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== As a theatre genre ==
= As a theatre genre =
'''Volksteater''' ("folk theatre", "theatre for the people"): As a general term it is normally used to refer to the kind of popular plays which were written and produced for white audiences in which the values of the Afrikaans nation were realistically and somewhat simplistically often sentimentally presented - and occasionally questioned, satirised and/or comically portrayed. These plays were often created by companies to be taken on tour in the rural areas. Perhaps the most emblematic example of such a play is [[Jochem van Bruggen]]'s classic ''[[Ampie]]''. Gradually, in the face of new theories and practices of theatremaking, it slipped into being a term of derision.
'''[[Volksteater]]''' ("folk theatre", "theatre for the people" - also referred to sometimes as [[Volkstoneel]]): As a general term it is normally used to refer to the kind of popular plays which were written and produced for white audiences in which the values of the Afrikaans nation were realistically and somewhat simplistically often sentimentally presented - and occasionally questioned, satirised and/or comically portrayed. These plays were often created by companies to be taken on tour in the rural areas. Perhaps the most emblematic example of such a play is [[Jochem van Bruggen]]'s classic ''[[Ampie]]''. Gradually, in the face of new theories and practices of theatremaking, it slipped into being a term of derision.
However, in the 1970's, [[Pieter Fourie]] sought to revive the notion, giving it specific content and stature by defining it as a realistic, sympathetic yet critical approach to the everyday lives of South Africans - as opposed to the highly politicised, abstractionist works being produced by the playwrights of the time. His plays ''[[Faan se Trein]]'' and ''[[Faan se Stasie]]'' are perhaps his most coherent and persuasive arguments for this, for they paint an endearing and enjoyably theatrical portrait of small-town life. (LO) (See Kannemeyer 1983, 1988.)
However, in the 1970's, [[Pieter Fourie]] sought to revive the notion, giving it specific content and stature by defining it as a realistic, sympathetic yet critical approach to the everyday lives of South Africans - as opposed to the highly politicised, abstractionist works being produced by the playwrights of the time. His plays ''[[Faan se Trein]]'' and ''[[Faan se Stasie]]'' are perhaps his most coherent and persuasive arguments for this, for they paint an endearing and enjoyably theatrical portrait of small-town life.
(LO)
== As the name of a company ==
= As the name of a company =
The term was also used to refer to three specific theatre companies over the years.
=== '''Volksteater''' Pretoria ===
== '''Volksteater''' Pretoria ==
=== History===
An amateur dramatic society called Volksteater existed in Pretoria from 1936 till the 1970s. Originally founded in 1935 as [[Ons Teatertjie Toneelgroep]], it was renamed [[Volksteater]] on 12 December 1936, when it officially became a non-profit organisation for fundraising and administrative reasons, registered under the existing Company's Act (1921). Like its predecessor, it had a complex and apparently efficient management system, headed by a committee of patrons and a committee of directors, (the first of which which included [[W.H. van der Merwe]] as chair, [[J.H. Botha]], [[Chris Neethling]], [[Anna Neethling-Pohl]], [[Leonie Pienaar]], [[A. Hauptfleisch]], [[M.L. du Toit]], with [[S.J. Kritzinger]] as business manager.) It also had a toneelkomitee (theatre committee) and a finansiële komitee (financial committee). It was in effect a continuation of the earlier Organisation, so the ethos of daring displayed by [[Ons Teatertjie]] was kept intact and later productions.
In 1945 however, Neethling-Pohl – long the driving-force behind the organisation - left to join the [[SABC]], and by 1947 several other of the organisation's stalwarts had also left. The founding of the [[NTO]] also undermined its status as the torchbearer for [[Afrikaans]] theatre in the North, and the company never again quite reached the same heights, although it continued to exist into the 1970s. Among its other prominent members over the years were [[Chris Steenkamp]], [[Casper Bakkes]], [[H.J. Oberholzer]], [[D. Odendaal]], [[Bettie Gründlingh]], [[J. van Rensburg]], *
It appears to have been resuscitated later, for references are found to performances such as ''[[Die Proponentjie]]'' (1997),
=== Productions ===
An amateur dramatic society in Pretoria, originally founded in 1935 as [[Ons Teatertjie Toneelgroep]], but renamed Volksteater on 12 December 1936, when it officially becoming a non-profit organisation for fundraising and administrative reasons, registered under the existing Company's Act (1921). Like its predecessor it had a complex and apparently efficient management system, headed by a committee of patrons and a committee of directors, (the first of which which included W.H. van der Merwe as chair, J.H. Botha, Chris Neethling, Anna Neethling-Pohl, Leonie Pienaar, A. Hauptfleisch, M.L. du Toit, with S.J. Kritzinger as business manager.) It also had a toneelkomitee (theatre committee) and a finansiële komitee (financial committee). It was in effect a continuation of the earlier Organisation, so the ethos of daring displayed by Ons Teatertjie was kept intact and later productions included a translation of Maurice Maeterlinck's Catholic miracle-play Suster Beatrys ("Sister Beatrix", 1937), August Hinrichs's Bohaai oor Jolanthe ("Fuss about Jolanthe", 1937), Koning Oidipus (Oedipus Rex, Tr Theo Wassenaar, 1938), Raynal's Die Soldaat ("The Soldier", 1939), Karel Çapek's R.U.R (1939), Friedrich von Schiller's Maria Stuart (1941), * These translations of foreign plays were interspersed with productions of original Afrikaans works, such as the premiéres of P.W.S. Schumann's Katrina (1937), Hans Rompel's Aletta gaan Speur (1938), Fritz Steyn's début work, Grond (11-12 August, 1938) and his Hugenot-festival play Hulle sien die Kruis ("They see the cross", 1939), N.P. Van Wyk Louw's Die Dieper Reg (9 September, 1938), Uys Krige's Die Arrestasie ("The Arrest", 1939), Most of these were specifically commissioned by Volksteater. Other important Afrikaans dramatists who worked with them during this period included J.F.W. Grosskopf, H.A. Fagan, Gerhard Beukes and W.A. De Klerk, Other local plays done over the years include Die Meul Dreun (D.F. Malherbe, 1939), Die Laaste van die Takhare (C.J. Langenhoven, 1939), . The society also became involved in various festival activities over the years, e.g. putting on pageants, particularly in the 1938 Voortrekker Festival year , which became a year of lustre for the society. The war itself brought out nationalistic political undertones in the organisation, visible both in some of the plays that were performed during this time and the formation of the informal and independent, though affiliated company called Die Katdorings in 1941 (the "Cat Thorns", a politicised theatre group led by Jan Pohl and Anna Neethling Pohl.). In the same year a children's theatre group was established, and from 1942 to 1945 an annual Christmas pageant was staged. All in all they did 24 productions during the war, including Liefdesvuur (Südermann, 1940), Ruwe Erts (Fagan, 1940), Mara (Grosskopf, 1940), Moeder Ierland (Yeats, 1940), Dagbreek (Wynand du Preez, 1940), Noodlotskind (Duval, 1940), Maria Stuart (1941), In'n skewe straatjie (194*), and Die Laaste Aand (Leipoldt, 1941). In 1944, Neethling-Pohl and two other members, Jan Cronjé and Gert van den Bergh were retained by a professional company under Pierre De Wet and the professional standard of their performances under him did a great deal towards promoting the Volksteater (and themselves!) throughout the Transvaal. Many of the smaller towns, including Benoni, Brakpan, Potchefstroom and Ermelo followed the example of Pretoria in establishing their own "volksteaters". Volksteater from the start continued to strive for an own theatree, so in 1937 they sought the support of the city council, with the first plans for a theatre of its own already drawn up in 1938 by E Schwartz, and a plot of ground in Van Boeschoten Avenue allocated. However, with the war in 1939, the plans were aborted, even though supported by the government. They then used the improved Pretorius Hall in the City Hall, along with the Pretoria Repertory Society. In 1945 however, Neethling-Pohl – long the driving-force behind the organisation - left to join the SABC, and by 1947 several other of the organisation's stalwarts had also left. The founding of the NTO also undermined its status as the torchbearer for Afrikaans theatre in the North, and the company never again reached the same heights, although it continued to exist into the 1970s. Among its other prominent members over the years were Chris Steenkamp, Casper Bakkes, H.J. Oberholzer, D. Odendaal, Bettie Gründlingh, J. van Rensburg, * (See Binge, 1969, Du Toit, 1988) [JH]
The numerous productions by [[Volksteater]] Pretoria included many translations of classical European works such as Maurice Maeterlinck's Catholic miracle-play ''[[Suster Beatrys]]'' ("Sister Beatrix", 1937), August Hinrichs's ''[[Bohaai oor Jolanthe]]'' ("Fuss about Jolanthe", 1937), ''[[Koning Oidipus]]'' (''[[Oedipus Rex]]'', Tr [[Theo Wassenaar]], 1938), Raynal's ''[[Die Soldaat]]'' ("The Soldier", 1939), Karel Çapek's ''[[R.U.R]]'' (1939), Friedrich von Schiller's ''[[Maria Stuart]]'' (1941), ''[[Die Aasvoëls]]'' (, 1950)*
=== '''Volksteater''' Brakpan ===
These translations were interspersed with productions of original [[Afrikaans]] works, including the premiéres of [[P.W.S. Schumann]]'s ''[[Katrina]]'' (1937), [[Hans Rompel]]'s ''[[Aletta gaan Speur]]'' (1938), [[Fritz Steyn]]'s début work, ''[[Grond]]'' (11-12 August, 1938) and his Hugenot-festival play ''[[Hulle sien die Kruis]]'' ("They see the cross", 1939), [[N.P. van Wyk Louw]]'s ''[[Die Dieper Reg]]'' (9 September, 1938), [[Uys Krige]]'s ''[[Die Arrestasie]]'' ("The Arrest", 1939), Most of these were specifically commissioned by [[Volksteater]]. Other local plays done over the years include ''[[Die Meul Dreun]]'' ([[D.F. Malherbe]], 1939), ''[[Die Laaste van die Takhare]]'' (C.J. Langenhoven, 1939), ''[[Liefdesvuur]]'' (Südermann, 1940), ''[[Ruwe Erts]]'' (Fagan, 1940), ''[[Mara]]'' (Grosskopf, 1940), ''[[Moeder Ierland]]'' (Yeats, 1940), ''[[Dagbreek]]'' ([[Wynand du Preez]], 1940), ''[[Noodlotskind]]'' (Duval, 1940), ''[[Maria Stuart]]'' (1941), ''[[In 'n Skewe Straatjie]]'' (194*), and ''[[Die Laaste Aand]]'' (Leipoldt, 1941), ''[[Deur stryd tot oorwinning]]'' ([[Adèle Jooste]], 1949?), ''[[Salomé Dans!]]'' ([[Gerhard J. Beukes]], 1952).
