text:
Anne Midgette: Extending the
Conversation on Social Media
One of the best known and most respected journalists and critics in the realm of classical music and opera, Anne Midgette has also been among the more tenacious advocates of changing with the times, embracing new media platforms, techniques, and modes of storytelling – qualities I was in a position to witness at close range as an admiring colleague during the last two years of her seven-year stint contributing to The New York Times. Since 2008, Midgette has blazed new trails as the classical music critic for the Washington Post – a plum role in the nation's capital, at precisely the time the newspaper began its steep ascent to the top of the digital-news world.
Above and beyond her distinguished work in print and online, Midgette arguably has done a more effective job of extending cultural conversations with readers via social-media platforms like Facebook and Twitter than any other journalist or critic in a comparable position. In a recent telephone interview, she described the contours and challenges of her job, and how social media platforms have proved natural extensions to an essential conversation.
STEVE SMITH: How would you describe your editorial mandate at the Washington Post right now, with regard not only to what you cover, but also how you approach it?
ANNE MIDGETTE: The editorial mandate is I'm responsible for classical music. In the age of digital journalism, that can mean that you open up the paper and discover an editorial about non-profits that touches on your field, or that the national arts reporter can decide to do a piece on Simone Dinnerstein – which is all fine. It's not like everything goes by me in a contemporary paper. Even less with TV and film – everybody feels like they have open season to talk about that stuff. I think the fiefdoms have relaxed, in the sense that 20 years ago you would always go to the classical critic before you commented on [Gustavo] Dudamel.
There's a lot of freedom, and a lot of appreciation that we have it, but a lot of freedom, too, in the sense that it's up to us to make what we want of it. We have the metrics in hand; by metrics, I mean of course the numbers of who's reading what. We know reviews aren't getting read as much. We know that the paper as a whole is not as actively interested in the high arts as it is in other more widely read areas. So the freedom is a two-edged sword: You're partly free because, "you guys take care of this." There's tremendous support – my immediate editors are fabulous – but in terms of our sense of where we belong at the bigger paper, I think that's dwindled a bit.
But the freedom that's exciting is there's a lot of encouragement, in a general sense, to try new things – you're always going to have support staff if you want to try writing a dialogue instead of a review, for example. They're always happy if you use social media; that's always been encouraged. I've always been kind of a social-media junkie since I was allowed to get on it, so that hasn't been an issue. And we all, as critics, having seen the results on social media, are eager to figure out ways to pair it up better, where you feel that exchanges are happening on Facebook that you would like to see reflected in the paper, somehow.
Figuring out how to make that happen is a very interesting question, and all the critics are talking about podcasts and dialogues with each other and ways to make these things happen. The Post is being very innovative right now in every department across the board in terms of "let's use more video, let's use different ways of getting the story across." And that applies to the arts, as well – with the caveat that we're a niche.
Can you share any examples of something that started in the social-media sphere, and then grew into something that you brought into the mainstream publication?
Oh, yeah, I'll have discussions all the time where that happens. But one is when [Washington Post chief theater critic] Peter Marks and I tried both reviewing a jazz musical based on Carmen at the Olney Theatre. We did joint reviews that ran in the paper, and then on Facebook we started talking about it with Nelson Pressley, the other theater critic. We would have had this conversation around our desks, if we were at our desks, you know; it was just that kind of thing. But people began chiming in, saying, "Oh my god, I want to hear this kind of discussion."
The excitement for the discussion we were having was so much more marked than the excitement for our contrasting reviews, which, mine didn't get read all that much; Peter's might have gotten read more. It seemed like that experiment wasn't as successful as the Facebook discussion, and I took that as a profound lesson for "let's try to have these discussions more." And that's what started the whole idea of the joint reviews in the paper – rather than running side-by-side reviews, having one review in which two people talk to each other. That's a recent example.
I know that you personally still come to New York and cover things of national impact as well. How many people do you have working with you, covering classical music in Washington, D.C. and the surrounding vicinity?
I have 10 stringers. It's not like Times stringers; some of those don't work for a couple of months, and nobody does more than four or five reviews a month. But it's a loose stall of 10 people.
That's more than I'd anticipated.
There's one musicologist, and there's one former cellist turned lawyer. A couple are more active than the others, but nobody's doing it full time. And nobody's a full-time journalist except Stephen Brookes, and he's not a full-time music journalist.
It seems like lately we're seeing what classical-music coverage is still out there getting shorter, choppier, more bite-sized – the recently introduced New York Times feature "The Week's 8 Best Classical Music Moments" being an example that's attracted lots of attention. Is it a necessity of today's media atmosphere that we're just going to have to get used to sacrificing length and depth in order to engage a broader audience?
I think we have very romanticized notions about length and depth to begin with. I think if you look back at The New York Times from 1930, you're not going to find the kinds of thoughtful, long reviews that we now think are our right. You had some, but there were plenty of short, bite-sized reviews. I think we've overestimated the importance of the lengthy review. I think that's one of the reasons, the kind of increasingly formulaic nature of a review, that makes people disinclined to read them. I don't think it's length so much as formula; I find people are thrilled to read a long piece on the PROTOTYPE Festival, which is a review of something they're never going to see, if it's made into a discussion of something that interests them.
That said, yes, there's a premium on the bite-sized, but I don't feel it hurts the field at all. I think short is good; I think you and I have both experienced having to write shorter than we would have liked [laughs] and then getting to write whatever length we want, and I think there's a lot of virtue to the shorter review. I just did an 11-inch review of the St. Petersburg Symphony, and that doesn't mean I didn't like it; it's just that that's all that needs to be said. And I think that overestimating the importance of each individual review, for a long time, has led to a sense that, oh, they're all too long and they need to be chopped down. That said, I don't think that the Bob Christgau approach to daily reviewing for The New York Times is necessarily the best response.
It's now become necessary when reviewing a concert to try teasing out broader contexts that will link up with daily life, people's experience, or whatever. But then, isn't that what we were supposed to be doing all along, ideally?
All along. My view of this is really colored by my first experience with a big paper, which was the Wall Street Journal, where I started out writing. The Wall Street Journal is a national paper, and I was writing for the Wall Street Journal Europe. I would be writing something about Leipzig; now, the majority of Wall Street Journal Europe readers have not been to Leipzig, or are not going to go to the opera in Leipzig. So I had to make it interesting to somebody who wasn't going to go – like, why should you care about it?
I think that was a great training ground for a critic. The papers that are surviving have an increasingly national audience. Of Post online readers, 90-some percent are national; only 10 percent are local. So it's not thinking, "Oh my gosh, it's the death of interest." It's just that if you're sitting in Montana, maybe you don't care about what the Washington Chorus did unless I tell you why you should care. So it's not just a question of running after readers, trying to sell it differently, but just thinking, if you're writing for a national audience, how can you best frame your coverage to reach that audience?
And that doesn't mean you should jettison the local audience or local coverage…
That was my next question, actually.
No, absolutely not, but I think the balance comes out differently. If you're looking at metrics, you have to understand what that means… the irony being that, by default, all of the arts critics at the Post are de facto increasingly local, because there's not as much money for us to go jetting around the country to do the kinds of national stories that would get big national readership.
So in a way, I'm more local even as it's more important to be more national. And I think the effort to frame stories in a bigger context is a response to that, not a response to selling out or "the new market" or whatever that is. It's a pretty timeless sort of situation. And I got big readership for a piece that was on a Derek Bermel piece played at the University of Maryland, and a little-bitty theater company playing Goyescas very badly – it was a review, but I made it be about music about painting, music based on paintings, which I'd already written about. That got 10 times more readers than a straight review would get. It wasn't about a nationally interesting topic, and I didn't short the performances any more than I normally would have; it's creative thinking, that's all.
We're just breaking out of the framework, and losing the energy spent on hand-wringing about how it's all different now, when it should be different. I don't think the past we're leaving in some of this stuff is worth continuing, anyway.
Vijay Iyer and Wadada Leo Smith
The rapport you've developed with your readership via Twitter and Facebook outstrips that of anyone else I've seen personally. Before we started speaking, I scrolled through your Facebook feed, because I'd thought that you mixed Post stuff and personal stuff. But I actually didn't find that much in the way of family photos and whatnot. It seems like you've tasked Facebook with being an extension of your work. Is that accurate?
Not quite. I mix it up. I never tried to do too many family pictures. I don't think you'll find many more of them earlier – although I have started to use Instagram more for pictures. As I've started to develop Instagram, I put a lot of pictures that might have gone on Facebook there. But I don't think the mix has changed that much.
The fact that Facebook drives 40 percent of Post traffic is fascinating to me, so there's no question in my mind that Facebook is a more fertile place to do this stuff. But look, I have two thoughts on social media. First, the thing about social media is that it is social. Understanding that component is the secret to understanding social media; therefore, any account that has a mix of the personal and the professional – Twitter, Facebook, Instagram, whatever – just does better. People are interested in other people; that's why you're on social media.
I always say that if you're at a party and you're standing at a corner of the party, and whenever somebody approaches you, you scream, "I AM GIVING A CONCERT – BUY A TICKET HERE," people will back away from you nervously. It's really just the same thing as Facebook. A lot of people and institutions misuse Facebook as kind of, "okay, it must be a format for everything I'm thinking," when the whole point is the give-and-take.
The great thing about Twitter for me is not that it's solipsistic; it's that you get these amazing conversations on Twitter. [Boston Globe critic] Zoë Madonna is really taking that and running with it; she's trying deliberately to build that out. I would parenthetically add that I think Ann Powers is certainly a presence on Facebook, even though she's not reviewing daily. I can think of a couple other female authors that I've befriended on Facebook, who use Facebook and social media very actively.
I also think there's an evolution that's happened – including, come to think of it, some of those authors I've mentioned – from blogs to social media. I had a kind of perfect storm thing where I wasn't allowed to blog for many years, and I was very upset about it. [Note: When Midgette started writing for The New York Times, contributors were not supposed to maintain personal blogs.] I got here and started blogging, and was incredibly caught up in my blog. My blog had great discussions; I mean, I was really thrilled about how that went.
But the kind of thing I wanted to do on the blog was very ambitious and simply not sustainable, long term. That's not just a personal thing, because look at what happened to blogs in general: they proved not sustainable in the long term for anybody. [Laughs] There's been a total retrenchment from blogs, and the ones that have survived, like Parterre Box, are more like magazines. But the fact is those conversations migrated over to Facebook, and I'd already kind of become used to interacting with readers that way. When you're looking at all those conversations, you don't know who all those people are that are talking, and I don't, either. But I'm really touched when I see a red state friend from high school weighing in on Dead Man Walking, or getting into a discussion with somebody else about it, in some cases. It really is a watering hole for all different species of people, which is what it should be.
I remember talking to [ArtsJournal founder and editor] Doug McLennan in New York a few times. Doug was really visionary about having all those blogs on ArtsJournal. I thought he was nuts; I thought you should just have one blog. And he's like, "No, we're going to have many blogs." At the time, that seemed crazy – and of course, he was totally right. He used to talk about the role of a critic in today's society as being the watering hole, the gathering place, rather than the preacher from on high. And as I was thinking about coming into the Post, which was of course a completely new situation for me, having been at the Times as a stringer for all those years, that really resonated with me. The whole point of criticism is to have a discussion: to spark a discussion, and be part of that discussion, and mark yourself as a place to have that discussion.
That's really the point of the exercise. It's not for me to tell you what to think. It's not for me to tell you what I think. It's for everybody to learn that thinking about it is why you do it. You don't just passively accept it; you talk about it.
But what is a critic, if not a highly trained, receptive professional listener, ideally one capable of conveying an opinion that will have insight and relevance for others? Are we too quick to give up a position of attempting to lead opinion persuasively, as well as drive conversation?
No. No, I don't think we give that up. I think you have to take that seriously, and weigh it. I think that's a struggle with every review, especially when you're the main critic in a town or the main paper in a town. If I'm at the Washington Post, then what I write about the Washington National Opera is going to have weight. But if you're so hung up on "what I say is so important," then you can become a complete equivocator. The fact is, you have to be free enough with your opinion to dare to have an opinion that's controversial, to dare to have a personal opinion sometimes. Your role is not to formulate the bigger thought, and not simply to go against the masses, either.
I really felt it with the Dead Man Walking review, where I've been trying to be more supportive of the company because I feel they need more support, and yet once you start pulling your punches, you're gone. In order to justify giving your punches, I think you have to stress: It's one person's opinion. To all the people that came up to me outraged because they were deeply moved by Dead Man Walking and "how could I possibly have…," it's like, put it in writing to me. Just the thought of that perks them right up. And that's what you want, really. I mean, I think they're wrong and I'm right [laughs], but that debate, and caring like that, is the most healthy thing you could have.
And I can say that without contradicting, in my own mind, the importance of my own opinion, the time and effort I spend formulating that opinion. But pretending that it's the only opinion, or that it will be the influencer… I think only by letting go of that idea as much as you can can you really be an influencer. The fact that the Washington National Opera sold $65 thousand dollars' worth of tickets after my Appomattox review still gives me pause. But, as I always say, if I were nice about everything, then one positive review wouldn't have that impact.
Larry Dunn says:
wonderful read. thanks to you both.
Playlist. In Review: Quantum Natives


