How Julian Schnabel turned bad painting into good money.
At the beginning of the '80s things are hazy in my mind. . . . I remember some guy coming up to me, I think his name was Richie or Robbie Huge. I noticed he was wearing . . . a bow tie with a black leather jacket, although the tie was almost obscured by his triple chin. He whispered in my ear, "Could we go somewhere alone? Maybe to the wine bar and talk about you—I mean your work? I've always intended to write about it." I said, "Sure, let's talk." After some introductory flattery, his voice dropped down a tone. He whispered, "Will you chain me up?" I said, "I'm sorry Robbie, I'm not into that sort of stuff." His reaction was one of shame inflected with hate. In his sort of cockney accent, he said you'll pay for this one day. Reading his antisemetic [sic] babbling and personal attacks on me in Space magazine I found out he is a man of the world.
Never having met Julian Schnabel, I began to wonder what were the elements from which he had concocted this "memory." Once I had a black leather jacket, but in 1973 my motorcycle was stolen from a sidewalk in SoHo and I gave the then-useless garment away to an art historian in Worcester, Massachusetts. (Fourteen years later an old photo of me wearing it on my lost hog appeared in New York magazine, where Schnabel presumably saw it.) And to be called anti-Semitic by a man who couldn't spell the word was weird enough, but what about those chains? I puzzled over them for days, until a friend, a scarred veteran of the psycho- analytic couch, pointed out that this mystifying passage could only record Schnabel's own desire to "chain up"— that is, to silence—any skeptic who doubts his genius.
I rang the publishers. There was a sound of foreheads being clutched. The paragraph was cut. Thus CVJ lost its one and only spicy bit, though perhaps not its only fictional one.
The unexamined life, said Socrates, is not worth living. The memoirs of Julian Schnabel, such as they are, teach that the converse is also true. The unlived life is not worth examining. Writing his memoirs at 35, Schnabel has set some kind of record for premature retrospection, at least among artists. No wonder he needs to invent. "It's sort of a cross between Charles Dickens and Gertrude Stein," he told one reporter. But the only Steinian thing about CVJ is that it rambles, and there is nothing Dickensian about it at all. It is the art world's answer to Vanna Speaks, without the girlish modesty.
And some through the door marked Pull.
As a true self-constructed American, Schnabel chose the former. He has been propelled by a manic, painfully sincere belief in his own present genius, and in his future historical importance. Between writers and readers, this lapel- grabbing has dubious value as a promotional tactic; in any case, it never works for long. (After their second books, who will persuade the discriminating reader that anything worthwhile will ever come from Jay Mclnerney, Tama Janowitz, and the other Bright Young Dwarfs of lower Manhattan, whose media-struck careers so closely resemble Schnabel's?) But the American art system is more plagued by inflation, and more vitiated by fashion, than the American literary world. A book confers no status on its owner; a painting may.
There is a crack of doubt in the soul of every collector. In it lurks the basilisk whose gaze paralyzes taste: the fear that today's klutz may turn out to be tomorrow's Picasso. Thus nothing except the manifestly out-of-date may be rejected with impunity. This hardy little reptile was particularly active at the moment Schnabel came on the scene. In the first half of the 1980s, riding the bull market, the demand for hot, young, new, exciting, contemporary art shot through the ceiling. All of a sudden, scores and the n hundreds of the very new rich—arbs, developers, soap-opera producers, agents, admen, all manner of important folk whose uncertainty in cultural mat- ters matched their socioeconomic vanity—decided that, being amply entitled to Everything Now, they would also be- come "major" art collectors.
Most of the aspiring collectors, some of whom would duly end up on museum boards, or even with their own private museums, could not have told you the difference between a Cezanne watercolor and a drawing by Parmigianino. Their historical memory went back as far as early Warhol, where it tended to stop. Their sense of the long continuities of art was, to put it tactfully, attenuated. Insofar as they thought about the matter, they were apt to see 20th-century art history as a series of neatly packaged attacks launched at the frowning ramparts of "tradition"—first the Fauves, then the Cubists, then the Expressionists, then the Constructivists, and so on, to Abstract Expressionism and Pop. This reflex, applied to the present, meant they all bought essentially the same painting by the same artists—a herd instinct that explains the monotony to which one is condemned when passing from one new collection in Beverly Hills to the next.
In the early '80s, however the action lay with recycled Expressionism. This was where Schnabel came in. New collectors had been raised on folk-myths of the totally expressive artist as scapegoat or hero—Van Gogh and his ear. Pollock and his booze, Rothko slitting his wrists, Joseph Beuys wrapped in felt and fat beside his crashed Stuka. After the cuisine minceur of the '70s, a time of small pebbles on floors and sheets of typing paper on gallery walls, they were aching for something hot and heavy. They got it in abundance from Schnabel's panels encrusted with broken plates a la Gaudi and antlers a la Beuys, his heavy surfaces of tarpaulin, horsehide, and velvet choked with slimy pigment, his incoherent layering of "mythic" imagery.
The art looked "radical" without being so; it was merely novel, a quality that soon outwears itself. In 1980, however, the uncertainty of new-market taste was such that if someone stood up to assert loudly and repeatedly that he was a genius, there was a chance he would be believed. This was the strategy of Schnabel and his first dealers, Mary Boone and Leo Castelli; it worked brilliantly. In fact it was a walkover, like Lawrence's rear attack on Aqaba when the guns were all pointing out to sea. Everyone wanted a genius. In Schnabel they got the genius they deserved.
But the American art world, despite its recent fixation on "irony," does not have much sense of humor: too much is at stake to entertain the thought that a hero might be a buffoon. Like the political analysts who insisted, only a year ago, that Ronald Reagan's "image" would never succumb to the truth of his dimwittedness, some art critics persist in treating Schnabel as though his fame were a given fact of culture, which no perception of the ineptitude of his work can alter. "No one expected him," Thomas McEvilley pants in his essay in the catalog of the Schnabel retrospective that opened at the Whitney Museum this month. "No one knew they wanted him. Yet somehow the age demanded him... . There is nothing anyone can do about it." The notion that this man is an emanation of the Zeitgeist matches his fantasies about himself. It even has a small truth, since only a culture as sod- den with hype as America's in the early '80s could have underwritten his success.
Still, there are problems built into the system: its volatility, and its short memory. Given its mass-market conditions, the art world of the early '80s closely resembled the fashion industry. Things, as it happened, went down as well as up. Careers rose like the space shuttle, amid roars of acclamation and pillars of smoke—and then, like Challenger, detonated. Who now remembers graffiti, the hot ticket of '83? Or Jean-Michel Basquiat, who in his early 20s was being promoted as the "black Picasso" and made it onto the cover of the New York Times Magazine! Out to limbo almost all of them go, to the land of Nod, to that elephants' graveyard of the formerly new that one imagines existing somewhere in the marshes of New Jersey, to join the second-generation acrylic-on-duck painting of the '70s and the talking refrigerators of the '60s: permanently remaindered.
TO ESCAPE (or at least to stave off) this fate, which looms larger as the market becomes jammed with a teeming proletariat of emergent artists—a mass from which trends can be condensed more or less at will—a painter must hammer in his pitons and quickly scale the museum system: the lavishly illustrated book, the traveling retrospective. Hence the steady pressure from the market on museums to hold full-dress "retrospective" exhibitions of work by artists still in their 30s. This practice would have struck an earlier generation of American museum staff as absurd, if not macabre.
The whole point of a "retrospective" used to be, first, that it was an unusual honor, setting a long-meditated and hard-won vision into the disinterested historical matrix that the museum was meant to supply, so that, second, a life's work could be seen whole. Today you can be, like David Salle, ten years out of art school and still get your "retrospective" at the Whitney—and, in Schnabel's case, at the Whitechapel Art Gallery in London, the Centre Pompidou in Paris, the Houston Museum of Fine Arts, and the San Francisco Museum of Modern Art as well. The tinkle of his broken plates—they have lately developed the irksome habit of falling off the paintings, so that he now employs a factotum to fly about America and glue them back on—is heard from sea to shining sea.
A rum business, this end of the contemporary art market. To tease out properly its strands of idealism, fraud, sanctimony, folly, enthusiasm, and nervous bluff, to describe its machinery and the characters who tend it, would challenge the powers of Balzac or Trollope. If Schnabel, in writing his memoirs, had tried to take the reader down to the engine room, if he had written about process rather than product, he might have produced a text of some documentary interest. Alas, nothing of the kind occurred. CVJ is a celebrity bio of the most banal sort, and its writing is little more than gray grout around the big color reproductions of his pictures.
made me feel like I was standing on Houston Street in late November, when the temperature has just changed; I don't have a scarf and a friend has canceled a dinner appointment with me. I have nowhere to go. I feel the air go through me. I have a sense of my own twilight.
Poor Vincent, who labored so that this Texan culture starlet, 100 years later, may feel he has forgotten his scarf and, worse, been stood up for dinner!
Schnabel may feel the air go through him, but we must listen to it, flatulent self-congratulation mingled with affect-less chitchat about other artists and art people. He does not like many of them much. Clement Greenberg, "one of the most destructive, inane, positivistic, and stifling forces against the growth of art in this country," makes a cameo appearance in the Los Angeles airport (mercifully not in black leather) so that Schnabel can preen himself on flying first class while the wicked old guru, who seems not to like his work at all, flies coach, Schnabel has no good stories. That is because he is so self-absorbed that nobody else seems altogether real. "Good conversation is scarce," he complains, without stopping to reflect why, around him, this might be so, "and there are so few people who know how to make art." Indeed; and one fewer than he thinks.
SCHNABEL'S narrative tends toward existentialist farce, like the diary of a mooning, callow American who can't speak any foreign languages and has discovered L'Etranger.
I took a train to a public swimming pool in the suburbs of Madrid, I watched teenagers making dates for later that night, I watched families watching each other. There was no I way to enter into their lives. I went to the movies a lot. I saw Last Tango in Paris three times in the same day. In three days I had finished a bottle of Valium and in almost a week hadn't spoken to anyone.
"No way to enter into their lives." What did he expect the Madrilenos to do, drop their babies, drag him inside, ply him with roast suckling pig?
But at least his exercises in self-pity are less foolish than his claims to tragic elevation. He describes his plate-paintings in terms of "parents screaming on Kristallnacht, as their voices are lost as they were being dragged down the streets of Berlin while pieces of shattered glass glistened in the moonlight; or after some great violent act. The plates seemed to have a sound, the sound of every violent human tragedy . . . . All of this was happening before I even started to paint the painting," One does not need to be a Jew to be repelled by Schnabel's facile appropriation of that tragedy. If broken plates really did "mean" Kristallnacht, how could he bear to use them in his society portraits, in his crude renderings of Texan millionairesses and Beverly Hills producers? But they don't mean anything of the sort. They are just bombast and texture—a fresh "look" that found its temporary spot in the Academy of the Briefly New, and promptly became a cliché.
Never listen to anybody . . . . It's a mistake for young artists to want to please older ones. They're going to make you take out of your paintings the very things that most characterize them as yours, . . . You can't listen to them because nobody knows better than you what you need to do. Most older artists are going to try to get you to conform to the standards that you are out to destroy anyway.
That, in a nutshell, is why Schnabel has never learned to draw: his development was smothered by his impregnable self-esteem.
IF YOU want to know what went wrong many an American art school in the '70s, Schnabel's career is instructive. With scarcely an exception, every significant artist of the last hundred years, from Seurat to Matisse, from Picasso to Mondrian, from Beckmann to de Kooning, was drilled (or drilled himself) in "academic" drawing—the long tussle with the unforgiving and real motif that, in the end, proved to be one of the main bases on which the great formal achievement of Modernism could be raised. Only in this way was the right to radical distortion within a continuous tradition earned, and its results raised above the level of improvising play. This kind of rigor had been leached out of American art education by the 1970s, when Schnabel went to school in Houston, and it is quite plain from his student efforts (which are not in the Whitney's "retrospective," of course) that he had no talent as a formal draftsman: the weak lumpish silhouettes, the kitsch-expressionist faces with their poached-egg eyes, the clumsy line, and the inability to relate a form to the space around it by the energy of its contour were all there from the beginning.
In short, because there was never a time when he could draw, there was no moment at which he jettisoned his skill in the interest of some fiction of "rawness," or "primitive intensity." The cack-handedness is not feigned, but real. Even when he has an original to copy, as in the Caravaggio youth with a fruit basket quoted in Exile (1980), it is done with such paint-by-numbers awkwardness as to be embarrassing. The paintings that carry some conviction are those in which Schnabel makes no attempt to draw a figure or a motif, but contents himself with a murky, nostalgic sort of Abstract Expressionist splashing; the best of these (not in the show) is Rest (1982), a brusquely painted board supported like a retable on a T-beam of wooden balks, in the Saatchi Collection in London.
Schnabel is a most eclectic artist; what you see is what he was looking at last. It is bad luck that a show by Michael Tracy, an older Texan painter with whom he was associated in the '70s, should have opened in New York at the same time as Schnabel's. In Tracy's lush imagery—always on the edge of religious hysteria, choked with ex-votos riven by knives, pierced with bronze nails, and suffused by sadomasochistic references to the penitente cults of the Southwest—one sees the real condition of emotional overload that Schnabel's work mimics but cannot make formal sense of. Likewise, his recent letterings on tarpaulin, such as Saint Ignatius Loyola (1986), are little more than replays of the work of Salvatore Scarpitta.
A list of Schnabel's "sources" would be long, as would a catalog of the images he has "appropriated" in his search for the stuff of major statements. Both, however, would be tedious. Perhaps, given the art industry's need for dissertations that amplify the hum of myth, McEvilley's catalog introduction will not be the last piece of prose devoted to the exegesis of Schnabel's pictorial blather: "The brown bible wandering like a melon vine or a cancerous tumor across the page of the children's book is the sign of involvement in natural process, of the endless growth and change of things that will not stand still for human objects." Enough, already. The strongest symbol embedded in this conjuncture of show and book is the timing. Did the Whitney Museum and Random House really mean to celebrate Thanksgiving by serving up this turkey?