An off-shoot of the original society in Pretoria. ** Productions include ''[[Amrach die tollenaar]]'' ([[D.F. Malherbe]], 1938), starring[[ M.S. du Busson]]. *([[Ludwig Binge]], 1969)
Important [[Afrikaans]] dramatists who worked with them during this period included [[J.F.W. Grosskopf]], [[H.A. Fagan]], [[Gerhard J. Beukes]] and [[W.A. de Klerk]].
=== '''Volksteater''' Potchefstroom ===
Later productions include ''[[Die Proponentjie]]'' ([[Pieter Fourie]], 1997),
The society also became involved in various festival activities over the years, e.g. putting on pageants, particularly in the 1938 [[Voortrekker Festival]] year , which became a year of lustre for the society. The war itself brought out nationalistic political undertones in the organisation, visible both in some of the more than 24 plays that were performed during this time and the formation of the informal and independent, though affiliated company called [[Die Katdorings]] in 1941 (the "Cat Thorns", a politicised theatre group led by [[Jan Pohl]] and [[Anna Neethling-Pohl]].). In the same year a children's theatre group was established, and from 1942 to 1945 an annual Christmas pageant was staged.
===An own theatre===
[[Volksteater]] from the start continued to strive for an own theatre, so in 1937 they sought the support of the city council, with the first plans for a theatre of its own (to be called [[Ons Teatertjie]]), already drawn up in 1938 by E Schwartz, and a plot of ground in Van Boeschoten Avenue allocated. However, with the war in 1939, the plans were aborted, even though supported by the government. They then used the improved [[Pretorius Hall]] in the City Hall, along with the [[Pretoria Repertory Society]]. In later years the dream of such a theatre was realized with the construction of the [[Kleinteater]] in Skinner Street Pretoria, but too late for the prime years of Volksteater. It later became the property of the local teachers' training college, the [[Pretoriase Normaalkollege]].
=== Influence ===
In 1944, [[Anna Neethling-Pohl]] and two other members, [[Jan Cronjé]] and [[Gert van den Bergh]] were retained by a professional company under [[Pierre de Wet]] and the professional standard of their performances under him did much to promote [[Volksteater]] (and themselves!) throughout the Transvaal. As a result, many of the smaller towns, including Benoni, Brakpan, Potchefstroom and Ermelo followed the example of Pretoria in establishing their own "volksteaters" (by the same or other names).
=== Sources ===
Binge, 1969,
Du Toit, 1988
[JH]
== '''Volksteater''' Brakpan ==
An off-shoot of the original society in Pretoria. ** Productions include ''[[Amrach die Tollenaar]]'' ([[D.F. Malherbe]], 1938), starring [[ M.S. du Busson]]. *([[Ludwig Binge]], 1969)
== '''Volksteater''' Potchefstroom ==
Founded in 1945, based on the Pretoria model, and inspired by [[Bosman de Kock]] (a former member of the Pretoria society), ***
Kannemeyer 1983, 1988
[[Ludwig Binge]], 1969
[[P.J. du Toit]], 1988
Go to the [[ESAT Bibliography]]
1 As a theatre genre
2 As the name of a company
2.1 Volksteater Pretoria
2.1.1 History
2.1.2 Productions
2.1.3 An own theatre
2.1.4 Influence
2.2 Volksteater Brakpan
2.3 Volksteater Potchefstroom
2.4 Sources
2.5 Return to
As a theatre genre
Volksteater ("folk theatre", "theatre for the people" - also referred to sometimes as Volkstoneel): As a general term it is normally used to refer to the kind of popular plays which were written and produced for white audiences in which the values of the Afrikaans nation were realistically and somewhat simplistically often sentimentally presented - and occasionally questioned, satirised and/or comically portrayed. These plays were often created by companies to be taken on tour in the rural areas. Perhaps the most emblematic example of such a play is Jochem van Bruggen's classic Ampie. Gradually, in the face of new theories and practices of theatremaking, it slipped into being a term of derision.
However, in the 1970's, Pieter Fourie sought to revive the notion, giving it specific content and stature by defining it as a realistic, sympathetic yet critical approach to the everyday lives of South Africans - as opposed to the highly politicised, abstractionist works being produced by the playwrights of the time. His plays Faan se Trein and Faan se Stasie are perhaps his most coherent and persuasive arguments for this, for they paint an endearing and enjoyably theatrical portrait of small-town life.
As the name of a company
Volksteater Pretoria
An amateur dramatic society called Volksteater existed in Pretoria from 1936 till the 1970s. Originally founded in 1935 as Ons Teatertjie Toneelgroep, it was renamed Volksteater on 12 December 1936, when it officially became a non-profit organisation for fundraising and administrative reasons, registered under the existing Company's Act (1921). Like its predecessor, it had a complex and apparently efficient management system, headed by a committee of patrons and a committee of directors, (the first of which which included W.H. van der Merwe as chair, J.H. Botha, Chris Neethling, Anna Neethling-Pohl, Leonie Pienaar, A. Hauptfleisch, M.L. du Toit, with S.J. Kritzinger as business manager.) It also had a toneelkomitee (theatre committee) and a finansiële komitee (financial committee). It was in effect a continuation of the earlier Organisation, so the ethos of daring displayed by Ons Teatertjie was kept intact and later productions.
In 1945 however, Neethling-Pohl – long the driving-force behind the organisation - left to join the SABC, and by 1947 several other of the organisation's stalwarts had also left. The founding of the NTO also undermined its status as the torchbearer for Afrikaans theatre in the North, and the company never again quite reached the same heights, although it continued to exist into the 1970s. Among its other prominent members over the years were Chris Steenkamp, Casper Bakkes, H.J. Oberholzer, D. Odendaal, Bettie Gründlingh, J. van Rensburg, *
It appears to have been resuscitated later, for references are found to performances such as Die Proponentjie (1997),
The numerous productions by Volksteater Pretoria included many translations of classical European works such as Maurice Maeterlinck's Catholic miracle-play Suster Beatrys ("Sister Beatrix", 1937), August Hinrichs's Bohaai oor Jolanthe ("Fuss about Jolanthe", 1937), Koning Oidipus (Oedipus Rex, Tr Theo Wassenaar, 1938), Raynal's Die Soldaat ("The Soldier", 1939), Karel Çapek's R.U.R (1939), Friedrich von Schiller's Maria Stuart (1941), Die Aasvoëls (, 1950)*
These translations were interspersed with productions of original Afrikaans works, including the premiéres of P.W.S. Schumann's Katrina (1937), Hans Rompel's Aletta gaan Speur (1938), Fritz Steyn's début work, Grond (11-12 August, 1938) and his Hugenot-festival play Hulle sien die Kruis ("They see the cross", 1939), N.P. van Wyk Louw's Die Dieper Reg (9 September, 1938), Uys Krige's Die Arrestasie ("The Arrest", 1939), Most of these were specifically commissioned by Volksteater. Other local plays done over the years include Die Meul Dreun (D.F. Malherbe, 1939), Die Laaste van die Takhare (C.J. Langenhoven, 1939), Liefdesvuur (Südermann, 1940), Ruwe Erts (Fagan, 1940), Mara (Grosskopf, 1940), Moeder Ierland (Yeats, 1940), Dagbreek (Wynand du Preez, 1940), Noodlotskind (Duval, 1940), Maria Stuart (1941), In 'n Skewe Straatjie (194*), and Die Laaste Aand (Leipoldt, 1941), Deur stryd tot oorwinning (Adèle Jooste, 1949?), Salomé Dans! (Gerhard J. Beukes, 1952).
Important Afrikaans dramatists who worked with them during this period included J.F.W. Grosskopf, H.A. Fagan, Gerhard J. Beukes and W.A. de Klerk.
Later productions include Die Proponentjie (Pieter Fourie, 1997),
The society also became involved in various festival activities over the years, e.g. putting on pageants, particularly in the 1938 Voortrekker Festival year , which became a year of lustre for the society. The war itself brought out nationalistic political undertones in the organisation, visible both in some of the more than 24 plays that were performed during this time and the formation of the informal and independent, though affiliated company called Die Katdorings in 1941 (the "Cat Thorns", a politicised theatre group led by Jan Pohl and Anna Neethling-Pohl.). In the same year a children's theatre group was established, and from 1942 to 1945 an annual Christmas pageant was staged.
An own theatre
Volksteater from the start continued to strive for an own theatre, so in 1937 they sought the support of the city council, with the first plans for a theatre of its own (to be called Ons Teatertjie), already drawn up in 1938 by E Schwartz, and a plot of ground in Van Boeschoten Avenue allocated. However, with the war in 1939, the plans were aborted, even though supported by the government. They then used the improved Pretorius Hall in the City Hall, along with the Pretoria Repertory Society. In later years the dream of such a theatre was realized with the construction of the Kleinteater in Skinner Street Pretoria, but too late for the prime years of Volksteater. It later became the property of the local teachers' training college, the Pretoriase Normaalkollege.
In 1944, Anna Neethling-Pohl and two other members, Jan Cronjé and Gert van den Bergh were retained by a professional company under Pierre de Wet and the professional standard of their performances under him did much to promote Volksteater (and themselves!) throughout the Transvaal. As a result, many of the smaller towns, including Benoni, Brakpan, Potchefstroom and Ermelo followed the example of Pretoria in establishing their own "volksteaters" (by the same or other names).
Volksteater Brakpan
An off-shoot of the original society in Pretoria. ** Productions include Amrach die Tollenaar (D.F. Malherbe, 1938), starring M.S. du Busson. *(Ludwig Binge, 1969)
Volksteater Potchefstroom
Founded in 1945, based on the Pretoria model, and inspired by Bosman de Kock (a former member of the Pretoria society), ***
Ludwig Binge, 1969
P.J. du Toit, 1988
Go to the ESAT Bibliography
Return to South African Theatre Terminology and Thematic Entries
Retrieved from "https://esat.sun.ac.za/index.php?title=Volksteater&oldid=172353"