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Here's a fun chance to flex your literary muscle. Get cracking on the first installment of a dazzingly creative lit quiz. The beehivers had a great time going through the questions. It's quite a bit of fun. So get your engines running!
1. The following is a non-exhaustive list of… what, precisely? Aztecs, Technocrats, Bagpipers, Monopolizers, Rhizopods, Vegetarians, Hydrocarbons, Artichokes.
More entries from the list: Artichokes, Abecedarians, Bashi-bazouks, Coelacanths, Ectoplasms, Mountebanks, Ostrogoths, Troglodytes.
2. George Francis Train was an eccentric American businessman who made (and lost) several fortunes in the shipping, construction and yes, railroad industries. He called himself "Citizen Train", and stood for the Presidency in 1872. As a publicity stunt for his campaign, and to promote his own railroads and shipping lines, he took the Union Pacific Railroad from New York to San Francisco in July 1870, before boarding a steamship for Yokohama. He got back to New York in December 1870; his journey inspired … what?
3. This is from the Times review of an author's first successful novel: "Like so many young men, [the protagonist] was so busy yearning for the ____ that he never saw the ____ at his feet". While the review was largely critical, the author himself was delighted with the reviewer's turn of phrase, and promptly stole it for his next novel. Fill in the blanks / identify the author / identify the novels concerned.
4. In 1898, when Otto von Bismarck was an old man, a journalist asked him what he took to be the decisive factor in modern history. His answer, very prescient, was exactly 3 words long. What was it?
5. This is a picture of an early 20th century print compositor. As you can see, the process of composing a page for printing hasn't changed much since the 16th century. Notice that the individual letters are kept in a hinged box. Then as now, printers would keep the most commonly-used letters near at hand, and the less-commonly used letters farther away. Which phrases originated from this?
6. As a child, his nose was cut off in an accident; a doctor sewed it back on. He had all his teeth removed at the age of 21. In WW2, he crashed his plane in the Libyan desert on his first flight, fracturing his skull and twisting his spine. He subsequently said "My brain was fundamentally rearranged by the crash". His 4-month old son developed hydrocephalus after being struck by a car; in response, he invented a new kind of cerebral shunt for children. His wife had a series of aneurysms; he devised a harsh therapy regime that subsequently became standard practice for stroke treatments. An unlucky chap in his personal life, yet he has brought happiness to millions. Who is this?
7. Where would you find the words 'ArbeitMacht Frei' ('Work Will Set You Free')?
8. This author, out of modesty (or shyness), wanted to call her first collection "Works translated from the Bosnian". Her husband intervened, and proposed a new title based on his nickname for her. Name either husband, wife or book.
9. B is for blasphemy, C is for counterfeiting, D is for drunkenness, F is for forgery … where would you find this alphabet of perversity?
10. These words are taken from an essay published in 1958: "Across the gulf of centuries, the blind smile of _____ is turned upon our age. Along the echoing corridors of time, the roar of rockets merges now with the wind-autt rigging. For somewhere in the world today, still unconscious of his destiny, walks the boy who will be the first _____ of the Age of Space." Fill in the blanks with two Greek names. (Hint: the title of the essay-writer's most famous work, published in 1968, is derived from the closing words of this passage).
From Wikipedia: Captain Archibald Haddock (French: Capitaine Archibald Haddock) is a fictional character and a protagonist in 'The Adventures of Tintin', the comics series by Belgian cartoonist Herge. He is Tintin's best friend, a seafaring Merchant Marine Captain.
2. He circumnavigated the world in 80 days, inspiring Jules Verne.
4. "America Speaks English" – predicting which side of WW1 and WW2 America would support.
8. Robert Browning, Elizabeth Barrett Browning, Sonnets from the Portuguese.
From Wikipedia and Britannica: Sonnets from the Portuguese, written ca. 1845–1846 and published first during 1850, is a collection of 44 love sonnets written by Elizabeth Barrett Browning.
Barrett Browning was initially hesitant to publish the poems, believing they were too personal. However, her husband Robert Browning insisted they were the best sequence of English-language sonnets since Shakespeare's time and urged her to publish them. To offer the couple some privacy, she decided to publish them as if they were translations of foreign sonnets. She initially planned to title the collection Sonnets from the Bosnian, but Robert proposed that she claim their source was Portugese, probably because of her admiration for Camoes' and Robert's nickname for her, "my little Portuguese".
9. The Puritan civil code in Massachusetts – immortalized in Nathaniel Hawthorne's 'The Scarlet Letter' with A for Adultery.
Abraham (B.Tech. '98 EnggPhy,H2) is the founder of a Toronto-based venture-backed technology startup named Quandl. Before Quandl, he spent a decade as a financial engineer and hedge fund portfolio manager in Tokyo and New York.


