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Alumni profile: Dr. Susan Christie
What are you up to now?
I've been Chief Executive of the Northern Ireland Environment Link for over 20 years. It is an "umbrella body" for all organizations interested in environmental matters here. As a networking and policy voluntary organization (non-profit) it aims to bring a strong, independent voice for the environment to policy making at both political and practical levels. I came over to Northern Ireland to do post-doc research just after leaving Minnesota, and never left, moving into the environmental NGO sector after a couple years in research.
What do you like best about your work?
Probably the best part of the job is when you see the changes we've been working towards actually making their way into government policy. Unfortunately, it doesn't happen as often or as quickly as we'd like, but there have been notable changes in attitudes towards the environment and the speed of those changes seems to be increasing. Of course, that's largely because the severity of the problems is now so apparent that action is essential.
What are some important milestones since leaving CBS?
Deciding to stay in Northern Ireland and move from academia into the voluntary sector was certainly a major step, but I've never regretted it. It was during the height of the "Troubles" here, and watching, and participating to a very small degree, in the political changes as Northern Ireland develops its own government continues to be fascinating, but also frustrating.
In the early 2000's I did some research and education work on Soqotra, a Yemeni island off the Horn of Africa, which culminated in producing a book in Arabic on the ecology of the island and how to care for its unique biodiversity in the face of many challenges. It was distributed to every child on the island, but unfortunately it was not possible to follow up on this work as had been hoped. However, scientific and development work continues on the island, including some done by the Friends of Soqotra, a charity I helped to found.
I was named a Visiting Professor in ecology at the University of Ulster in 2003 and was awarded an OBE (a British government honor presented by the Queen) in 2008 for 'Services to the Environment'. I've been involved in the National Ecosystem Assessment for the UK, and was lead author of the NI chapter in 2011.
I've been very active in promoting climate change action, both mitigation and adaptation, for many years and am currently managing an intersectoral project promoting local action. I'm also active in promoting efficient resource management, deliver a major grant program to voluntary and community groups to carry out environmental projects and promote coordinated approaches to environmental education and archaeology.
What is your favorite memory of CBS?
I remember floating in a canoe on Lake Itasca in the middle of the night listening for frogs and watching the northern lights - that was pretty special. More generally the companionship and intellectual interplay with fellow grad students and professors was excellent. I was there during an exciting time in the field of behavioral ecology - selfish genes and sociobiology were new concepts - and helping to adapt these concepts into practical research was very satisfying.
What advice do you have for current CBS students?
Decide what you want to do, but if life throws up different opportunities and challenges, don't be afraid to change your direction. Be positive - look for what you CAN do, and how to work around obstacles to accomplish what you need to do. The world is a pretty worrying place at present, but the only way to solve problems is for everyone to do their bit as part of the wider need to change the way we live to be more resource efficient and to understand and care for the natural systems that support us all. Be positive and make a difference in whatever you choose to do.


Everyone is talking about Johnny Manziel's first session with the media as a member of the AAF's Memphis Express. His comments are being examined six ways from Sunday, and many feel he was taking a shot at the CFL when he explained how much he's enjoying a return to American rules football.
"Not seeing a 12th guy on the field, and not seeing an extra person. This is what I've done my entire life. This is back to the football that I know; protections, run game, the coverages. I know what I'm doing. I've played two years at a very high level and as high level as you can play in college football. I've learned this game to a point and that's the biggest thing. It's back to what I've known my entire life. It's not learning a new game. That's what it is."
As far as the rest of his session went, Manziel was happy with his first day.
"Fun day! Good practice," Manziel revealed. "I thought there was a lot of energy. Thought we did some good things. Fun. Everyday is going to keep getting better. Keep coming out and do what I can do to try and give my best everyday. It's all about effort. Come out, put all the effort in, put the time in in the playbook and come out and see if you can't execute on the field.
Manziel was asked if he's simply happy to have the pads back on.
"Yeah just the whole, what this is," Manziel shrugged. "Being around a team, being out having organized practices, getting reps, throwing routes, getting back into the mix. Felt a little bit rusty today but that'll wear off with getting to know these guys and getting to know the system a little bit better. As the days go on, each day will be better and better. I can promise you that.
"What I can do is come out and give good effort. I can come out and put time into my playbook, making sure I know things like the back of my hand. Come out and keep working everyday whether it's footwork, whether it's ball-placement, whether it's getting the ball to come out of my hand a little bit better which I feel it didn't come out as good as I normally throw it today. A new environment, a little bit windy, no excuses but I'm going to keep working at it everyday."
Could aspirations for expansion and rising salary costs and the major difficulty for star quarterbacks from American colleges adapting to the CFL game mean that someday down the road the CFL will drop from 12 to 11 players on the field? It would be very interesting to see how the game would change if this was to happen.
I have ZERO problem with what he said.
I agree with Russell. I don't take any offense to anything that he said there. Not a fan of him by any stretch and if I felt it was offside I'd be the first to say so but I don't think that was in any way shape or form carving up our league.
Not disappointed to see him go however. Overhyped from the get-go and never really did anything to endear himself to the league. I generally like to cheer for an underdog but they have to give me a reason to believe.
He basically never really got comfortable with our game is all I took from that.
This sounds like he is admitting he could not figure out the CFL game. It must have been too complicated for him!
I think all he did was admit he's too dim to play Canadian football.