You are here: Home / Speaking Engagements / What Goes Bump in the Night?
Cynthia will share her paranormal knowledge and experiences as well as audio and visual evidence she captured on various paranormal investigations throughout the years. She can customize this presentation to the location and type of organization she is presenting to.
Cynthia has given this presentation at a corporate lunch and learn session, senior citizen group, and other community organizations.
For more information on how to book Cynthia as a speaker, please email cynthia@originalcynpi.com or call at 201-410-0563.


To use the Accessory SDK, you must declare the following permission.
Android 4.4.2 (KitKat) and above: SecurityException is thrown and your application does not work.
Prior to Android 4.4.2 (KitKat): No exception is thrown and the application works properly.
No exception is thrown and the application works properly.
If the broadcast receiver is not added in the AndroidManifest.xml file, no intents handled by the Samsung Accessory Service Framework are delivered to your application.
The action names are changed from 2.3.0. For backward compatibility, old actions are supported for a while.
Communicating with a remote Peer Agent requires the service declaration in the AndroidManifest.xml file. This ensures that the application is derived from the SAAgent class.
The SAAgent class extends the Android service and handles asynchronous Accessory-related intents. Its implementation executes all of its activities in a worker thread, which means that it does not overload your application main thread.
Communicating with a remote Peer Agent requires the declaration of descriptions about the Accessory Service Profile. This is declared in a separate file in the /res/xml folder in your application project. The path of the actual XML file can be added in the application's AndroidManifest.xml file.
When the application is installed, the Samsung Accessory Service Framework automatically registers its Accessory Peer Agents using the information specified in your service profile XML file. Similarly, the Accessory Peer Agents are deregistered when the application is uninstalled. An error log is dumped if the registration process fails to register the Accessory Service Profile implementation. To define the Accessory Service Profile, see A.1 Validating Accessory Service Profile XML in this.
If the application wants to establish a service connection with only one Accessory Peer Agent, check the first callback. You can also check the identity or properties of the discovered Accessory Peer Agents by calling the functions provided by the SAPeerAgent class to decide which Accessory Peer Agent you want to form a service connection with. The application can initiate a service connection with an Accessory Peer Agent by calling the SAAgent.requestServiceConnection() function.
This function is called from a worker thread. If you need to do any heavy lifting or long latency work in the callback, spawn a separate thread.
If a service provider connects only with a specific service consumer, or a service consumer with a specific service provider, the service provider and consumer are called "companion applications". When you only want to connect to a companion service provider or service consumer, call the functions provided by the SAPeerAgent class for specific information, such as model number or vendor information, before calling the SAAgent.requestServiceConnection() function. For example, when a photo printer service provider on an accessory device from a company only wants to connect to a photo printer service consumer on a smart device from the same company, they are companion applications.
The remote Accessory Peer Agent either accepts or rejects your service connection request. Your application is notified with the SAAgent.onServiceConnectionResponse() callback. The request can be accepted (and a service connection established) or rejected, or it can fail to establish the service connection for other reasons.
When a service connection is successfully established, the requesting Accessory Peer Agent gets an instance of the SASocket object, which is used to handle service connection events and send or receive data to and from Accessory Peer Agents.
The Accessory Peer Agent implementation can accept or reject service connection requests by calling the acceptServiceConnectionRequest() or rejectServiceConnectionRequest() function.
The default implementation of the SAAgent.onServiceConnectionRequested() callback is to accept every incoming service connection request from any remote Accessory Peer Agent. Your Accessory Peer Agent implementation can override this function, usually to check the identity and properties of the requesting remote Accessory Peer Agent before accepting or rejecting incoming service connection requests.
The SAAgent.onServiceConnectionRequested() callback can check for Accessory Peer Agent-specific information before accepting service connection requests. You can use the SAPeerAgent object functions for checking specific information, such as application name or vendor ID.
If your application accepts the service connection request, your application is notified through the SAAgent.onServiceConnectionResponse() callback when the service connection is established or a failure occurs. On success, an SASocket object is passed with the callback. If you want to implement a service provider application that can serve multiple service consumer applications at the same time, keep a repository of the SASocket objects for all active service connections, and give an identifier for each SASocket object.
The SAAgent.onServiceConnectionResponse() callback is called from a worker thread. If you need to do any heavy lifting or long latency work in the callback, spawn a separate thread.
Call the SASocket.send() function of the SASocket object (passed with the SAAgent.onServiceConnectionResponse()callback) to send data on the selected service channel inside an established service connection. The Samsung Accessory Service Framework provides a datagram service. Either all the data is sent or nothing is sent. The service connection encapsulates all service channels as defined by the Accessory Service Profile specification.
See attached programming guide pdf file for more information.


King of clay Rafa Nadal thrashes Dusan Lajovic while compatriot David Ferrer beats Kevin Anderson in four sets.
Rafael Nadal won a record 32nd straight match at the French Open, beating Dusan Lajovic of Serbia 6-1, 6-2, 6-1.
Nadal is an eight-time French Open champion with a 63-1 record on the red clay in Paris with his only loss came in the fourth round in 2009, when he was a four-time defending champion for the first time.
Another upset never seemed possible this time, despite complaints of pain in his back that slowed his serves in the previous round.
Playing on Court Philippe Chatrier, Nadal'ss favourite court in the world, the top-seeded Spaniard controlled the match from the start.
He then won 17 straight points to open the second set, taking a 4-0 lead before finally sending a backhand wide to make it 15-15 in the fifth game.
Spaniard David Ferrer set up a likely quarter-final against Nadal, who beat him in last year's final, with a 6-3 6-3 6-7(5) 6-1 victory over Kevin Anderson.
The fifth seed reached his 10th straight grand slam last eight by beating the 2.03 metre South African, who towers nearly 30 cm above him.
Ferrer dominated baseline rallies with the 19th seed in the first two sets before they exchanged breaks in the third and Anderson worked the angles better, sending Ferrer scampering and sliding and taking the tiebreak when the 32-year-old put a forehand into the net.
Ferrer fought straight back in the fourth, unleashing a string of forehand winners to break Anderson in the second and fourth games to win the match.
Andy Murray held on through a tough third set and advanced to the quarterfinals by beating Fernando Verdasco of Spain 6-4, 7-5, 7-6 (3).
Murray was up a break early in the third set, but a fired-up Verdasco saved 11 break points before finally breaking Murray to 4-4.
In the tiebreaker, the seventh-seeded Murray won the first three points.
Although Verdasco won the next three, Murray took control again and served out the victory on his first match point.
Murray, who last year became the first British man to win the Wimbledon title since 1936, will next face Gael Monfils of France.
In the women's tournament, fourth-seeded Simona Halep of Romania beat Sloane Stephens of the United States 6-4, 6-3, and 10th-seeded Sara Errani of Italy defeated sixth-seeded Jelena Jankovic of Serbia 7-6 (5), 6-2.
Earlier, Andrea Petkovic overcame an inconsistent serve and unseeded Kiki Bertens to reach the quarterfinals with a 1-6, 6-2, 7-5 victory.