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And the Most Popular Disney Princess Is...
By Eliana Dockterman
In the wonderful (capitalist) world of Disney, the best way to determine a princess's popularity is by measuring how much money she makes. Here's how the Disney princesses rank in terms of the amount they've earned on eBay since May 2013, according to sellers' analytic tool Terapeak as reported by Jezebel:
1. Elsa (Frozen): $3,397,816
2. Cinderella (Cinderella): $2,504,259
3. Snow White (Snow White and the Seven Dwarfs): $2,301,831
4. Anna (Frozen): $2,165,120
5. Ariel (The Little Mermaid): $1,483,384
6. Rapunzel (Tangled): $598,056
7. Aurora (Sleeping Beauty): $215,856
8. Merida (Brave): $282,188
9. Jasmine (Aladdin): $253,102
10. Tiana (The Princess and the Frog): $84,882
11. Belle (Beauty and the Beast): $6,867
It's really no surprise that this year Elsa from Frozen is rolling in dough. Frozen became the No. 1 animated film of all time March. The movie has topped $400 million at the domestic box office and $1 billion total.
Frozen toys were sold out everywhere at the beginning of March — four and a half months after the movie's release. Limited-edition Anna and Elsa dolls go for as much as $1,750 on eBay, and even the regular dolls were sold for hundreds of dollars (even though they retail at about $30 per doll), according to Jezebel.
Pantone's Color of the Year Is a Comforting Start to 2020. Here's What to Know About the Choice
Smithsonian Museums Are Supposed to Tell the American Story. So Where's the One Dedicated to Latinos?
What is surprising is that the top-selling doll is one who doesn't end up with a prince at the end. Now that's progress. In fact, Elsa and Merida are the only dolls even on the list who don't have a love story.
But despite that victory, we still have a long way to go in our doll-purchasing habits. The blonde doll from Frozen unsurprisingly but sadly surpassed the brunette one. And the non-white princesses, Jasmine and Tiana, sat at the bottom of the list. (We'll assume that Mulan didn't make the cut because she's not technically a princess, though she is a total badass.) Jasmine and Tiana only beat out Belle, the bookworm princess (who coincidentally was my favorite growing up as a bookworm myself).
Write to Eliana Dockterman at eliana.dockterman@time.com.

redpajama_set_name: RedPajamaCommonCrawl


Good News… sort of | Is that French for...?
A very quick update on my bothersome left leg.
X-rays were negative and didn't show any stress fractures. That doesn't necessarily mean I don't have one, it's just not an obvious one. A more in-depth bone scan could show that I have one, but for now Dr. Julien wants to treat it as Posterior Tibial Tendinitis.
He has run the NYC Marathon 9 times, including once with a stress fracture. Clearly, I have come to see the right man.
When I told him that I am running it for the first time, he didn't want to do the bone scan out of fear that it could put an end to my quest. He basically told me that if I can stand the pain, to continue training. The biggest indicator in my favor is that my leg pain doesn't get worse when I'm running.
However, he gave me a list of 4 things to do to take care of my leg.
3. Ice my leg for 15-20 minutes every night.
4. Go to see a sports massage therapist every 2 weeks.
Of those four things, he said the most important one is the massage. It's a deep tissue massage and will really get at the tendonitis, he said. I just won't be able to do a long run after the massage because it will HURT, he said.
I also need to get new running shoes very soon.
The good doctor also told me that I can now start to cut back on my training. Instead of 5 days a week, I can probably just do 4 days a week. I wish I didn't have the pain to deal with, but this is the best news I could have hoped for at the moment.
Oh, and one other thing, Dr. Julien also lives a double life as a photographer and has been shooting fashion and music since the 70s. He has a great Website. Have a look.
I'm off and running again tomorrow. 4 miles.
Is it a stress fracture?


