration. The World Bank Group is working with the GCF, and eventually, we hope that we will be able to partner with the GCF to support client country projects. To enable the GCF to evolve into an effective partner for transformational investments, we look forward to GCF taking greater risks to crowd in financing for key projects and adopting a more programmatic approach to investments.
In Mexico, I also saw overwhelming support from developing country and civil society members about the work that the CIF is doing and strong support to continue this role. One after another, participants described the transformational impact that the CIF has had in their countries. The Direct Grant Mechanism under the CIF is a one-of-a-kind program designed for Indigenous Peoples and forest communities to support them in forest management and reforestation efforts. The CIF was also key in mainstreaming gender policies in climate investments, not only in their own investments but across all funding provided by the World Bank Group. It has helped to formulate gender-sensitive approaches across investment portfolios through technical support, knowledge generation and program learning.
Our meeting in Mexico recognized the urgency and the ambition of the changes necessary to set us on a realistic path to meet even the 2 degree objective of the Paris Climate Agreement. We have the opportunity to refine what the CIF does, but the role of and need for the CIF is absolutely key. The obligation and opportunity is on us. If we look back on this in 2020; did we fiddle while Rome burned or did we seize the opportunity and set the world on a low carbon and climate resilient future?
Senior Director, Climate Change
More Blogs By John
Håkan Krantz
Where does Climate Investment Funds has their geographical location? Is it in Washington, USA?

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Setting environment variable in makefile and reading it from python script does not work I am setting a environment variable (bash) in makefile and I am executing a python script on the next line in the makefile. However, when I try to read the environment variable in the python script using os.environ.get() I am unable to read the environment variable. What is the best way to achieve this?

A: You need to export it in the same line:
target:
        export FOO=bar; python /the/script.py

or
target:
        export FOO=bar; \
        python /the/script.py

A: The following works on my system.
makefile
ENVVAR=10
export ENVVAR

run:
    python script.py

script.py
import os
print(os.environ.get('ENVVAR'))

running:
$ ls
makefile script.py
$ make
python script.py
10

redpajama_set_name: RedPajamaStackExchange


text:
Home Collaboration All About the Braun Grooming Event in Madrid
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All About the Braun Grooming Event in Madrid
Last Updated on May 4, 2018 by gregor
Mid of March Braun, the world's most trusted* grooming brand, invited international Press and Bloggers from all over the world to the Spanish capital Madrid. Hosted in the lovely Boutique Hotel Ursu, we could experience the world of Braun and test first-hand Braun's latest styling and grooming tools, and most importantly get to meet one of Europe's most celebrated football players, Raphael Varane.
After a warm welcome by the Paola Mulas Global Braun Communications Manager (middle) we attended the expert's workshops
Dan Gregory, Braun Global Grooming Ambassador
Dan Gregory. The specialist has just been appointed Global Ambassador of Grooming of Braun, his fame is worldwide and London celebrities come to his beauty salon to get the perfect image.
"For men, the face is our way of reinforcing the identity, our masculine forms are on the face, and we have a very simple change of image thanks to this, modifying our facial hair," explains Gregory on the importance of having an identity marked on that sense.
To get the best possible result, Dan Gregory used a Braun Series 9 during his practical and theoretical explanation: "I really like this type of razor because it allows you to play with the curves and the lines of the face, it does not force you to cut straight. 'as traditional knives do,' confesses the expert.
The first trick that gives us is that we do not use the ears as reference to fix the pins, because they do not have to be at the same height the right of the left. To get the two pins to be perfect, we recommend measuring the distance with 'fingers' of the hand. Once the measurement is done, start shaving by areas, following an established and routine order
Divide the face into five parts is essential, both cheeks, the area of the knob and the mustache and neck. You have to perform smooth movements from top to bottom gently. At this point Gregory insists that we do not pass the 9 Series with a strong grip on the area, but that we do it gently and without pressure "is not necessary" .. Although he advises that we always follow the same direction, he sees a 'tolerable' option perform turns during shaving following the curves of the face.
Once we have shaved the previously defined areas, we must not forget the precision blade for details. Thanks to this addition we can refine the zone of the sideburns and the part closest to the nose.
Finally, he advises us to use a slightly moist and warm towel on the face for five minutes to rest the skin and help it cool down.
Paola Bosch, Fashion seminar
Paola is a wardrobe Stylist and works with the Read Madrid football players. She inspired us about the latest Men's style trends. Masculinity undone
The beard. The new big trend!
Haircut creativity has no limits!
More Inspirations and style trends by Paola!
Rafael Varane, the Style icon of Read Madrid
More about Paola Bosch and her work, www.paolaboschstylist.com (Click)
In the Evening we attend the Media Dinner at the famous Ramses Life restaurant in Madrid
The next morning,….
Workshop with Ben Wilson, Braun Industrial Designer
Ben is the strategic lead of Technology & Design Communications for Global Braun, During the workshop Ben talked to us about the Braun Series 3 ProSkin and the new multi-grooming kit (every man desires a kit like this in their bathroom).
Interview with Raphael Varane, Read Madrid
I had the chance to sit down with international footballer Raphaël Varane, the new Brand Ambassador of the Braun Series 3 ProShave, while I had been in Madrid and discuss what style and grooming really meant to him.
Raphael Varane is center-back of the probably best soccer team in the world, Real Madrid. He's additionally a defender on the French National Team
It's commonly recognized that style is essential for men. Do you agree?
Yes, of course look is important. It's essential to feel good, to have self-assurance in one's self, and to assert one's self. Besides that, I think we live in a world where image is growing more and more, so for sure it's necessary that, from first thing in the morning, to take care of yourself. For me it's both logical and important.
Needing to present yourself in the excellent way, however having such a demanding schedule, how does playing football has an affect your grooming routine?
Yes, of course as footballers we're media figures, we're also identified in our daily lives, on the street, everywhere, so it's vital from first thing in the morning to take care of yourself. I always shave in the morning to get ready. It has an influence on us because if you just choose to step onto the street to stroll your dog you can't go badly groomed. So naturally in your everyday life you have to be careful, and then shave before a match. It's necessary to feel good and to sense comfortable. That's why I like the Braun S3 ProSkin and styling tools so much. They enable me to accomplish my personal fashion with ease, so I can focus on what matters – enjoying football.
How much time do you really dedicate for your morning grooming routine?
Generally, in the morning, I'd say about forty minutes to get ready. This includes cautiously choosing my clothes and time to shave and do my hair. I also use hydrating cream to take care of my skin.
How frequently do you get that haircut, and have you ever had a haircut that you sincerely want you had by no means done?
About every 10 to 15 days. I'm buddies with my hairdresser, who's additionally the hairdresser for other players like Karim Benzema. As far as a haircut that I would have wanted to avoid, there was once one when I started out as a professional when I had long hair with braids, you can still locate the photos. Aside from that, I'm not ashamed of having done it, I wanted to do it and I'm happy, but if I had to pick one it would be that.
How would you describe your personal style?
Well as I said, I try to be as stylish as possible. Aside from that, it depends on the situation I'm in. If I am at home with my son, my fashion will be extra relaxed. If it's for an event or match, you strive to be extra elegant and classy. Beyond that it depends, but I constantly strive to take care in the way I look.
What do you put in your dopp kit?
There's deodorant, cologne, toothbrush, toothpaste, hair gel, and of course my Braun S3 ProSkin.
Where did you find your style inspiration?
Well, at first, I suppose it starts with one's personality. Growing up, it's about defining your tastes and your preferences. I assume I'm stimulated via the whole lot that I see in the world round me, and it influences what I desire and what I decide on and what I like as a style.
Do you have a style idol?
I'm inspired through everything, there's no single character or idol.
Now let's talk a little bit about your Braun Ambassadorship
You are the New face of the Braun Series 3 ProSkin! Why did you pick Braun and why did Braun select you?
Well, first due to the fact Braun is a brand that I like a lot and that I use. I use their products already and have constantly been a fan of the Braun Series 3 ProSkin. I additionally like the values that they represent, that they defend. It's a manufacturer that chose me due to the fact of what I represent and the values that I defend. So, it's a partnership that's tremendously logical, in terms of image I think, because it's something that fits to me, that I use, and I like. And that's why I like it and I like working with Braun.
As a Braun Brand ambassador, maybe you can supply my readers with some advice or some suggestions?
My recommendation would be to follow what you like and express your character thru your style. It relies upon if you decide on a more classic look or something more extravagant. If you suppose you appear precise with the beard, then it's all good. Elegant. Stay as you are.
All About the Braun Series 3 ProSkin
With nearly 100 years working at this genuine issue, Braun gets it–and they're always attempting to make grooming a little bit better for you.
By shooting more hair in the first stroke, the Braun Series 3 ProSkin makes your grooming activities so easy, that you can focus on other components of your day instead of shaving.
Built to tackle a long weekend's well worth of stubble, the Series three ProSkin is a device rigorously tested to make sure it will cope with the job you lay out in the front of it.
The Series 3 ProSkin uses an advanced MicroComb technology that guides hairs into the trimmer, reducing overall shaving time. This leads to less skin irritation by cutting short and long hairs simultaneously. Add to that a sophisticated shaving system of three independently rotating cutting elements and two SensoFoils that are able to adapt to every facial contour, and you get a comfortable shave faster than any of Braun's competitors. And if speed is what you're after, use this wet or dry – whatever is best for you – to keep you moving throughout your day with ease.
The Braun Grooming Kit
The ultimate all-in-one face, hair, and body Grooming Kit from Braun uses the latest cutting element technology to ensure that the blades last for the lifetime of the trimmer. Whether it's precision trimming your bits down below or contour edging that well-groomed beard, you have 13 precise length settings to keep it all under control. With four detachable combs and a running time of up to an hour, the four multi-grooming kits from Braun ensure maximum precision and ultimate versatility to enable you to focus on what really matters.
In wonderful cooperation with Braun
Learn more about the Braun products (German CLICK)
Learn more about the Braun products (English CLICK)
All About the Braun Grooming Event in Madrid was last modified: May 4th, 2018 by gregor
BraunGroomingHaircareMadridshaving
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Hunger affects old and young alike. While fixed-income seniors, people with disabilities and low-income families are the most visible examples of people who struggle, hunger doesn't stop there. Hunger affects all groups of people regardless of education level, employment status or ethnicity. We are proud to work with Food Bank in order to serve people in need.
Food distribution location of USDA/EFAP items.
981 South Western Ave #100 LA, CA 90006.
It will be at Korean American Federation between hours of 10:00am to 1200pm on every FIRST and THIRD FRIDAY of each month.
Shalom Center's Food Bank program relies on the help of generous volunteers like you.