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Home All Posts A Rivalry Like No Other: How Deku & Bakugo Confront Aggression
A Rivalry Like No Other: How Deku & Bakugo Confront Aggression
By Michael Pementel
For decades, we have seen the great power that friendship bestows in our favorite heroes. In a last-ditch effort, our protagonist will often call upon the strength of their friends to topple the bad guy. Being able to call upon someone when in need is a universal strength that many of us (even if we don't have flashy powers) can be thankful for.
RELATED: Get Ready, Heroes! My Hero Academia Season 5 Has Been Officially Announced
But while many of us look to the power of friendship, what about the power of a healthy rivalry?
Across numerous anime, rivalries have not only made for compelling stories, but exciting character development. The interesting thing about rivalry is that it's never quite as simple as friendship. Whether it's two warriors that loathe each other but team up for the greater good, or friend-adjacent mutual respect, everyone has an anime rivalry that comes to mind.
But few are as compelling as the dynamic between Deku and Bakugo of My Hero Academia.
From the series' first episode, we see the connection between the two. We see Deku's constant attempts at friendship with Bakugo, and Bakugo's anger in return. They both wanted to be superheroes, but Bakugo's ego led him to bully Deku. Given his latent powers, he felt superior. And unlike Deku, Bakugo was born with a Quirk.
It's this clash that brought the two together, and set them each on a path of righteousness in the shadow of their all-time role model, All Might. Deku first crosses paths with the Symbol of Peace while saving Bakugo from a villain. From then, we know the story: All Might passes his power to Deku, Deku heads to U.A., and things get rolling.
But throughout classes and various activities, we continue to see Bakugo act cruelly toward Deku. Early on, the two face off against each other during an exam. Bakugo spent a good amount of time berating Deku, only to be outsmarted by him. The one-sided friendliness continues, and Bakugo is having none of it.
And while this character dynamic might not feel wholly unique, it's the subtleties of it that set it apart. Because as much of My Hero Academia is about Deku as a protagonist, Bakugo goes on his own journey of growth and development.
As their rivalry develops, Bakugo remains aggressive, but the two become closer through near-death experiences, a couple of island-saving events in the films and, finally, a shared knowledge of Deku–and All Might's–deepest secret. This journey allows Bakugo to confront his own toxic aggression.
Following the battle against All For One, Bakugo challenges Deku to a fight, finally aware of All Might's power bestowment. He questions why Deku would be chosen, and how they both idolized All Might. And the truth comes out: Bakugo thinks Deku looks down on him. All Might then steps in and stops the fight.
In an effort to mentor Bakugo, All Might teaches him an importantly lesson about acknowledging and managing negative emotions. While it is important to be physically strong and present an image for society, one must also be in touch with their feelings. As All Might holds a crying Bakugo, he promises to keep Deku's secret.
What's so incredible about this moment is how it addresses the toxic anger and aspects to Bakugo's personality, all through the lens of Deku's gentle demeanor finally influencing him. In some anime, violence isn't really addressed as a concern from male characters. When the goal of shounen is physical power, how can it be addressed? My Hero Academia strikes a balance.
From here, we start to see consideration from Bakugo. He's still an angry kid, but there are hints that he cares for his friends, partakes in school activities and does what he can to show he's a real hero. Sure, All Might's mentorship probably helped, but it's Deku's constant positive reinforcement that continues to chip away at the tough shell of Bakugo.
And though their rivalry begins fairly typically, the two end up learning something valuable from each other and mature as a result. From a creative standpoint, it's refreshing to see a series commit to this learning, and it's inspiring to see such care and attention given to an angry character that clearly had some trouble managing their emotions.
Through Deku and Bakugo, the characters are not present merely to beat up one another, but to truly inspire each other.
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CAMBRIDGE, Mass. – After the first day of the annual H-Y-P meet, the Harvard women's swimming and diving team sits eight points ahead of Yale, while trails Princeton, 84-66 on Saturday afternoon.
Harvard came out of the gate strong, sweeping the top two spots of the 200 medley relay. The Crimson A-squad of Mei Lynn Colby, Ingrid Wall, Brittany Usinger, and Jerrica Li finished first posting a time of 1:39.78 to break the previous Blodgett Pool record of 1:40.34.
Cassandra Pasadyn, Allie Russell, Chloe Close, and Holly Christensen followed-up with a time of 1:42.32, while the quartet of Kristina Li, Jaycee Yegher, Valerie Yoshimura, and Kennidy Quist was right behind at 1:42.89.
Colby finished first in the 100 yard backstroke, touching the wall with a time of 55.09 - .15 seconds ahead of Princeton's Stephanie Nelson. Pasadyn and Li finished sixth and seventh for the Crimson, recording times of 55.74 and 55.80, respectively.
In the 50 freestyle, Colby posted a third-place finish touching the wall with a time of 23.14, seven-tenths of second behind Yale's Bella Hindley, who broke the Blodgett Pool record in the event with a time of 22.43.
Senior Hannah Allchurch led Harvard divers with a first-place finish in the three-meter dive, posting a score of 316.60. Junior Mikaela Thompson finished second with a score of, 297.00.
The women concluded the first day of H-Y-P with the 400 individual medley exhibition. Freshman Michelle Owens recorded the best time for the Crimson, touching the wall at 4:26.14, while classmate Elizabeth Holmes was right behind with time of 4:29.34.
Harvard returns to Blodgett Pool for day two of the H-Y-P meet tomorrow at noon with the 100 freestyle. The meet will be broadcast on the Ivy League Network.