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Marie "pathologization of female sexuality outside of
Marie Antoinette, a French-American-Japanese production directed by Sofia Coppola, was released in 2006 to mixed reactions, due to its anachronistic approach to the telling of the historical figure of Marie Antoinette. In the sequence between 51:10-55:30, there is a marked turning point in the narrative, where Marie Antoinette begins to understand her inability to fulfil her patriarchal role in aristocratic society, most importantly, her failure to produce a male heir. During the sequence, Coppola through costume and camerawork, elaborates on Coppola's position as a political pawn, whose place in aristocratic society is determined by her ability to fulfil patriarchal expectations. However, it becomes clear that Marie is unable to live both outside and inside of aristocratic society, thus caught permanently in a state of limbo. In spite of her attempts to break from the absurd rituals and practices that hold up bourgeois society by sexualising the ritual of eating in the dining room scene, she is unable to negotiate her position in aristocratic society, which Coppola emphasises by careful of shifts in focus and camera angles. The sequence is characteristic of the film as it makes the viewer understand Marie's plight by forcing the viewer to simultaneously experience her sense of extreme alienation, primarily through the use of re-framing and the marked absence of point of view shots. By the end of the sequence, her fate is sealed; her aspiration toward selfhood is futile in face of the patriarchy.
The beginning of the sequence marks a crucial turning point in the narrative, where Marie Antoinette's inability to produce a child and fulfil her duties begin to take a toll on her emotionally, and is reflective of the "pathologization of female sexuality outside of the parameters of reproduction and the treatment of maternal behavior as a public rather than private matter" (Kuperman, 2015). In the beginning of the sequence, we see Marie reading a letter from her mother detailing the successes of her fellow siblings in their marriages. The content of the letter is revealed through a voice of her mother, but the sound is edited so that her voices carries over into the frame of Marie Antoinette reading the letter, without cutting away to the mom, leaving the attention solely on Marie. The viewer is thus immediately immediately pointed to the fact that Marie is in "disparate spaces"(Rogers, 2006) but is "caught once again between Austria and France" (Rogers, 2006). The idea of being caught between two political forces reveals her position as a political pawn, whose position and status is determined by her sex and her ability reproduce— thus, "her body will no longer be her own" (Rogers, 2006). The soft piano piece that is layered against the voice over narration adds a further layer of complexity to her vulnerability— its melancholy and ponderous tone speaks for Marie in the place of words.
In addition, we see Marie Antoinette placed almost symmetrically in the middle of the frame; her confinement to the space mimics her sense of feeling trapped . The "symmetry and regulated shape indicate her new role" (Andersson, 2011). This symmetry and sense on confinement also is manifested through her costume— she is wearing a floral bodice, brocade skirt and dense petticoats. Her apparent unease and suffocation in the costume can be seen to reflect her precarious mental state, the bow tied around her neck further adding to this sentiment by being a "metaphorical noose" that demonstrates her "impossible situation" (Zender, 2011). After framing her in this confined environment, the camera begins to zoom in on Marie and pans downwards as she falls to the ground— the
pattern on her dress and the wallpaper seem to almost blend to one, as if she has "dissolved into her environment here; as she disappears into the very structure of the institution whose norms and codes govern her life" (Rogers, 2006). The camera then stops as she sits on the ground and begins to zoom in to a static close up of Marie's face. She is looking off the frame and into the nothingess: she is trapped in a " beautiful and gilded cage that crushes any specificity or individuality" (Rogers, 2006).
She thens turns her head to face the camera, but her gaze remains not fully directed into the camera. The fact that her gaze is slightly turned away from the camera is significant— in other parts of the film, she provocatively directly stares into the camera in moments of decadence and sexuality, explicitly acknowledging the male gaze and refusing to apologise for her decadence (Wilson, 2015). However, in this moment of self-reflection, she is unable to confront the gaze fully, instead momentarily resigning to her lack of agency. The moment reflects the complex dynamics of female agency in the movie, that despite her attempts to celebrate and empower her femininity, she is ultimately governed by patriarchy. In other words, there is a "mismatch between her subjective aspiration towards selfhood and the social imprisonment which seems to make that selfhood impossible." (Rushton, 2014).
The camera than cuts to the Marie and her husband in bed at night time, a recurring image in the film. The whiteness of her undergarments, coupled with the soft natural lighting that highlights her youthful features, underscore her "youthfulness and childlike inexperience", one that is sharply contrasted with the fact that "she is thrust into an international limelight filled with intense political pressures" (Zender, 2011). The king then begins to caress her face, presumably initiating sex with her. When he leans over, the camera quickly cuts to a close up, obscuring his face entirely, the low-key lighting instead shifting the focus to Marie's face. Despite it being obscured, Marie's facial expression is very noticeable: a mix of trepidation which then turns into anticipation as she smiles; Copolla is focusing on her "extreme isolation and alienation by immersing viewers in the subjectivity of the main character" (Rogers, 2006).
However, the camera cuts back into the previous shot as Louis XVI moves off of her, and he apologises repeatedly. Marie had answered to the call of her "virgin reproductive organs" in order to serve the "political machine of two ancien-régime superpowers", but despite her "valiant efforts to cajole the reluctant king into deflower her" she has "nonetheless failed " (Zender, 2011). She falls back into the bed, looking up into the ceiling, once again emphasising her sense of entrapment. Crucially, the floral motif of the wallpaper in the previous scene is also brought sharply back to focus in the frame. The floral motif here functions as an "ironic symbol of fecundity unrealized" (Zender 2011), one that is sharply juxtaposed with Marie's inability to produce an offspring. The shot lasts for a few seconds, and that stillness allows the viewer to contemplate the fundamental contradiction of Marie's character, where she permanently caught in a state of limbo: Her desire for selfhood is crushed by societal pressure, but even when she attempts to abide by what she is told to do by society (in this scene, producing the all-important mail heir), she fails. As Rushton notes: " Whenever she tries to do something that is motivated by herself, she is told not to do it; and here, from everywhere, even from her mother, she is told all of things she must do and which she has no choice but to do." (Rushton, 2014). Once again the viewer is alerted to the "impossible situation" (Zender, 2011) that Marie finds herself in, paradoxically unable to live inside and outside of aristocratic society.
Antoinette's growing sexual frustration and sense of alienation in aristocratic society is intensified in the next scene. The use of the long shot here, and the symmetrical framing allows the viewer to fully consider the elaborate mise en scene which Coppola has constructed. In the foreground, we immediately see imagery of bountifulness and colour, one that sharply contrasts with Marie's inability to produce an offspring. The rigidness of the framing, in which the centrepiece of the banquet is placed directly in the middle of shot, is one that mirrors the strict rules of bourgeois norms and rituals. The series of events that make up
the beginning of the scene are presented in an almost mechanistic order: a gun shot announces the beginning of the banquet, the two servers bow simultaneously, and Marie and her husband begin eating. The precision of this series of events that make up the ritual of eating bear no obvious meaning, but the very fact that it seems "mechanistic and enacted as a pure means to an end reflects the archaic and crumbling world which they support" (rogers, 2006). Despite the obvious absurdity of these constantly repeated rituals (Marie herself notes the ridiculous nature of them earlier in the film), it is a primary means in which the "increasingly obsolete world of Versailles is maintained and perpetuated" (Rogers, 2006).
However, through subtle use of focus and camera angles, Coppola shows Marie attempt to break from this "self-perpetuating machine running on empty" (rogers, 2006). The scene than cuts to a close up of Marie and Antoinette eating.
The camera has a slightly sharper focus to begin with on Louis, who is eating copious amount of food in a childish manner, one that contrasts with Marie's seductive bite into the pastry. Her act of watching, and the fact that she is in slightly blurred focus, means that despite her subtle transgression of bourgeois norms by sexualising the ritual of eating, her attempt to break free from the constraints of society are futile because she is nonetheless an outsider— her act of sexual transgression is neither seen nor heard. The camera then sharps its focus on Marie's face, now Louis' face is slightly blurred. This slight change in focus is characteristic of the film's camerawork, which is often searching and seen through a variety of viewpoints. Instead of the popular use of point of view shots or revealing her inner thoughts in order to convey the loneliness of a character (Rogers, 2006), Coppola uses here subtle changes in focus to highlight Marie's attempt to negotiate her position within bourgeois society. The use of the side angle here is also significant: we are looking at Marie look at Louis, preventing us from being fully immersed in Marie's perspective. This points to Roger's observation that "we understand Marie Antoinette's plight because we experience it for ourselves" (Rogers, 2006). Although we bear witness to Marie's alienation in bourgeois society, we do not sense that alienation directly through Marie's viewpoint, instead, her "state of loneliness does not simply belong to the protagonist, as it is intrinsic to our experience for the duration of the film: we are outsiders in this world as well." (Rogers, 2006)
The shot lasts only a few seconds before cutting back into static, symmetrical framing which opened the scene. The fleetingness of the moment points to Marie's situation: she is only momentarily able to challenge the boundaries set by bourgeois society. The scene ends on a comic note: the Comtesse de Noailles running into the room to announce the arrival of the Comtesse de Provence's baby. The camerawork takes a noticeable shift in these moments from the static framing which made up most of the scene: Coppola applies a tracking shot as the Comtesse de Noailles runs into the room, and then the camera pans up and down as the Comtesse bows. This injection of humour, amplified by the Comtesse's exaggeratedly stilted delivery, serves no specific narrative purpose other than to point the comic nature of the rituality at the centre of bourgeois society, which is "mechanistic and routine, if not otiose" (Rogers, 2006).
As if her alienation is not bad enough, the arrival of the Comtesse's pushes her to her emotional and mental limit: she has failed to abide by the standards of womanhood set by others. After going to greet the Comtesse after the arrival of her baby, the camera abruptly cuts to Marie walking through the hallways. Here, Coppola employs a tracking shot as Marie moves toward the camera. She is moving quickly people who whisper behind her back, but as she approaches the camera she begins to become more and more compressed in the framing of the shot, manifesting her sense of increasingly being squeezed and suffocated by society. Here, Coppola contrasts the fast movement of the camera with compressed framing; despite trying to run way as quickly as possible from the society that oppresses her, she becomes more and more sucked into its hermetic world the faster she tries to escape. Once again, Coppola is caught in an impossible situation, whereby the more she attempts to escape society, the further she becomes entangled in its web. The subtle change in lighting exacerbates this: the "natural" lighting that pours in through the arches becomes gradually darker as she approaches the camera: despite her attempt to move away, her situation is progressively more and more desperate.
The use of sound is also particularly predominant in this scene. As the joyous bells ring prominently in the background, Marie Antoinette is surrounded by vicious chatter and gossip about her inability to produce an heir. First, one lady in the left hand side of the frame whisper to the lady next to her: "What do you expect, she's barren". Although they were presumably speaking quietly, her comment is clearly heard by the viewer, given high presence in the sound mix of the diegetic sounds. This play with sound serves to foreground the relentless nature of gossip which surrounds her at all times, and further cements her as an outsider— as anthropologist Max Gluckman notes, "there is no easier way of putting a stranger in his place than by beginning to gossip" (Gluckman, 1963). She is then met by another piercing barb, louder then the one before it: "give us an heir!". Two more ladies walk past her, whispering indecipherably. Here, Marie is caught in a cacophony of sounds coming from all sides, which vary in degrees of loudness, but serve to emphasise the fact "there is here no sense of Marie "speaking together. It is instead a manner of being spoken to or spoken of" (Rushton, 2014). She is unable to speak back, rendered silent and "confined or concentrated to a state of isolation so extreme as to portray and partake of madness, a state of utter incommunicability, as if before the possession of speech" (Cavell, 1994).
She then runs into a room and begins crying, realising the full weight of her failure to fulfil
her duty in patriarchal society. Here, Coppola presents a defined series of alternating camera angles in order to re-frame Marie in the space and her succumbing to the governing codes of aristocratic society . She begins with a close up of Marie Antoinette, the camera tracking her anxious and aimless movements. As she falls to the ground, the camera employs a medium shot, revealing her encroaching body language, heightened by the confinement of the two gold lines of the wall which she is placed against us. Finally, the camera then cuts to a long shot, with Marie placed on the corner of the room, a diminutive figure against the grandeur and high ceilings of the room. This series of re-framings serves to de-center the viewer's gaze: as Pascal Bonitzer notes, "The eye accustomed (educated) to center right away, to go to the center, finds nothing and flows back to the periphery" (Beugnet, 2004). By "throwing the viewer's gaze into crisis" , we visually are not only pointed to the "the main character's vulnerability within an implicitly patriarchal structure" but it ""also engenders feelings of displacement and anxiety within the film viewer as well" (Rogers, 2006). Once again, Coppola makes the viewer understand Marie's plight by forcing the viewer to simultaneously experience her extreme alienation. Rendered a nearly indecipherable figure in the immense diegetic space that surrounds her, it is here that the viewer comes to understand that the heroines of Coppola's film, Marie included, "exist mostly in their inner minds, unable to connect to the world that surrounds them. Having no equals in the world with whom to share themselves, they are severed from an intellectual life that would allow them to speak themselves into existence' (Lane and Richter, 2006).
In conclusion, the sequence between 51:10-55:30 cements Marie's confinement to a patriarchal society, which makes her aspiration toward selfhood impossible. In the beginning of the sequence, Coppola, through the use of framing, costume, and sound-editing, Coppola introduces Marie as a political pawn, whose position in bourgeois society is determined by her ability to fulfil her patriarchal duties, the most important of them, to produce a male heir. However, as she attempts to fulfil her patriarchal duties in the attempted love-making scene in her bedroom with her husband, despite her best efforts she is unable to, calling to mind Rushton's observation that she is an "impossible situation" (Rushton, 2014), paradoxically unable to live both inside and outside of society. In the dining room scene, there is an emphasis on the rituals and practices that maintain the crumbling aristocratic society— although Marie attempts to break free from them, through the sexualising of her eating, she is still caught in a sense of extreme alienation, which Coppola emphasises through shifts in focus and camera angles. The arrival of the Comtesse de Provence's baby pushes her to emotional limit as she runs into an empty room. Through a series of re-framings, in which the viewer's gaze is de-centered, Coppola, as is characteristic of the entire film, engenders the feeling of displacement within the viewer which Marie herself feels. Though later Marie is able to produce the all important male heir, it is during this sequence that we can come to understand that there is a fundamental "mismatch between her subjective aspiration towards selfhood and the social imprisonment which seems to make that selfhood impossible." (Rushton, 2014).
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Syrian air defences claim to have shot down 13 incoming missiles as the U.S., France and Britain launched air strikes near Damascus, Syrian state media said on Saturday, April 14. More than 100 missiles were fired from ships and manned aircraft and the allies struck three of Syria's main chemical weapons facilities. Representatives of coalition forces have said the strikes are in response to a poison gas attack by the Syrian military against civilian targets. Speaking from the White House on Friday, president Donald Trump announced the military action, and said its intention was to degrade Syrian chemical weapons capabilities. "The combined American, British and French response to these atrocities will integrate all instruments of our national power: military, economic and diplomatic," Trump said in the national address. "We are prepared to sustain this response until the Syrian regime stops its use of prohibited chemical agents," he said. Trump said the three allies had "marshaled their righteous power against barbarism and brutality." British Prime Minister Theresa May described the strike as "limited and targeted." She said she authorized British forces to join in the strikes after intelligence indicated Syrian president Bashar al-Assad's government was responsible for an attack using chemical weapons in the Damascus suburb of Douma a week ago. French President Emmanuel Macron said the strikes had been limited so far to Syria's chemical weapons facilities. The Syrian foreign ministry issued a statement saying that Saturday's strikes against Syria would not have any impact on the Syrian army's resolve to fight against militants and restore control of the country. "The barbaric aggression ... will not affect in any way the determination and insistence of the Syrian people and their heroic armed forces," state news agency SANA cited an official source in the ministry as saying. The targets included a Syrian center in the greater Damascus area for the research, development, production, and testing of chemical and biological weaponry as well as a chemical weapons storage facility near the city of Homs. A third target, also near Homs, reportedly contained both a chemical weapons equipment storage facility and a command post. Reuters contributed to this report.