She has gotten a $5,000 grant from the Knight Foundation to explore potential uses for the building. Some want to return it to a performing arts center, but Khabir thinks it's too small for that, and there are better existing venues for performing arts.
One idea is for it to become a cafe where local artists can show off their works. Another is for it to become a small grocery store specializing in healthy foods.
As a part of her grant, Khabir expects soon to organize a community meeting to allow people to give feedback on potential uses of the building. She will eventually compile a report that can then be used to pursue renovation of the building.
But before anything can be done with the property, there's a huge hurdle to clear. The property is owned by the defunct Booker T. Washington Foundation, so it's uncertain exactly how ownership might be transferred to a party interested in saving it.
"The ownership is the most important part of this whole process because even if we had a good idea and funding to go along with it, we've got to figure out the ownership," said Ethiel Garlington, executive director of Historic Macon.
With the Fading Five list Historic Macon names important properties that are in danger of being lost, then works to try to save the buildings. That could happen through either public or private investment. Once named to the list a building stays on it until either being saved or lost.
The effort has proven successful, with only one building on the list having been declared lost since the list began in 2015. Six of the 11 buildings that have made the list have been saved, and last year Historic Macon won a national award for its efforts.
Garlington said the Bobby Jones center can become one of those success stories, despite its challenges.
Khabir said her interest in the building is in the preservation of black history. For decades it was the First Congregational Church, an African American church established in 1868. The church remained in the building until 1991, and it was vacant until 1998 when the Booker T. Washington Foundation purchased it. After a few years, however, it was shuttered when the foundation lacked the funds to make the necessary repairs.
Khabir noted that the performing arts center was named for the first black tenured professor at Mercer University.
Coaling Tower, 989 Seventh St.: Built in 1910, this unique structure once supplied railroad steam engines with coal.
Guy E. Paine House, 2733 Hillcrest Ave.: Built approximately 1912, this was one of the original houses in Cherokee Heights, a neighborhood on the National Registry of Historic Places.
Cotton Avenue District: This was a major center of black businesses in Macon during the era of segregation.
Train Recreation Center, 715 Oglethorpe St.: Completed in 1920, this building was constructed by the Bibb Manufacturing Co. to offer free recreation to its employees.


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purpleginger2englewood.com
Wanna bet? Here'vertisements where get up on legalizing playing
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If you're looking to bet on international sports, FanDuel isn't necessarily the best option. BetMGM offers new users a bonus of a $1,000 risk-free bet for the sportsbook as well as a $1,000 deposit match at a 100% rate for the casino. In addition, BetMGM offers new users a $25 bonus with no requirements for its online casino. BetMGM is currently live in Virginia, Michigan, Arizona, Iowa, Colorado, New Jersey, Indiana, Pennsylvania, Tennessee, West Virginia, and Washington D.C. In addition to the extensive odds boosts and promotions for existing users, DraftKings offers one of the best new user bonuses in the industry.
House Bill 241 is comparable to Koenig's earlier sponsored legislation. Details include the Kentucky Horse Racing Commission would regulate the allowance of sports wagering at Kentucky tracks and betting. State racetracks would be eligible to receive licenses to host sports wagering and professional sports venues with seating for 50,000 or more people. State legislators passed a series of enabling statutes, and the Maryland Lottery and Gaming Control Commission approved regulations on July 15, 2021. In July 2020, Gov. Gina Raimondo put her signature on SB 2919 and HB 8097, allowing bettors to complete remote registration. Under the law, two locations can offer sports betting with the state's lottery providing regulatory oversight.
Nevada, the gold standard for in-person betting, still hasn't quite mastered online wagering. The state requires bettors to come into a casino to register in person before placing via the Internet. This will be a hiccup Illinois' potential but the registration mandate sunsets permanently in 2022, and marquee sports venues such as Wrigley Field and the United Center could open sportsbooks in coming years. More online brands will also likely join, which could – finally – push Illinois near or to the top of the U.S. sports betting handle lists.
Legal sports betting arrived in Iowa on Aug. 15, 2019, with multiple operators all opening their doors to customers on the first day. The move came three months after Iowa Governor Kim Reynolds signed into a law a comprehensive bill to legalize sports betting in the Hawkeye State. Operators must pay a $45,000 licensing fee and there is a 6.75 percent tax on revenue.
Michigan got on board in early 2021 with the launch of online sports betting, poker, and gambling. The application process opened on July 9, with a tentative application deadline set for Aug. 9, 2021. The plan is for the NYSGC to bid out the licenses no later than 150 days after the application deadline, setting the state up for a potential mobile sports betting launch in time for the 2022 Super Bowl. New York retail sports betting launched in 2019 at eight upstate New York casinos.
If affiliates engage revenue sharing, they will be required to obtain an ancillary supplier license. Below is an overview of the legislation, and the regulatory schemes for Washington, Arizona, and Wyoming, including what type of companies fall into specific categories in each state. The association estimates that Americans have legally wagered nearly $27 billion on sports in the first seven months of 2021, generating more than $350 million in federal, state, and local taxes. Citing poll results, the association pegged fans from the Northeast as the most interested in the nation in betting on the NFL this year. Legal wagers may be placed in 26 states and Washington D.C, up from 18 states and D.C. Maryland is one of few states in the US to go from allowing gambling to banning it, and is now in the process of bringing it back again.
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with smart deeply felt songs. She performed at the "Earth in Concert: Protecting the Planet Through Music" benefit in November 2015. She's a fantastic singer with great vocal range,she just blows you away. Hill opened for Josh Groban during the third leg of his All That Echoes World Tour (North America) in Fall 2013.
She also performed two duets with him in his set for "The Prayer" and "Remember When It Rained", the latter of which was released as a single. She also toured with John Legend on the UK leg of his #AllOfMe tour in the Fall of 2014. She has signed with Sony Music in 2015. Last year Grammy-winning Judith Hill performed at In Concert for Cancer. Judith is an artists who defied genere and become a star in her own right.
Hearing her songs can instantly move you emotionally. She's a Creative studio genius. Her voice really reaches anybody's soul; And she can pull it all off live and beautifully. That voice, charisma, those hips & lips. Judith Hill should certainly be ranked among the top five. Need I say more?
This entry was posted in TV+ShoBiz and tagged Judith Hill one of the greatest soul singer I've ever heard listen to her sing live. Bookmark the permalink.
Prince was rumoured to have hundreds of unreleased tracks in the vaults. Is that true?
I want her to collaborate with drake rihanna or beyonce!
This is just so beautiful. She reminds me of lauryn Hill funny enough both of them has the same last name.
I want her to duet with beyonce they would make a good team.
She and beyonce would be awesome together! like when mariah carey and whitney song.
I could listen her all day very powerful voice.
She sound like beyonce when she hit a certain note.


In this week's Billions episode entitled, The Good Life, U.S. Attorney Chuck Rhoades is ready to go after Axe Capital. We are taking a look at how that transpires despite a conflict of interest and lack of recusal.
After Peter Decker's deposition (in last week's episode), Rhoades learns about a farmer that gave Axe Capital employee, "Dollar Bill," some insider information on Pepsom Pharmaceuticals. When the U.S. Attorney's office is preparing to head to Iowa to talk to the farmer, Bryan Connerty, Rhoades' point man, suggests Rhoades may want to recuse himself from this case due to a conflict of interest (namely, his wife's employment as Axe Capital has stopped him from pursuing action against the firm). Rhoades is indignant that Connerty would even ask this question, dismisses him, and heads to Iowa where he quickly undermines the farmer and gets him to sign a statement saying he gave up insider information to Dollar Bill. Upon Rhoades' return to New York, he is tipped off by a reporter that Axe Capital is dumping all of their stocks, whereupon he calls his wife Wendy and tries to casually confirm. Later in the episode when Rhoades' team is getting ready for their raid and subsequent arrest of Dollar Bill at Axe Capital, Rhoades calls his wife to make sure she wasn't there.
[…] an employee is required to consider whether the employee's impartiality would reasonably be questioned if the employee were to participate in a particular matter involving specific parties where persons, with certain personal or business relationships with the employee are involved. If the employee determines that a reasonable person would question the employee's impartiality, or if the agency determines that there is an appearance concern, then the employee should not participate in the matter unless he or she has informed the agency designee of the appearance question and received authorization from the agency. Otherwise an employee "shall not participate" in the matter as provided under 5 C.F.R. § 2635.502(e). Adherence to the regulation is accomplished by not participating in the particular matter involving specific parties.
Based on this, Rhoades should not have participated as lead counsel in this matter as a conflict of interest exists which would cause him to recuse himself. Now, he risks compromising the entire Axe Capital case that he has been working so hard to build.
Conflicts of interest, such as these, are present in all businesses. How a firm reacts – to eliminate or eliminate the conflict – is essential, particularly in the financial industry. If you have questions on how to identify and mitigate conflicts of interest at your firm, contact Jacko Law Group, PC at 619.298.2880 or info@jackolawgroup.com.