The Ukrainian Security Service has compiled a list of Russian media outlets whose accreditation at the Ukrainian government bodies will be suspended in line with the Ukrainian Verkhovna Rada's relevant resolution.
"The list was compiled and passed to the Verkhovna Rada secretariat on February 19. There are more than 100 media outlets on the list. The decision on each of them was made individually, after their content was carefully examined," Security Service spokesperson Olena Hytlyanska told Interfax on Saturday.
The list includes TV companies, news agencies, newspapers, and Internet resources, she said, adding that the matter concerns Russian media outlets registered in Russia.
The Verkhovna Rada published the resolution suspending the accreditation of some Russian media outlets at Ukrainian government bodies on February 12. The resolution stipulates that the suspension of the accreditation of journalists and other staff of some Russian media outlets, i.e. producers, camera operators, etc., will be in force until a decision is made on the conclusion of the military operation in eastern Ukraine.
The resolution instructs the Security Service to urgently draw up a list of Russian media outlets whose accreditation is to be suspended, and the Cabinet of ministers, the Foreign Ministry, other central executive bodies, and the Verkhovna Rada secretariat's press service to take measures to enforce the resolution within two days after its takes effect.
The Rada also instructed the Cabinet of ministers to draw up a procedure for granting accreditation to journalists and technical staff of foreign media outlets within one month after this resolution takes effect. The resolution took effect on the day of its passage. Rada Chairman Volodymyr Hroysman signed the resolution on February 17.
Ivan Zassoursky: "Propaganda cannot be considered effective"
Kyiv's move to annul the accreditation in Ukraine of some of Russia's media groups is undemocratic, Russian President Vladimir Putin's spokesman said on Saturday.
"Putting any restrictions on the right of one's nation to obtain comprehensive information from various sources unquestionably runs against the notion of a modern free, democratic state," Dmitry Peskov told Interfax. "It is damaging to those Ukrainian citizens who would like to obtain such information.
But modern information technology will make this measure senseless anyway, he argued.
"Given the development level of modern information technology, repressive measures of this kind are far from effective because those Ukrainian citizens who look for various kinds of information that are different from the Russophobic propaganda that we can often hear in Ukraine would always be able to find such information by making use of achievements of modern technology," he said.
"On the other hand, we definitely believe that, if Ukraine wants to become a truly democratic and free country, whenever this might happen, it should, of course, stop using any such restrictions," Peskov said.
"There are Ukrainian journalists posted in our country, and we respect their work, and they enjoy all the rights that the law on media guarantees," he said.


"Communion should be a feast of friends shared with laughter, tears, prayers, and stories. We celebrate the community life that God gives us through the cross and in the Spirit. We can't celebrate it with heads bowed and eyes closed, alone in our private thoughts and strangely solitary even as we're surrounded by other people.
When we recapture the Lord's Supper as a feast of friends, celebrated as a meal in the presence of the Spirit, then it will become something we earnestly desire. It will become the high point of our life together as the people of God. In this sad and borken world, the Lord's Supper is a moment of joy, because it's a moment of the future."


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Q: Combine fill and colour legends when using expression labels I need to use sub/superscripts in legend labels. However, if I use the label parameter of the respective scales, the colour and the fill scale are not combined anymore.
Is there a way to fix this or a different way to use sub/superscripts in legends?
DF <- data.frame(x=1:10,y=(1:10)^2,
                 ymax=(1:10)^2.2,
                 ymin=(1:10)^1.8,
                 fac=rep(c("a","b"),each=5))

library(ggplot2)
p <- ggplot(DF,aes(x=x,y=y,ymin=ymin,ymax=ymax,colour=fac,fill=fac)) +
  geom_line() +
  geom_ribbon(alpha=0.5)

print(p)

p +  scale_color_discrete(labels=c("a"=expression(a[{foo}]),
                                   "b"=expression(b[{bar}]))) +
     scale_fill_discrete(labels=c("a"=expression(a[{foo}]),
                                  "b"=expression(b[{bar}])))

A: Not so elegant solution is to remove fill legend and then use override.aes= within guides() function for color= legend. For this legend we can set our own fill= values. Only problem is that you have to know color names. I think this would be easier with scale_color_manual() because you already provide your own color values.
p +  scale_color_discrete(labels=c("a"=expression(a[{foo}]),
                                   "b"=expression(b[{bar}]))) +
  scale_fill_discrete(guide="none")+
  guides(color=guide_legend(override.aes=list(fill=c("#F8766D","#00BFC4"))))

redpajama_set_name: RedPajamaStackExchange


This page with number 10 shows Guitar tabs, Bass tabsfor Bass Lessons. So, you can see Guitar tabs, Bass tabs here. If you want to see another types for Bass Lessons, please, use the links from above. If you see a lot of songs on this page 10 and see many links of pages, but can't find necessary song, you can choose another page. Using of songs from this page, such as Slap And Pop Exercises, Slap And Pop For Beginners, Slap And Pop For Starters, Slap And Pop Warmup, Slap Exercise For Beginners, Slap Practice, Slap Theory, Slap Worm Up, Slap-exercise, Slapping Master Of Puppets, Slaps Bass For Beginners, Slow 12 Bar Blues Beginner, Some Exercise, Speed Blues Exercise, Stregthen Your Hands, Sweet Basslines, Swing Lick For New Players, The Arabic Scale And Medieaval, The Most Important Lesson, The Musical Alphabet, The Note Of Each Fret, The Spanish Minor Scale, The Spider, The Super Fun Happy Tune, The Two Whole Tone Scales, Three Clang In G-dur, Three-clang A Major, Three-clang B Major, Three-clang C Major, Thumb Usage Exercise you will be able to learn how to play Bass Lessons music. It's not very difficult even if you are not a musician. Just take and play your favorite music!


text:
Five things to know about the big change in immigration policy
Moni Basu, CNN
Updated 3:17 PM EDT, Thu August 16, 2012
The U.S. Citizenship and Immigration Services began accepting requests Wednesday for consideration of deferred action for young undocumented immigrants who arrived in America as children.
Here are five things you should know about the bold change announced by President Barack Obama in June:
1. What is it?
The policy is a "temporary" measure that allows eligible immigrants to apply for work permits and deportation deferral for a two-year period. Supporters stress it does not grant immunity or a provide a shortcut to citizenship but affords undocumented immigrant children a chance to be productive workers – with a promise they won't be deported for two years. Opponents see the policy as granting backdoor amnesty to people who came to America illegally and tightening an already poor job market for young Americans.
Faces of hope: Lining up for two more years in the U.S.
2. Who is eligible?
As many as 1.7 million youths may qualify for the program, according to the Pew Hispanic Center, a project of the Pew Research Center. To be eligible to apply, you must have arrived in America when you were 16 or younger and must be 30 or under now. You must also have lived continuously in the United States for five years and must be currently in school or already graduated from high school or have served in the military. You cannot apply if you have been convicted of a felony or major misdemeanor.
College junior applies for legal status
FAIR pres: Obama rewrote immigration law
Immigrants' high hopes on Obama policy
Opinion: Let young immigrants stay
3. What does it cost?
The application fee is $465, which funds the administrative costs of the program, including a biometric check and the issuance of a secure work-authorization document.
4. Is there a risk?
Homeland Security officials have assured people that information in applications will be confidential and will not be used to round up other undocumented people. Immigration lawyers are advising applicants to inform themselves before making a decision. The measure requires a renewal in two years, but there is no guarantee the policy will still be around then. It's an executive order, not law, and if Mitt Romney wins the presidential election, he will have the power to revoke it.
5. Is it political?
The deferred deportation policy addresses a great concern of the Latino community and includes some of the provisions of a Democratic proposal called the DREAM Act that failed to win enough Republican support to become law. In this year's presidential election, Latino votes are critical in several battleground states, including Florida and Nevada.
Undocumented students in their own words


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Topic Updates - to set this up click on the user icon on the top right of the screen and select Topic Updates. From here you tick the subjects you are interested in and select Confirm. You will receive a fortnightly email with updates on that subject. Examples include economic development, energy, health, public finance and waste.
Email Alerts - to set this up carry out a search, e.g. sustainable development, on the results page click on the 'Save as alert' link which will take you to a page where you can choose a name for your alert and decide how often you would like it emailed to you. If you select 'on demand' you won't receive any email updates but will be able to run the saved search whenever you want from the My Alerts page.
To contact the Idox Information Service team directly, simply call 0141 574 1920 or email AskTheResearchTeam@idoxgroup.com.