My father came to the United States in 1967–fifty years ago next month, and just a few years after LBJ had signed the Immigration and Nationality Act of 1965 into law. This law made a drastic change in the so-called National Origins Formula that our country had in place before then, whose primary aim it had been to prevent immigration from changing the ethnic distribution of the population. Imagine that! At the time of that original formula's enactment in 1924, the ethnic distribution here was 89% white and 13% foreign born according to the Census Bureau.
Now despite the above, and despite the Voting Rights and Civil Rights Acts, LBJ was no hero–one need only mention America's favorite chemical weapon of the rocking 1960's, the first Agent Orange. But the hidden agenda of the Immigration and Nationality Act was twofold (and neither fold was altruistic): the President wanted to deflect attention from Vietnam while cementing a long-standing narrative–the race to keep up with the Soviets; and the industry titans of our rapidly expanding economy wanted a serious injection of workers that the American educational system seemed incapable of producing in sufficient numbers. So here entered from stage-right the highly skilled immigrant labor force.
In those fifty years since my father arrived from India, the American population has soared to 325 million, and while we're still at only 13% foreign born inhabitants, the percent of the population that's white has dropped to about 75%. That's one sign of progress, I suppose. The Asians represent 5.5% of the tally, which is 17.4 million people, and since we're talking today about being Indian and belonging, let's break it down even further: at 3.1 million bodies, we subcontinenters represent just under 18% of all Asians in the US (#3 in fact, behind the Chinese–we're always behind the Chinese aren't we?–the surprise silver-medalists are the Filipinos). So Indians and Indian Americans make up a total of 1% of the US population. Interestingly, the American-born Indians are only 13% of the 3.1 million Indians here.
So if we forcibly slog down the road of blind income generation…well, history has taught us that we can then quite easily get caught in the downward coarseness of counting only our money, and in that coarseness we become a philistine people who shun our capacity for subtle thought. It's my belief that the greater one's capacity for subtle thought, the more profound the cancellation of one's insularity. In other words: if you live to work and count your cash, you lose your innate compassion fast!
A few weeks back I had the privilege, thanks to the local Anindo Chatterjee Institute of Tabla here in Seattle, to witness the sublime artistry of Shahid Parvez Khan, the sitar maestro and seventh generation member of the Imdadkhani gharana (house or family of music). He had dedicated his performance to the late Kishori Amonkar of the Jaipur gharana. For anyone who hasn't heard of these musicians, please do look them up. It struck me as that concert ended–and not for the first time–that the United States is not India. What I mean by that statement is that our community here has no longstanding musical or artistic gharanas. There's no such tradition, just a few one-offs, a Vijay Iyer here, an Asmita Pathak there; the former is a jazz pianist and composer, the latter–my mother–plies her art through a songbook of memory that stretches from Gujarat to the icy reaches of Maine, where she lives. You should meet her–her insults against my dad in a soaring raga gujari todi are legendary.
It may seem unnatural, against custom, but we don't need the tradition of a gharana to produce more artists amongst us Indian Americans. We need only to reverse the failure of our collective imagination. The failure that tells our children they need to strive first and foremost for financial success. The failure which puts such perverse ideas into our children's minds that they say things like, I love quantitative finance and accounting. That's akin to the poor young white man who says, I love coal mining. It's one thing to love theoretical mathematics or landscape architecture, but it's unacceptable to raise children who love investment analysis or industrial labor. Such a child, regardless of ethnicity or culture, has been failed by their family, their community, their country.
I encourage everyone here today, myself included, to expand beyond the limits of our self-imposed identities. There are none. Let's teach our children the value of a career in the arts, and teach them not to be ashamed of earning less than the median income level. Thank you.
Monal Pathak is a playwright & novelist in Seattle. He was born & raised in Maine.