text:
Australian startup set to revolutionise remote satellite connectivity
Author: Myles Gough
An Adelaide-based startup with a growing fleet of small satellites and patented signals processing software plans to help businesses in remote locations worldwide affordably access the Internet of Things.
technology-style
Armed with shoebox-sized satellites in low-Earth orbit, power-conserving electronic transmitters, and sophisticated signal processing software, a disruptive Australian startup wants to open the floodgates for remotely-located businesses around the world to capitalise on the Internet of Things (IoT).
The IoT, a network of small, data-collecting sensors and transmitting devices embedded into physical objects, enables businesses to mine new data to improve operations. But several barriers, including the cost of connectivity, have kept remote businesses from reaping the benefits, says Alex Grant, the chief executive officer at Adelaide-based Myriota.
"Our challenge at Myriota has been to provide connectivity anywhere on the planet, to get the price right for businesses, and to make sure we can extend the battery life of satellite-linked devices," the electronic engineer says.
Grant says there is huge international demand for connected IoT devices across agriculture, shipping and transport, resource extraction, environmental monitoring, utilities, maritime security and defence.
"For us, the game is absolutely global," he says. "We have a network of satellites that have global coverage and a business that only makes sense if it's a global offering."
Connecting millions of remote and mobile devices
The name Myriota, a combination of the words myriad and iota, symbolises huge numbers of very tiny things. "That's our focus," says Grant. "Massive scale connectivity to millions of small devices."
Grant says the ability to embed a plethora of IoT devices on remote assets, ranging from irrigation systems on farms and utilities infrastructure, to freight containers making transoceanic voyages and even soldiers on faraway battlefields, will help users access previously unavailable intelligence. This can help them reduce risk, save money and improve productivity.
After being spun-out of the University of South Australia (UniSA) in 2015, Myriota secured a A$2 million investment from Canadian firm exactEarth, which uses satellites to track maritime vessels. It has since begun trials overseas and domestically, where it's working with farmers on rural cattle stations, and with scientists on the Great Barrier Reef collecting data from weather stations, buoys and robotic vehicles.
In June 2017, the innovative firm was named Best Industrial IoT Start-Up Company at the world's largest IoT summit in Silicon Valley, further cementing its reputation as an emerging game-changer in the field.
Solving the vexing problem of remote connectivity
While remote satellite connectivity is possible, the ongoing problem for businesses has been the prohibitive cost of "always-on" coverage, says Grant. This is particularly problematic if a business wants to deploy tens of thousands of devices, which only communicate with satellites intermittently.
"Furthermore, existing satellite communications equipment is quite power-hungry, so batteries only last days or weeks at best," says Grant.
Myriota's system solves these problems. It comprises a specially designed, matchbox-sized piece of electronics, which is interfaced with a sensor (such as a pressure, temperature or GPS sensor). This battery-powered device has a radio antenna for transmitting data and is physically connected to whatever object or machine is being tracked or controlled.
The device, which can withstand extreme conditions, spends 99.9 per cent of the time asleep to conserve power, explains Grant. It only wakes up to speak to the satellite when it's passing overhead, which means the battery can last 12 months or longer.
Low-cost satellites, called CubeSats, catch the signal from the device, along with signals from millions of other devices. The aggregate signal is beamed down, through a network of ground stations, into the cloud. This is where the real engine of the Myriota system revs into action: a patented signals processing software untangles the readings, delivering actionable data to the end-user.
It's this clever software, says Grant, that allows Myriota to use low-power transmitters and to process millions of simultaneous signals with a constellation of CubeSats.
For startup success, technology must be world-leading
At a first glance, Adelaide may not seem the obvious choice to headquarter a globally-focused startup, but Grant says the city has built "extensive capability" thanks to the state's space, electronics and defence sectors. It's also where he's spent the bulk of his career.
Grant completed his undergraduate studies and PhD at UniSA, investigating ways to make wireless communications faster, cheaper and more reliable. Following a postdoctoral position at the Swiss Federal Institute of Technology in Zurich, which plugged him into a vibrant international research community, he returned to UniSA in the late 90s, joining its Institute for Telecommunications Research.
In 2004, aged 32, Grant became the youngest professorial appointment in the university's history. But academic life wasn't his only passion. He wanted to merge scientific breakthroughs with practical, commercial applications to improve people's lives.
His first startup, Codha Wireless, pioneered a vehicle-to-vehicle communication system for collision avoidance, which mitigates interference from radio wave reflections. The life-saving technology is now integrated into numerous production automobiles worldwide, and could feature prominently in self-driving cars of the future.
That entrepreneurial experience taught Grant a valuable lesson: "To be successful as a deep technology startup, your technology has to be the best in the world at what it aims to do."
After more than six years of development, with funding from the Australian Space Research Program and extensive commercialisation support from UniSA, Grant is confident that Myriota's product has achieved that rare and formidable distinction.
Find out more about Myriota.
High-flying edutech platform
A life-changing business
Nanotechnology and luxury watches: an innovative Australian partnership
From space beer and satellites to self-driving cars
Safe, simple and needle-free vaccinations

redpajama_set_name: RedPajamaCommonCrawl


text:
Audio or Video for Recording Oral History
No One Wants the Maintenance Crew Named after Them
On the Differences between Folklore Fieldwork and Oral History
Filed under Collecting
by Tim Lloyd
The ethnographic research activities of folklorists–generally called "fieldwork"–have a number of important differences from, as well as similarities to, the research activities of oral historians–generally called "interviewing".
In general, we might say that folklorists are most fundamentally interested in those occasions, practices, and performances in which artfulness and everyday life intersect. Folklorists study, document, and seek to understand a large number and wide variety of traditional cultural expressions that can very broadly be characterized as oral traditions (such as jokes or legends), material traditions (such as folk craft or architecture), traditions of belief and custom (such as folk medicinal belief or religious practice), and performance traditions (such as folk music or dance).
Particular traditional cultural expressions often cross these lines. Most traditional cultural expressions, for example, are realized through performance of one sort or another. In fact, to folklorists the concept of "performance" is extremely relevant. Folklorists would consider an oral history narrative, for instance, to have a performative aspect, in which the narrator artfully shapes her narrative to embody and convey her point of view, as well as a descriptive one.
Folklorists regard a very wide range of human activities as containing an artful aspect. They are interested, for example, in the both the work activities and work songs of commercial fisherman, and in the ostensibly mundane craft work of making "cootie catchers" by middle-school girls, as well as the more recognized art-making of their elders.
Folklorists are interested in these traditions in and of themselves as cultural texts, but in their fieldwork and analysis they also seek to document and come to understand the artistic styles or linguistic textures through which they are performed and the contexts in community life in which they are performed.1 Thus, folklorists doing fieldwork document actual performances (a joke-telling session, a healing ritual, a gospel singing convention), but in their follow-up interviews they may query the healer or the gospel singing leader about the sources of their traditions, the methods by which they learned them, and the place of those traditions in contemporary community life. In their analyses, the folklorists may attend to the linguistic or musical details in the performance that convey the gist and significance of the joke or the social background and religious beliefs of the singers.
Many traditional cultural expressions are customarily performed by groups rather than individuals. It takes, for instance, a group of women to design and construct a St. Joseph's Day table, a crew of men to run a gill net fishing boat, or a long-married couple to tell a joint narrative of their courtship days. Thus, folklorists often document or interview more than one person at a time. Sometimes this is because the group is the relevant author, performer, narrator, or informant. Other times this is because the interaction of narrators takes over the interview in such a way as to render the event more "natural," resembling a conversation in the course of everyday life rather than one in a more artificial interview setting. Folklorists pursue rapport with their informants in many ways to achieve this goal of a more natural setting.
Of the many genres of traditional cultural expression that folklorists have identified, named, and documented, a few correspond more closely than others to the oral historical narrative. These include the personal experience narrative (which may focus on any scale of life experience- from a particular incident to a series of events spanning decades) or the longer-scale life history or life review narrative, often told by the elderly.
The fieldwork folklorists do leads to the creation of ethnographic field collections. In library and archival terms, these are multi-format, unpublished groups of materials documenting human life and traditions that were created, gathered, and organized by a folklorist or other cultural researcher as part of community-based field research. Such collections are created works, brought together through the intentions and activities of the folklorist. This folklorist often works in collaboration with members of the community whose traditional expressive lives are the focus of study.
A particular collection, for example, may comprise materials in several formats, including manuscripts (e.g., field notes and correspondence), audio and video recordings, still images, ephemera, and works of art on paper. Although each item in an ethnographic field collection has intrinsic worth, its overall significance increases dramatically when it is viewed in the context of the other materials gathered by the fieldworker through interactions with the people and activities being documented.
The unity and vision imposed by the collector on a group of materials is central to understanding folklore archival collections, as explained by reference librarian Gerald E. Parsons, formerly of the American Folklife Center at the Library of Congress:
Folklore archival collections of even the most informal sort come into being through a different process [than accumulations of personal papers]. The fieldworker takes a photograph of a musical instrument, makes a sound recording of it being played, and jots down notes on the recollections of a virtuoso player because the fieldworker has determined that photographs, sound recordings, and written text must be yoked together to fully represent the performance. Even if there is no intent to publish the documentation, there is, in every ethnographic collection, a conscious weaving together of different representational media to achieve a rounded statement.2
1 Dundes, Alan. 1971. "Texture, Text, and Context." Southern Folklore Quarterly, 28:251-65.
2 Parsons, Gerald. Unpublished memorandum to the American Folklife Center Board of Trustees, January 7, 1991.
Lloyd, T. (2012). On the differences between folklore fieldwork and oral history. In D. Boyd, S. Cohen, B. Rakerd, & D. Rehberger (Eds.), Oral history in the digital age. Institute of Library and Museum Services. Retrieved from http://ohda.matrix.msu.edu/2012/06/on-the-differences-between-folklore-fieldwork-and-oral-history/.
Lloyd, Tim. "On the Differences between Folklore Fieldwork and Oral History," in Oral History in the Digital Age, edited by Doug Boyd, Steve Cohen, Brad Rakerd, and Dean Rehberger. Washington, D.C.: Institute of Museum and Library Services, 2012, http://ohda.matrix.msu.edu/2012/06/on-the-differences-between-folklore-fieldwork-and-oral-history/
collecting, collection, folklore
Permanent link to this article: http://ohda.matrix.msu.edu/2012/06/on-the-differences-between-folklore-fieldwork-and-oral-history/


The word Schon means "beautiful" in German, and after browsing their selection of cues it's pretty clear to see why they chose that name for their company. For over 30 years, Schon has been producing some of the finest craftsman-made cues in the world that are defined by their quality exotic woods and inlays.
This cue, the CX88, is a real showstopper. It has Birdseye maple forearm with a very unique set of long, slender ebony diamonds with a white micarta inlay. Every Schon cue comes with a 13mm shaft with a proprietary leather tip and a 5/16 x 14 piloted joint.