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text:
Canadian fund group joins research effort
Comite Syndical National de Retraite Batirente Inc., Montreal, joined Enhanced Analytics Initiative, an international collaboration of pension funds, money managers and other institutional investors committing 5% of their annual brokerage commissions to encourage investment research that considers the impact of extra-financial issues, including environmental and corporate governance, on long-term company performance, according to a statement from EAI.
Batirente is a labor organization that oversees workplace retirement plans and investment funds. It has C$656 million (US$584.13 million) in assets.
"As an asset owner whose fiduciary duty it is to protect the long-term interests of its members, Batirente was drawn to EAI as we feel very much aligned with the initiative's commitment to sustainable business practice," Daniel Simard, Batirente general coordinator, said in the statement. "We look forward to adding our weight to the call for enhanced investment analysis."
Batirente joins EAI as an associate member because it has no trading operation and no direct contractual relationship with research providers, but is "actively supportive of the objectives of EAI," the statement said.


A wind turbine/ generator is a rotating machine which converts the energy in wind into mechanical energy. If the mechanical energy is used directly by machinery, such as pump, the machine is usually referred as a windmill. If the mechanical energy is then converted to electricity., the machine is referred to as a wind generator.
If you stay in an area that experiences average continuous wind speed of 3m/s – 6m/s, then you should give the idea of generating electricity from the wind a serious thought. Wind generators can be installed for a wide range of applications i.e domestic, telecoms, industrial as well as commercial.
Wind generated electricity can be designed for both D.C and A.C operation. It can also be installed as an integral part of a hybrid system.
We have an impressive catalog of both land and marine wind generators.
Our major brands include Whisper , Air breeze , Skystream and AIR X.


text:
Ocasio-Cortez and Sanders Are Going to Introduce a Climate Emergency Resolution in Congress
They want to "restore the climate for future generations."
Nicole Javorsky
FellowBio
Saul Loeb/AFP/Getty
On Tuesday, Reps. Earl Blumenauer (D-Ore.), Alexandria Ocasio-Cortez (D-NY) in the House, along with Sen. Bernie Sanders (I-Vt.) in the Senate, will introduce a resolution asserting there is a climate emergency and demanding a wide-reaching mobilization to prepare for the consequences of climate change. They want to "restore the climate for future generations."
"The global warming caused by human activities," reads the draft Senate resolution obtained by Mother Jones, "has resulted in a climate emergency that…demands a national, social, industrial, and economic mobilization of the resources and labor of the United States at a massive-scale."
In a letter to their colleagues, Blumenauer and Ocasio-Cortez called for Congress to declare a national climate emergency to "swiftly mobilize federal resources in response." Most of the resolution's text details facts about climate change, citing global warming trends and the resulting threat to public health and national security in the US. The resolution doesn't provide specific recommendations for federal funding to fight climate change, but rather lays out the evidence of a climate emergency in order move the rest of Congress towards further action.
A spokesperson for Sanders contrasted the climate emergency resolution with President Trump's past use of emergency powers. "President Trump has routinely declared phony national emergencies to advance his deeply unpopular agenda," he said, adding, "On the existential threat of climate change, Trump insists on calling it a hoax."
My colleague Jackie Flynn Mogensen interviewed experts earlier this year about what might happen if a president were to declare a national emergency over climate change. She wrote:
For Francesco Femia, co-founder of the policy and security research nonprofit Center for Climate and Security, declaring a national emergency over climate change would be so much of an authoritarian overstep that it isn't even worth entertaining the hypothetical.
But Congress declaring such an emergency would be different, because there would be less concern about vesting the executive branch with too much power.
This new resolution is just one example of how the push for Congress to take the reins on climate change is gaining traction. Last month, more than 60 climate justice and environmental groups such as The Climate Mobilization, Zero Hour, Poor People's Economic and Human Rights Campaign, and Extinction Rebellion, launched an online petition for Congress to declare a federal climate emergency.
Extinction Rebellion, a climate activist group, has organized protests around the globe and is demanding that Congress declare a federal climate emergency and make the resolution law. Sara Sokolinski, who works as an environmental researcher in DC and volunteers with Extinction Rebellion DC, said declaring a climate emergency "forces everyone to confront the reality and scale of the climate crisis" that she feels many have been avoiding.
Scientists Are Worried Trump's Pick Would Make NOAA's Sexual Harassment Problem Worse
Activists Outside the 2020 Debate Are Demanding That Climate Change Take Center Stage


text:
Q: Error inserting data into MS SQL DB Using Pymssql Fixed it
For an educational project I am trying to store the scraped data on a MS SQL Database. First of all I'd like every unique item to be placed in products_tb. Once the unique product is inserted, SQL must generate an unique ID for said item, being productgroupid. The products_tb table will only yield the product information which will never change, such as productid, category, name and description. In a second table, which I will create after I get this working, I will store the following data: productgroupid, price, timestamp. The reason for this is that these might change every now and then. With the productgroupid I can always group all the data at any given time and create graphs and so on.
The problem is that I cannot get my pipelines.py to work.. I however did manage to insert data into my SQL database using the commented chunk of code:
#        self.cursor.execute("INSERT INTO products_tb(productid, category, name, description, price, timestamp) VALUES (%s, %s, %s, %s, %s, %s)",
#                            (item['productid'], item['category'], item['name'], item['description'], item['price'], item['timestamp']))

It seems to be working with the following code
pipelines.py
import pymssql

class KrcPipeline(object):

    def __init__(self):
        self.conn = pymssql.connect(host='DESKTOP-P1TF28R', user='sa', password='123', database='kaercher')
        self.cursor = self.conn.cursor()

    def process_item(self, item, spider):

#        self.cursor.execute("INSERT INTO products_tb(productid, category, name, description, price, timestamp) VALUES (%s, %s, %s, %s, %s, %s)",
#                            (item['productid'], item['category'], item['name'], item['description'], item['price'], item['timestamp']))

        sql_statement = f'''
                    BEGIN
                            IF NOT EXISTS (SELECT * FROM [kaercher].[dbo].[products_tb]
                                WHERE productid = {item['productid']})
                            BEGIN
                            INSERT INTO [kaercher].[dbo].[products_tb] (productid, category, name, description)
                            OUTPUT (Inserted.productgroupid)
                            VALUES ({item['productid']}, '{item['category']}', '{item['name']}', '{item['description']}')
                            END
                            ELSE
                            BEGIN
                                SELECT productgroupid FROM [kaercher].[dbo].[products_tb]
                                WHERE productid = {item['productid']}
                            END
                        END
                '''

        self.cursor.execute(sql_statement)

        self.conn.commit()

        return item

items.py
import scrapy

class KrcItem(scrapy.Item):
    productid=scrapy.Field()
    name=scrapy.Field()
    description=scrapy.Field()
    price=scrapy.Field()
    producttype=scrapy.Field()
    timestamp=scrapy.Field()
    category=scrapy.Field()
    pass

A: EDIT:
Another small error I missed. "IF NOT EXIST" needs to changed to "IF NOT EXISTS".
import pymssql

class KrcPipeline(object):

    def __init__(self):
        self.conn = pymssql.connect(host='DESKTOP-P1TF28R', user='sa', password='123', database='kaercher')
        self.cursor = self.conn.cursor()

    def process_item(self, item, spider):

#        self.cursor.execute("INSERT INTO products_tb(productid, category, name, description, price, timestamp) VALUES (%s, %s, %s, %s, %s, %s)",
#                            (item['productid'], item['category'], item['name'], item['description'], item['price'], item['timestamp']))

        sql_statement = f'''
                    BEGIN
                            IF NOT EXISTS (SELECT * FROM [kaercher].[dbo].[products_tb]
                                WHERE productid = {item['productid']})
                            BEGIN
                            INSERT INTO [kaercher].[dbo].[products_tb] (productid, category, name, description)
                            OUTPUT (Inserted.productgroupid)
                            VALUES ({item['productid']}, {item['category']}, {item['name']}, {item['description']})
                            END
                            ELSE
                            BEGIN
                                SELECT productgroupid FROM [kaercher].[dbo].[products_tb]
                                WHERE productid = {item['productid']}
                            END
                        END
                '''

        self.cursor.execute(sql_statement)

        self.conn.commit()

        return item

ORIGINAL:
You're not calling the values in the item dictionary correctly when defining sql_statement. Try this:
import pymssql

class KrcPipeline(object):

    def __init__(self):
        self.conn = pymssql.connect(host='DESKTOP-P1TF28R', user='sa', password='123', database='kaercher')
        self.cursor = self.conn.cursor()

    def process_item(self, item, spider):