text:
The meanings of Chanukah
The meaning of the festival of Chanukah is highly contested.
In a fine compilation of critical articles and perspectives on the resources pages of Jews for Justice for Palestinians here, you will find links to contributions from Tony Karom, Anschel Pfeffer, Christopher Hitchens (who saw the Maccabees as "a sect of murderous religious fanatics"), Robert A.H.Cohen and others.
In the article reposted below, Rabbi Brant Rosen argues that "the essence of Hanukkah is the theme of resistance. At its core, the Hanukkah story commemorates the victorious resistance of the people over the power and might of empire.
"On a deeper level, we might say that the festival celebrates the spiritual strength of our resistance to an often harsh and unyielding world."
Chag sameach!
This article was originally published by Shalom Rav on Thu 10 Dec 2020. Read the original here.
Hanukkah Is About Resistance. Let's Resist This COVID Spike Through Mutual Aid
by Rabbi Brant Rosen, Shalom Rav
With Hanukkah now upon us, the internet is abuzz with articles offering guidance on how to celebrate the holiday in the age of COVID-19. While most of them focus on practical issues such as socially distanced Hanukkah parties and Zoom candle lightings, I've been thinking a great deal on what the story of Hanukkah might have to offer to all of us as we gear up for a winter like none we've ever experienced in our lifetimes.
Hanukkah, of course, is based upon the story of the Maccabees, the small group of Jews who successfully liberated themselves from the oppressive reign of the Seleucid Empire in 167 BCE. The legacy of this story, however, is a complex one because the Jewish struggle against religious persecution took place within the context of a bloody and destructive Jewish civil war. In contemporary times, the meaning of Hanukkah has become even more complicated given its proximity to Christmas, subjecting it to the uniquely American religion of unmitigated commercialism.
Beyond all these complications, I'd argue that the essence of Hanukkah is the theme of resistance. At its core, the Hanukkah story commemorates the victorious resistance of the people over the power and might of empire. On a deeper level, we might say that the festival celebrates the spiritual strength of our resistance to an often harsh and unyielding world.
In this regard, it is significant that Hanukkah takes place in the winter. Apropos of the season, the festival prescribes resistance to an increasingly colder and darker world by lighting increasing numbers of candles during this eight-night festival. Those of us who celebrate this holiday are instructed to place our menorahs in our windows as an act of "spiritual defiance," directing the light outward into the night where it may clearly be seen by the outside world.
There have indeed been moments in Jewish history in which lighting the menorah was literally an act of resistance. One powerful example can be seen offered in a single image: the famous photograph taken in 1932 Germany showing a menorah on the window sill of a Jewish home, with a Nazi flag clearly visible across the street. Another well-known moment of Hanukkah resistance occurred in 1993 when, after a brick was thrown through the window of a Jewish home in Billings, Montana, scores of citizens showed their solidarity with the Jewish community by taping paper menorahs in their windows. More recently, on the Hanukkah after the Pittsburgh synagogue shooting, one local Jewish leader commentedthat the menorah is "not just something that we display in our homes for ourselves … but something we light so that passersby can see. For us, this year that feels like an act of resistance."
In 2020, we find Hanukkah arriving amid a winter that medical experts are calling "the darkest days of the pandemic" and "COVID hell." In a recent interview, Michael Osterholm, director of the Center for Infectious Disease Research and Policy at the University of Minnesota, said, "the next three to four months are going to be, by far, the darkest of the pandemic." Another expert has predicted that more lives will be lost in December than the U.S. saw in March and April combined.
With such an unprecedented and terrifying winter bearing down upon us, I'd suggest that the ideal of Hanukkah resistance is more powerfully relevant than ever. This resistance, of course, presents us with profound challenges. After living with the pandemic for the better part of a year, so many throughout the U.S. are succumbing to "COVID fatigue" — following months of social isolation and anxiety, increasing numbers of people are becoming less vigilant about the pandemic practice of masking and social distancing, even as infection rates spike precipitously.
With the darkest days of the pandemic ahead of us — even as we agitate for rent cancellation, eviction resistance and universal health care — we have another form of resistance at our disposal: We can resist government inaction/abandonment of its citizens by participating in the grassroots, self-organized networks of support known as mutual aid.
While these community-based efforts are not new, they have proliferatedwidely since the onset of the pandemic. As Jia Tolentino pointed out in a New Yorker article last May:
[Mutual aid] is not a new term, or a new idea, but it has generally existed outside the mainstream. Informal child-care collectives, transgender support groups, and other ad-hoc organizations operate without the top-down leadership or philanthropic funding that most charities depend on. Since COVID, however, mutual aid initiatives seemed to be everywhere.
The concept of mutual aid was coined in 1902 by the Russian anarchist/scientist/economist/philosopher, Peter Kropotkin, who arguedthat mutual aid could be traced to the "earliest beginnings of evolution." Kropotkin posited that solidary provided the human species with the best chance of survival, particularly given the emergence of private property and the rise of the State:
It is not love and not even sympathy upon which Society is based in mankind. It is the conscience — be it only at the stage of an instinct — of human solidarity. It is the unconscious recognition of the force that is borrowed by each man from the practice of mutual aid; of the close dependence of every one's happiness upon the happiness of all; and of the sense of justice, or equity which brings the individual to consider the rights of every other individual as equal to his own. Upon this broad and necessary foundation, the still higher moral feelings are developed.
Some of the most well-known examples of mutual aid in U.S. history, in fact, were the survival programs created by the Black Panther Party (BPP) and the community-based initiatives organized by the Puerto Rican Young Lords Party in the 1960s and '70s. FBI Director J. Edgar Hoover himself grasped the radical power of these mutual aid projects. In a now infamous internal memo, he wrote that the Black Panther breakfast programs represented "the best and most influential activity going for the BPP, and is as such, the greatest threat to efforts by authorities."
Another important aspect of mutual aid is the understanding that disenfranchised people cannot ultimately depend on state institutions to save them. According to Puerto Rican scholar Isa Rodríguez, "'Solo el pueblo salva al pueblo' — 'Only the people save the people,' became a rallying cry for Puerto Ricans following the devastation of Hurricane Maria in 2017 as multiple organizations — mostly based on grassroots groups that existed prior to the hurricane — quickly organized to channel aid."
The community-based solidarity of mutual aid is also fundamentally different from the approach of private humanitarian charities in which the needy are "saved" through the beneficence of those of greater means. And it must not be viewed through the lens of "crisis response." Mutual aid, rather, is rooted in long-term alliances between people engaged in a common struggle. As historian/writer, Elizabeth Catte has observed:
Mutual aid can be a form of resistance, but the practice itself requires discipline. We can't do it because it helps us sugarcoat our trauma, or because it lets us say we have claimed goodness in a world where it is often lacking. Mutual aid is incompatible with charity and should offer no pleasure to the well-resourced person or do-gooder who hopes to find worthy recipients of their kindness, because the practice of mutual aid is intended to destroy categories of worth.
Since mutual aid is rooted in the ideal of solidarity, the first step for anyone interested is to cultivate genuine and accountable relationships within their own local communities. This will be undeniably challenging in a time of pandemic, when our mutual safety literally depends upon socially distancing from one another.
Mutual aid projects, however, are adapting to meet these challenges through creative use of commercial internet platforms, online databasesand toolkits. Additionally, mutual aid projects in the age of COVID insist on strict adherence to public health protocols.
In the words of anarchist organizer Cindy Milstein: "While 'social' aka 'physical' distancing, hand washing, and mask wearing are necessary tools to help stop the spread of this virus, they will only be effective if it's grounded in an ethics and practice of social solidarity and collective care."
The most famous Hanukkah story says that when the Maccabees entered the Temple to relight the menorah, they only found enough oil to last for one day. Miraculously, however, the menorah burned for eight days. At the core of this seemingly simple parable are profound lessons about the power of sustainability and resilience. We know from history that popular movements of resistance have the ability to succeed even against the most daunting of foes.
The prospect of the coming winter — and the new year ahead — are undeniably daunting. Amid it all lie fundamental questions: Where will we find the strength to meet these challenges? How will we keep the fire of our commitment to each other from burning out? Who can we depend upon to see us through the coming season and beyond?
The resistance embodied by mutual aid provides us with a compelling answer — in the end, we have each other. As Dean Spade, who recently published a book titled Mutual Aid: Building Solidarity During this Crisis (and the Next), so aptly puts it, "what happens when people get together to support one another is that people realize that there's more of us than there is of them."
True resistance can never occur as long as we expect an external human force to somehow show up to save us. In the end, the true miracle of resistance occurs when we show up for one another.
Hanukkah for Palestinians


text:
Choi Jin-sil (en coreà 최진실) (24 de desembre de 1968 - 2 d'octubre de 2008) fou una actriu i model sud-coreana. Era considerada una de les millors actrius del seu país, anomenada "L'actriu de la Nació". Durant només dues dècades protagonitzà 17 pel·lícules, 20 sèries de televisió i 140 anuncis.

Referències

Enllaços externs
 Choi Jin Sil a HanCinema

Persones de Seül
Actors de sèries de televisió sud-coreans
Actors de cinema sud-coreans
Models sud-coreans
Morts a Seül
Suïcides sud-coreans
Naixements del 1968

redpajama_set_name: RedPajamaWikipedia


text:
Rear Admiral Andrew Bryson (25 July 1822 – 7 February 1892) was an officer in the United States Navy. He fought in the American Civil War and served as commander of the South Atlantic Squadron.