Late January, EDC ventured into new territory by hosting ExploreSD, a three-day showcase of San Diego's economy and talented workforce for site selection consultants from all over the country. Our goals were twofold: 1) pilot a replicable multi-day tour of the best companies our region has to offer to tell the San Diego story; and 2) proactively promote our region's unique economy in an effort to generate new business attraction opportunities.
Over the past year, our team has engaged with a select group of consultants whose business is to compare and contrast regions for their clients, based on a gamut of criteria from real estate and utility costs to talent and quality of life, in order to help companies decide where to expand or relocate. As you can imagine, many in this industry have an aversion to California due to perceived and real barriers to doing business in the state. EDC's strategy was to sell the San Diego region based on our thriving innovation economy, talented workforce, collaborative relationship with local and state government and unmatched quality of life.
Day 1: Joined by Mark Field, CTO of Thermo Fisher Scientific, Melissa Floca, director of the Center for US-Mexican Studies at UCSD, and Erik Caldwell, director of economic development for the City of San Diego, we kicked off day 1 with an overview of our mega-region. The conversation turned quickly to cross-border manufacturing and our proximity to Mexico, an asset previously overlooked by this group. After a multi-hour discussion, the stage was set for the next two days of company tours.
Day 2: Starting with a visual overview of downtown from the top of Diamondview Tower, our morning featured tours of Red Door Interactive, ESET and EvoNexus incubator. This portion of the event showcased San Diego's downtown, with visit to both tech startups and established companies. The afternoon included trips to three companies with some of the most unique stories in San Diego: Illumina, iBoss Cybersecurity and BD/Carefusion. Not only are these three of the most recognizable names in the region, but they also have something else in common: they all explored expanding or relocating to other regions, only to increase their presence in San Diego.
Day 3: We began our final day in North County with tours of General Atomics and D&K Engineering to help these individuals better asses our advanced manufacturing industry. After a quick lunch at Stone Brewing Bistro & Gardens - a necessary stop for anyone visiting the region that doubled as a highlight of our craft beer industry - we explored all 5 cities along the 78 corridor. With stops at CSU San Marcos, a drive through Ocean Ranch Business Park and Carlsbad giants ViaSat and Thermo Fisher Scientific, we finished out our tour strong.
One thing was clear throughout the tour – our region's innovation economy, talented workforce, and quality of life permeated every discussion in an organic way. With the help of an articulate group of business leaders and San Diego's leading industry and real estate experts, we effectively articulated the benefits of business location in our region over peer metros including Austin, Denver and San Francisco. Moving forward, we intend to replicate and use this style of tour as an effective method to tell the San Diego story.


Here at ComeToCapeTown.com, we understand that finding just the right accommodation makes all the difference when travelling. After all, who needs more stress after dealing with flights, budgets and frantic last-minute packing?
Rather than trying to bombard our customers with as many options as possible, we prefer to offer a smaller selection of properties that have been hand-selected for their quality, features, location and value. What this means for you is more peace of mind, and more smiles all round.
Through our on-going relationships with managers & private owners, we aim to bring you competitive rates on a variety of select accommodation through carefully negotiated rates. In many cases, these rates are even lower than direct rates through the property owners. Find something at a better rate? Give us a shout, and we'll match or beat it with a better offer.
Along with helping you find the perfect place to stay in Cape Town, we can also help you enjoy the trip of a lifetime too. ComeToCapeTown.com is a fully registered company comprising a team of locals who are passionate about travel. Whether you need advice on getting around, assistance with travel requirements or even the best tips on events, restaurants, bars and must-see attractions, we're here to help. Check out our Cape Town travel blog to get inspired!
Our offices are based in the heart of Cape Town's trendy City Centre, in Bree Street. You can reach us via a number of ways depending on your preferences – phone, website, email, Twitter and Facebook are all just some of the choices you have at your disposal. If you encounter any problems at all during your stay, or need assistance urgently, our team is on stand-by 24/7.
We love talking about Cape Town too, so if you want to know just about anything about the Mother City there is to know, you can bet that we have the answer. Along with our straight-up, no fuss commitment to quality and service, you have our guarantee that we will do whatever we can to make you want to come to Cape Town (again and again).


By Hendrik Sumpf FRM, Manager and Stefan Scheutzow, Manager, Finbridge.
Hendrik is Manager at Finbridge. He is specialised in running projects that interface between functional concept work and technical implementation in financial institutions. His recent projects in regulatory reporting and risk controlling encompass implementations of new regulatory requirements in liquidity, credit, and market risk as well as the broader BCBS 239 context.
Stefan is Manager and market risk team lead at Finbridge and responsible for the interpretation and implementation of current banking related regulations following Basel III. Stefan worked for several years in financial risk management covering supervisory requirements as well as quantitative risk models across capital markets and banking. Today, he is in charge of conducting impact studies for Finbridge clients on current treasury and capital markets related regulations such as FRTB and SA-CCR and develops achievable recommendations for implementation. He is also helping his clients to embed future supervisory requirements with their business strategies.
What are some of the top challenges of risk management under Basel IV? What are the key concerns right now? And what are the essential things to remember?
Just like under Basel III, regulatory uncertainty is still a major topic to face. With incoming regulations, consultations, FAQs and opinions on a daily basis banks will have to cope with volatile guidelines alongside implementations within their systems. This puts a big focus on agile and adjustable project environments for the years to come. Another layer is added through the ongoing updates of central multinational regulations, such as CRR or BRRD.
The regulatory package following and refining Basel III is designed to prevent regulatory arbitrage in all asset classes. With cost sensitive topics, such as IFRS 9, new securitisations framework and FRTB on the one hand and balance sheet management related topics, such as IRRBB, TLAC and MREL on the other hand central risk management faces a massive impact on banks return and turnover. This calls for risk related measures on portfolio optimisation and business strategies even for smaller corporations and a deeper look into complex KVA calculations.
From a technical point of view more intense computations require not only faster systems, but especially more effective methods of reconciliation and visualisation of data along enhanced interfaces between front office and risk systems.
Can you briefly explain some of the effects on capital ratios?
Banks face an increase in RWA due to more prudent assumptions in the underlying scenarios of both internal models and standardised approaches for market and credit risk.
To name but a few examples: Not only does the FRTB IMA make estimations of expected shortfall on high confidence levels mandatory and introduce stressed liquidity horizons to all asset classes. But also the FRTB SA's correlation factors and risk weights assume a stress scenario that will lead to significant increases in RWA under the new market risk framework for most institutions regardless of model choice.
The credit risk portion of BCBS 424, among other things, introduces higher risk weights and CCF to the CRSA as well as input floors for PD, LGD and CCF to the IRBA. Large corporates and institutions are to be exempted from AIRBA application.
Our teams have put together quite extensive lists of such factors and are performing impact studies with our clients so that together we can brace for impact and derive measures to dampen the blow. However, the overall picture is that capital ratios will decline where the only alternative is to significantly adjust business models in order to circumvent those "pitfall" positions that are punished most severely in terms of capital requirements in the new frameworks.
Without giving too much away, could you please give an insight as to the current challenges of implementing under uncertainty.
Timing the perfect starting point to start implementation of upcoming regulations is an increasingly difficult task, but crucial to any project success for banks. Simply waiting for new regulations being finalised before starting implementation is not an option with legislative measures taking direct consequence in one's own national discretion and massive impacts on business strategy and profit. Therefore, banks start to implement agile project teams to see first results on upcoming changes in banks' processes as early as possible while still remaining flexible enough to adapt to any modifications of regulatory or strategic requirements.
On the micro level, we will see impacts of regulatory changes that have come into force recently – most notably the broad impact of IFRS 9 on risk management and reporting processes due to changes in risk provisioning for possible loan losses and asset categorisation. These have implications for calculation and reporting of own funds requirements, e.g. through shortfall calculations and a growing fair value measured baseline for the application of the prudent valuation framework. This is aggravated by uncertainties regarding regulatory changes scheduled for implementation in the coming months. There is, for example, still no finalised version of the prudent valuation ITS available, even though we are informed to expect the new templates to be included in DPM 2.8 with relevance for reporting date 31 December 2018. Additionally, we expect the finalisation of CRR 2 to be due beginning of 2019.
Taking a step back and looking at the evolving project landscape, we see banks putting more energy into projects with a strong focus on data integration. This is, firstly, driven by individual deadlines for BCBS 239 compliance due in the coming months. Secondly, there is a growing number of reporting requirements that seek to integrate reports on the previously separated Basel pillars or to bridge the gap between accounting, financial, and risk reporting: internally modelled behavioural cash flows in the updated AMM for Liquidity are an example for the former. The integration of COREP and FINREP figures in the new Disclosure requirements and the new COREP General Governments template are examples of the latter.
Lastly, on the macro view, we expect a decrease in the number of banks planning to keep their internal models for the calculation of capital requirements as a result from the increased cost imposed by the regulator through the direct effects mentioned above as well as the ongoing adaptations to special reportings focused on internal models (such as the ever changing SBP reporting package) and additional burdens such as the recent TRIM exercises. These issues increase opportunity costs of maintaining internal models. We are excited to see research into new technologies such as institutions probing into blockchain applications to syndicated lending or trade settlement. There is a strong need for technological innovation in banks not least caused by the competition imposed by FinTechs which we may only expect to grow further.