#        self.cursor.execute("INSERT INTO products_tb(productid, category, name, description, price, timestamp) VALUES (%s, %s, %s, %s, %s, %s)",
#                            (item['productid'], item['category'], item['name'], item['description'], item['price'], item['timestamp']))

        sql_statement = f'''
                    BEGIN
                            IF NOT EXIST (SELECT * FROM [kaercher].[dbo].[products_tb]
                                WHERE productid = {item['productid']})
                            BEGIN
                            INSERT INTO [kaercher].[dbo].[products_tb] (productid, category, name, description)
                            OUTPUT (Inserted.productgroupid)
                            VALUES ({item['productid']}, {item['category']}, {item['name']}, {item['description']})
                            END
                            ELSE
                            BEGIN
                                SELECT productgroupid FROM [kaercher].[dbo].[products_tb]
                                WHERE productid = {item['productid']}
                            END
                        END
                '''

        self.cursor.execute(sql_statement)

        self.conn.commit()

        return item


Located along the shores of beautiful Caribou Lake, our cabins are designed to cater to your every need. All of our cabins are equipped with full bathrooms, full kitchens, and comfortable beds. All towels are provided (along with soap and bodywash), and our kitchens are stocked with almost anything you could need. We also offer wheelchair accessible lodging & fishing accessibility for those who would like to take advantage of our wheelchair accessible facilities.
We're located in Armstrong, ON - approximately 140 miles North of Thunder Bay, Ontario, near Wabakimi Provincial Park, the Albany River, and Ogoki Resevoir Areas.


text:
Юсси Илмари Оксанен (; 9 мая 1979, Киркконумми, Финляндия) - финский сноубордист, выступавший в хафпайпе.

 Участник зимних Олимпийских игр 1998 в хафпайпе (11 место);
 Многократный призёр этапов Кубка мира (всего - 2 подиума);
 Серебряный призёр чемпионата мира среди юниоров в хафпайпе (1997).

Спортивная карьера

Места в Кубке мира
 1997/1998 - 75 место

Ссылки
 Профиль на сайте FIS
 Профиль на сайте sports-reference.com

Сноубордисты Финляндии
Сноубордисты на зимних Олимпийских играх 1998 года

redpajama_set_name: RedPajamaWikipedia


Next message: [Organizers] Word cloud words for a contra poster???
We like to say that dancing is "Friendship set to Music!"  That may be too many words, but...it says a lot!
> town to try to attract to people who have never heard about contra before.
> on the list earlier this year... ... 'what's the elevator pitch'????
> that really sell the experience and that would attract brand new people.


text:
Michael Rafter
Michael W. Rafter focuses his practice in the areas of trademark and advertising law. He serves as principal trademark counsel for a number of companies with well-known brands and large brand portfolios and manages their trademark portfolios and disputes throughout the world.
Mr. Rafter helps clients implement cost-effective strategies to protect their existing trademarks and, when necessary, to enforce their rights in those marks. He provides straightforward, practical advice when they are considering new marks, helping them understand and evaluate, for example, whether the new mark will be difficult or expensive to protect, or whether someone is likely to sue them for infringement. Mr. Rafter has particular experience with the protection of: non-traditional marks (e.g., color); trade dress (e.g., product configuration or packaging); and marks at risk of losing distinctiveness (i.e., marks that an infringer might allege have become "generic" and therefore cannot be protected).
Mr. Rafter regularly coordinates and manages trademark litigation, opposition and cancellation proceedings in Europe, Asia and South America and has represented many companies in trademark and false advertising litigation in the United States, both in federal court and in proceedings before the United States Trademark Trial and Appeal Board. He has recommended and successfully resolved trademark disputes through mediation and has resolved false advertising disputes through binding arbitration as well as proceedings before the National Advertising Division ("NAD") of the Council for Better Business Bureaus.
While Mr. Rafter's clients are not limited to particular industries, he does have particular experience representing owners of well-known brands for batteries, beer, building materials, carpet, cleaning chemicals, doughnuts, flashlights, franchised hotel, electrical and plumbing services, fertilizers, frozen sandwiches, hair dryers and clippers, hardware products, insect repellents and insecticides, lawn and garden chemicals, lighting fixtures and controls, non-governmental humanitarian organizations, paper towels, pet products, restaurant services, shavers, synthetic turf, and wood preservative chemicals.
Mr. Rafter's legal career was enhanced by his early role as a Judge Advocate in the United States Army where he spent his first several years of practice essentially serving as in-house counsel for several military organizations. A few years after joining the firm, he was seconded to an important client of the firm to serve temporarily as one of its in-house trademark counsel. Both experiences gave Mr. Rafter first-hand knowledge of the demands facing in-house counsel.
Mr. Rafter is rated AV Preeminent® by Martindale-Hubbell*, and is recognized in The Best Lawyers of America in the field of Trademark Law.
*AV®, BV®, AV Preeminent® and BV Distinguished® are registered certification marks of Reed Elsevier Properties Inc., used under in accordance with the Martindale-Hubbell certification procedures, standards and policies.
Manages all aspects of the extensive trademark portfolio of Acuity Brands Inc., one of the world's leading providers of lighting fixtures and related products and services. We have provided strategic counseling in connection with clearing new marks as well as in protecting the company's rights in hundreds of different marks. Since we began representing the company, we have managed more than 2,000 registrations and applications in more than 90 countries throughout the world. When the company was spun off from its parent, our attorneys were heavily involved in the clearance of the company's new name.
Successfully represented Georgia-Pacific in the expedited arbitration of a case involving false advertising claims in its competitor's nationwide television, radio, and print campaign for paper towels. Obtained injunction and award of attorneys' fees. Georgia-Pacific Corp. v. The Procter & Gamble Co., No. 03-2957 (N.D. Ga. filed Aug. 30, 2003).
Defended DuPont and obtained favorable settlement of false advertising litigation pertaining to flammability characteristics of surgical fabrics. Kimberly-Clark Corp. v. E.I. DuPont de Nemours Co., No. 06-1503 (N.D. Ga. filed June 23, 2006).
Successfully settled copyright litigation involving architectural works on behalf of David Weekley Homes. Frank Betz Assocs., Inc. v. Weekley Homes, L.P. d/b/a David Weekley Homes, No. 05-1563 (N.D. Ga. filed June 14, 2005).
Represented a Fortune 500 brewery to secure a judgment as a matter of law that there was a likelihood of confusion between our client's mark and the defendant's mark. We prevailed on summary judgment on their unfair competition counterclaims and then successfully defended against an appeal and a petition for certiorari.
Represented a leading manufacturer of erosion control products in proceedings before the National Advertising Division (NAD) of the Council for Better Business Bureaus in which a competitor alleged that certain of the manufacturers advertisements were false or misleading.
Manage the extensive trademark portfolio of Spectrum Brands, a global manufacturer of batteries, shavers, hair dryers and other personal care appliances, pet products, insect repellants and lawn and garden products. Since we began representing the company, we have helped the company "rationalize" its trademark portfolio and strategy, which has resulted in significant savings for the company. Currently, we manage more than 1,500 active registrations and applications for more than 450 marks in more than 125 countries throughout the world. We provide strategic counseling about the selection and clearance of new marks, and manage contentious trademark-related proceedings for the company throughout the world.
Manages all aspects of the global trademark portfolio for Krispy Kreme Doughnuts. We assisted the company in expanding its operations into dozens of new countries in Europe, Asia and the Middle East, which involved (among other issues) securing registrations for and protecting translations and transliterations of the company's primary marks. In addition to clearing and registering new marks and maintaining existing registrations, we have assisted the company with licensing its marks and have managed trademark-related disputes for the company in numerous countries throughout the world.
Represented a leading Fortune 500 brewery and obtained injunctive and other relief against fifteen companies and individuals in trademark and copyright infringement litigation involving infringing decals, drug paraphernalia, apparel and other products.
Manages the global patent and trademark portfolios for Textile Management Associates Inc., a company in the synthetic turf industry, which owns one of the most iconic brands in the industry. We provide strategic counseling about the protection of that brand, manage trademark-related disputes in multiple countries, and assist in clearing and securing registrations of new marks.
Represented United Pet Group, Inc., a leading global manufacturer of pet products, in trade dress litigation against a competitor. Case settled favorably after we filed for preliminary injunction. United Pet Group, Inc. v. Salix Corp. et al., No. 09-03323 (E.D.N.Y. filed July 31, 2009).
We provide extensive trademark counseling to a large non-profit humanitarian organization. We also manage the organization's domestic and international trademark portfolio, and represent the organization in domestic oppositions at the Trademark Trial and Appeal Board, as well as in international oppositions and enforcement matters in numerous countries.
Mercer University Walter F. George School of Law, J.D. cum laude
Mercer University, B.A. summa cum laude
U.S. Court of Appeals for the Armed Forces
U.S. District Court for the Northern District of Georgia
What types of cases Attorney Michael Rafter & Kilpatrick Townsend & Stockton LLP can handle?
Kilpatrick Townsend & Stockton LLP can handle cases related to laws concerning Copyright Application, Litigation, Consumer Rights & Protection, Intellectual Property, Trademark infringement. We manually verify each attorney's practice areas before approving their profiles and reviews on our website.
Kilpatrick Townsend & Stockton LLP is located at 1114 6th Ave, New York, NY 10110, USA. You can reach out to Kilpatrick Townsend & Stockton LLP using their phone line 212.775.8776. You can also check their website kilpatricktownsend.com or email them at [email protected].
Michael Rafter 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 Michael Rafter 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 Michael Rafter lawyer profile listing.
6th Avenue 1114
Consumer Rights & Protection Lawyer
Robert Potter
Katherine Giddings


Yes! We will be a vendor at the 2015 Home & Garden Show next weekend!! We are really excited to get our name out there to the general public and show off some of our fabulousness and great store items! We will also have treats, giveaways, gift certificates, prizes and more. Be sure to stop by and say hello, check out or home show deals and more. It's sure to be a good time!
For more home show information follow THIS LINK HERE.