Forthcoming 2018: Soft Balancing in the Indo-Pacific: from ASEAN to the Shanghai Cooperation Organization, Routledge, London, UK, 978-1-4724-2885-1 (ISBN).
(2018). China's Belt and Road Initiative and the 16+1 platform: the Case of the Czech Republic. In: Arduino, Alessandro - Gong, Xue (eds): China: securing the Belt and Road initiative. Risk assessment, Private Security and special insurances along the new wave of Chinese outbound investments. Palgrave Macmillan.
(2016): Multitrack Diplomatic Approaches to Border and Territorial Disputes in the Asia Pacific and Soft Balancing. In: Gerstl, Alfred - Strasakova, Maria (eds.): Unresolved Disputes in Southeast Asia. Brill, Leiden, December 2016.
(2016): Chinese Regionalism: Balancing and Constraint in the Shanghai Cooperation Organization. In: H. Ping, Jonathan - McCormick, Brett (eds.): China's Strategic Priorities. London: Routledge (Routledge Contemporary China Series).
(2013): Australian National Identity and the Asian Century. The Annual of Language & Politics and Politics of Identity, vol. VII, Faculty of Social Sciences, Charles University Prague, The Czech Republic.
Forthcoming 2017: China - Europe Relations: The New Silk Roads. The Culture Mandala, Centre for East – West Cultural & Economic Studies. Working paper, Bond University, Gold Coast, QLD, Australia.
(2015): Russia and Southeast Asia: Reciprocity in Engagements and Transnational Crime. Russian Analytical Digest No. 169, Center for Security Studies ETH Zurich a IERES George, Washington University, 2015.
Kizekova, Alica – Parepa, Laura-Anca (2015): Emerging China-led Regionalism and Soft Balancing. East Asia Security Symposium and Conference 东亚安全座谈谈论会. Beijing, June 2015.
(2014): The Shanghai Cooperation Organization and Regional Chessboards. Russian Analytical Digest No. 152, Center for Security Studies ETH Zurich a IERES George Washington University.
Kizekova, Alica – Ho, Benjamin (2014): The Future of the Shanghai Cooperation Organization in the context of Sino-Russian Interactions. Izvestiya Irkutskogo gosudarstvennogo universiteta («the Bulletin of Irkutsk State University») (7): 108–115, Irkutsk, Russia, 2014.
Sem rakety KLDR doletí. Japonsku chybí armáda, nechce ale už spoléhat na Američany. (citována) Aktualne.cz, 26. 2. 2019.
Mezinárodní souvislosti roku 1968: české a slovenské perspektivy. ČT24, 30. 8. 2018.
Summit Trump-Kim: případ pro opatrný optimismus. natoaktual.cz, 19. 3. 2018.
Trump v Asii: dlouhá cesta, výsledky mlhavé. natoktual.cz, 20. 11. 2017.
BRICS: silnější partnerství pro jasnější budoucnost? (BRICS: a stronger partnerships for a brighter future?). natoactual.cz, 9/2017.
(2016): Stane se Írán členem Šanghajské organizace pro spolupráci? Ne tak rychle ("Will Iran Become the SCO Member State? Not Too Fast"). natoactual.cz, 3/2016.
Interview: Čínu Západ na Ukrajine na svoju stranu nedostane. Pravda, Bratislava, Slovakia, 3/2014.
Opinion: Ruský plyn na Východ? (The Russian gas to the east?). Pravda, 7. 11. 2013.
Commentary: The Shanghai Cooperation Organization: Challenges in Cyberspace. S. Rajaratnam School of International Studies, Nanyang Technological University, Singapore, 22. 2. 2012.
Commentary: Russia's Role in EAS: Promoting Inter-regional Cooperation. PACNET 62, Pacific Forum CSIS, Honolulu, Hawaii, 2011.
Panelová diskuse v rámci konference Raisina Dialogue na téma "Two Arteries, One Heartland: As the Arctic, Eurasia and the Indo-Pacific Converge", Nové Dilí, 8. 1. 2019.
Workshop on China's "One Belt One Road" Initiative: Five Years On. East Asian Institute (EAI), National University of Singapore (NUS), 2. 11. 2018.
Paper: 16+1 and the Czech assesment over FDI.Belt and road initiative: balancing chinese foreign direct investments and national security. Shanghai Academy of Social Sciences, 1. 12. 2017.
"The Sino-Russian Partnership: Resolution of Border Disputes and Strategic Collaboration", 9th Annual Prague Conference on Asian Studies – Conflicts and Their Reflections in South, Southeast and East Asia, Metropolitan University Prague, the Czech Republic, 3. 11. 2017.
Panel Chair: Partnerships with China: Rethinking Cooperation and Conflict. ISA International Conference 2017, Hong Kong University, 15. - 18. 6. 2017.
Paper: Sino-Russian Relations: Reluctant Allies?. ISA International Conference 2017, Hong Kong University, 15. - 18. 6. 2017.
China and 16+1. Conference on Securing the Belt and Road Initiative: Risk Assessment, Private Security, and Special Insurances along the New Wave of Chinese FDI, Singapore, 28. 10. 2016.
8th International Symposium "Czech Foreign Policy",- Strategy in Foreign Policy. Ministry of Foreign Affairs of the Czech Republic, 21. 9. - 22. 9. 2016.
China's Engagements with the 16 Central and Eastern European countries: the case of the Czech Republic. One Belt One Road Connecting Europe and Asia: the New Silk Road economic, logistic and security network, Torino, Italy. 26. 2. 2016.
Kizekova, Alica – Parepa, Laura-Anca (2015): Emerging China-led Regionalism and Soft Balancing. 2015 China's Peripheral (Neighboring) Diplomacy to Build an Asia-Pacific Dream 中国的周边外交-—构建亚太梦, China Foreign Affairs University, Beijing, 26. 6. 2015.
Shanghai Cooperation Organization: Seeking Transnational Crime Connections in Southeast Asia. Voices from Outside: Re-Shaping International Relations Theory and Practice in an Era of Global Transformation, ISA-Global South, Singapore, 8-10. 1. 2015.
The Council on Security Cooperation in the Asia Pacific (CSCAP) EU Committee and Preventive Diplomacy in the Asian Context. 6th Annual Prague Conference on Asian Studies – Do Good Fences Make Good Neighbors? Borders and Borderlands in the Asia Pacific, Metropolitan University Prague, the Czech Republic, 7-8. 11. 2014.
Limitations of Institutional Frameworks in Engaging China in Cooperative Security Arrangements in the Asia Pacific. 6th Annual International Conference – Intra-Asian Connections: Interactions, flows, landscapes, University of Copenhagen, Denmark, 22-24. 10. 2014.
Networked Regionalism: Shanghai Cooperation Organization and ASEAN. The Sixth Oceanic Conference on International Studies, University of Melbourne, Melbourne, VIC, Australia, 9-11. 7. 2014.
"The SCO as the Zone of Shared Understanding: Recent developments and future prospects. 2014 New Great Power Relations and Reshaping Regional Structures 新型大国关系与重塑地区结构, China Foreign Affairs University, Beijing, China, 5. 7. 2014.
Kizekova, Alica – Ho Tze Ern, Benjamin (2013): The Future of the Shanghai Cooperation Organization in Sino-Russian Interactions. Conference Europe and Asia-Pacific countries: Problems of Interaction, European Union Centre in Siberia a Fernand Braudel Center for International and European Studies, ISU, Irkutsk, Russia, 30. 9. -1. 10. 2013.