Does the thought of teaching science make you squeamish? Do you feel unprepared to guide your student through the creation-evolution debate?
Like many other homeschooling parents, you may be hesitant to dive into scientific studies and wade through evolutionary "evidence" that permeates our common culture. But did you know there are thousands of marine creatures whose existence and attributes contradict the theory of evolution?


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Law Firm Disqualification Fights — Conflicts Allegations in Bankruptcy and Title IX Matters
Posted May 5, 2021 April 29, 2021 Dan Bressler
"Law Firms in Hot Seat: Lowenstein, Porzio Sued Over Alleged Conflict in Bankruptcy Case" —
"New Jersey-based law firms Lowenstein Sandler and Porzio, Bromberg & Newman are accused in a suit of breaching their fiduciary duties to shareholders in the bankruptcy of pharmaceutical maker Aceto Corp."
"The suit, which concerns the award of $13 million in legal work by a bankruptcy plan administrator who was hired as a partner in the firm getting the work, could be a serious distraction for the defendant firms."
"Lowenstein's work for Aceto general counsel Steven Rogers, the bankruptcy plan administrator, coincided with Rogers' employment as a Lowenstein partner, the suit said. By failing to make timely disclosure of Rogers' status as a Lowenstein partner, 'Lowenstein intentionally put itself, and Rogers, in positions of divided loyalty,' the suit claims. And by failing to report that divided loyalty to beneficiaries of the bankruptcy plan or to the court, Porzio 'acted to perpetuate the Rogers-Lowenstein conflict,' the suit claims."
"Rogers, for his part, was removed from his position as plan administrator under an agreement approved on Oct. 16, 2020, after the oversight committee in the case raised objections to his relationship with Lowenstein. The agreement called for Rogers' replacement, a company called BAK Advisors, to conduct a review of fees awarded to Lowenstein in the case."
"A Lowenstein spokesman said in a statement about the suit, 'Lowenstein is proud that the Aceto bankruptcy case has had a highly successful outcome to date, well-exceeding the expectations of all stakeholders. At the end of the day, it is expected that all of Aceto's creditors will have been paid in full, and that there may well be a sizable distribution to Aceto's former public shareholders. The bankruptcy court has expressly recognized this successful outcome. The newly filed class action is the fifth or sixth attempt by these plaintiffs to improperly steer funds to themselves through a questionable penny stock strategy… These claims recycle spurious allegations made in a prior lawsuit that is currently the subject of a dismissal motion and is in mediation.'"
"Attys From BYU-Idaho Title IX Suit Won't Be DQ'd" —
An Idaho federal judge has agreed that a law firm is conflicted by representing both Brigham Young University – Idaho and the Church of Jesus Christ of Latter-day Saints in litigation involving allegations that the school failed to properly respond to reports that a late professor sexually abused a student, but declined to disqualify the firm from the case."
"Rather than toss Kirton McConkie, U.S. District Judge B. Lynn Winmill opted Friday to order the firm to maintain two separate sets of attorneys for its clients in the case and to ensure that they do not share with each other certain privileged information involving the student, according to his opinion."
"The privileged information concerns communications between the former student, Lori Stevens, and a church official and a bishop that the church and its attorneys possess, according to court documents. Judge Winmill noted that the church and its attorneys have promised they will not share the information with the school and its attorneys."
"The church intervened in the case in February 2018, saying that Stevens had requested documents held by the church that are privileged. The disqualification fight is rooted in the fall 2020 move of three attorneys for the university, Wade Woodard, Steve Andersen and Christine Arnold, from Andersen Schwartzman Woodard Dempsey to Kirton McConkie. Stevens urged the court in November to disqualify Kirton McConkie, as there was a danger that the privileged documents could fall into the school's hands, despite the firm's assurances that it would implement a firewall between the attorneys representing each party."
⟵Conflicts Cure Attempt — The Pinky Promise Gambit Goes Bad
Event — Risk Round Table Webinar on "Sneaky Lawyer Intake Tricks"⟶


"In Germany, we found three times more polypropylene packaging material in the mixed waste than in the yellow bin where it should be, and it's even worse in other countries, such as America," says Jrgen Priesters, TOMRA's Business Development Director Recycling.
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Designed for a maximum net film width of 3,250 mm and an output of up to 1,288 kg/h, each of the line will produce about 300 metres of film per minute." WH, based in Germany, will continue its long-standing relationship with Scientex by providing the latest machinery for PE film production, including a Varex II 9-layer blown film line.
There is every possibility that India has the highest recycling rate for polyethylene terephthalate or PET, a kind of plastic used to for manufacturing drinking water bottles and food containers.
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Featured Articles Recycling. We have made progress in some areas, but the recycling rate for plastic bottles hovers around 25%. The recycling rate for all plastics in 2008 was 7.1% leaving 28 million tons to sit in landfills and dumps.
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https://www.thetelegraph.com/sports/article/Andretti-mourned-by-racing-world-promoted-15020469.php
Andretti, mourned by racing world, promoted WWTR's first oval race
Famed driver helped local trackpromote first oval race in 2013
Staff, wire report
Published 1:51 pm CST, Friday, January 31, 2020
John Andretti watches during practice for the 2010 Indianapolis 500 auto race at the Indianapolis Motor Speedway in Indianapolis. Andretti, a member of one of racing's most families, has died following a battle with colon cancer. He was 56.
John Andretti watches during practice for the 2010 Indianapolis 500 auto race at the Indianapolis Motor Speedway in Indianapolis. Andretti, a member of one of racing's most families, has died following a
Photo: AP Photo
The auto racing world is mourning John Andretti, a member of one of the world's most successful racing families. He passed away Thursday after a three-year battle with colon cancer.
Tributes have come from far and wide, including from the staff staff and management of World Wide Technology Raceway in Madison, which issued a statement on Andretti's death. Andretti was instrumental in promoting the first IndyCar oval race at the track in 2013.
"This is heartbreaking news," the WWTR statement read. "John was a talented, versatile and winning driver. But he also was a tremendous help to us in promoting our first oval race at World Wide Technology Speedway in 2013 after the purchase of the facility. He also worked closely with our team on charity programs for children in our area. We will miss him, and our thoughts are with his family at this difficult time."
Andretti passed away at age 56 following a lengthy battle with cancer. The nephew of Mario Andretti and cousin of team owner Michael Andretti, John also competed in NHRA drag racing, the IMSA GTP Series and Rolex Sports Car racing. Among his victories were the 1991 IndyCar race in Australia and the 1997 NASCAR Cup Series Pepsi 400 at Daytona.
Andretti carved out his own niche in one of the world's most successful racing families.
He became the first driver to attempt the Memorial Day double. He won on dirt tracks, street courses and superspeedways. He won an endurance race, competed in dragsters and became an iron man in IndyCar and NASCAR. And he used his platform and passion for racing to help others.
"He fought hard and stole back days the disease fought to take away," a statement from Andretti Autosport said. "He helped countless others undergo proper (colon) screening and in so doing, saved lives. We will forever carry with us John's genuine spirit of helping us first and himself second."
The Pennsylvania native embraced the family business. John's father, Aldo, grew up racing and his uncle, Mario, became an international celebrity after winning the 1969 Indianapolis 500 and 1978 world championship.
Andretti's cousin, Michael, competed in Formula One and led more laps in the Indy 500 than any other race non-winner before turning team owner and winning the marquee race five times.
His nephew, Marco, Michael's son, finished second at Indy as a rookie in 2006 and has since posted four more top-five finishes at Indy.
Jarett Andretti, John's son, made his Indy debut just last May in Indy Lights. Jarett finished sixth in the race as he became the seventh member of the Andretti family to race at Indy.
"It's very important for me, personally; me and John are very, very close, we've been close our whole lives, growing up together," Michael Andretti, Jarett's godfather, said in announcing the deal. "To help bring one of his dreams come true is very satisfying He's always had a dream to see his son drive for Indy and I am glad we are making it a reality this year."
The soft-spoken, genteel and popular John Andretti took a different tack in adding his chapter to the family legacy.
Andretti competed in USAC sprint cars on dirt then won the 1989 Rolex 24 in a sports car before moving full-time to IndyCars in 1990. There he started 49 consecutive races over the next three seasons, where his warm personality turned him into a fan favorite.
In 1994, Andretti made history by becoming the first driver to compete in the Indianapolis 500 before flying to Charlotte, North Carolina, for NASCAR's 600-mile night race. Andretti finished 10th in Indyand wound up 36th at Charlotte, completing 220 of 400 laps before a bad crankshaft knocked him out.
"John Andretti embodied the spirit of a champion and inspired an entire fan base through his courageous battle with cancer," NASCAR President Steve Phelps said in a statement. "He was a fierce competitor throughout his life, and we are saddened by his passing."
In 2007, John, Michael and Marco all started in Indy's traditional 33-car field.
Andretti is survived by his wife, Nancy, son Jarett and daughter Olivia.
"Godspeed John Andretti. My first IndyCar teammate. A true racer and great human," former IndyCar driver and current team owner Bryan Herta wrote on Twitter. "I am heartbroken for Nancy, Jarett, Olivia, Amelia, and the entire Andretti family. I will miss your sense of humor the most."
Information from AP,World wide Technology Raceway and staff.