text:
To all our volunteers and supporters for the 2022 Ontario Election:
— TorDan Greens Team on 2022 Nov 6
in Elections — Add a comment »
Have you seen our campaign website? We're excited to launch a new website to elect Marcelo Levy in the 2022 Provincial Election.
Check it out to learn more about Marcelo and get involved in the campaign!
— TorDan Greens Team on 2022 May 10
in Elections, News — Add a comment »
Marcelo Levy is stepping up to tackle the climate crisis while ensuring economic growth and access to social programs for the residents of Toronto—Danforth.
Born in Argentina, Marcelo immigrated to Canada in 1989. Upon his arrival, he began working as a public servant with the Ministry of Natural Resources, which introduced him to environmental activist efforts and inspired him to pursue a Master's in Environmental Studies at York University. He currently works as a consultant, specializing in ecological compliance in forestry and natural resources, forest biomass and bio-energy, and carbon sequestration and carbon footprint projects. He regularly engages in multi-stakeholder processes involving public and indigenous consultations. Read more »
— TorDan Greens Team on 2022 Apr 30
in Elections, Green profiles, News — Add a comment »
Welcome to the Green Party in Toronto-Danforth, the area between the Don River and Coxwell Avenue.
We're thrilled to announce that our candidate for the 2022 provincial election is Marcelo Levy (read his bio here). Please help with donations and by volunteering.
— TorDan Greens Team on 2021 Aug 20
in Elections — 1 comment »


Can Corporate America Trigger Opiate Abuse?
Topic: Can Corporate America Trigger Opiate Abuse?
Does your job contribute to your healthy lifestyle or does it instigate the dark road to nowhere?
I know no job does only one.....just checking out your mind grapes.
I have not worked in nearly a year. I have reached my tipping point....either school or work, 2 weeks the decision will be made. I type this calmly with the 'nervousness of the unknown and making another mistake' buzzing around me like a swarm of bees trying to get into my force field protecting my precious serenity.
I literally change my mind every day, maybe multiple times a day.
Your thoughts are appreciated. Maybe they will help me gather my own.
Re: Can Corporate America Trigger Opiate Abuse?
I think my job can do both, I love it, being my own boss and all, but being such a physical job and hurting myself quite badly last year, I am glad I didn't get back to where I was. I just have to feel the pain for once... also being a new business and being seasonal, the uncertainty of my financial situation in certain times of the year can be anxiety and stress building... but as things progress and the business expands, I am hoping, that part at least, goes away, also eventually I would like to do less of the hard labor myself... I hope you truly find something you enjoy BT... you deserve it. I think you will be good at pretty much anything you do, but having something that you are happy with or even prod of, be it school or job, will be something else that keeps you from ever going back into that hole.
Virtually anything can trigger an addict if the roots are not properly cleaned than the branches will wither. That being said, no matter where you work IMO you will find teachings to integrate and you will be placed in an opportunity to learn and offer. It's like a lab for integrating the medicines IMO. I do whatever I can to retain my work in nature but if I have to in order to support family/medicines than I'll do what I have to. Warrior testing zones and doing what needs to be done so one doesn't become dependent financially on others.
KP, you are very wise my friend.
Only because I have a Mother that will accept no excuses and never feels sorry for me. I just basically adopt her ideals and imprint them with the shamanic arts. But anyways if it wasn't for my parents I wouldn't have been able to have gotten myself out of a deep hole 4 years ago and do some very difficult jobs to get my feet on the ground. Many times I wanted to feel sorry for myself and wine and she made for damn sure that I wasn't gonna throw any pity parties. I've done some really difficult jobs in the past to make it by or to get high...hehehe.


This Big Island ATV adventure begins at 250 feet above sea level and travels up to about 2,500 feet into the oldest rainforest on the island. Drive under canopies of trees, lanes of wild ginger patches and cross several mountain streams. Some of the plants you're likely to see in this rainforest are endemic and not found anywhere else in the world. Visit a beautiful secluded waterfall and enjoy a short hike to the refreshing pond below. Weather permitting, you can enjoy a refreshing swim.


I've created a shop using powerstore 4.
I would like to ad an upload buttom (one to 5 buttoms depending on the product).
I also have E Cart installed.
What files do i need to configer for it and how do i do this?
We do not support this type of modification of power store.
you would need to edit the webassist/plugins/shopping_cart/addtocatrt.php page to add the file field.
use the file manipulation -> Upload Behavior of Universal Email.
edit the eCart object of power store using eCart to add a new cart column. edit the add to cart behavior webassist/plugins/shopping_cart/addtocatrt.php page to store thew uploaded file name to the cart.


Had my first PE flight last night from KPVU to KPUC. A pretty quick flight between 2 uncontrolled Class D's with advisories along the way. The controller was working a large sector but did a great job!
Superb, and welcome to the network. You'll enjoy it very much.
BFG wrote: Superb, and welcome to the network. You'll enjoy it very much.
I would welcome more of these pictures of yours!
Are you planning on taking and uploading more?
Welcome Ryan! Please be sure to post up photos or link of your Cirrus sim when you build it. We'd love to see it. I just clocked 900 hours on my Cirrus sim. Still addicted.


text:
Financial Services Lawyer
Timothy L. Coyle
Timothy Coyle focuses his practice on business law and transactions including in the areas of mergers, acquisitions and dispositions, corporate and commercial finance and private equity investing.
In the area of mergers, acquisitions and dispositions, Tim represents private and public companies in both domestic and cross-border transactions, financial institutions and specialty finance companies.
Tim also represents private and public companies in matters relating to general corporate law including company formation and governance, and both borrowers and lending institutions in secured and unsecured financing transactions, including syndicated credit facilities and mezzanine debt transactions.
Prior to entering the private practice of law, Tim practiced as a certified public accountant and advised Fortune 100 companies in the areas of international tax and legal matters.
Northern Kentucky University, J.D., 1986
University of Kentucky, B.S., 1981
What types of cases Attorney Timothy L. Coyle & Squire Patton Boggs can handle?
Squire Patton Boggs can handle cases related to laws concerning Financial Services, Corporate, Business, Mergers & Acquisitions. We manually verify each attorney's practice areas before approving their profiles and reviews on our website.
Where is Squire Patton Boggs located?
Squire Patton Boggs is located at 201 E 4th St #1900, Cincinnati, OH 45202, USA. You can reach out to Squire Patton Boggs using their phone line 513 361 1280. You can also check their website squirepattonboggs.com.
How much would it cost to hire Squire Patton Boggs?
Timothy L. Coyle lawyer charges are specific to each case. However, they work with contingency fees and its ranges from $$ to $$$. They also provide free consultation [and no obligation quotes] if you are interested to hire.
Are Timothy L. Coyle reviews trust-able?
We have the ratings and reviews moderation team who checks and verifies every review submitted on our website manually. You can trust all the reviews you see on Timothy L. Coyle lawyer profile listing.
East 4th Street 201
Cincinnati 45202 OH US
Mergers & Acquisitions Lawyer
Scott W. Coyle
M. Victoria Cram