Tonight Live at 11pm ET, the Wild Talk Radio Network Presents the 2012 Award Winning Best New Show, The Rack, Hosted by Lindsey Ward & Sir Rockin. On the program this evening, we will giving you a Complete and In-Depth recap of tonights Impact Wrestling, a look at the latest news of the week, "Tweet of the Week" and more.
We will also be speaking with Legendary Wrestling Manager James E. Cornette to talk about his new book, going in to the Hall of Heroes, the role of Wrestling Managers and a lot more!
Plus we will have our complete & In-depth Money in the Bank Preview!


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On November 8, 2021 the regional COVID-19 travel bans will be lifted and a vaccination requirement for nonimmigrant visa holders entering the U.S. via airplane will take their place. Nonimmigrant visa holders will need to show proof of full vaccination upon boarding a U.S.-bound airplane abroad in addition to showing a negative COVID test […]
By Victoria Gentry|2021-11-18T09:01:38-06:00November 4th, 2021|Green Cards, I-9 Compliance, News|Comments Off on President Biden Issues Executive Order That Will Lift the Travel Ban on November 8, 2021
Use of New I-9 Form Now Required
As of January 22, 2017, employers must use the November 14, 2016 version of Form I-9 to verify the identity and work eligibility of every new hire. The new form must as well be used for the reverification of expiring employment authorization. Prior versions of the form may no longer be used.
By Dan White|2017-01-24T15:53:18-06:00January 24th, 2017|I-9 Compliance, News|Comments Off on Use of New I-9 Form Now Required
New Form I-9 Issued
The USCIS has now published the new Form I-9. By January 22, 2017, employers must use the new form, which is dated November 14, 2016. Until then, they can use the new form or can continue to use the version dated 03/08/2013.
By Dan White|2016-11-15T15:12:38-06:00November 15th, 2016|I-9 Compliance, News|Comments Off on New Form I-9 Issued
New Form I-9 On The Way
The USCIS expects to publish a new Form I-9 by January 22, 2017. In the interim, employers are instructed by the USCIS to continue to using the Form I-9 that is dated March 8, 2013 (and shows an expiration date of March 31, 2016).
By Dan White|2016-11-07T19:15:48-06:00November 7th, 2016|I-9 Compliance, News|Comments Off on New Form I-9 On The Way
USCIS Says Employers Should Continue Using Current I-9 Form After March 31, 2016
The USCIS is developing a new I-9 form, but has not finished it. Meanwhile, the current I-9 form shows an expiration date of March 31, 2016. The USCIS has advised that employers should continue using the current form until the new I-9 form becomes available.
By Dan White|2016-04-01T13:32:16-05:00April 1st, 2016|I-9 Compliance, News|Comments Off on USCIS Says Employers Should Continue Using Current I-9 Form After March 31, 2016
Employers Should Download E-Verify Historical Data Before Year End
On January 1, 2015, the E-Verify program will delete from its system all transaction records that are more than 10 years old. After that date, employers will no longer have access in E-Verify to cases created prior to December 31, 2004. Employers desiring a record of their cases that are more than 10 years […]
By Dan White|2014-10-08T14:02:50-05:00October 8th, 2014|I-9 Compliance, News|Comments Off on Employers Should Download E-Verify Historical Data Before Year End
The I-94 Record: An Elusive But Critical Document For Employers and Employees
During the I-9 employment verification process, an employer may accept as a List A document a foreign passport and I-94 record indicating the work visa category and duration for which a foreign national employee has been admitted. In May of 2013, the USCBP stopped issuing I-94 cards to foreign nationals at the time of […]
By Dan White|2014-10-02T13:13:57-05:00October 2nd, 2014|I-9 Compliance, News|Comments Off on The I-94 Record: An Elusive But Critical Document For Employers and Employees


This year Metropolis, India's leading chain of pathology labs and diagnostics has got into the act, with the campaign #OneThingAboutMom, devised and executed by 21n78e Creative Labs.
The 10th anniversary will be celebrated through the year with a series of initiatives. OMD India commenced operations in Mumbai on February 7, 2007 and quickly expanded to the cities of Delhi, Bangalore and Chennai driven by consistent and robust growth, year on year.