Venice has long enjoyed a reputation as one of Italy's foremost tourist destinations. Located in the region known as "Veneto" the city's geographical map of tight waterways is zipped together with puzzle-like lagoon islands that border the Adriatic Sea. Spread out over this lagoon area is the city of Venice. The low-lying area enjoys a climate that ranges from temperate in the spring and summer months to cold and uncomfortably damp in the winter. Tourist travel is brisk during the summer, so travel and sightseeing is easiest in either spring or fall.
Ancient Venice came under the supreme power of the Roman Empire. The Roman rule spread over the entire Mediterranean region from 700 BC until around 500 AD. Though the center of the Roman Empire eventually became Rome, and the capital of Italy, Roman Emporers nevertheless spent centuries developing this northeastern area of the country. The area's coastal waterways and the large Po river--one of Italy's largest-- were attractive to them for the potential they held as a major trade route into the East and Europe. The hilly, fertile region inland from Venice also made it possible to develop agriculturally. Instrumental in the development of wine-making, Ancient Romans saw to it that a wine culture developed and thrived. Today the region around Venice is one of Italy's foremost wine regions. During the Renaissance, Venice became affluent in arts, culture and exotic trade goods.
Because of Venice's proximity to the Alps and the countries of France, Switzerland, and Austria, her political history has been colorful. The area was an active one during the Crusades. Venice has a long and unique Jewish history, and has fallen under the reign of both Napoleon and Austria before ultimately declaring itself the nation of Italy in the mid 1800's. Venice has enjoyed the reputation for being relaxed in its attitudes towards religious tolerance and social diversity. Perhaps this is why it was a central city during the Renaissance, an era made famous for its cutting-edge philosophies, art works and political and social conventions that have gone on to shape most of Western civilization as we know it.
Today, Venice is the final destination for many and affords easy access to both the southeastern Alps and sandy Adriatic coastline. The city, famous for its romanticism, cuisine and characteristic gondolas and waterways, boasts a thriving economy. Boundless opportunities exist for enjoying local nightlife and exploring the variety of shopping venues and historic palaces that meander along the Grand Canal.


The Best 269 Apps for "Live Channels" in Video Players & Editors, reviewed and ranked for you from over 6 million apps, in 600 categories.
Enjoy your favorite videos and channels with the official YouTube app.
The account system, and the subscriptions main page arw both very useful and easy to use!
This is a great app! My favourite pastime and I reach out to this for informative videos!
Able to play all video formats, like mov VOB mp4 etc. The UI is useful and easy to use.
Worst,how 100m people can download it,there are all time appear many ads in this app.
This app is hilarious and awesome to play around with. Haven't had any issues so far".
It's an awesome app... Best time pass I have ever come across!!! Loving it!!!
Super bad quality in both videos and the sounds. I can't do bad quality like that.
Screen recorder, video editor & live creator to capture HD screen videos!
This app is Awesome for Youtube, Editing Videos, Recording and it's very easy to use!
This the best recorder for me it's so very smart and good and great they have a editor !
Its easy to use and thanks to this I hit 1 million subscribers i love it and its ad free!
Great app! I can live stream my phone activities for YouTube, and create music videos!
Very nice app and easy to use, free ads ,best recorder, good features, good editor.
Best video player available. Not the best music interface. Not easy to create playlists.
That's osm i m agree with it he is very good music app..... suparrr service.
This app made my phone much smarter and it is efficient and fast in playing hd videos.
458 users said "funny videos"
I am download dis app just so i can give u 1 star cause ur annoying ads.
4,207 users said "best torrent app"
So many ads, it's painful to use the app! Sorry but switching to another torrent client.
First, we ran a broad search across our database of 7 million apps to identify apps with "Live Channels" feature. We obtained 269 apps as candidates.
We then selected the highest quality apps from the 269 apps listed. We compared the number of stars, downloads, and reviews along with the velocity of these apps to create a list of the Best 269 Apps for "Live Channels" in Video Players & Editors for both Android & iOS.
269 Apps & Games Related to "Live Channels"
Professional-grade audio enhancements at the touch of a button, available on demand for all your personal video mixing needs.
You become the movie director using nothing more than a smartphone when you download one of these top-ranking video editing apps.
Time to trim! Clip and crop your videos or movie clips, split and splice your favorites, create montages and more with these top-ranking video cutter apps.
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Watch your favorite shows, video downloads, streaming content, and more from the most unique and highest-rated media players on the market today.


This fund has been set up by the Trenary family to honor Greater Memphis Chamber president & CEO Phil Trenary's legacy.
If you have a fund at the Community Foundation and would like to donate in memory of Phil Trenary, you can give online from your fund. Log in below to recommend an Inter-Fund Grant to the Phil Trenary Fund for the Advancement of Memphis.
If you do not have a fund at the Community Foundation, you can give online through our secure portal.
Our city mourns the passing of Phil Trenary, visionary president and CEO of the Greater Memphis Chamber. Under Phil's guidance, the Chamber recruited or retained more than 29,800 jobs and more than $3 billion in capital investment through economic development efforts that have impacted communities all over Memphis and Shelby County. Phil was a passionate advocate that change happens when the private sector was empowered as a player in shaping the city's future. It was under Phil's leadership that the Chamber launched the Chairman's Circle, a group of Memphis business leaders dedicated to moving Memphis forward.
Phil had been a leader in the aviation industry since his first solo flight at age 15. He founded and led multiple airlines throughout his career, including Exec Express, Lone Star, and Pinnacle, a regional airline with 7,700 employees well-recognized within the industry. He was nationally recognized for his leadership in this field, having served as Chairman of the Regional Airlines Association, appointed to the National Commission on Small Community Air Service, and named to the FAA's Management Advisory Council under two administrations, serving as an active member under current Secretary of Transportation Elaine Chao.
Phil was an active part of the community during his 21 years in Memphis. He was open-minded and passionate about anything that could move Memphis forward, from education to sports to music and anything in between.
He was a loving father to three children, Justin, Brittany, & Pearce, and two grandsons, Jacks and Lawson.