text:
Al Qaeda Inspire: Anwar Awlaki's New Magazine for Terrorists
The man who inspired the Fort Hood shooter, the Christmas Day attacker, and the Times Square bomber is launching an online magazine in English aimed at aspiring jihadists. Lloyd Grove on why it has American officials worried.
Lloyd Grove
Al Qaeda in the Arabian Peninsula, known by the acronym AQAP at the CIA, is about to release its first English-language magazine. It's a Web-based journal of propaganda aimed at inciting violent acts among would-be terrorists living in the United States, Great Britain, Australia, and other Western countries.
American officials are deeply concerned.
The magazine, which came to light in a slick banner advertisement on various jihadist websites in the past two days, is called Inspire—after a verse in the Koran urging faithful Muslims to "inspire the believers to overcome all fear of death" and "fight in Allah's cause."
"The packaging of this magazine may be slick, but the contents are as vile as the authors," says a counterterrorism official.
The banner ad, over the caption "Soon," features a slide show touting the magazine's first issue: "A SPECIAL GIFT TO THE ISLAMIC NATION." "The first magazine issued by Al-Qa'idah in the English language." "INSPIRE… and inspire the believers.'" "An exclusive interview with Shayk Abu Basir [a top aide to Osama bin Laden] and with Shaykh Anwar al-Awlaki as a guest writer."
It's apparently the project of New Mexico-born jihadist Anwar al-Awlaki, a Yemen-based former imam who is said to have "inspired" three of the 9/11 hijackers; the perpetrator of the Fort Hood massacre, Army Major Nidal Malik Hasan; the Christmas Day underwear bomber, Umar Farouk Abdulmutallab; and the Times Square bomber, Faisal Shahzad. The 39-year-old Awlaki—dubbed "the bin Laden of the Internet"—is a prime target of U.S. counterterrorism operations.
"The U.S. government is aware of this new propaganda vehicle by al Qaeda in Yemen and Anwar Awlaki," a counterterrorism official told The Daily Beast on Wednesday. "AQAP and Awlaki are clearly trying to incite terrorist activity overseas, and to recruit new extremists. The packaging of this magazine may be slick, but the contents are as vile as the authors."
Former CIA analyst and counterterrorism expert Bruce Riedel, a Brookings Institution senior fellow and Daily Beast contributor, said the appearance of Inspire is an ominous development in al Qaeda's ambitious effort to cause mayhem in Western democracies.
"I think it shows several things," Riedel, who had spent the last day burning up the phone lines to colleagues in the intelligence community, told me. "First, the audience here is clearly the aspiring jihadist in the United States, the United Kingdom, and Australia who is not really fluent in Arabic or Dari but who wants to know more about jihad—and this is a way of getting it out to that audience and radicalizing it and inspiring future Fort Hood murders and future Times Square bombers who are already living in the United States…The trend we've seen in the last year and a half is less global terrorism and much more homegrown domestic terrorism within Muslim communities."
Riedel said that despite a sophisticated and sustained program by the National Security Agency's smartest technical people "to knock jidahist websites off the Internet," al Qaeda's operatives are equally brilliant, resourceful, and resilient.
"It's really a war on the Internet," Riedel told me.
As for Inspire, "the advertising is very effective… and the production values are high," Riedel said. Rather than a traditional magazine on slick paper, "it will exist electronically," he predicted. "And it's not looking for some subscription base of millions. It's looking to trigger one or two individuals who can actually conduct some act of violence. From the standpoint of al Qaeda, it's not intended to be a bestseller. They're just looking for one guy who will be inspired by this to bomb Times Square, and this time maybe he will put together the bomb correctly."
Lloyd Grove is editor at large for The Daily Beast. He is also a frequent contributor to New York magazine and was a contributing editor for Condé Nast Portfolio. He wrote a gossip column for the New York Daily News from 2003 to 2006. Prior to that, he wrote the Reliable Source column for the Washington Post, where he spent 23 years covering politics, the media, and other subjects.


REMODELED 2/1 w/ Loft & Vaulted Ceilings on .5 Acres for $725/month Available June 1st! You will love this newly redone 2/1 duplex that features a large loft, hard surface floors, vaulted ceilings, and washer/dryer hook ups! There is newer paint, flooring, fixtures, cabinets, counters, and appliances (not pictured). There is a front and back covered patio and huge yard! Quiet neighborhood in a country setting. About 15 minutes from downtown, FSU, TCC, etc. 5 minutes from the airport. 25 minutes from the coast. All this for $725/month available June 1st, 2019. *Only one small pet is allowed*.
© 2019 Tallahassee Board of Realtors®. All rights reserved. Information deemed to be reliable but not guaranteed. The data relating to real estate for sale on this website comes from Tallahassee Board of Realtors® and the Broker Reciprocity Program. Real estate listings held by brokerage firms other than Destination Real Estate are marked with the BR logo and detailed information about them includes the name of the listing brokers. Listing broker has attempted to offer accurate data, but buyers are advised to confirm all items. Information last updated on 2019-04-18.


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SightTalks
Trafficking survivors call for more US government support
JASON FIELDS
Survivor-run groups that combat human trafficking need more support from the US Government so they can operate on a level playing field with larger agencies, an advisory council said last week.
Organisations run by survivors make unique, "invaluable" contributions fighting modern slavery need more resources and backing, the US Advisory Council on Human Trafficking said in its annual report.
"We could not meaningfully do this work without survivors," said John Cotton Richmond, anti-trafficking ambassador at the US State Department.
Survivors bring empathy and practical knowledge from their experiences to help other victims of trafficking deal with trauma, advisory council members said at a panel discussion held to coincide with release of the report.
Survivors can especially help those at risk of being overlooked, such as men and boys, LGBT+ victims and elderly people, said Tina Frundt, chairwoman of the council and executive director of Courtney's House, a Washington-based anti-trafficking group.
"When we see the data we collect, I can see when we left survivors out of it," she said.
An estimated 400,000 people are believed to be trapped in modern slavery in the United States, according to the Global Slavery Index, published by the human rights group Walk Free Foundation.
They include people who are doing forced labour, being sex trafficked or in forced marriages.
The US advisory council, established by a 2015 law, is made up entirely of survivors, giving them a voice on trafficking issues.
It called for ensuring survivor-run groups are aware of ways to apply for funding, receive technical assistance with grant requests and partner with similar groups.
It also recommended creating grants to fund research and services tailored to victims of forced labor, who often receive less support than victims of sex trafficking.
Worldwide, labor trafficking affects more people, an estimated 20 million, versus five million people in sex slavery, according to the International Labour Organization.
Members of the council also suggested giving survivors more opportunities in the federal government to share their knowledge.
"Their embedded presence will inform daily agency decisions," said council member Sheila White.
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The University of Southampton will be holding its Seventh Wellington Congress 12-14 April 2019. Keynote speakers will include Professor Andrew Lambert, Professor Charles Esdaile, Dr Alicia Laspra and Dr Richard Gaunt.
Proposals are invited for papers on all aspects of the career of the first Duke of Wellington, as well as the wider context in Britain, Ireland, the Empire and Continental Europe, between 1780 and the mid-nineteenth century. Submissions may come from any discipline that focuses on this period.
Proposals (up to 250 words) should be submitted to Archives@soton.ac.uk by 1 October 2018. Conference papers should not exceed 30 minutes in length. Proposals for panels will be considered.
The University's Hartley Library is the home of the first Duke of Wellington's archive, and the event will include opportunities to see the collection, as well as a programme of social activities.