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Visit the exhibitions to the beat of the world's best DJs
One Friday a month, starting October 31, 2008, the Guggenheim Museum Bilbao hosts a night of music and art in collaboration with the nightclub Fever.
Visit the exhibitions from 10 p.m. to 1 a.m. to the beat of the best DJs from Spain and around the world in the Museum Atrium.
Art After Dark at the Guggenheim Museum Bilbao – don't miss out.
Limited capacity. Ages 18 and older. ID or passport required.
Art After Dark celebrates 10th anniversary in a special evening with Booka Shade "LIVE", Alex Niggemann and DJV SoundArt After Dark celebrates 10th anniversary in a special evening with Booka Shade "LIVE", Alex Niggemann and DJV Sound
Style: Electronic music
BOOKA SHADE "LIVE"
To bring the evening to a close, the Berlin-based duo Booka Shade. With their beginnings in Frankfurt, they formed the now legendary dance label Get Physical Music (together with M.A.N.D.Y., Thomas "DJ T." Koch and Peter Hayo)
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ETHICS OPINION 675-1990 CONFIDENTIAL INFORMATION; FORMER LAWYER SERVING AS PARTIAL ARBITRATOR FOR ADVERSARY
Committee on Professional Ethics
QUESTION NO. 675
TOPIC: CONFIDENTIAL INFORMATION; FORMER LAWYER SERVING AS PARTIAL ARBITRATOR FOR ADVERSARY
DIGEST: A lawyer may serve as a partial arbitrator for a party whom the lawyer previously represented in the same or a substantially related matter only with the consent of both parties.
CODE: EC 4-6, DR 4-101(A), DR 4-10l(B), EC 5-20, DR 5-105(C).
May a lawyer who previously represented a partnership serve on an arbitration panel hearing a dispute brought by certain partners in the partnership ("Group 1") against other partners in the firm ("Group 2"), where the dispute involves the dissolution of the partnership, and both groups of partners have not consented to such service?
A lawyer, L, previously provided legal services to an accounting partnership which is in the process of being dissolved. Under the terms of the partnership agreement, disputes in connection with the dissolution are to be heard by a panel of three arbitrators two of whom are "partial" arbitrators chosen by the disputants, and one of whom is an "impartial" arbitrator chosen by the two partial arbitrators. Group 1 would like to name L as its partial arbitrator. Group 2 is likely to object to such service.
Are the Members of Group 2 Former Clients?
The ultimate question presented here is whether the lawyer has any duty of confidentiality or loyalty to the members of Group 2. We are told that the lawyer previously represented the partnership. Ordinarily, a lawyer retained by a juridical entity represents the entity and not its constituent members. See EC 5-18 ("A lawyer employed or retained by a corporation or similar entity owes his allegiance to the entity and not to a stockholder, director, officer, employee, representative, or other person connected with the entity.") However, where the lawyer's dealings with the entity's constituents are such that the constituents reasonably believe the lawyer represents them, or the lawyer promises confidentiality to the constituents, a court may find a lawyer-client relationship or a duty of confidentiality. See, e.g. Rosman v. Shapiro, 653 F. Supp. 1441 (S.D.N.Y. 1987)(where corporation was owned by two individuals, it was reasonable for each to believe that the corporate counsel was his individual attorney), Brennan's, Inc. v. Brennan's Restaurants, Inc., 590 F.2d 168 (5th Cir. 1979) (representation of a closely held corporation owned by two branches of a family constituted joint representation of the two families), Westinghouse Electric Corp. v Kerr-McGee Corp., 580 F.2d 1311 (7th Cir. 1978)(court finds fiduciary duty to members of trade association to whom confidentiality was assured)..
Whether the lawyer represented only the partnership or could be deemed to have represented the individual partners as well is a question of fact which we are not qualified to determine. If the lawyer represented only the partnership, then only the partnership may waive any right to the lawyer's loyalty and confidentiality. However, if the lawyer is deemed to have represented the individual partners as well as the partnership, the analysis is far more complicated. Without implying that the lawyer necessarily represented the individual partners, the remainder of this opinion assumes that such was the case.
Serving as an Arbitrator
Normally, it is not unethical for a lawyer to serve as an arbitrator for one party even though he or she also serves as a lawyer for that party. EC 5-20 states:
A lawyer is often asked to serve as an impartial arbitrator or mediator in matters which involve present or former clients. He may serve in either capacity if he first discloses such present or former relationships.
In N.Y. State 448 (1976), the ethics committee of the State Bar Association held that, where the law provides for two partisan arbitrators and one "neutral" arbitrator, service on the panel by a lawyer for one of the parties is not unethical:
Since a lawyer who undertakes to serve on an arbitration panel for the purpose of representing the interests of one of the disputants cannot be considered "impartial" within the meaning of EC 5-20, and the Code is otherwise silent on such matters, we conclude that the proposed representation would not be unethical.
This position has been upheld as a matter of law by the Appellate Division. In State Wide Insurance Co., Inc. v. Klein, 106 A.D.2d 390, 482 N.Y.S.2d 307 (2d Dept. 1984), the Appellate Division refused to overturn one party's designation of his lawyer as a partisan arbitrator even though the lawyer had personal knowledge of facts relating to the controversy.
Nevertheless, the facts presented in this case are different from those presented in N.Y. State 448 and State Wide Insurance, since L's personal knowledge of facts relating to the controversy may be derived from confidences and secrets imparted by members of Group 2. DR 4-101 (B) provides that, "[e]xcept when permitted under DR 4-10l(C), a lawyer shall not knowingly . . . reveal a confidence of secret of his client [or] use a confidence or secret of his client for the advantage of himself or of a third person, unless the client consents after full disclosure". EC 4-6 points out that the lawyer's obligation to preserve the confidences and secrets of the client continues after the termination of employment. Accordingly, if L possesses confidences and secrets of Group 2, he could not use that information for the benefit of Group 1 without the consent of Group 2.
Under DR 4-101(A), a "confidence" includes information protected by the attorney-client privilege under applicable law. While this Committee does not opine on matters of law, we note that information imparted in the course of a representation by clients who are jointly represented by the same lawyer is generally not privileged as between the joint clients in subsequent litigation between them. Revised Uniform Rules of Evidence, Rule 502(d)(5)(1974); Proposed Federal Rules of Evidence 503(d)(5). See generally, C. McCormick, Evidence § 91 (E. Cleary 3d ed. 1984). Nevertheless, such information would constitute a "secret" within the meaning of DR 4-101(A), since it was gained in the course of the professional relationship, and use or disclosure would likely to be detrimental to Group 2.
Since service as an arbitrator would put the lawyer in a position to use "secrets" of Group 2, we believe that, if the lawyer is found to have represented the individual members of Group 2, the lawyer may not serve as an arbitrator appointed by Group 1 without the consent of Group 2.
We also believe the principles of Canon 5 are relevant to this case, even though L would serve as an arbitrator rather than as a lawyer for Group 1. Under DR 5-105(C) and a long line of cases in New York, L would be prohibited from representing Group 1 against Group 2 (former clients) in a matter substantially related to the prior representation of Group 2 without the consent of both clients. See T.C. Theatre Corp. v. Warner Bros. Pictures, Inc., 113 F. Supp. 265 (S.D.N.Y 1953). The reason for this prohibition is that, when the matters are substantially related, the lawyer is presumed to have confidences and secrets of the former client that would be useful in representing the second client.
For the reasons set forth above, the question is answered in the negative.