Naval career

Bryson was born on 25 July 1822 in New York City. He was appointed as a midshipman on 1 or 21 December 1837 (sources vary) and went to sea in the West Indies Squadron from 1838 to 1842, serving first aboard the sailing frigate  and then on the sloop-of-war . He attended the Philadelphia Naval School in Philadelphia, Pennsylvania, from 1842 to 1843 and, upon completing his studies, was promoted to passed midshipman on 29 June 1843.

From 1843 to 1845, Bryson served in the Africa Squadron, first aboard the sailing frigate , then on the sloop-of-war . He next had duty on the Great Lakes aboard the steamer  from 1845 to 1849, then served aboard the stores ship  from 1849 to 1850. Promoted to master on 30 January 1851 and to lieutenant on 30 August 1851, he was aboard the brig  from 1851 to 1853, operating first in the Brazil Squadron and later in the Africa Squadron, then aboard the receiving ship at Boston, Massachusetts, from 1853 to 1855, the sloop-of-war  in the Home Squadron from 1856 to 1858, and the sloop-of-war  in the Brazil Squadron from 1858 to 1859.  He performed duty at the New York Navy Yard in Brooklyn, New York, in 1861, and was serving there when the American Civil War broke out in April 1861.

Promoted to commander on 16 July 1862, Bryson was commanding officer of the gunboat  on special service from 1862 to 1863. He took command of the monitor  in the South Atlantic Blockading Squadron in 1863, and led her in the reduction of Fort Macon in North Carolina and in all major actions that U.S. Navy ironclad warships fought against the defenses of Charleston, South Carolina, between 22 September 1863 and 5 April 1864, during one of which he suffered a slight wound inflicted by a shell fragment. From 1864 to 1865 he commanded the ironclad river gunboat  in the Mississippi River Squadron.

After the end of the Civil War, Bryson was promoted to captain on 25 July 1866 and returned to the steamer Michigan on the Great Lakes as her commanding officer from 1866 to 1869. He then commanded the receiving ship at Boston, Massachusetts, from 1869 to 1870, performed duty at the Boston Navy Yard in Charlestown, Massachusetts, in 1871, and commanded the sloop-of-war  in the European Squadron from 1871 to 1872.

Promoted to commodore on 14 February 1873, Bryson was a member of the Board of Examiners in 1873, then was commandant of the Portsmouth Navy Yard at Kittery, Maine, from 1874 to 1877. He commanded the South Atlantic Squadron from 1879 to 1881 and was promoted to rear admiral on 25 March 1880. He retired from the Navy on either 1 July 1881 or 30 January 1883 (sources vary).

Personal life
Bryson was married to Charlotte Arnold Bryson. They had a son, also named Andrew Bryson (2 September 1851–1 October 1918).

Death

Bryson died at his residence in Washington, D.C., on 7 February 1892. He is buried at Green-Wood Cemetery in Brooklyn, New York.

Notes

References
Naval History and Heritage Command: Officers of the Continental and U.S. Navy and Marine Corps, 1775-1900.
genealogytrails.com Kings County, New York, Genealogy and History
Find-A-Grave Memorial: Adm Andrew Bryson (1822–1892)
Hamersly, Lewis Randolph. The Records of Living Officers of the U.S. Navy and Marine Corps, Fifth Edition. Philadelphia: L. R. Hamersly & Co., 1890.

External links
Photograph of grave of Andrew Bryson

1822 births
1892 deaths
Military personnel from New York City
United States Navy rear admirals (upper half)
Union Navy officers
People of New York (state) in the American Civil War
Burials at Green-Wood Cemetery


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Daleks' Invasion Earth 2150 A.D.
Sci-Fi & Horror • Sci-Fi, UR
Those deadly plunger-wigglers the Daleks have taken over planet Earth in this full colour psychedelic sequel to Dr Who and the Daleks. With Peter Cushing reprising his distinctively daffy Dr Who, and Bernard Cribbins on hand to provide some stylish slapstick, it's futuristic fun and action all the way in this fast paced sci-fi adventure for all the family.
Robots, Aliens, Apocalypse, Time travel
Peter Cushing Dr Who
Bernard Cribbins Tom Campbell
Andrew Keir Wyler
Gordon Flemyng director
Up Next in Sci-Fi & Horror
Jekyll & Hyde
Henry Jekyll (Michael Caine) is a melancholy man. His wife died of pneumonia, and he seeks the comfort of his sister-in-law, despite her father's refusal. Jekyll throws himself into his work, developing a personality-splitting drug that allows him to wreak brutish havoc as his alter-ego, Hyde. Ho...
Timeslip
The tension never slackens in this fast-paced tale of atomic-era espionage, starring American actors Gene Nelson and Faith Domergue as crusading reporters investigating a sinister scientific plot. Atmospherically shot on the shadowy, rain-spattered streets of 1950s London, this taut, ingenious th...
The Nightcomers
Set in Victorian England, The Nightcomers follows two orphans - Flora and Miles - as they are left by their tutor in a mansion, under the care of the elderly housekeeper Mrs Grose, the governess Miss Jessel, and the groundskeeper Peter Quint. When Grose attempts to have the master of the house fi...


text:
Q: editorfor picks string template instead of double I'm having some issues with a view model in my project that contains an number of doubles in them
ie.
public class MyViewModel
{
    public double Left { get; set; }
    public double Right { get; set; }
    public double Top { get; set; }
    public double Bottom { get; set; }
}

In my view I have
@Html.EditorForModel

If there is no other custom templates in my project this renders correctly and I get a textbox with a double on in it.
As soon as I put a string template in View/Shared/EditorTemplate and put anything inside of it whatever is in that template gets rendered instead of the double template.
I would have thought that even though I have overriden the string template the order for selecting templates would remain the same, and the double template would be choosen as it was originally before the string template existed.
The string template consisted of only (no @model )

String

Am I missing something here, why is the string template choosen here?
I've determined I can put a double template in the views shared folder and it will render that instead but it seems like I shouldn't have to do that.
EDIT:
As per Darin's answer I created my own double editortemplate based on the decimal template.
@using System.Globalization
@functions {

    private object FormattedValue
    {
        get
        {
            if (ViewData.TemplateInfo.FormattedModelValue == ViewData.ModelMetadata.Model)
            {
                return String.Format(CultureInfo.CurrentCulture, "{0:0.00}", ViewData.ModelMetadata.Model);
            }
            return ViewData.TemplateInfo.FormattedModelValue;
        }
    }

}

@Html.TextBox("", FormattedValue, new {@class = "text-box single-line"})

A:
Am I missing something here, why is the string template choosen here?

In both cases it's the String template being chosen. There's no default template for the double type. Here's how the default string template looks like:
@Html.TextBox(
    "",
    ViewData.TemplateInfo.FormattedModelValue,
    new { @class = "text-box single-line" }
)

I've determined I can put a double template in the views shared folder
  and it will render that instead but it seems like I shouldn't have to
  do that.

Well, if you are not satisfied with the default template for the double type (which is string.cshtml) you could always write a custom template for it.


Festival of Tables from 11 a.m. to 1 p.m on Saturday, April 22 - a fun event for women only! Featured speaker: Nicole Phillips from The Forum. Please contact Robyn at (701) 793-3299 if you are interested in attending, hosting a table, or just have questions!


Although Avatar did not receive any of the major Oscars at last night's Academy Awards ceremony, it did become the highest grossing box-office hit of all time last month, and it has left an indelible mark on human consciousness.
With the devastation in Haiti and Chili, warnings of Pacific Tsunamis, and other crises, it is easy to feel fear and stress, especially if the people you love live in the areas of devastation.
The Earth's axis has shifted, and it is as if her heart has broken open. As we experience a collective heart break, I wonder if the Earth mirrors the shifts happening within each of us.
Last week, I spoke with pioneer sound healer, Steven Halpern about �Harnessing the Healing Powers of Sound and Music�. Since 1969, Steven has blended modern technology and ancient wisdom to create contemporary healing music. His work is based on the foundation that the body heals when it is in a state of deep relaxation, and while many sound healers use tuning forks, toning, bowls, or chanting to access the body�s innate healing wisdom, Steven uses beautiful music. His music evokes a relaxation response within seconds while transforming mind, body, soul, and spirit through the beauty of the music itself.
Recording artist, composer, and producer of over 65 albums, Steven has also been at the forefront of scientific research to support the healing power of sound and the quantum physics about the living unified field, energy, frequencies, vibration, brain synchronization and heart entrainment. Steven �woke the field up,� paving the way for other sound healers who followed.
No mechanical engineer has ever been able to replicate the efficiency of the human heart. It puts out far more energy than it takes in, and scientists don�t know how to account for the difference. So when you put energy into the heart's system (even just by focusing your attention there), more comes out! Like the bumble bee, which aerodynamically is not supposed to be able to fly, the pulse at the center of your chest makes you a walking living breathing miracle every moment.
For so long now, my heart has whispered unceasingly for silence, self-nurturing, and sacred pause to sit with my longings and to allow the next step to unfold with passionate purpose. Yet, my yearning to seek and reveal ancient, indigenous wisdom was deep and profound, so even my quest for gentle wisdom became a high-speed chase that left my heart and spirit behind.
Within the stories of our elders and ancient wisdom keepers lies deep wisdom about living in a way that respects the rhythms and cycles of life, being open and receptive, and honoring the sacredness of body, mind, and spirit. These stories hold feminine wisdom about power through self honor, self love, and a holy commitment to care of the heart and soul�pulling back instead of pushing through, giving self time to rejuvenate, energize, and renew.