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Clare and Sam earn their stripes in rehearsal.
Learning to learn and learning to lead
The 2018-19 Fellows hold Section Leader roles in the 2018-19 National Youth Choir as part of their programme. At the end of November, they met to rehearse and prepare as an octet before taking charge of their sections for the first time at the National Youth Choir's 'Discovery' weekend at Trinity LABAN. Danni O'Neill reports on the Fellows' preparation and Ailsa Campbell describes the weekend with the full ensemble.
Danni: We began by each throwing a warm up into the mix, be it vocal or physical, and then got singing almost immediately. We were in the groove in no time, leanring where each of our voices fits with each other's, and the different sound worlds needed for each piece. The Christmas spirit took us (perhaps a bit too keenly for the 16th of November!) with 'In Dulci Jubilo' and we worked particularly hard on finding a more upbeat tempo, so as not to drag when the notes become longer, with an internal pulse kicking throughout the group. We then tested ourselves further by moving from the church hall into the body of the church, getting a boost in terms of listening to one another and becoming aware of how our sound as a group, and our perception of our sound, change in a different acoustic and scenarios.
The collaborative nature of the group meant that everyone fired off ideas and became quite immersed in the rehearsal progress, all as leaders and supporters. I was lucky enough to stand in the centre of the group with my eyes closed as they sang 'If Ye Love Me' by Thomas Tallis. The 'surround sound' gave me clarity of each voice part and insight into how the balance and different vowel sounds were really starting to connect through the group.
It's early days but the group already has some clear favourites: Judith Weir's 'Love Bade Me Welcome' and Toby Young's arrangement of an Angélique Kidjo song, 'Kelele'. The Weir presented its challenges with some scrunchy chords and notes that didn't sit particularly well at the start so we broke these down, part by part, and built up the tempo until we had finally settled into the right place. It is a piece that, once you've cracked it, becomes a very rewarding sing with a storyline full of contrasting dynamics. 'Kelele' on the other hand was challenging in terms of balance but we settled into tempo with ease and were bopping from the first 'HUH' clap. Again, we built this up part by part, and also broke it down and slowed it down again to really isolate and own some of the particularly fun chords that normally pass so quickly - a great way of falling even more in love with the music!
To be part of a group that is so ready to learn and be mentally in tune with one another is very exciting and I am so looking forward to seeing where this year takes us.
Ailsa: What an exciting first weekend! Meeting my section for the first time was something I had been looking forward to for a long time, and it did not disappoint. Luckily, we didn't immediately need to rehearse any music in sectionals, so there was time to get to know everyone, learning names, favourite drinks and what we had been binge-watching recently.
The 'Discovery' weekend gave us all some great opportunities to learn about different styles of music and singing, led off by Bazil Meade, the leader of the London Community Gospel Choir. He ran an invigorating workshop with us that really got us moving and gave tenor Fellow Ben Munden a chance to show off his belting abilities. Then Chithra Ramakrishnan showed us the basics of Carnatic singing from South India. The whole choir were in awe of her beautiful voice and all the ornaments she was able to do effortlessly. Next up was a very active session on stagecraft with director Tom Guthrie, introducing us to the importance of taking responsibility as an performer on stage. This session got us connected, grounded, and for me, inspired to perform and communicate in everything that I sing! Nicki Kennedy gave us a great vocal health session, featuring a surprising number of gorillas and a lot of great tips for keeping us all healthy on these intensive courses. This was really helpful for me as a section leader so I can remind or help my section if anyone is feeling vocal fatigue. We also voted for our new member representatives, who will work with the NYCGB staff to make sure each section's opinions and feedback are heard.
As my first experience of section leading, it wasn't nearly as stressful as I thought it would be, thanks to the relaxed atmosphere for the weekend and all the lovely people in each section. It was a great introduction into the role and I can't wait for the next course!
Gallery: National Youth Choir 'Discovery' weekend
Published: 5th December, 2018


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The Chicago Way In The White House:"Business Background Defines Chief of Staff"
The New York Times explains the "background" of Obama's new chief of staff, William M. Daley:
He is a top executive at JPMorgan Chase, where he is paid as much as $5 million a year and supervises the Washington lobbying efforts of the nation's second-largest bank. He also serves on the board of directors at Boeing, the giant military contractor, and Abbott Laboratories, the global drug company, which has billions of dollars at stake in the overhaul of the health care system.
Funny, I always thought Bill Daley was a big shot (e.g., he's head of JP Morgan Chase's "Office of Corporate Social Responsibility") because his father had been mayor of Chicago for 20 years and his brother for 22.
Obama's chief of staff picks (first, Rahm Emanuel, now a Daley) suggest he still doesn't seem to know many people outside of Chicago. It's not like he knew Emmanuel or Daley well in Chicago, it's just that he knows them less less well than non-Chicagoans. Who will be Obama's next chief of staff? Mike Ditka? Oprah's friend Gayle? Stedman Graham?


text:
From Bergamo to Beijing, Italy aims for more Olympic success
The endless cacophony of ambulance sirens. The convoys of military trucks carrying away the overflowing coffins. The funerals — or lack thereof. Nobody who lived through the initial wave of the coronavirus pandemic in Bergamo — the first epicenter of COVID-19 in Europe — will ever forget it. For Sofia Goggia and Michela Moioli, the city's two Olymp...
Trento in northern Italy is big on tradition, quality food, and festive cheer
Century-old pine trees that line my path hunch over, their branches weighed down by a heavy dusting of snow. In front of me, the sun is piercing through an opening. Climbing this trail with chunky "snowshoes", like tennis rackets, strapped to my feet is tough work, but the breathtaking views of Italy's white-tipped Dolomites that await make the eff...
Winter sports - Italian Sofia Goggia heads to top of overall rankings with win in Val D'Isère
Italian Sofia Goggia was top of the podium once again in the downhill event at the Alpine Ski World Cup in Val D'Isère, France. The 29-year-old won her seventh consecutive downhill event, showing the sort of form that makes her favourite to defend her Olympic downhill title in Beijing in two months time. She finished in a time of 1:41.71, comfortab...
Italian land and nature: The best places where to ski in central-southern Italy
Spectacular ski runs and engaging trails, where to devote yourself to ski as well as to freeriding, cross-country skiing, snow-kiting or take on an exciting off-track ride: in central and southern Italy there are many (sensational) destinations where to enjoy snow sports. The most renowned destinations include Gran Sasso and Mount Etna, Aspromonte...
Five of Italy's Best Ski Resorts Reachable by Train
Ski season is already in full swing in Italy thanks to early abundant snowfalls and ski aficionados are happily back on the slopes. Going on a ski vacation using only public transportation is easier than ever in Italy, with many famous ski resorts well connected with regular and specially scheduled trains and buses. Ditch the car and, not only will...
The 5 best mountain destinations in Italy
Since 2003 the General Assembly of the United Nations has instituted the International Mountains Day, lest we forget that even these imposing, eternal wonders of nature, now more than ever, must be guarded and protected. Italy is home to some of the most important peaks in Europe, immense resources of biodiversity, beauty and culture. These complex...
Your dream Italian winter vacation: Val Gardena
Italy's Val Gardena is a spectacular choice for a vacation in the snow. When it comes to skiing, hiking and exploring nature, it is unparalleled. Nestled in the UNESCO-protected Dolomite mountains, it's one of the most famous places in Italy and Europe as a winter resort. This lovely alpine valley is the perfect place to get moving in the snow or r...
Sofia Goggia wins super-G, goes 3 for 3 in Lake Louise
Sofia Goggia captured a World Cup super-G win on Sunday to go 3 for 3 in races at Lake Louise. The 29-year-old Italian finished in 1:18.28 seconds on a cold day to beat Swiss racer Lara Gut-Behrami by 0.11 seconds. Mirjam Puchner of Austria, starting 29th overall, finished in third place, while two-time Olympic champion Mikaela Shiffrin wound up in...
Italy's Sofia Goggia dominates season-opening World Cup downhill in Lake Louise
Sofia Goggia was in a class by herself in the season-opening women's World Cup downhill Friday. The Italian's winning time in Lake Louise, Alta., was almost a second and a half faster than runner-up Breezy Johnson of the United States. In a sport where competitors are often separated by hundredths of a second, the reigning Olympic downhill champio...
Queen Of The Dolomites: This Mountain Town Is Italy's Most Scenic Winter Destination
Who never wanted to take a winter holiday trip to the inside of a chocolate box painting, or maybe a 007 snowy landscape backdrop? (Minus all the explosions and chase scenes on the ski slopes, of course.) In Cortina d'Ampezzo, a beautiful valley city with over a thousand years of history, home of the majestic Queen of the Dolomites Alps, you can! M...