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Ward Elections FAQ
Contact Your Councilmember
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Kenney Reaches Deal on General Funding for Affordable Housing As Alternative to Construction Tax
(Mid-rise housing construction on North Broad | Photo: Jon Geeting)
Mayor Kenney struck a deal with City Council on affordable housing funding Thursday, with a counter-proposal to Council's construction tax bill which narrowly passed the full chamber with a narrow vote of 9-8 back in June. Kenney's alternative proposal would increase general funding to the Housing Trust Fund by $53 million over 5 years, with an additional $18 million projected to come in from in-lieu payments from Mixed Income Housing bonuses.
Mayor Kenney was expected to veto the construction tax bill for a variety of reasons, including vehement opposition from construction unions, some real difficulties with enforcing compliance, and the low sum of money it would raise for all the trouble. That would have required Council to find 3 additional votes for the construction tax, which they likely didn't have, based on the outcome.
By the time the construction tax bill made it to a final vote, Council had exempted non-profit construction projects from the tax, which greatly reduced the amount that it would raise. In the original version, the construction tax would apply to the estimated value of any construction project, including those that are normally exempt from paying property taxes, like universities and hospitals.
Even after that change though, Council President Darrell Clarke is still insisting the tax raises the original $22 million annual estimate as though nothing happened. There hasn't been an updated revenue estimate since those changes were made, but it would be surprising if it raised more than half that amount in its current state.
As Jake Blumgart reports, Kenney is messaging this to say the additional revenue will be funded with the proceeds from expiring tax abatements. This is the approach that Paul Levy of Center City District has been advocating for.
Previously, the administration's position was that all the expected revenue from expiring abatements was already spoken for in their budget plans, so this appears to be something of a change of heart for them. What they're really probably saying though is that they expect the general fund to be flush enough that they can just increase the Trust Fund payments
"This is the first time Kenney indicated he would be willing to use money from the general fund to boost the Housing Trust Fund, marking a significant concession after a bruising budget season.
Sources close to last week's discussion say that Kenney offered roughly $10 million annually, insisting that Clarke's projections for the construction tax — $22 million annually — were unrealistically high. That is still basically the administration's offer despite the council's desire to create an annual flow of at least $20 million for housing.
If the Kenney administration is able to secure this compromise solution, it could save both sides' face. The mayor will have prevented the construction tax from being enacted, winning approval from the building trades unions and many major developers, while Clarke and Councilwoman Maria Quiñones-Sanchez — who began the Council debate over affordable housing with her 2017 mandatory inclusionary zoning bill — will have won a new stream of revenue for affordable housing — at least for the foreseeable future.
Some housing advocates aren't happy with this proposal because they want a dedicated funding stream that's insulated from the give-and-take of budget politics, Blumgart writes.
But many advocates don't love the idea of relying on mayoral largesse for additional housing dollars. Without the infusion for the trust fund written into law, they fear the funding will not be guaranteed in perpetuity."
"They can only commit for as long as he is mayor and that won't be forever," said Beth McConnell, policy director for the Philadelphia Association of Community Development Corporations. "Or they [the Kenney administration] can renege on it at any time."
The problem with this argument, as Kenney chief of staff Jim Engler points out in the article, is that there's no such thing as a dedicated revenue stream in Philadelphia, because the City Charter prohibits this. All revenue must be general fund revenue, and is required to be distributed through the regular budgeting process, regardless of what the bill implies. When it comes down to it, regular old politics is the only check on this funding no matter what the revenue source is.
And at the end of the day, general fund revenue is the best way to fund our affordable housing needs, not narrow taxes targeted at people buying and renting newly-built housing—the ultimate payers of the construction tax. The city's housing-insecure population is massive, and we aren't going to come close to fulfilling the backlog of below-market units needed at $10 million a year. We were always going to have to raise more than this, and only a broad-based tax like the property tax or the real estate transfer tax can get the job done, since you can raise a ton of revenue with only small increases in rates.
General revenue is also the fairest way to pay for affordable housing, despite some of the political rhetoric to the contrary. This is a citywide concern that affects everyone, so all people fortunate enough to own property in the city should pay something to support the solution, not just the small subset of people buying or renting newly-built housing. Everyone who owns land in the city has gained equity from the resurgence of Philly's housing market, and taxes on those equity gains are the fairest, and most economically efficient way to pay for below-market rate housing.
Councilmembers are already saying they think the $71 million over 5 years from this deal should be a floor, not a ceiling, which is fine given the needs, but the basic framework of general funds and density bonuses that they landed on is the right approach, and they should look to raise more funds using this framework, rather than through brand new taxes.
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Articles imported
December 1, 2011 February 27, 2017
Private investors to fund two local start-ups
Posted By: Usama 0 Comment The Jordan Times
Two local start-up companies have secured financing from several local and regional investors, Oasis 500 Chairman Usama Fayyad said Wednesday.
The two "pioneering" start-ups are among several incubated by Oasis 500, a fund that seeks to help young Jordanians turn their business ideas into reality.
They have strong potential for growth in regional and international markets, he noted.
Zaytouneh, a digital library of short cooking videos, attracted investment from Maktoob and Jabbar co-founders Samih Toukan and Husam Khoury as well as the regional angel investment fund MENA Venture Investments, Fayyad said, declining to state the total value of the investments.
Jamalon, an online bookstore selling Arabic and English books, secured a combined $400,000 from private investors Hana Habayeb, Ranwa Halasa, Suleiman Al Assaf, Tariq Hammouri, Oasis 500 Ventures 1, and MENA Venture Investments, he told reporters at a press conference yesterday.
These investments will help fund the two start-ups' expansion and infrastructure enhancement plans, enabling them to broaden their market reach and expand in the region, the Oasis 500 chairman added.
"We are very excited to invest in Zaytouneh," Toukan said. "We believe it is a unique and innovative idea that will grow to become a strong company."
"People today are using video on the Internet to get information more than any other source. Zaytouneh specialises in delivering quality instructional videos to its customers. It is an effective targeted marketing solution for advertisers," he added at yesterday's press conference.
Stressing that the amount of Arabic content currently available on the Internet is "modest", Toukan said start-ups such as Zaytouneh have a "golden opportunity" at this stage to grow and reach out to a wide audience across the Arab world.
Jamalon founder Alaa Sallal said his online bookstore currently offers 300,000 books in Arabic and English.
The company has already signed agreements with every Jordanian publishing house and will soon ink deals with Lebanese and Egyptian publishers to sell their books online, he added.
"The Arab world is a good market for selling books online," the entrepreneur said. "The volume of books sold in the Arab world stands at about $500 million annually and an online bookstore can compete and have a share of that."
Author: Mohammad Ghazal
"أواسس 500" يبدأ تدريب الفوج الثامن من رياديي تكنولوجيا المعلومات
MarkaVIP Announces $5 Million in Funding From Lumia Capital and Invus


Here is the list of 10 safest countries in the world. Despite the fact that 2017 remains a rather turbulent year, some countries ranked high in the Global Peace Index chart. However, some of the these countries lack of internal conflicts but do participate in out-of-their-ground conflicts.
This can make someone think on how such ranking is produced. Anyway, it seems that these countries managed to stay at the top ranking levels when it comes to criteria on "peace".
Further than that each factor breaks down to even more detailed ones. In that way, a score is produced.
So, here is the list with the top 10 safest countries (plus 1) and -of course- their score. The list is available at Global Peace Index website.
Pack your bags and begin your travel arrangements.
This country is at the top! You may have read about Iceland and how this country reformed itself financially. From a travelers aspect it even more interesting with its out-worldly landscapes. If you haven't seen the "The Secret Life of Walter Mitty" movie, run for it.
Stunning beach views and… Lord of the Rings landscapes! Enough said my precious!
Affordable, beautiful, Coimbra, Azores, Porto, Madeira, Algarve… Shall I continue?
Clean, safe, rich in culture, all year around destination. Low weapon imports & peaceful elections. Amazing music.
Denmark regularly ranks among the happiest countries in the world. There are no conflicts, yet they do "argue" over some island with Canada.
Velvet Revolution added to her fame. You may need to know that she introduced an additional name Czechia (pronounced CHEH-khiya). This happens with many countries. For example Greece is also known as Hellenic Republic. By the way Prague is considered the defenestration capitol of the world a. Google it please. The Czech Republic is considered the #1 beer drinking country in the world.
There are over 10,000 caves in Slovenia. Also: Slovenian Riviera and a vineyard or winery for every 70 people.
It is a lakes and Cottage Country. Hollywood loves making movies in Canada due to its vast and beautiful landscapes. Canada ranked third for the cleanest air on the planet. You can really do yoga on Parliament Hill. Justin does too.
Neutral and remains like that. Well, there is a -banking- reason for that but in terms of traveling there this makes it a catch if you want to sleep with both eyes closed.
Easy to travel around with their bullet trains. Great landscapes, though humidity may troubles many not accustomed to it. Amazing history, zen and martial arts.
A country of leprechauns and legends, of bravery and of great beers. Breathtaking natural beauty, rich history and culture.
Now, if you go back and check this list you will see that most of the countries are in Europe. European countries really tend to be less hostile in general.
Well, we hope you enjoyed this one too. Now travel to one of these 10 safest countries in the world!


At your option, you may prepay the monitoring fee for three years and take a 15% discount. For example, if your monitoring agreement is for $24.95 per month for 36 months or $898.20, you can save 15% or $134.73 by selecting this option. This reduces your cost to $.70 per day for 24/7 family protection.