An international seminar on fermented foods, public health and social well-being was organised in Anand, Gujarat State, India during the 13th and the 14th of Nov 2003 with the financial support from SASNET - Lund University. The Programme was jointly organized by Swedish South Asian Studies Network (SASNET), Lund University SWEDEN and SMC College of Dairy Science, Anand Agricultural University, Anand, Gujarat State, INDIA. In all 164 delegates participated in the Programme, representing different parts of India and also Sweden, Denmark, Nepal, SriLanka, Bangladesh, USA and Australia. In the final Joint Session, the participants resolved unanimously to establish a Network on Fermented foods asking the organizing committee of the seminar to be the interim coordinating committee for development of proposals and for entrusting Dr. JB Prajapati as the co-ordinator of this network during this period. The aim of the network is to promote collaboration between scientists, students and industrialists of Sweden and south Asian countries.
• To become a strong and active network of scientists and others who are interested in fermented foods.
• To promote advanced research and higher education in fermentation as a sustainable food processing technology.
• To promote development of fermented functional foods by developing collaborative network projects.
• To have a server for maintaining a website of the network with provision for interactive communication between the members.
• To establish and maintain an up-to-date data base on fermented foods of south Asia for information retreival.
• To produce and publish a quarterly journal carrying scientific articles on fermented functional foods.
• To own a model laboratory accredited not only to do research and development of fermented functional foods but also to scientifically test and document the data necessary/required to assert the positive effects in support of the health claims.
• To own a model production facility for producing and marketing fermented functional food products developed by its members and/or other stakeholders.


text:
Q: FORM scope always empty? URL scope is fine? I'm running a legacy CF Fusebox 5.5 app within Railo 4.0.2.002 Express with Jetty 8 on Mac OS X 10.8 with java 1.7.
I'm also using jetty urlrewrite http://tuckey.org/urlrewrite/ (if that's relevant)
Why is the FORM scope always blank upon form submissions? But if I use the URL scope it works fine.
The app has worked fine in all other versions of CF and should also work fine here.
UPDATE 1:
Also, when I do onRequestStart within Application.cfc and I dump the FORM scope it's empty there too.
Anyone have trouble with this? I don't think it's necessarily "fusebox" so I'm wondering if it's a Railo 4 compatibility issue?
UPDATE 2:
When the form posts to /admin/index.cfm?event=Main.Login
the form scope work fine. But when it posts to /admin/event/Main.Login the form scope is gone.
<?xml version="1.0" encoding="utf-8"?>

 <!DOCTYPE urlrewrite
     PUBLIC "-//tuckey.org//DTD UrlRewrite 3.0//EN"
     "http://tuckey.org/res/dtds/urlrewrite3.0.dtd">

<urlrewrite>
    <rule>
        <from>^/admin/event/(.*)</from>
          <to last="false">/admin/index.cfm?event=$1</to>
    </rule>
  <rule>
      <from>^/lms/event/(.*)</from>
      <to last="false">/lms/index.cfm?event=$1</to>
  </rule>
</urlrewrite>

UPDATE 3:
It should also be noted that Charles (proxy) is properly detecting the 'POST' Request contains the Email / Password and other form elements properly sent to the server.
The Jetty server is simply not seeing them or not properly forwarding them on to the Railo engine or something?
UPDATE 4:
Here is the tuckey configuration that they tell you to place in your web.xml. I actually placed this in the webdefault.xml in etc/ directory of Railo Express which I guess could just be Jetty files.
<filter>
    <filter-name>UrlRewriteFilter</filter-name>
    <filter-class>org.tuckey.web.filters.urlrewrite.UrlRewriteFilter</filter-class>
</filter>
<filter-mapping>
    <filter-name>UrlRewriteFilter</filter-name>
    <url-pattern>/*</url-pattern>
    <dispatcher>REQUEST</dispatcher>
    <dispatcher>FORWARD</dispatcher>
</filter-mapping>

A: I had a number of issues with Tuckey and ended up using Apache and modrewrite for features that Tuckey just didn't support. That being said Railo + Tomcat/Jetty is not ColdFusion with Jrun and the configuration was challenging to ensure that mod_rewrite had all the request information and even had the request at all. Even Adobe had to patch CF10 after release because they were missing original functionality from CF9-+JRUN connectors.
However, for your solution, you need to reach up and out. See the thread here.
https://groups.google.com/forum/#!msg/railo/uw-U9hCFu5k/bEmr_I2Kl8sJ
Other people have the same problem, and have worked around it by placing this in onRequestStart:
<cfscript>
    if(gethTTPRequestData().method eq "POST") {
            if(NOT structKeyExists(form,"fieldnames")) {
                    var paramMap = getPageContext().getRequest().getParameterMap();
                    var paramMapKeys = structKeyList(paramMap);
                    form.fieldnames = paramMapKeys;
                    for(x =1; x lte listLen(paramMapKeys); x++) {
                            param = listGetAt(paramMapKeys,x);
                            form[param] = paramMap[param][1];
                    }
            }
    }
</cfscript>

It's not clear if this is a bug in Jetty, Railo, or Tuckey.


text:
Nel diritto processuale civile italiano le prove costituende sono le prove che necessitano di una doppia valutazione da parte del giudice istruttore, devono cioè essere ammesse nel processo e in seguito valutate per la validità. Le tre prove costituende (non documentali) principali, che sono tutte di tipo orale, sono: la confessione, il giuramento e la testimonianza, introdotte necessariamente all'interno del processo. Si differenziano dalle prove precostituite.

Tipi di prove costituende

Confessione

La confessione giudiziale viene fatta direttamente in udienza, basta semplicemente analizzare il contenuto in quanto viene formata già provata, essendo davanti al giudice (cosiddetta probatio probata).
Al contrario la confessione stragiudiziale deve essere provata sia nel contenuto che nel suo effettivo accadimento, con testimonianza (se possibile) in caso di confessione orale, o con documento se scritta.

Oggetto della confessione può essere solo uno o più fatti della causa. L'autore invece può essere soltanto la parte, e personalmente, dato che una confessione del difensore ha valore soltanto come ammissione.

La confessione ha un'efficacia, almeno di regola, simile alla prova legale e vincola il giudice all'apprezzamento, salvo, però, che non verta su fatti relativi a diritti non disponibili. Questo nel caso di confessione giudiziale o stragiudiziale fatta alla controparte, mentre negli altri casi (fatta ad un terzo o in un testamento), è liberamente valutabile dal giudice.
Deve essere, ovviamente, fatta da persona capace relativamente ai diritti oggetto della confessione stessa.

La confessione giudiziale, ex art.228 , può essere fatta spontaneamente o provocata da un interrogatorio formale.

Giuramento
Il giuramento è la dichiarazione che una parte fa in giudizio della verità di determinati fatti, accompagnata dal solenne giuramento. Tali fatti sono ad essa sfavorevoli oppure sono favorevoli alla controparte.

Il giuramento è solo giudiziale (tipica prova costituenda). Si distingue in Giuramento decisorio (deferito da una parte all'altra), Giuramento supplettorio (deferito dal giudice ad una parte in caso di semiplena probatio), Giuramento estimatorio (sempre deferito dal giudice ad una delle parti per determinare il valore dell'oggetto della causa).

Non è ammesso il giuramento: su fatti illeciti, su contratti che richiedono la forma scritta ad subtantiam, su diritti disponibili o su fatti che il pubblico ufficiale attesta esser avvenuti in sua presenza.

Se una delle parti si rifiuta di giurare si determina la soccombenza della stessa. È, dunque, una prova legale dotata di estrema forza.

Testimonianza
È la dichiarazione resa da una parte estranea al processo, chiamata teste o testimone, su fatti rilevanti per la decisione della causa.

Il teste è invitato ad esporre i soli fatti materiali, senza dare alcun giudizio.

Ovviamente le dichiarazioni rese dovranno essere valutate da parte del giudice, in base alla loro compatibilità con gli altri elementi probatori che si ha a disposizione.

Nel processo civile è il giudice che pone le domande, d'ufficio o su istanza dei procuratori-difensori. Le parti e il p.m. (che è parte) non possono mai interrogare direttamente il testimone. Il giudice invece di solito si limita a controllare che le domande poste dagli avvocati siano formalmente legittime, e che siano poste in modo preciso e non ambiguo.

Ai sensi dell'art 251 c.p.c., il teste prima di rispondere deve sottoporsi a giuramento. La falsa testimonianza è reato punito con la reclusione.

Nel caso in cui il teste: rifiutasse di prestare giuramento, rifiutasse di deporre senza giustificato motivo o qualora facesse dichiarazioni palesemente false, può essere denunciato dal giudice al p.m.