If you are a landlord and are looking to maximise your BTL investment here are some tips on how you can achieve the best returns on your investment. In Surrey and South West London we are lucky to live within a short commute into the capital which means that if you make sure that your property is suitable for the young professional you will probably be able to attract tenants who will pay the most.
1. Make sure your property is well maintained as this will ensure that tenants stay for longer periods.
2. Vet future tenants properly to make sure that they can pay their rent, ask for references from landlords as good tenants will cause less damage keeping maintenance costs to a minimum.
3. The bathroom and kitchen are the most important rooms in the house so make sure these look good as it will encourage renters to stay longer.
4. Look to see if you can add an extension such as a single storey building to increase your rental income.
5. Talk to your local property experts such as Finch & Co to see if you can target specialised markets.
6. Look after your existing tenant – having void periods in your rental property can have an impact on your BTL investment yield, therefore if you are thinking about putting up the rent to existing tenants weigh this up against having to find new ones in a worse case scenario – the cost of drawing up a new contract, advertising and so fourth.
7. Make sure you let your property quickly to avoid empty periods – letting agents such as Finch & Co will be able to market your property quickly and efficiently.
8. Use a the services of a registered ARLA letting agency to make sure you do not fall foul of regulation.
9. Get good advice on tax issues concerning your BTL – many landlords are now using Limited companies to rent out properties, but this does have added complications when selling.
10. Make sure your property is well insulated, this will improve its Energy performance making tenants want to stay longer and it being more marketable to new tenants.
11. Buy a property with good transport links and good internet access, as this will be more attractive for professional tenants.
12. Allow two months towards the end of tenancy to find out whether your tenant is staying, which will allow you to remarket the property if needed in plenty of time to avoid unoccupied periods.
At Finch & Co we offer a range of different landlord services, for more information please check out our website.


1. The following general terms and conditions apply to all business relations between us and the customer. The version applicable at the time of conclusion of a contract shall apply.
2. Unless agreed otherwise in writing, any differing, contradictory or supplementary provisions to these General Terms and Conditions, even if known to the other party, shall be excluded.
3. Should any contradictory provisions have been agreed upon in an individual contract or in a written guarantee, such provisions, in case they contradict our General Terms and Conditions, shall supersede these General Terms and Conditions.
1. The conditions pertaining to our goods are subject to change and not binding. Any representation of our goods on the Internet does not constitute an offer, but an invitation to place an order. We reserve the right to reasonable technical and other changes in form, colour or weight.
2. The placing of an order for goods by the customer shall constitute a binding offer for the conclusion of a purchase contract.
We shall confirm receipt of the order immediately. However, such confirmation of receipt shall not constitute a binding acceptance of the order. Only where such confirmation contains a declaration to that effect may the confirmation be deemed as a binding acceptance.
Any acceptance of orders made by telephone shall not be binding.
3. We are entitled to accept the contract offer contained in the order within two weeks after receipt. Where goods have been ordered via electronic mail, we are entitled to accept the order within three working days after receipt.
We reserve the right to decline an order, for example upon evaluation of the customer's creditworthiness.
We reserve the right to reduce the order to such a quantity which conforms to our delivery capacity.
4. We reserve the right to partial or non-performance of a contract in case of incorrect or improper deliveries by our suppliers. This shall apply only where we are not responsible for such failure to deliver.
We shall inform the customer immediately in case the required goods are unavailable or only partially available. Any payments already made by the customer shall be returned immediately.
5. Where the customer has ordered goods by e-mail, we shall save the textual content of the contract and return it to the customer by e-mail together with the General Terms and Conditions which shall form part of the agreement.
6. Any specifications as to the delivery time are given to the best of our knowledge and ability. The delivery time is deemed to have been met if the goods have been dispatched ex works or if the goods have been declared ready for dispatch. Combined or partial deliveries are permissible.
Any events beyond our control or that of the customer, which may delay or complicate timely delivery, entitle us to a reasonable extension of the delivery time, whereby any liability claims in connection with such an extension are excluded. Should such events constitute a permanent obstacle to the performance of a contract, which cannot be removed at reasonable costs, any claim relating to the performance of the corresponding consideration shall be excluded.
Should we be accountable for such a delay in delivery, any compensation to the customer shall be limited to 5 per cent of the value of that part of the delivery which was not delivered in time.
7. In case the customer is in default of acceptance we are entitled to store the goods at the customer's expense and risk whereby the incurred storage costs shall be added to the invoice for the goods and the delivery deemed as performed. The same shall apply in case goods which are ready for dispatch cannot be delivered due to circumstances for which the customer is responsible.
Where, upon request of the customer, the dispatch or delivery of the goods is postponed by more than one week, we are entitled to a compensation amounting to 0.5 per cent of the value of the goods to be delivered for each week started. Such compensation shall however be limited to 5 per cent of the value of the goods to be delivered. The right of either party to make claims in excess in case the damage has been proved to be higher or object to the above stipulation in case the damage has been proved to be lower than the amount stipulated above remains unaffected.
8. We shall retain ownership of any drawings, drafts samples and documentations. They must not be disclosed to third parties without our consent. We reserve all property rights in this respect.
1. We shall retain ownership of the goods until all outstanding payments in connection with a contractual relationship have been received. Where the value of the goods, which are subject to retention of ownership, exceeds the outstanding payment by more than 20 per cent we shall be obliged to transfer ownership upon request to the customer.
2. As long as we retain ownership of the goods the customer is obliged to handle and store the goods with care and insure them adequately. Where maintenance and inspection work is required, such work shall be carried out and the costs thereof borne by the customer.
The customer is required to inform us immediately in writing of any access to the goods by third parties, in particular of any levies of execution and possible damage or destruction of the goods. The customer must notify us immediately of any change in ownership of the goods or any change of his address.
The customer is liable to pay compensation for any damage or costs caused by a breach of the above obligations or by not intervening adequately against access to the goods by third parties.
3. We reserve the right to withdrawal from the contract and to repossession of the goods in case of a breach of contract on the part of the customer, in particular in case of default of payment. We also reserve the right to rescind a contract and repossess the goods in case of a breach of the provisions made in § 3 Section 2 of these General Terms and Conditions and in case the contractual relationship cannot reasonably be expected to be continued.
4. The customer is entitled to resell the goods as part of ordinary business transactions. Upon conclusion of a contract the customer shall assign to us any receivables arising from the resale of the goods to third parties. We hereby accept this assignment. When the assignment has been effectuated the customer shall be authorised to collect the receivables himself. We reserve the right to collect the receivables ourselves in case the customer does not meet his payment obligations and is in default of payment.
Any treatment and processing of the goods by the customer shall exclusively be performed in the name and on behalf of us. Where such processing is performed we shall be entitled to co-ownership in the new object in proportion to the value of the goods delivered by us. The same shall apply where the goods are processed or mixed together with other goods which do not belong to us.
1. The price offered is binding. All prices are net prices, exclusive of packaging, delivery and value added tax.
Unless agreed otherwise in an individual agreement, the manner of packaging and transport as well as the forwarding route shall be at our discretion.
No additional charges shall be made if the customer orders the goods by means of a long-distance communication medium.
The customer may make payments by bank transfer. We reserve the right to change payment terms. If we accept bills of exchange and cheques, payment shall not be deemed to have been made before encashment. Any discount charges and transfer fees shall be payable by the customer.
2. The customer is required to make payment within ten days after receiving the goods. After this period the customer shall be in default of payment.
Where the customer is in default of payment, he will be charged a default interest of 8 % above the base interest rate on the amount owed. We reserve the right to prove higher damage caused by the default of payment and hence claim higher damages.
3. The customer shall only have a right to set off where the counterclaims have been validly established or acknowledged by us in writing.
The customer may only exercise his right to refuse performance where his counterclaim arises from the same contractual relationship, i.e. not from an assigned right.
1. The risk of accidental destruction or damage to the goods shall pass to the customer at the time the goods are handed over to the customer or, in the case of mail order purchases, upon acceptance of the goods by the forwarding agent or any other person or company commissioned with the transportation of the goods.
Delivery shall be deemed to have been effected in case the customer is in default of acceptance.
2. When receiving and sending data via the Internet the risk of loss of and changes in the data is transferred to the customer at the time the data passes the network interface.
1. In case of any defect in the goods, we warrant for either rectification of defects or substitute delivery, whereby the choice as to which of the two will be performed is at our discretion.
2. Should such subsequent performance be unsuccessful the customer shall be entitled to opt for either a reduction of the purchase price (abatement) or withdrawal from the contract (rescission). In addition, the customer may claim damages. In the case of small defects the customer's right to rescission is excluded. In case the customer claims damages, the limitations of liability stipulated in § 7 Sections 1 and 2 of these General Terms and Conditions shall apply.
3. The customer is required to inspect the delivered goods for any variations in quality and quantity and to inform us in writing of any defects within one week after receipt of the goods, otherwise any right to warranty claims shall be excluded. Notification of any hidden defects must be made in writing within one week after their detection. In order to adhere to the defect notification period, notifications must be sent to our registered office. Full burden of proof pertaining to all claims, in particular to the defect itself, to the time of detection of the damage and to the timeliness of the notification of defects lies with the customer.
4. Unless otherwise stipulated in an individual contract or in a written guarantee, the warranty period is one year from the date of delivery of the goods.
In the case of used goods the warranty period is one year from delivery of the goods. The one year warranty period shall not apply in case of intention and gross negligence on our part or where we are liable for bodily harm and injury to health to or loss of life of the customer. Any liability under the product liability law shall remain unaffected.
1. In case of a slightly negligent breach of duty our liability as well as that of our vicarious agents shall be limited to the foreseeable, contract-specific and direct average damage. In any case, liability is limited to twice the value of the goods.
Our liability or that of our vicarious agents for any slightly negligent non-contractual breach of duty which does not endanger performance of the contract shall be excluded. The above limitations of liability shall not apply to claims by the customer which are related to product liability or warranty. The liability limitations shall not apply in case we are liable for any bodily harm and injury to health to or loss of life of the customer.
2. We shall only be liable for our own contents on our website. Where access to other websites is provided by means of links, we shall not be liable for any contents on such websites which have not been published by us. We shall not acquire ownership of such contents. Where the existence of illegal contents become known to us, we shall immediately block access to such websites.
1. We will take back the following types of waste electrical equipment delivered by us to our customers free of charge for correct disposal/recycling under the conditions specified in paragraph 2.
2. For the free-of-charge return we must receive notification of the return including details of the serial number of the equipment. The customer must have the equipment packed ready for transport on a pallet. The equipment will be collected by a freight carrier ordered by us. Waste electrical equipment will only be accepted by us in its original condition as shipped from the factory. We do not take back any single parts of the delivered equipment or any equipment with additionally installed components. Any unauthorized returned goods/components will be sent back at the expense of the customer. The customer will be liable for all costs incurred in such cases such as transport, processing etc.
3. If the customer passes on any semi-automatic welding systems from SKS as mentioned in §8. 1. to a third party, he must require the third party by contract to dispose of the waste equipment in an orderly manner at his own expense in compliance with the legal regulations or as mentioned in §8.1. to return such waste equipment to us. In the event the goods are passed on again, the customer must also impose the same obligations on the respective recipient.
1. The law of the Federal Republic of Germany shall apply. UN purchasing law is excluded.
2. If the customer is a trader, a legal person under public law or a public special estate, the exclusive place of jurisdiction for any disputes arising out of this contract shall be the location of our registered office. The same shall apply in case the customer does not have a general place of jurisdiction in Germany or where the customer's domicile or usual abode at the time the action is brought is unknown.
3. Should any provisions in this contract with the customer, including these General Terms and Conditions, be or become fully or partially invalid, the validity of the remaining provisions shall remain unaffected. The invalid or partially invalid provision shall be replaced by a valid one which comes closest to the economic purpose of the invalid provision.