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Charu Asopa says she attended relative's wedding with Rajeev Sen due to his dad
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Tyre Nichols: Memphis Grizzlies coach Taylor Jenkins says 'senseless' death of 29-year-old has 'hit his side hard' | NBA News
If you are in any leadership position, you will likely have to write a letter of recommendation for an employee, coworker, student or intern.
Being asked to write a letter of recommendation means the request is from someone who respects your word and trusts your judgment. To write the best letter possible, follow along for tips, tricks, templatesand more.
What is a letter of recommendation?
A letter of recommendation is a letter from a professional contact in your network — past or present — endorsing you for a job or position. Generally, reference letters are used during an application process for admissions or employment, but may be part of entry into a professional program or organization.
Letters of recommendation should speak to the candidate's personal qualities, like:
Related: Why Are Reference Letters Important for Getting a Job?
Types of letters of recommendation
You may write a letter of recommendation in a few different capacities. While your audience will be different, the sentiment is the same: as the letter writer, you want to spotlight the individual's strongest or most relevant characteristics.
Academic letters
When a current or former student asks you for a letter of recommendation, they might not have any work experience.
However, your role is to focus on their academic performance, character traits and any pertinent extracurricular activities. Tailor your writing to show why this student would be an excellent fit for the program.
Application scenarios for academic letters can include:
Undergraduate acceptance
Collegiate educational program (honors societies and advanced courses)
Post-graduate school (medical, law, graduate)
Scholarship or grant
Fellowship or internship
It is common for candidates to ask former employers or professional mentors for a letter of recommendation during a job search. A former employee moving to another position can still mean an amicable relationship and a no-hard-feelings parting of ways.
The most significant difference between an academic and a professional letter is the weight put on the two essential parts: the personal and the professional.
When writing a letter for a former student, it is acceptable to include more personal attributes and anecdotes as long as formal information is also included. However, a professional letter should largely avoid focusing too heavily on the personal.
Additionally, some positions may require candidates to provide both professional and personal references, where personal references speak more to the overall character of the applicant.
Related: 7 Ways to Boost Client Retention and Prepare for Inflation
Real estate referral letters
One type of letter of recommendation that might not immediately come to mind is a real estate referral letter. Sometimes landlords request a letter of recommendation for a prospective tenant.
This type of letter should speak to positive experiences with the candidate, including ones that speak to what would make them a good tenant.
Another example is during a bidding war; sellers sometimes care about who the new occupant will be. In this case, a letter of recommendation should explain why the candidate deserves the house, would treat the place well and what the new home would mean in their life.
Related: Getting the Best Testimonials From Clients to Use in Your Marketing
10 tips to write a good letter of recommendation
What you include in your letter of recommendation matters. Remember, you are playing a role in a decision that could change someone's future, so how you create your final product and what it includes matters.
1. Start with good information
When you are asked to complete a letter of recommendation, it's vital to have direction. While many letters are relatively standard, prompts often call for specific traits or examples about the candidate.
To write as accurately as possible, ask your subject to provide the following:
Job description or academic program description and requirements
Updated resume
Specific skills, achievements or qualifications they want to be highlighted
Any other helpful documentation like transcripts
Related: What's My Job, Again? The Fine Art of Crafting the Job Description
2. Be personable
The recipient of your letter should receive personal insight about the subject. To do this, you should provide the necessary details about your relationship with the subject and paint a picture of what the recipient might find valuable.
As you draft your letter, consider what the recipient might want to know about the person in question and speak to that. Writing with a positive attitude is also best practice, no matter the purpose of the letter.
3. Make it anecdotal
One of the best strategies to make a letter personable is to use anecdotal evidence. You can describe situations that highlight relevant character traits. You can also tell a short story that highlights the subject's personality.
Anecdotes capture the reader's attention much more than a generic list of personal qualities. Don't just mention the subject's quality; show how you've seen that quality in action.
Related: Why Storytelling Is a Skill that Every Entrepreneur Should Practice
4. Use facts
Anecdotal evidence is a great way to tell a story, but that story can also be boosted by concrete evidence. Concrete evidence includes quantitative examples of the subject's performance.
This can be grades, achieved merits, performance history or anything else you might have data for.
5. Highlight the positives
If someone asks you for a letter of recommendation, you likely have a positive relationship, which is essential to highlight in your writing.
You do not need to go overboard to the point of gushing; however, you should exhibit your genuine enthusiasm for the candidate and avoid negative comments. Superlative comments can be a powerful way to highlight your positive experience with the subject.
6. Use specific details
Details make all the difference. Your writing should show who your candidate is through rich and convincing details. You should not simply list a story or statistic and move on.
7. Stay formal, stay concise
Letters of recommendation are a delicate balance of showing professional affection and establishing authority. In addition, while using anecdotal and quantitative evidence, remember to keep it concise.
The recipient of your letter is likely an admissions officer or hiring manager who reads countless documents like this one. Capture their attention, get your point across and respect their time.
Finally, ensure you use a professional font to complete the formal aesthetic.
Professional fonts include:
Related: How To Craft the Perfect Professional Letter
8. Impress the impact
When someone decides to enter into the job application process, it's a big deal. Whether it's someone's first job or the promotion of a lifetime, your voice in the process matters. Impress the impact this opportunity could have on the subject.
Could it pave the way for the rest of their career? Could it put them on the right academic trajectory? Does it align with their overall aspirations?
9. Follow the guidelines
While this might seem like a no-brainer, the guidelines matter. If there is a word count, due date or specific submission form, stick to the instructions to ensure everything goes smoothly.
10. Say no if you need to
While it might be difficult to turn someone down, if you don't think you'll be able to give your all to a letter of recommendation, you should not write one.
Two reasons not to write a letter of recommendation are:
You're unable to, in good conscience, write a positive recommendation.
You're unable to dedicate the necessary effort to the task within the specific time constraints.
Related: Why Setting Boundaries Is the Secret to Preserving Energy and Focusing on What Matters
5 mistakes to avoid in a letter of recommendation
When writing a letter of recommendation, there are certain dos and don'ts. Now that you've seen the dos, it's time to cover what not to do when drafting your letter.
1. Don't generalize
Again, your letter should show, not tell. To achieve this, avoid general language with vague statements about the subject. Broad descriptions do not help the candidate. Stick to the specific anecdotes and evidence that paint a picture of who they are.
2. Avoid the basics
When describing the candidate, avoid talking about basic, bare minimum skills. Showing that the subject can adhere to basic expectations does not do anything to set them apart from the crowd.
Basic expectations include:
Punctual to events and with assignments
Hard-working
3. Try not to be too one-sided
A letter of recommendation should describe the candidate as a whole — their personal character and professional attributes. This means that you'll need to speak to your relationship and their performance. Failing to illustrate one side or the other makes for a flat, incomplete letter.
4. Refrain from being critical
Your letter is meant to highlight the candidate, so it should not include cheeky compliments or subtle critiques. Unless the instructions specifically ask for weaknesses or potential growth areas, you should avoid mentioning any negatives.
Related: 5 Steps to Providing Constructive Criticism
5. Don't forget to let them know who you are
You should introduce yourself and your relationship with the candidate at the beginning of your letter. This can give the recipient a better idea of who you are and why you are qualified to submit the letter. Establishing this introduction is vital to building the credibility of your letter.
What to include in a letter of recommendation
A letter of recommendation should include three parts: an opening, a body and a closing. However, within those components are subgroups of what content to include.
The components that every letter of recommendation should include are:
Official letterhead: From your school or business
Date: Entire month, day and year
Your name: First and last (and any credentials you hold)
Contact information:Phone number or email
Salutation: If possible, address the recipient by name
Introduce yourself: Your position and your relationship to the candidate
The recommendation: Describe the applicant, anecdotes and qualifications
Closing statement: Restate why you recommend the candidate
Sign off: Send a thank you and include a signature
Letter of recommendation template
You've been briefed on what to include in an effective letter of recommendation and the proper format. Take a look below for a flexible template you can tweak for each type of letter.
Phone Number/Email Address
Dear [appropriate title],
My name is [your name], and I am writing to offer my sincere recommendation of [candidate name] to [name of company/institution].
Over the past [amount of time you've known the candidate], I have gotten to know [candidate name] as his/her/their [your position].
In this capacity, I have had the opportunity to observe and interact with [candidate name]. I can say with confidence he/she/they make an excellent fit for [company/institution name] because of his/her/their [specific attributes].
[Dedicate one or two paragraphs illustrating specific examples of the candidate's character and performance. Remember to include a combination of anecdotal and quantitative evidence to form an entire picture of the candidate.]
It is my pleasure to recommend [candidate name] to your program, as I know his/her/their [one or two positive attributes] would contribute significantly to your community/company/institution.
[your name and credentials]
How you can write a great recommendation letter
Being asked to write a letter of recommendation will likely happen at some point. It is crucial to have a positive relationship with the candidate and enough experience with them to write a letter of substance.
Remember, when writing letters of recommendation, a strong recommendation includes:
Non-cliché candidate attributes
Quantitative evidence
Potential employers or future education institutions choose the candidate they think will be the best fit for them.
To do that, they must have a complete picture of the candidate. When asked to write a letter of recommendation, ensure you have the time to dedicate to the letter-writing process.
Explore the rest of Entrepreneur.com for more information on the job application process and other professional writing tips and tricks.
Related Topics:Employee Experience & Recruitinggr0Growing a Business
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Following its disastrous Christmas travel season, which saw the cancellation of 16,700 flights, Southwest Airlines is testing new software fixes — and facing an inquiry from the Dept. of Transportation (DOT) for "unrealistic scheduling of flights."
Lowe Llaguno | Shutterstock
CNN reports that the airline's existing software system will remain in place. However, changes stemming from Southwest's review include a new command center team, telephone system improvements, and overall improved preparedness for inclement weather.
In a Thursday call with investors, the Portland Press Herald reports that Southwest CEO Bob Jordan defended the company's systems and operating plans, saying, "Based on what we know at this point, our processes and technology generally worked as designed."
Southwest also announced Thursday that it had a third-quarter 2022 loss of $220 million in revenue. At the same time, Jordan assured investors that issues dogging the airline throughout the holidays won't "ever happen again."
Southwest had many cancellations over the holidays partly because their system requires crew members to call in instead of updating their availability electronically. On Thursday, the company's COO, Andrew Watterston, called that "a problem" and then elaborated, "It wasn't the problem for the situation. It was a symptom of the problem."
According to Jordan, switching to electronic notification will necessitate changes in pilot and flight attendant labor contracts. CNN says Southwest is currently negotiating to replace existing contracts covering various issues, including pay and benefits.
Despite tech failures, the Press Herald notes that Bob Jordan said Southwest would shell out $1.3 billion for its upcoming upgrades this year. The "recent disruptions," Jordan said, "will likely accelerate some of our plans to enhance our processes and technology."


Interior designers might spend months with their clients, so it's essential that they get the job done right. We asked three local interior designers what questions you should ask before you choose your own.
Asking a prospective interior designer what types of services they provide is a necessary first question, says Jacque Pitts, interior designer at Brashears Furniture (500 W. Trimble, Berryville, Ark., 417-818-6882, brashears.com). Some provide design services for everything from home design to hardware and materials, and others offer more simple decorating services.
Understanding a designer's process is a way to determine how they work, meet deadlines and deal with setbacks, says Crystal Shotts, department manager and kitchen and bath designer at Meek's Design Center (3231 N. Glenstone, Springfield, meeks.com, 417-889-1929). A quick conversation will let you know important details right away, such as what access they have to product lines, discounts and contractors.
What responsibilities will I have during the project?
Will you help me create budget?


Asparagus is a home garden favorite. Asparagus can be grown from seed but it is easier and faster to transplant roots into the garden. Plant in early spring for a small harvest in late spring. Asparagus is a perennial and will come back for years to come with larger harvest each year. Underground roots continue to grow each year. Root systems can get large and take over, sometimes it is best to plant in a contained area. Mary Washington is a popular heirloom variety.
Jersey Giant asparagus roots are a very high yielding giant asparagus that produces an abundance of flavorful and succulent spears!
The Jersey Knight asparagus roots yields 3-4 times more than any other variety! These predominantly male plants are disease resistant and vigorous growers.
The delicious, crisp, rich dark green Mary Washington is America's most popular asparagus plant for a reason! This perennial can be enjoyed year after year.
Millennium asparagus has become very popular in Canada and the United States for its productivity, tender high quality spears, and good flavor.
The popular mix is a selection of the best asparagus roots, Mary Washington, Purple Passion and Jersey Giant, for any home garden.
Purple Passion asparagus roots produce very nutritious and delicious dark purple perennial asparagus that are fun and colorful to grow in your garden.
The Purple Passion asparagus is a very nutritious and delicious dark purple perennial asparagus that is fun and colorful to grow in your garden.
The UC157 F2 asparagus is one of the most popular asparagus in the world for its early spears that have uniform light green, tight and tapering heads.