Diritto processuale civile


text:
Revisiting "Shuffle Along"
Retro Reviews	by Thomas Cunniffe March 5, 2019 April 16, 2019
"Shuffle Along" was not the first black Broadway musical, but its 1921 premiere broke a twelve-year drought of black shows on the so-called Great White Way. After a harrowing production history, it became one of the most successful productions of its time, with nearly 500 performances logged during its initial Broadway run. The script was authored by Flournoy Miller and Aubrey Lyles, two old-time black vaudevillians who also starred in the show, performing in blackface. The music was created by Noble Sissle and Eubie Blake (pictured, L to R), who contrasted the outdated comedy with a scored peppered with jazz. The cast included artists who would become major figures in black music, including Josephine Baker, Paul Robeson, Florence Mills, Adelaide Hall, and Fredi Washington. The orchestra included composers Hall Johnson and William Grant Still. The show attracted established white theatergoers as well as blacks, who were allowed to sit in the orchestra section of the audience for the first time in Broadway history. For many white theater patrons, "Shuffle Along" may have been their first exposure to jazz played by black performers.
Before getting too excited about that last statement, it's important to remember the state of jazz in 1921. It was a music still developing its basic language. When "Shuffle Along" opened in May 1921, many of the musicians now considered as jazz pioneers had not yet made their first recordings. Louis Armstrong was still living in New Orleans (and by his own admission, would have stayed there indefinitely had King Oliver not hired him to come to Chicago). The first recordings of Armstrong, Oliver, Sidney Bechet, Jelly Roll Morton and Freddie Keppard all came out in 1923. What preceded them were sides by the Original Dixieland Jazz Band, Johnny Dunn, James Reese Europe, James P. Johnson, Kid Ory, Paul Whiteman and a handful of female blues singers (not all of whom sang authentic blues). With the exception of the ODJB and Whiteman sides, most of the early recordings were made for the "race market". It's safe to say that many white listeners of the time were probably unaware that jazz was originally created by blacks, so unlike the following generations of white jazz fans, they did not venture into black neighborhoods to hear the music or purchase the recordings. Eubie Blake understood this better than anyone, and he deliberately toned down the jazz content in "Shuffle Along" so that white audiences could better comprehend it.
The comedy team of Miller and Lyles first met the musical team of Sissle and Blake at a NAACP benefit in 1920. Later, they reunited in New York, where the comedians told the musicians that they wanted to collaborate on a Broadway show. Once a producer was found, the show was plagued by money problems throughout its rehearsal and preview period. The theater needed major renovations, the costumes were taken from a previous show (there were sweat marks present under the sleeves), and the cast was stranded on several occasions because there was not enough money for train fare to get to the next tour stop. One day during the preview tour, Sissle sat on the steps of a building writing checks that could not be cashed until the box office receipts reached the bank in New York. Blake noticed that while doing this nefarious business, Sissle happened to be sitting on the steps of the local jail!
The script was based on Miller and Lyles' old vaudeville sketch "The Mayor of Jimtown" (aka "The Mayor of Dixie") and it was filled with horrid stereotypes: Miller and Lyles played the co-owners of a grocery store, both of whom decide to run for mayor. They each steal from the cash register to buy votes, unwittingly hire the same New York private detective to catch the other partner stealing, and show an utter lack of education (when one of the partners becomes mayor, he can't pass a law against black cats because he can't spell "cat"). While the bits were played for laughs, many black leaders decried the abominable characterizations. However, the music was highly praised in all corners, even the potentially-controversial "Love Will Find a Way", which was the first staged example of a romantic duet between two black characters. Black critic Lester A. Walton noted the song's excellence, writing that "If 'Love Will Find a Way' were featured in a white production, it would be proclaimed as one of the season's hits."
A new production of "Shuffle Along" is set to open on Broadway on April 28, 2016, and with it has come a pair of new CDs with songs from the show. Before discussing those recordings, we turn to an earlier album which collected recordings by the show's composers, actors and their immediate contemporaries. In celebration of the US Bicentennial in 1976, New World Records—with support from the federal government—created a series of 100 LPs documenting American music. These superbly packaged and annotated albums were distributed for free to libraries all across the country. There were several fine collections of jazz sides, plus contemporary classical music, classic country and roots recordings, and historical Broadway shows. Their re-creation of "Shuffle Along" (NW 260) consists of acoustic recordings made between 1919 and 1924. The producers did not have access to the original libretto, but Sissle and Blake listened to the remastered recordings to ensure that they were reproduced at the proper speed and pitch. Sissle passed away as the album neared release, and the album was dedicated to his memory. Blake lived until 1983, claiming to be over 100 years old—although documents discovered in recent years prove that he was 97 when he died.
The New World album opens with Blake conducting the show's orchestra in a medley of two of the production's biggest hits, "Bandana Days" and"I'm Just Wild about Harry". The orchestra does not swing, but it plays with great vitality, and on "Harry", Blake plays a vibrant bit of ragtime-cum-stride piano. Next, Sissle performs "In Honeysuckle Time" with a small combo dominated by a too-closely-recorded banjo and a trumpeter with a herky-jerky sense of rhythm. Sissle and Blake's duet version of "Love Will Find a Way" follows, and Blake's piano accompaniment moves from a traditional background in the first chorus to a much more rhythmic feeling in the second. Their duet on "Bandana Days" makes great use of the song's syncopated rhythms, and Blake steals the spotlight with a fine stride solo behind Sissle's spoken commentary. Tim Brymm's Black Devil Orchestra backs Gertrude Saunders' version of "Daddy, Won't You Please Come Home?" Saunders was the show's first ingénue lead, and she had a big classically-trained voice which she tried to adapt to blues style. She was replaced by Florence Mills, who had a much smaller, intimate voice, It is all the more unfortunate that Mills did not make any recordings before her premature death, for critics of the time praised her less intense stage renditions of the songs. Blake's dynamite solo medley of "Baltimore Buzz" and "In Honeysuckle Time" follows, and its powerful rhythmic drive and crisp articulations puts it in the same exalted category as James P. Johnson's "Keep off the Grass" and "Carolina Shout" recorded later that year. Interestingly enough, Paul Whiteman's cover version of "Gypsy Blues" offers the most modern rhythmic approach on the album: they achieve a fine swaying feel throughout, which holds steady even in the awkward double-time episode near the end of the side.
Saunders and Brymm return for "I'm Craving for That Kind of Love", the refrain of which includes a repeated request to "kiss me". Saunders overplays the entire song, and again it was Florence Mills who received the most acclaim for this song. The labored comedy of Miller and Lyles follows on a side called "The Fight" (renamed "Jimtown Fisticuffs" on the Harbinger disc below). This skit appeared in the second act, and may have been another holdover from their vaudeville act. The remainder of the album features Sissle with his own orchestra and the James Reese Europe's 369th Infantry Hell Fighter Band. Most of the songs are from Sissle and Blake's duet repertoire, and were among the pieces performed by the duo in a specialty set inserted late in the second act of "Shuffle Along". "Gee, I'm Glad That I'm From Dixie" usually opened the set, and the World War I-inspired "On Patrol In No Man's Land" was the typical closer. The brief version of "How Ya Gonna Keep 'Em Down on the Farm" may be the best of these sides, with Europe's light-footed military band keeping rhythmic pace with Sissle's lithe vocals. Sissle's version of the show's finale, "Baltimore Buzz"—apparently with the same banjo and trumpet as on "In Honeysuckle Time"—is an acceptable, but underwhelming close to the album. The New World album's primary virtue comes from its dedication to recordings of the period and for its superb liner notes. Due to licensing regulations, the original album is no longer available from New World. However, the notes can be found online here, and if interested listeners cannot find a copy of the vinyl at a library (or purchase a copy online), there is an unauthorized MP3 dub of the album available from Amazon here.
Harbinger's new CD of historical recordings, "Sissle and Blake Sing 'Shuffle Along'" (HCD 3204) contains a superb liner essay by Richard Carlin and producer Ken Bloom detailing the production and reception of the show. However, they seem to have forgotten that a CD was included in the package: there is no track-by-track analysis of the recordings, no personnel and no discographical information. A brief note on the inside front cover tells us that some of the sides come from Blake's EBM label, others from a demo prepared for a proposed 1950 revival of the show, and the rest are a hodgepodge of archival recordings. Three tracks are duplicated from the New World LP: Blake's "Baltimore Buzz", Saunders' "Daddy" and the aforementioned Miller and Lyles "The Fight"/"Jimtown Fisticuffs". Using the recently discovered and published libretto, Harbinger places the music in the original show order, with songs added during the show's run placed in an appendix at the end of the disc.
The CD opens with a duet between Blake and vocalist Ivan Harold Browning. Their medley features many of the show's hits including "If You've Never Been Vamped by a Brownskin", "In Honeysuckle Time" and "I'm Just Wild About Harry". Browning was part of the Harmony Kings, a male quartet incorporated into the show in the summer of 1921 (this was the group that offered Paul Robeson his first experience on the stage), and in this 1971 recording, Browning's voice still sounds very good, despite his advanced age. Blake pipes in with vocal support at the end of each song, and he offers a vivacious solo on "Harry". "Election Day" is the first of eight excerpts from the 1950 demo tape, and Sissle sings all of the parts and gives spoken descriptions of the stage action. Blake's full piano accompaniment evokes an entire pit orchestra, and the earnestness of the presentation makes the listener wonder why it took two years for the revival to be staged. We go back to the early 1920s for Miller & Lyles' skit "Election Day in Jimtown". The comedy is offensive and dated, but Doug Pomeroy's superb remastering captures as much fidelity as the ancient recording ever held. "I'm Simply Full of Jazz" is another acoustic recording with Sissle on vocals. The lively background is uncredited, both here and in Tom Lord's onlne "Jazz Discography". Browning sings a sentimental rendition of "Love Will Find a Way" in another duet from the 1970s, followed by three further excerpts from the 1950 demo, "Bandana Days", "Mirandy"/"In Honeysuckle Time" and "Gypsy Blues". "Bandana" has a few interesting updates, including an energetic soft shoe by Sissle as well as references to beboppers and jitterbugs.
An uncredited (and very jangly) QRS piano roll medley serves as an entr'acte. The show's title song is represented by the 1950 demo with a remarkable accompaniment by Blake and a few more dynamic vocal and soft shoe moments from Sissle. "I'm Just Wild About Harry" sounds like it's from the demo tape as well, but there is no documentation to support my supposition. Ruth Williams joins Sissle for a fine duet on this standard. The Miller and Lyles "Fight" comes next, sounding much clearer than the New World transfer. The next five tracks all feature Sissle, but they jump back and forth between the 1950 demo and 1920 archive recordings. The audio transitions are jarring to say the least. Harbinger promises that they will release the complete 1950 demo in the future, and I wish that they had just released it now as a separate entity rather than mixing in with all of the other historical recordings. I can appreciate the concept of placing the music in show order, but as an audio experience, it just doesn't work. The CD concludes with Blake's solo "Baltimore Buzz", Sissle's "Pickaninny Shoes" (from an electric recording made in the mid- to late 1920s), the Saunders/Brymm "Daddy" and one last Miller and Lyles routine "Fourth of July in Jimtown".
Despite his youthful age (37 this year) and appearance, pianist Ehud Asherie is one of the most historically astute musicians on the jazz scene today. His latest album contains nine fresh solo versions of songs from "Shuffle Along" (Blue Heron—no catalog number). His arrangement of "Gypsy Blues" uses a single note bass line against finely detailed middle register chords and delicately played treble lines. His first version of "I'm Just Wild About Harry" opens in a rubato tempo to allow a deeper exploration of the inner harmony, then moves into a jubilant rendition of the verse over a pedal point bass before finally going into a dazzling up-tempo jaunt through the melody. On this section, he creates a unique mix of the styles of Art Tatumand Bud Powell without sounding like a carbon copy of either. The coda wraps up the arrangement with short recollections of each episode. Later on the disc, he revisits "Harry" in its original waltz tempo (Blake originally changed the style to a one-step on the suggestions of Sissle and leading lady Lonnie Gee). Over the course of the 40-minute recital, he examines songs like "Everything Reminds Me of You" and "Goodnight Angeline" which were added to the show during its run, as well as the better-known hits like "I'm Craving for That Kind of Love", "Bandana Days", "If You've Never Been Vamped by a Brownskin" and "Love Will Find a Way". In Asherie's hands, these songs belie their age of 95 years (and older!); perhaps that's because these songs haven't played to death like other standards, but it's more likely that Asherie's sensitive performances give these songs a new life, anchored within the vivid imagination of a gifted player.
Sissle and Blake tried to revive "Shuffle Along" in 1932 and 1952, both to disastrous results: the 1932 show closed after 17 performances and the 1952 version only lasted for four performances (Ironically, RCA Victor recorded four excerpts from the 1952 show, only to find that the show was closed by the time the record was released). At press time, an original cast of the new Broadway revival was not available—even as a pre-order—so we don't know what songs from the original score will appear in the new version. We do know that writer-director George C. Wolfe's new script includes stories from the production of the original show (which is actually a better story than the original script). Using the historical angle will also present any portions of the original show in a better context, as it will show the racial stereotypes as things of the past. The new show's cast is quite impressive with Audra McDonald, Brian Stokes Miller, Billy Porter, Brandon Victor Dixon and Joshua Henry all playing principal roles, and Savion Glover providing the choreography. The success of this version of "Shuffle Along" will depend on the strength of the revised work and the reaction of its audiences, but with such a fine cast and crew, it should do justice to this hallowed piece of black theater history.
The Singer Within the Band