180 State Route 197, Beech Bluff, TN 38313 is a Single Family Residence property with -- bedrooms, 2 bathrooms, and is approximately 2,088 sq feet of living space. The estimated market value for 180 State Route 197, Beech Bluff, TN 38313 is $37,000, based on recent sales of similar homes and other property assessment information. Built in 1955, this Single Family Residence is located in Beech Bluff, TN in the zip code 38313. Huron, Jacks Creek and Henderson are the nearest cities.
We're sorry! No schools found within 1 mile of 180 State Route 197, Beech Bluff, TN 38313.
Good news! No offenders found within 1 mile of 180 State Route 197, Beech Bluff, TN 38313.


I've been inspired by the lovely Megan at www.seekmyscribbles.com to share my pregnancy essentials.
I got to meet Megan at a bloggers event last year and it was lovely to discover that she was expecting a baby boy shortly after I also found out I was as well. I've really been enjoying her posts about all the baby stuff she's collecting and how she's finding it.
So, I'm now at 37 weeks, definitely on the home run. My hospital bag is packed, the nursery is completely set up and I'm getting more excited by the day imagining finally bringing my little son home.
My bump is pretty huge now but luckily I haven't developed any stretchmarks so far, and that's down to using this system.
Secret Saviours works by combining a day cream and a night cream for your bump with a special supportive band that you wear. Its very comfortable and I really enjoyed the extra support the band gives.
The creams both smell really gorgeous – the day cream has a slightly herbal smell and a sticky consistency that helps the pads on the inside of the support band adhere to your skin. The night cream smells of wonderful aromatherapy oils and feels very cooling and luxurious.
I've loved the little nightly ritual of having Seb run it into my bump, it's a nice bonding experience as well. The set is superb and my skin has remained very smooth and line free throughout, so I'd highly recommend it. A full review of the kit is available here.
One thing hormones can certainly do is mess with your skin, not to mention all the sleepless nights (oh yes, there seem to be plenty of those BEFORE baby, even though ironically everyone keeps telling you to gets lots of sleep while you still can).
I've always had quite normal skin, but I started to notice I was getting a few breakouts, and this little device has really helped. It uses sonic pulses to deep cleanse the skin – you just wet it and use it with any cleanser you like.
As the whole thing is made of silicone, there are no bristles to harbour any bacteria, so its ideal for problem skin. I've been using it every day and night and I noticed that whenever I had a spot coming it stopped it in its tracks. It feels really nice to use and then your skin is very soft afterwards.
I also feel like its helped with the fine lines on my forehead – they haven't disappeared but they look softer – and using it in the morning takes down puffy eyes as it drains the fluid away. I'm really impressed! You just recharge it via USB and its so lightweight and easy to use.
Since being pregnant I seem to be permanently dehydrated. I wake up thirsty and stay that way all day! So I've been making sure to carry this water bottle around with me at all times. Literally, it even comes with me to bed!
It has a small charcoal filter disc in the lid, which means you can fill it up from any tap and still get fresh filtered water.
This is a lifesaver and has probably saved me a small fortune in bottled water, which is bad for your wallet and the environment! I like to add some lime segments to give it a little bit of flavour. Its been a complete life saver.
Another weird pregnancy side effect for me has been really dry lips, so I depend on a good lip balm at the moment, and my absolute favourite has to be this Lip Butter from Royal Apothics.
Not only is the little pot insanely cute, but the formula is very soothing and moisturising. It also has a very subtle coral tint, which looks really pretty with light summer makeup.
One thing I didn't realise before I was expecting was how much I would hate maternity underwear!
When you are expecting or feeding, you're advised not to wear underwired bras because they can block the milk ducts. Of course I went out and got some maternity bras from M&S, that were just like the sort of crop tops you wear before you graduate to proper bras and I hated them.
Specifically I hated the way they made me feel unsupported and saggy, and they gave a horrible silhouette under my clothes. Just because I'm expecting doesn't mean I want to look terrible!
So I was over the moon to find these bras from cotton soft. They use foam cups to give a soft support, and they look 100 times better than the first lot of maternity bras I had, which I've now binned. They unclip easily at the front so you can use them when you're feeding as well.
They are much closer to the type of bras I wore pre-pregnancy and they've made me feel a million times better.
This app has been a constant companion ever since we found out we were expecting. It gives a record of your baby's growth, using different fruits and vegetables, which for us frequently became a nickname for the baby (we went from 'Olive' when we first found out to 'Coconut' at the moment).
It also lets you chat with other mums to be, ask questions, keep a bump picture record, and gives really short 'bite size' information on your baby's development and common health issues. You can also record your health and it will remind you to do important things, like kegel exercises or staying hydrated.
It's a stylish, easy to use interface as well. I've especially loved looking at it each week to see how much the baby has changed. It was especially important at the beginning to help me feel a connection with something I couldn't even imagine at the time!
Between being extra tired and sneaking in the odd afternoon nap and all the waking up in the night, you see a lot more of your bed when you're pregnant. And one thing I've been enjoying to make my bedroom a nicer place is this relaxing room mist.
Lavender has a deeply calming effect on me, so if I've been feeling restless, or I've woken up all hot and bothered in the night with this humid weather, this spray has been a life saver. I pop some on my pillow or just mist it around the room and I feel so much better. This lives on my bedside table.
This is the ultimate multi-tasker for mummies. There's almost literally nothing you can't do with a tub of this stuff – so much that I think I'm going to dedicate a separate post to its many uses.
My favourite uses include as a hair mask and an intensive moisturiser for my dry feet, but it can also replace different mummy products like Lansinoh and Sudocrem – it does the job of all of those things as its anti-bacterial and all natural.
I'll never be without a jar of this now – I'm even taking a little pot of it into hospital with me.
So those are my mummy-to-essentials that have made life easier over the past few months. What have you come to rely on? Any tips for products I should try?