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IN ANY CASE, GAPTIME CENTURY OY AND ITS AFFILIATES' AND LICENSORS' AGGREGATE LIABILITY UNDER THIS AGREEMENT WILL BE LIMITED TO THE AMOUNT CUSTOMER HAS ACTUALLY PAID US UNDER THIS AGREEMENT FOR THE SERVICE THAT GAVE RISE TO THE CLAIM DURING THE 6 MONTHS PRECEDING THE CLAIM.
Gaptime Century Oy may modify this Agreement and other Agreement Documents at any time by notifying the Customer in writing by posting a revised version of Agreement on Gaptime Century Oy's website. By continuing use the WhereOS or WhereOS Store after the effective day of any modifications to this Agreement, Customer agrees to be bound by the modified terms. Customer's responsibility is to check Gaptime Century Oy's website regularly for modifications to this Agreement.
If made available to Customer, Customer may use Gaptime Century Oy's confidential information only in connection with WhereOS or WhereOS Store as permitted under this Agreement. Customer will not disclose Gaptime Century Oy's confidential information during the term of this agreement or at any time during the 5 year period following the end of the term.
Customer will not misrepresent or embellish the relationship between Gaptime Century Oy and Customer (including by expressing or implying that Gaptime Century Oy supports, sponsors, endorses, or contributes to Customer or Customer's business endeavors), or express or imply any relationship or affiliation between Gaptime Century Oy and Customer or any other person or entity except as expressly permitted by this Agreement unless Customer has acquired a written permission from Gaptime Century Oy.
(ii) to assist third party developers or systems integrators who may offer products or services which compete with the other party's products or services.
If Customer provides any improvement ideas to Gaptime Century Oy or its' affiliates, Gaptime Century Oy will own all right, title, and interest in and to the improvement ideas, even if Customer has designated the improvement ideas as confidential. Gaptime Century Oy will be entitled to use the improvement ideas without restriction.
Gaptime Century Oy collects personal data for customer service and customer relationship management (e.g invoicing). In order to contact Customer if needed, Gaptime Century Oy collects following personal data: name, contact details, phone number of Customer, Customer business information, and tasks related to managing and analysing the customer relationship and behaviour. Gaptime Century Oy collects personal data directly from the Customer. The right to process the personal data is based on this agreement.
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Should any provision of this Agreement be held invalid or unenforceable, the remaining provisions of this Agreement will remain in full force and effect to the fullest extent permitted by law. Any invalid or unenforceable provisions will be interpreted to effect and intent of the original provision. If such construction is not possible, the invalid or unenforceable provision will be severed from this Agreement but the rest of the Agreement will remain in full force and effect.
Customer and Gaptime Century Oy shall attempt through negotiation in good faith to replace the unenforceable provision with such provisions that correspond as closely as possible to the original intention of the parties.
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Agreement will be governed by the substantive laws of Finland, without reference to conflict of law rules. Any dispute, controversy or claim arising out of the agreement shall be resolved in the district court.


text:
Corrections officer suffers gunshot wound at Orange County Sheriff's Office gun range
ORLANDO, Fla. (FOX 35 ORLANDO) - Orange County Fire Rescue officials say a corrections officer suffered a self-inflicted gunshot wound to his thigh, while at the Orange County Sheriff's Office gun range on Friday.
The Sheriff's Office says the officer had an "accidental discharge from his weapon during practice at the gun range." He was conscious and alert while being airlifted to the hospital. The officer is recovering at Orlando Regional Medical Center from the non-life-threatening injury.
The range, which is shared by the Corrections Department and the Orange County Sheriff's Office, is located at 14500 Wewahoottee Road in Orlando.
Lake Eola fountain will light up amber to honor COVID-19 victims
Jeff Lowe, Tiger King LLC ordered to surrender big cat cubs
School custodian accused of molesting 13-year-old, deputies say


This six compartment elegant wood tea chest is made from solid wood with rich mahogany finishing outside. Inside is fully lined with beige felt. Inside dividers is removable. Customer's logo can be embossed onto the felt and outside the lid. Gold/silver engraved or printed logo is available upon request. Golden 90 degree supporting hinges and clusure makes the whole box much more modern. On the outside bottom corner, there are four legs and rubber mats to avoid any scratching on the table.
We take great pride in manufacturing the highest quality, custom made tea wooden stand and tea chests & boxes wooden for each and every customer. We have the skilled workforce and expertise required to meet any and all of your wooden box needs.


We know objectively that man is the most beautiful of God's creatures. Every person is beautiful by virtue of being human. Yet, we don't always see this. We can look around us and we see people whom we think are ugly, (although we might hesitate to tell anyone so). Just as with the recognition of all beauty, the lack here is in the one who looks, who cannot see all people around him as they really are, because he lacks love.
Some however reconcile this by looking for two beauties within each person, one physical and the other spiritual. Those who do so would say that if the physical beauty is lacking it is because there is a spiritual beauty that is invisible and it is this that we miss. I feel that this explanation creates a dualism – a separation of body and soul – that is wrong. As I see it, there is no inner beauty that is in contradiction with the outer ugliness; neither is there the converse an outer beauty that masks the inner ugliness. This duality is a fiction. That is not to say that there very often does appear to be such a disparity as in Oscar Wilde's character Dorian Grey. Rather, that if this is the appearance, we know that the lack is our ability to see or our judgment of the sanctity of the person. The beauty is there in the whole person, body and soul and every person is physically beautiful. We do not see it we must look at ourselves and consider our own lack in love for that person.
When most people talk of beauty in connection with people, they are most likely to be considering sexually attractiveness. Even if we talk of those we are not sexually attracted to, we tend to make the judgment against these criteria. So I might talk of a handsome man. This does not mean that I find him sexually attractive, but that I think that women will. If I talk to those who are much younger than me or much older than me as pretty or handsome, I am usually doing so not in the context of how they appear now, but how they may in the future, or might have been in the past at their most attractive age. For example, with older people I imagine them as they were when at a younger marriageable age.
However, in the ideal I would not consider anyone in this way at all. Only one person, in a perfect world, would appear sexually attractive to me, and that is my wife, whom God intends for me to see in this way. For me to see anyone but her in this way must involve a selfish non-loving component for it is based upon a desire to do something that is morally wrong.
In fact, the mother is the one who sees this person fully. The fact that I don't and that the mother doesn't see everyone as beautiful as her baby is a reflection of a lack of love in respect to all other people. God sees every single one of us with the eyes of love even greater than those that a mother has for her child.
The artist has a responsibility to represent people so that it inspires a genuinely loving response in the viewer. Consistent with this, when I was learning portrait painting in Florence my teacher always encouraged me to paint people in their best light: 'Err towards virtue rather than vice,' he used to say.
Portraits by Francis Bacon (British 20th century), repeated below; George Romney (18th century); Velazquez.


This trial is for people with bladder cancer that has spread. The purpose of this research study is to see if the chemotherapy combination of gemcitabine and cisplatin plus paclitaxel is safe and effective treatment for bladder cancer. Paclitaxel, gemcitabine and cisplatin have all been approved by the United States Food and Drug Administration (FDA). Gemcitabine and cisplatin is a standard treatment for bladder cancer. There have been studies that show that paclitaxel and cisplatin have antitumor activity in bladder cancer. European researchers studied paclitaxel, gemcitabine and cisplatin (same drug combination in this trial) and found that the combination provided good disease control and was well tolerated. Investigators are studying the same drug combination, but at different dosages and schedule.
DNA-damaging drugs such as paclitaxel and cisplatin because it can antagonize DNA repair.
Investigators will investigate the combination in this Phase II study.
Primary Outcome 1 - Time Frame: Participants will be followed until disease progression, an expected average of 18 months.
aggressive phenotypes, such as sarcomatoid, or small cell changes are acceptable.
be more appropriate, and such patients are not eligible.
considered to have measurable disease.
- Eastern Cooperative Oncology Group (ECOG) performance status of ≤2.
by echocardiogram or MUGA scan of at least 45%.
- Transaminase less than twice the upper limit of normal. Bilirubin <1.5 mg%.
eligible if they show excellent response to nephrostomy drainage.
- Absolute neutrophil count ≥1500; platelet count ≥100,000.
effective contraceptive while on treatment and for a reasonable period thereafter.
- Patients must not have an active, or likely to become active, second malignancy.
more than 10% of the bone marrow irradiated.
- Patients with uncontrolled CNS metastasis are not eligible.
- Pregnant women are excluded.