text:
Georg Nigl (born 1972) is an Austrian baritone in opera and concert, and a professor of voice at the State University of Music and Performing Arts Stuttgart. Performing internationally, he is known for roles in contemporary operas, such as creating the title role in Pascal Dusapin's Faustus, the Last Night at the Berlin State Opera. He names as his favourite roles Monteverdi's Orfeo, Mozart's Papageno and Alban Berg's Wozzeck.

Career
Born in Vienna, Nigl was a soprano soloist with the Wiener Sängerknaben. He studied voice at the Musikhochschule Wien with Margaretha Sparber and Rolf Sartorius, and Lied at the Konservatorium Wien with . He completed his studies with Kammersängerin Hilde Zadek.

Nigl created the title role in Pascal Dusapin's opera Faustus, the Last Night at the Berlin State Opera, and participated in premieres of music by Friedrich Cerha, HK Gruber, Georg Friedrich Haas, Wolfgang Mitterer, Olga Neuwirth and Salvatore Sciarrino. He made his debut at the Salzburg Festival in 2006 as Saretzki in Tchaikovsky's Eugen Onegin. He names as his favourite roles Monteverdi's Orfeo, Mozart's Pagageno and Alban Berg's Wozzeck.

Nigl appeared as Wozzeck both at La Scala and the Bolshoi Theatre. He performed the title role of Wolfgang Rihm's Jakob Lenz at the Wiener Festwochen, and the role of Lui in the premiere of Dusapin's Passione at the Aix-en-Provence Festival. In 2010, he appeared in the title role of Rihm's Dionysos at the Dutch National Opera in Amsterdam, and in the title role, the Devil, of Die Tragödie des Teufels by Péter Eötvös at the Bavarian State Opera.

In recital, Nigl has collaborated with Alexander Melnikov and Andreas Staier, among others, performing worldwide.

Nigl has been a professor of voice at the State University of Music and Performing Arts Stuttgart.

References

External links
 Georg Nigl operabase.com

 Georg Nigl Impresariat Simmenauer
 Georg Nigl (Baritone) Bach Cantatas Website

Austrian operatic baritones
Austrian academics
Voice teachers
1972 births
Living people
Musicians from Vienna
University of Music and Performing Arts Vienna alumni
Academic staff of the State University of Music and Performing Arts Stuttgart
21st-century Austrian male opera singers


Oakland California Earthquake Alert alarm evaluation: Can Be the hearing?
Posted bywebzool	 April 15, 2019 April 15, 2019 Leave a comment on Oakland California Earthquake Alert alarm evaluation: Can Be the hearing?
OAKLAND – At a big indication the California Earthquake Alert early warning procedure is currently moving ahead, and officials are still analyzing that the app in downtown Oakland on Wednesday early morning. Much like the recognizable Amber warn, starting up at 1-1 HT2ML, the ShakeAlert will blare out of smart-phones at a 60-block spot, declaring:"It really is an evaluation of this California Earthquake Alert warning technique. No actions demanded.
Subsequently users will probably be requested to finish a questionnaire that'll disclose perhaps the practice the very first community trIal at the Bay location — has been an victory. Pros will quantify how much time it required your own concept to get to men and women.
At a true invasion, the communication could be separate: Drop, cover and continue.
"we would like to learn whether a radio emergency alarm is just a viable resolution," explained Ryan Arba of this nation's Office of Emergency Services, that will be partnering with the United States Geological Surveytown of Oakland and Alameda County within the practice.
The grid may save by teaching visitors to find pay or look for a more secure area to trip from the quake.
Finally, it can be feasible to activate life-saving actions like quitting BART and other transit programs, shutting off fuel lines to help avoid flames, opening doorways in fire channels to be certain engines are not stuck indoors, along with quitting lifts in the nearest flooring.
Some nations, for example Japan, Mexico, China, Turkey and Romaniahave earthquake warning programs inplace.
Following over ten years old evolution, California's ShakeAlert platform has 616 seismic detectors near important flaws and populace centres in California, mentioned Robert-Michael p Groot, a U.S. Geological Survey scientist who's among those coordinators of their ShakeAlert technique.
This machine is currently all about half an hour. With newly procured nation and national financing, California Earthquake Alert system of 1,115 seismic detectors needs to be performed over the upcoming few decades. Many are observed near or on big flaws and people centers over the shore.
Early warning method functions over a easy basic principle: The vibration with an earthquake creates waves from the floor. Sensors immediately send automatic signs to tracking centres in Seattle, Menlo Park, Berkeley and Pasadena. Over 5 minutes, computer system calculations will probably subsequently assess the info to immediately recognize the epicenter and potency of this California Earthquake Alert and come to a decision perhaps the temblor is likely to undoubtedly be highly effective enough to justify an alarm.
Government are not certain just how much time it's going require FEMA to trouble that the awake, that can soon be transmitted within cellular towers from the 3 most important cellular phone carriers after which brought to clients' mobiles.
The telling could be provided for cellular phones no matter of if taxpayers have opted-in. The method, the Federal Emergency Management Company's Wireless Crisis Warn (WEA), blankets a room using a caution.
However its own geographic targeting, even dependent over the labyrinth of mobile systems and also a honey-comb of tower sign"businesses," lacks any accuracy – thus Wednesday's inform could overshoot or undershoot the desirable wake location.
There's also concern that the machine is not now fast adequate to get California Earthquake Alert warnings. Cell-phone alarms usually takes a huge number of moments, and sometimes perhaps moments, to be sent.
Authorities are analyzing howto ship followup messages at case of the fictitious alarms, missed or delayed alarms or warnings regarding main earthquakes which activate alarms but pose no risk since they truly are so far off.
USGS began growing ShakeAlert in 2006 with the Assistance of partners That Have UC Berkeley, the California Institute of Engineering and also the Southern California Earthquake Alert Center. The job has acquired significantly more than $100 million in financing in the national govt, " the California Governor's Office of Emergency companies and secret sources like the Gordon and Betty Moore Foundation. Inside his very first funding, Gov. Gavin Newsom at January put a side $16.3 million by their nation's overall fund to fill out the technique.
Oakland has been decided on for Wednesday's evaluation because civil leaders are seriously interested in California Earthquake Alert preparedness," Arba explained. Along with Delta's small evaluation zone has a lot of government bureaus and companies which were ready to offer and also answer the poll.
Is a Refrigerant freon leak Repair Kit Right For You?


text:
Lose My Breath Destiny's Child Download 'Lose My Breath' on iTunes
What are Lil Dicky shows like?
Lil Dicky Facts: 16 Things You Need To Know About The 'Freaky Friday' Rapper
8. What are Lil Dicky shows like?
Dicky's shows are an intriguing combination of rap and stand-up comedy. He told PhillyMag.com: "I'm building my shows in a very different way, where there's a lot of interludes, where I'm talking to the crowd back-and-forth, comedic bits. I almost treat it as 25 percent standup improv and 75 percent music."
See the full gallery: Lil Dicky Facts: 16 Things You Need To Know About The 'Freaky Friday' Rapper


text:
Q: change color of ui-state-highlight to red color in datepicker here was my code
var dates = @Html.Raw(Newtonsoft.Json.JsonConvert.SerializeObject(ViewData["ph"]));
    $('#StartDate').datepicker({
        format: 'dd-M-yyyy',
        autoclose: true,
        beforeShowDay: function (date) {
            for (var i = 0; i < dates.length; i++) {
                if (new Date(dates[i]).toString() == date.toString()) {
                    return [true, 'ui-state-highlight'];
                }
            }
            return [true];
        }
    });

i had the date 18th was outlined in yellow.
how can i change it into red solid?