Ironward's tactical squad-based team title The Red Solstice has been in Early Access for ages but it's finally been given a release date.
The game will get its full release on 9 July and it's coming with a pretty big bonus, t's now getting a tactical single player campaign which they say should span between 7 to 30 hours of gameplay depending on your skill level. This is a great addition to the 8 player co-op mode that's been part of the Early Access version of the game which already provides good value.
We took a look at The Red Solstice a while back offering a few tips for new players and it's definitely worth a look if you've not done so already.
Now that there's a release date we can also bring you a new trailer.


Since our 6th Blogiversary Photo Contest is in full swing, we thought we'd share some of our favorite romantic photos to inspire you. The captions tell where the photo was taken. As you can see the photos vary–some have people in them, some do not. Some are of us, some are of others. What they all have in common is showcasing a place you could imagine having a romantic date together.
This entry was posted in Capturing Romance Photo Contest, Contests and tagged 6th blogiversary, Romance Photo Contest. Bookmark the permalink.


PONSHOP Studio and Gallery is pleased to announce our "First Friday" Opening Reception on July 5, 2013. The Gallery will be featuring the work of Crystal Rodrigue throughout the month of July. The Gallery will be open on First Friday from 6 to 10pm.
Crystal Rodrigue is a mixed media artist living in Spotsylvania, Virginia. She employs an intensive process of overlaying photos on gilded metallic backgrounds. Rodrigue creates an emphasis on the gilding process by placing photographs on raw steel in order to create a neutral background and, in effect, shifting the viewer's focus to the gilded images. The images of architecture and power lines (man made constructs) are gilded with metal in order to further equalize their relationship to each other. The gilding beneath the images elevates the status of the raw photograph, inspiring their status and helping the viewer see the contrast between the image and the background. Rodrigue is dedicated to traditional film and photography. She accredits her technical influence to these sources. By the use of vintage cameras, unique films, and an endless curiosity of developing techniques, she is able to present the viewer with an interpretation of a private and vulnerable world that she experiences. Her work reinvents for the viewer a journey; a place in time; and objects overlooked or forgotten.
Crystal Rodrigue has been participating with PONSHOP as a contributing artist for over a year. During that time, she has exhibited her fine art as well as small works including: small scale image overlays on steel plates, Polaroids, vinyl albums, as well as two vinyl albums in the current "Remixed" Vinyl Album Show.


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WATCH: Viktor Loov, or Love, answers 20 Questions
Is he the Loov Machine or the Love Machine? Or, according to his teammates, he's both?
By arii May 13, 2016, 11:55am EDT
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The Marlies' 20 Questions series is the best, and now the great, talented, and, most important of all, hilarious Viktor Loov is a part of it.
Or he may be going back to Viktor Love - and therefore, one of his nicknames is the Love Machine. It's a thing.
So, what are the highlights in this particular set of questions? I'm going to start with just how Swedish he is. For example: is it any surprise that the TV show he's currently into is Vikings? Or, when asked what sport he would play if it wasn't hockey, that he says, verbatim:
"For sure football. Not American football. Fotboll."
So soccer.
His favourite karaoke songs to sing are also Swedish songs. I know nothing about Swedish music, so I'm just going to assume he sings a lot of Abba, which really would be fantastic.
A few other great tidbits: birthday cake Timbits are his favourite doughnuts (a man after my own heart, those things are incredible), the first Mighty Ducks movie is the best sports movie, he'd rather be a superhero (which he apparently looks like - "thank you," he says - than a villain), and he really, really, really, really loves Utica, probably because of the Utica Casino Buffet.
Loov also readily admits he's the worst trash talker on the Marlies. That's okay, though, because it comes with an awesome side effect: he's also impervious to trash talk. It just doesn't affect him. "That's not the truth, so why listen to them." Loov is smart.
He's got a few great chirps for some of his teammates, too. He looks right into the camera to declare Kasperi Kapanen as the Marlie with the worst style (and apparently has a problem with one of his pair of jeans?). And the greatest moment of his life to date...?
When I beat Willie Nylander to the NHL."
Oi yoi yoi.
The purest part of this 20 Questions, though, is definitely everything about Petter Granberg.
Who was his best defence partner? Petter Granberg. What celebrity would he take a selfie with? PETTER GRANBERG. Who's his best friend in hockey not on the Marlies? Give him a P, give him an E--
Honestly, it's beautiful.


I want everyone to know Ashtanga yoga is generally known as "eight limbed yoga", it is the direct way to purify inner mind and soul of anybody who practices it on regular basis. The complete teachings of ashtanga yoga is actually a course which is a fine blend of teachings about Vinyasa, bandhas, mudras and a deep philosophy of different sutras that are considered as the genuine approach towards transforming one's mind and soul to the highest levels of purity.
Usually, ashtanga yoga is perceived as a very tough kind of yoga but being a Ashtanga yoga practitioner I will assure you that Ashtanga yoga is for all those who have a challenging nature, who love to accept dares, who have strong nerves and muscles because some poses of Ashtanga yoga need flexibility of bones and muscles. But do not be afraid I assure you that a little practice and effort will make you a competent Ashtanga practitioner.
Teaching of Ashtanga yoga comprises of a comprehensive course of teaching the following mentioned eight spiritual practices that we call the essential eight limbs of the yoga practice.
1. Yama that generally means teaching the moral values.
2. Niyama, the way how to purify one's inner self and learning all the aspects of this technique.
3. Asana, asana is basically the teaching of how to adopt the proper postures required to implement different yoga techniques. Any error in these postures may lead to a misdirected yoga performance which will ultimately never gives the desired results.
4. Pratyahara, under this technique a yogi is made to learn the act of controlling senses.
5. Pranayama, the most basic teaching about how to control one's breathe and master the art of breathing.
6. Dharana, through Dharana students, are taught to learn how to concentrate and develop your mind to focus at a certain point.
7. Dhyana, it is the key to learn meditation. Under dhyana, we teach the trainees about the technicalities and delicacies of meditation and how they can purify one's mind and soul.
An insight into the above-mentioned limbs of yoga practice will tell you that the first four practices are made to cleanse a body externally. It means that they are the source of providing different asanas that are required to develop a fit and healthy body through different postures that act as the workout strategy for the body of a yogi. While the last four limbs are the vital source of cleansing the yogi's body internally. They use the internal purifying system by providing peace of mind and soul to the yogi.
While the last four limbs are the vital source of cleansing the yogi's body internally. They use the internal purifying system by providing peace of mind and soul to the yogi. Now what we have learned here is that teaching Ashtanga is actually the art of tackling these basic eight limbs in such a way that not a single benefit of adopting these techniques can escape and complete benefit can be achieved by these techniques.
Frankly speaking, there are no hard and fast rules or poses to continue Ashtanga yoga. Rather there is a sequence of certain easy to a little bit harder poses that should be followed one after another in a sequence. Each pose is a preparatory level for the next harder pose. Usually, the Ashtanga yoga starts with the simple "sun salutation" posture which is then followed by simple multiple standing postures.
The best way to continue Ashtanga yoga is to do it under the supervision of an experienced teacher because any disruption in the original sequence of these poses may lead to a failure in achieving the desired results. However, some postures may cause minor injuries to the muscles of the yogi so perform all the postures under strict guidance.
Benefits of Performing Ashtanga Yoga There is a wide range of benefits that a yogi can avail by learning Ashtanga yoga. During our school training classes at Rakesh Yoga School, we concentrate more on performing Ashtanga yoga with perfect postures so that our students can get maximum benefit out of it. Let us look at the dynamic results that Ashtanga yoga implies on your general health and body.
Breathing control is the direct tool to drag out all kind of stress and negativity from your brain. This level of yoga will give you complete relief from the tensions that lick your mental life gradually. Tensions and stress are the ultimate enemies of anyone's peaceful life. So, Ashtanga yoga brings instant relief to your mind and soul and heal all your mental wounds.
Within a few months of Ashtanga yoga practice, you will feel the clear difference in your approach towards life. You will turn more positive and this positivity will ultimately give back years of life to you. It boosts energy levels in the yogi, as a result, a yogi feels more vitalized and energetic. Ashtanga yoga is a name of bringing youth to your life.
A regular practice of ashtanga yoga will give dynamic health benefits to your body. You can get an instant relief from your previous body pains like lower back, shoulder and muscular pains. It helps you to bring your mood to calmness and discourages any kind of worst mood swings that might have affected your mental and physical health in past. General well -being of whole society can be availed easily if everyone spares few minutes from their busy routine to perform Ashtanga yoga on regular basis. In short, I as a yoga practitioner can say that join our regular yoga classes at Rakesh Yoga School if you want to rejuvenate your personality and want to become a prosperous person in your life.