text:
HomeApps
Best High Volume Booster
Best High Volume Booster: For most smartphone owners, the audio quality from the built-in speakers can be low and the sound is almost never loud enough.
If you want to set different volume levels for individual apps or if your Android device's volume buttons are broken, there are many ways to do it. Plugging in earphones in your ears cannot fix everything. The device volume cannot be increased by plug in earphones. It just gets louder as the earphones are right in your ears. Get more performance out of native volume controls. One of those ways is by using a volume booster app.
Increase High Volume is an android app made to boost the volume of your device and makes things easier. This app not only limits you setting volume for voice call but also for listening to songs, playing music, watching videos etc. Having a volume booster can be helpful in many ways.
How Is Increase High Volume App Useful To Us?
Any common mobile has issues with speakers after a duration of years. Fixing them might take a huge amount of your time. But you can deal with them smartly by installing a volume booster app on your mobile. Unlike other apps, Volume booster does not require access to many apps in your phone such as gallery or location. They are easy to use.
Increase High Volume booster app can be much helpful to students in many ways. It increases volume more than it is limited in the device. As a student you can gain knowledge without giving risk to your ear drums. Plug in earphones might cause hearing loss in teenagers. Why not use a volume booster app and increase the volume to watch it without earphones? The app connects to your phone or tablet's audio system, giving you more volume control options. There are presets that activate when you plug in your headphones, an equaliser with sound booster and bass boost, and custom volume levels for different apps.
Suppose you are in a journey and wants to play music at high volume. Your speaker might be damaged for any reason but we've got your back. This volume booster app simple yet very powerful and versatile to use when you want to increase volume beyond the standard levels your Android device provides.
Also, Read – How to Get Rid of Phone Hanging Problem
This app is helpful in playing discs, network streaming protocols, devices and most multimedia files. You're probably wondering what it's doing on this list, but it's a great alternative to downloading and using a standalone volume booster app for Android devices.
In addition to more precise volume control, the app automatically adjusts the volume when you need it most. You can set it up so that when you plug a device into your device's headphone jack, the app opens a dialog asking you which preset to use for your headphones. The app is free to download.
DOWNLOAD PLAY!
The app also offers system-wide audio effects including loudness, custom-tuned press and virtualizer . It has its own music listening benefits. For example, If you stream music from Spotify, Apple Music or other music streaming services, you'll love the 3D surround sound quality on headphones. Not only that, you can also access podcasts or radio stations so you're not just limited to listening to music of limited volume on your phone. Volume booster apps are a great advantage in your phone.
increase volume
phone volume booster app
10 Best Apps for Android TV: You Should Use
Deleting a Paytm Account (Both Business and Normal) – Made Easy
How to Reset Redmi, Xiaomi or Poco Smartwatch
Abhinandhan sharma April 18, 2022 At 11:10 PM
Rampal May 3, 2022 At 8:48 PM
Anita Arora May 6, 2022 At 10:52 PM
Please help me phone ki volume kam hai
Tech Nukti May 6, 2022 At 10:54 PM
Please download the app
ARUN May 8, 2022 At 8:56 AM
How to download this AAP
Biresh saha June 21, 2022 At 2:44 PM
Faltu deek aap
Md ameer pasha May 6, 2022 At 11:25 PM
Geeta May 7, 2022 At 7:34 PM
Ma'am this is not working
Tech Nukti May 8, 2022 At 10:14 AM
Mam kaun sa phone hai please let me know
Satyam gupta May 10, 2022 At 10:59 AM
Mujhe apne mobile ka boost badhana hai volume badhana hai oppo a16
Samsung May 10, 2022 At 11:27 AM
Rashid May 10, 2022 At 12:38 PM
Husnuddin May 10, 2022 At 12:52 PM
How to download app
Volume badhana hai
Preeti May 10, 2022 At 7:45 PM
SURAJ KUMAR May 10, 2022 At 10:13 PM
Dr Choudhary May 10, 2022 At 10:47 PM
Mera Phone Ka Bhi Sound Bahut Kam Hain
ALI MOHMMAD May 12, 2022 At 10:19 AM
Phone ki sound bohut Kam ha
Deepak May 12, 2022 At 1:11 PM
Harikesh meena May 15, 2022 At 8:24 PM
My phone volume kam h
Mahesh June 12, 2022 At 1:14 AM
मेरे मोबाईल का volume badana है oppo f9
Chandra Shekhar das June 21, 2022 At 5:19 PM


It is a little unfair to call this a venue review; it is more to share my unusual experience at the Taddy Porter / Puddle of Mudd show that may help someone else out there get to the front row. But if you want to take a could look at a lot of what the club offers, browse my flickr set dedicated just to LaVela shows.
This is going to sound counterintuitive, and it very well won't apply for future concerts at Club LaVela, so try this at your own risk…..
How did we make it to the front of this show? We bought tickets at the door. Sounds weird, right?
When we made it to LaVela about an hour, maybe an hour and half before the officia l 'doors open' time there were two long lines forming. Those lines were for people who already had tickets in hand. Because we didn't have tickets yet, we were instructed to move directly in front of the club were there was a short VIP line, and a super short line for people who needed to buy tickets.
So, because we didn't have tickets yet, we beat most of the VIPs, and nearly all of the ticket holders into the venue. And that is the weird weird way that we ended up on the front.
Maybe it is derivative of the time of year the concert happened (after Spring Break but before Summer crowds) but all the lines were a bit disorganized. It was confusing to figure out which line was the right line, and it didn't help when different employees seemed to have different opinions; an occurance that may only further enforce that this could be an unusual phenomena.
As a venue, it is what it is. The stage is nice and large. The "rock arena" where concerts and bands play is an outdoor deck with a big pool in the middle. Your surrounded by bars, smaller club rooms, a couple of concession areas, and the beach.
I would love to hear from others if this type of line scenario is common, or just can be chopped up to being a fluke.
This entry was posted on July 21, 2011 by 850music in Posts.


Titanic sank on 4/15/1912. Some passenger groups were more likely to survive than others. I'll do a complete walk through, from scratch, building a temporary machine-learning rig in the cloud, to find the best ML algorithm to save those passengers! 100% demo, all on the command line with Linux, R, vim and H2O. But you don't need to know any of the above, just CSV files.
Artificial Intelligence and Machine Learning have been democratized in the last few years. Deep Learning is hard but TensorFlow.js makes it easy for developers without a Data Science background to add Machine Learning to their applications.
In this talk, Google Developer Expert and awarded Microsoft MVP, Chander Dhall, will walk you through the basics of Deep Learning and TensorFlow.js.


Take lessons with top teachers from all over the country, one-on-one directly through your computer or tablet.
Online trumpet lessons are a great, affordable way to learn from the comfort of your own home. All you need is an internet connection, webcam with microphone, and your own instrument. We'll set you up with a teacher from our network for one-on-one lessons over Skype.
Ready to get started? Let us do the work! To get started, all you need to do is SIGN-UP FOR A TRIAL LESSON HERE and we'll do the rest. We value your privacy and don't request billing info upfront – we just need some quick info to make a match for you. Select the online lessons option and specify your timezone in the special requests field. The teacher will then call you to set up the trial lesson and exchange Skype IDs.
Once you've met with your teacher for your risk free trial lesson over Skype, continuing with Musika is easy! If you are satisfied with your lesson, all you have to do is register with us to continue! The trial will count as your first lesson if you continue, however, with our Great Match Guarantee™ if for any reason you decide not to continue then the trial is free.


I've started selling some of my paintings and even digital images online but I need to automate the payment stuff.
Everyone says use Paypal but I've heard they are not really safe and their receipt templates can't really be customized (I need it for my clients / customers).
Has anyone used them? How are you guys collecting payment for your images, art work, etc.
UPDATE: One of our programming gurus suggested Stripe? I think we're going to go with that instead. Thx!
Last edited by Scott Campbell; 04/12/19 03:51 PM.
You may want to set up a Web Site if you haven't already. I have tons of images to sell but have never done much of anything else. Getting paid you can probably set up to accept credit cards but I have no idea what is required. There are Web Sites you can join to sell your images I think if you have a Web Site. One is Shutter Bug Store front, www.shutterbugstorefront.com Good luck.
Thx for the info Ray! Yeah I need to take a course or two on all this digital stuff. Cheers!
I've used PayPal for years, and have found it to be an excellent service, both for sending and for receiving money.
There's no issue at all with regard to receipts. For example, within minutes of making a payment, your clients will be sent an automated receipt by email.
PayPal's customer service is also good.
Honour the Earth. Without it, we'd be nowhere.
Life is too important to take seriously.
Most sites that accept payments for you require basics like name, SS# for tax purposes. If there is a direct deposit the bank # and routing # are needed as well.
I would be very honest, but invoice simple is not really good. I prefer using Freshbooks.
I will only recommend the best invoicing tool that is easy to use. I have used it for many years and I really liked it the first time I used it. No headaches and their support are superb. If you disagree with this then I will show you how it made my business' accounting side of things smooth.
Last edited by Froilan; 03/19/19 07:38 PM.
One of the most important principles of songwriting is to remember that a good song is a partnership of many different components, all working together to produce a satisfying musical experience.
In that respect, song components are either enhancing or compromising their combined effects.
6,228,601 So Where Does Your Song Rank On Ourstage?
3,150,830 WHAT'S IN YOUR MUSIC PLAYER ?
2,196,828 OPEN MIC/Karaoke Party! Come jam with us!
1,173,318 Are You On Social Media?


Hi there! Thank you for your interest in our products. We recommend applying the Revitalift Derm Intensives 1.5% Pure Hyaluronic Acid Serum first then use the Revitalift Derm Intensives 10% Pure Vitamin C Serum next. Lastly, you will apply the facial moisturizer. You will complete this routine day and night! We hope this was helpful!