A: You could do this via CSS:
.ui-state-highlight {
  border-color: red;
}

An example:
var dtNow = new Date();

function addDays(d) {
  return d * 86400000;
}

function showMyDate(d) {
  return d.getDate() + (d.getMonth() + 1) + d.getFullYear();
}

var dates = [
  new Date(dtNow.getTime() + addDays(5)),
  new Date(dtNow.getTime() + addDays(10)),
  new Date(dtNow.getTime() + addDays(12)),
];

$(function() {
  $("#datepicker").datepicker({
    format: 'dd-M-yyyy',
    autoclose: true,
    beforeShowDay: function(date) {
      var status = [];
      $.each(dates, function(key, myDate) {
        if (showMyDate(myDate) === showMyDate(date)) {
          status = [true, 'ui-state-highlight highlight-red', ''];
        } else {
          status = [true, '', ''];
        }
      });
      return status;
    }
  });
});

In this example, I have added two classes: ui-state-highlight and highlight-red. This way I can directly change just the ones that need to be red.
CSS
td.ui-state-highlight.highlight-red {
  border-color: red;
}

Working Example: https://jsfiddle.net/Twisty/6fapkykr/


The journey comes to an end this September.
Every journey comes to an end, including that of "Adventure Time." During a panel held at Comic-Con this morning, it was announced that the beloved series will air its finale on September 3. The show first premiered on Cartoon Network in 2010 and has aired a total of 278 episodes over 10 seasons. Watch a clip from the series finale below.


What's up, I'm Hakeem. I'm a software engineer at Computer Engineer living in Île-de-France, France. I am a fan of internet, programming, and books. I'm also interested in photography and movies. You can hire me with a click on the button above.


WATERLOO, ONTARIO, Enterprise networking startup has raised $6 million in its first round of outside funding.
Auvik Networks Inc. has secured a $6 million first round from Celtic House Venture Partners, Rho Canada Ventures, BDC Venture Capital IT Fund and its founders. The company's founders include industry veterans Marc Morin (ex-Founder/CTO of both PixStream and Sandvine), David Yach (ex-CTO Software RIM, VP Sybase) and Alex Hoff (Product Manager, Sandvine). The funding will allow the company to accelerate the development and initial commercialization of its cloud managed network automation platform.
Auvik's software brings a new level of simplicity and automation to what today is a complex and tedious function that can require a significant level of network expertise. The core technology is a proprietary compiler that constructs network configurations from abstract business requirements. This allows IT to approach networking very differently, focusing on supporting business goals rather than worrying about network configuration. The platform enables anyone in IT to easily configure, monitor and manage network devices and applications. SMB's and smaller enterprises will benefit from best practices that are automatically implemented by the platform, resulting in a more reliable, secure and agile network, without the need to add in house expertise.
"We believe networks and related applications shouldn't be complicated to configure, monitor and manage", says co-founder CEO Marc Morin, "They should just work." Auvik's platform will not only address the networks and devices of today, but will allow companies to take full advantage of networks of the future. "Software Defined Networking (SDN) will usher in a renaissance for the networking world. We embrace this way of thinking, which shifts the focus from hardware to software, unlocking the latent capability in networking hardware and spurring new and innovative applications. Our cloud managed network automation platform brings many of the advantages of SDN to your existing network."
Auvik wants to make networking easier. Through the use of innovative technology, Auvik's cloud managed network automation platform dramatically simplifies the way IT configures, monitors, and manages its network. The company's founders include industry veterans Marc Morin (ex-Founder/CTO of both PixStream and Sandvine), David Yach (ex-CTO Software RIM, VP Sybase) and Alex Hoff (Product Manager, Sandvine). For more information, visit www.auvik.com.
Celtic House Venture Partners is an independent Canadian investment firm. Since 1994, Celtic House has been one of Canada's most active investors in technology and innovation. Capitalizing on the deep domain expertise of its partners, Celtic House has consistently provided superior financial returns to its investors. Celtic House has collaborated with management teams and repeat entrepreneurs to develop technology companies from the inception phase through to exit, generating over 20 initial public offerings and successful acquisitions. From offices in Toronto, Montréal and Ottawa, Celtic House manages in excess of $425 million across three funds. Celtic House is currently making new investments out of Celtic House Venture Partners Fund IV, which it closed in 2012 at $105 million.
Rho Canada, based in Montreal, is dedicated to backing leading, early-stage companies across Canada. Formed in 2006, Rho Canada is affiliated with Rho Ventures, based in New York and Palo Alto, and leverages off Rho Ventures' 30+ years of experience in investing in venture-stage companies. Since 1981, Rho Ventures has been investing in leading edge, high growth companies that redefine the status quo. The firm has a deep history of supporting companies at multiple stages of growth spanning early stage investments to later stage expansion and growth equity transactions. Rho Ventures has financed approximately 200 companies and has invested in market leaders across many high growth sectors including information technology, communications, new media, healthcare and energy technology. Rho has over $2 billion under management. For more information, visit www.rho.com or follow Rho Canada on Twitter at www.twitter.com/RhoCanada.
The BDC IT Venture Fund is a $150 million fund with offices in Vancouver, Toronto, Ottawa, Montreal and Calgary, and strong links to Silicon Valley. The investment focus is typically on early stage companies with passionate and visionary entrepreneurs in the Enterprise, Internet and Mobile sectors. The fund has invested in many successful companies including Radian6 (acquired by Salesforce), Opalis (acquired by Microsoft), Bycast (acquired by NetApp) and Q1 Labs (acquired by IBM). The IT VC fund is part of BDC Venture Capital, which has more than $1 billion under management and more than 25 years' investing experience in IT, health and energy/clean technology companies, as well as venture funds. Find out more at www.bdc.ca/vc or follow us on Twitter @BDC_VC.


The Middle Rhine wine-growing area extends over approximately 120 kilometres - from Bingen to Bonn - along the course of the Rhine. With vines growing on steep, terraced slopes, a host of lovingly restored mediaeval wine villages and the world-famous Loreley rock, the Middle Rhine is an area rich in history and a cultural landscape unique in the world. In 2002 UNESCO conferred world heritage status on its southern section.
The Middle Rhine is one of the smallest wine-growing areas of Germany with only about440 hectares (of which 68% is devoted to Riesling), but no other region matches it for its proportion of steeply inclined growing slopes (over 85%).
Vine cultivation was brought to the Middle Rhine by the Romans; their use of dry stone walls created the terracing typical of the vineyards here. Without these terraced vineyards, much of the area could hardly be cultivated. The terraces moderate the inclines and prevent excessive runoff from the slopes during storms and heavy rain. Nevertheless, many slopes are inclined by as much as 70% and it is therefore impossible to harvest the grapes with machinery; grape picking here is still done by hand. Knowing how much work has gone into the wine makes one appreciate it all the more.
The mineral-rich slate soils and favourable climate offer ideal growing conditions for the Riesling grape. Variety is however provided by other white wine grapes including Müller-Thurgau, Kerner, Grauburgunder and Weißburgunder. The red-wine grapes are principally Spätburgunder, Dornfelder and Portugieser.
The Rheingau growing area extends from Flörsheim on the Main in the east to Lorchhausen on the Rhine in the west. The main ridges of the Rheinschiefergebirge, the Rhenish Massif, protect the Rheingau from cold weather and excessive annual precipitation. Additionally, the Rhine reflects the sun and acts as a heat store that balances the mesoclimate. Mild winters, warm summers and the typical river mists of the autumn encourage the vines to grow and the grapes to ripen.
Riesling is grown in 84% of the vineyards in the Rheingau and Spätburgunder in 11%. The slate soils of the higher elevations give Rheingau Riesling its characteristic crisp, mineral freshness. The wines grown in the mainly chalky loess soils lower down near the river are full-bodied and powerful. Rieslings from the Rheingau are among the most precious white wines and are in strong international demand.


MTK Global is delighted to announce the signing of talented Australian model-turned-professional-boxer Avril Mathie.
Mathie was previously an award-winning model at elite level but turned to boxing in 2012 and, having begun her professional career in style with two first-round knockouts, is aiming to revolutionise the perception of women in the sport.
The 30-year-old, who was crowned Miss Swimsuits USA International in 2014, said: "I was at a party when I was in high school and a guy grabbed my backside. I punched him.
"The problem was that I put my thumb in my fist and nearly broke it. Someone asked me to come and learn how to punch by learning Muay Thai and I went along for fun.
"Later on, I broke my toe and then switched to boxing. It's much more tactical. I had amateur fights but never considered turning professional until I moved to America.
"I had plenty of obstacles in front of me at that point but my self-belief never wavered. I've got a great team behind me now and with their help, I've no doubt I'll get to where I want to be.
"I'm going to be world champion for a long time but I also want to be the most exciting, the most watched and the most highly-paid woman in boxing. I want to change female boxing and bring it to the fans like we've never seen before.
"I didn't consider myself a power-puncher as an amateur but as a pro, I dropped to 118lb and at that weight I have a lot of power. I've been working on it a lot and it's exciting to know I can really punch.
"I had interest from various different management companies but my close friends who are boxers recommended MTK Global and I had a good feeling about them from the very first conversation.