If you are considering selling your home in a few years, then it is best to go for bathroom and kitchen renovations for improving the retail value of your house. However, as you already know, in Canada, bathroom renovations Toronto project ranges around $15,000 – 25,000.
So, since it involves a huge sum of money, it is in your best interests to get the most of your money's worth. However, for first timers the need to find reputed remodeling professionals, proper design and materials can become overwhelming. Many times, homeowners end up making trivial mistakes that can prove to be a problem when it comes to bathroom remodel.
Thankfully, this blog is here to aid you in this matter. So, read through and avoid these 5 bathroom renovation mistakes to get maximum ROI.
Plumbing is the most costly aspect of bathroom remodeling. So, suppose, to amplify and magnify your bathroom space, you decided to move the toilet, shower, bathtub and sink from their fixed locations. This will end up adding more than thousands of dollars to your bathroom renovations Toronto project.
So, avoid moving out fixtures and instead only move the ones that are absolutely necessary. Furthermore, to magnify your bath space, work on color schemes, tiles, lighting, mirrors, etc. to make your bathroom look amplified and huge.
Aesthetics undoubtedly play an important role when it comes to washroom renovations. However, focusing entirely on aesthetics can reduce functionality. Your bathroom might end up positing fixtures at awkward places, which will make accessing basic utility items difficult.
So, while considering a bathroom renovations Toronto project, first opt for utility and then go for aesthetics.
Often a common flaw of homeowners is shopping for the incorrect materials when it comes to bathroom renovations. Now, you might get carried away by your remodeling plans and end up buying attractive tiles, wallpapers, and wood. Yet, at times these might not be water or moisture resistant.
Thus, you might face issues like the wood vanity unwrapping one fine morning or the paint peeling, etc. So, to avoid such scenarios, first, consult with your selected bathroom renovations Toronto and pick the correct materials to invest in.
The lack of a proper budget is catastrophic for any bathroom renovation project. You might know the average cost but, for best results, you need a concrete budget. Thus, inspect your bathroom and lifestyle needs and segregate certain amounts of money for specific equipment & designs.
Once you know what to invest in, you can monetize your expenses as per your priorities. This will prevent you from spending extra on bathroom projects and stop your pockets from bleeding out.
Well, there you go, with these 4 mistakes to avoid; you can ensure that your bathroom renovations Toronto project does not turn into a disaster. Just ensure that you pick a reputed contractor who can assist you and promise you success when it comes to your washroom remodel project.


Instinox, being one of the leading manufacturers, suppliers and stockists of socket weld fittings, has a decade-long history of always keeping up with the client expectations. We enforce various procedures before bringing forth this supreme quality outcome. We here, believe in the utmost level of client requirement fulfilment. Amongst the industry filled with low-quality high volume suppliers, we are here to break the monotony with our timely deliveries and out of the box delivery strategy. Having large stocks, which are available for immediate delivery against the purchase order. In India and overseas, we are the most popular manufacturers of stainless steel socket weld fittings.
Stainless steel is one of the powerful candidates amongst the other materials. Stainless steel has some stereotyped features which make it recurrent amongst the manufacturers. Along with well durable finish, it has the aesthetic appearance along with high corrosion resistance ability, which makes it a perfect choice for high industrial applications. Stainless steel is one of the least expensive metals. It serves a good value for money.
Socket welds are two varied pieces of pipe which are over draped amongst each other. The smaller one inside the larger one. It is a pipe attachment in which another piece of pipe is inserted into the suspended area of a valve fitting. Stainless steel socket weld fittings come in various shapes and sizes such as socket weld elbows, tees, crosses, inserts, caps etc. we perform a manufacturing process, in which each stage is inspected before moving ahead.
Stainless steel Socket weld fittings suppliers are the family of high-pressure fittings are used in various industrial processes. The socket weld design is commonly used in the demanding environments of chemical and power plants. They are used only in conjunction with as me the pipe and are available in the same size range. They are visually examined for conformity to ASTM, ASME, MSS, DIN, EN, and JIS codes and standards.They are used for lines conveying flammable, toxic or expensive material where no leakage can be permitted, and for steam 300 to 600 PSI. They are used only in conjunction with ASME Pipe and are available in the same size range. They are used in areas where pipe-work is permanent and are designed to provide good flow characteristics. They are produced to several ASTM standards and are manufactured in accordance with ASME B16.11. The B16.11 standard covers pressure-temperature ratings, dimensions, tolerances, marking, and material requirements for forged carbon and alloy steel. Acceptable material forms are forgings, bars, seamless pipe, and seamless tubes which conform to the fittings chemical requirements, melting practices, and mechanical property requirements of ASTM A105, A182, or A350.The purpose for the bottoming clearance in a stainless steel socket weld is usually to reduce the residual stress at the root of the weld that could occur during solidification of the weld metal and to allow for differential expansion of the mating elements.The stainless steel socket weld fittings are available in three pressure ratings: Class 3000, 6000 and 9000.These types of connections are socketed so as to have a plain spigot end of the pipe. These are used on valves that are made up of steel, and for such applications that require higher pressure and/or higher temperature in pipelines that do not necessitate repeated disassembling. They ensure leak-proof connections, that too for a long time span.
Products are packaged to ensure that there is no damage during transit. In a case of exports, the standard export packaging is done in wooden cases. All forged, stainless steel socket weld fittings are marked with Grade, Lot No, Size, Degree and our trademark. On special requests, we can also, make a custom marking on our products.
At Instinox, all stainless steel socket weld fittings and flanges are subject to strict inspection at each stage of the production process, from starting material purchasing to product dispatch. They are visually examined for conformity to ASTM, ASME, MSS, DIN, EN, and JIS codes and standards. Upon request, official certified Inspection Agencies can be called in to witness the material reports, dimensions and quality conformity of products.
Manufacturer Test Certificate as per EN 10204 / 3.1B standard, Raw Materials Certificate, 100% Radiography Test Report, Third Party Inspection Report. These reports state the materiality and quality assurance of the products provided at Instinox.
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We have a state of the art mill facilities access which runs at a full capacity due to export order overload. We have 3 heavy punch machines for making seamless tees. We also have bend machines for elbows and equipment for reducer. We have facilities to make seamless Stainless Steel Socket Weld Fittings up to 8" We can make welded Stainless Steel Socket Weld Fittings upto 42". We also have threads in NPT, BSPT & BSPP to make forged fittings. The dye of socket weld fitting is outsourced and machining and finishing is done in house. Added to that we have in house testing facilities like spectro machine, PMI Machine, Mechanical test, Hardness Test, Ultrasonic Testing, Hydrostatic Testing, Pressure testing, and manual inspection of gauge. Our production range also includes flanges and fasteners which are considered piping accessories for a pipeline set up.
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To my disbelief, Jennifer thought it best to simply delete the email. More demonstrators assemble at Portland City Hall. Thursday at City Hall. Electronic messages fly about Adams on Twitter. After she won, he served as her chief of staff for eleven years and then went back to school, earning a degree in Political Science.
Archived from the original on July 21, Gonzalez, but I think allegations like his should be thoroughly investigated. During his first State of the City speech, Wheeler said he was focused on "helping to create a clear direction for the future of our community,"  and during an interview summing up his first six months in office, Wheeler said, "I see myself very much as a transitional mayor" because he has been primarily been dealing with issues relating to population growth. Colleague says Portlanders might forgive Adams. For the American Olympic athlete, see Ted Wheeler athlete.


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SPARTANBURG, S.C. - VMI baseball has earned the #4 seed in the 2018 SoCon Baseball Championship Presented by Holston Gases, according to information released by the league Saturday evening. The Keydets will open the tournament Wednesday morning against the #5 Mercer Bears.
The two teams matched up in late April in Macon, Ga., when Mercer won 2 of 3. The Keydets won the opener behind a Josh Winder complete game.
A preview of the game will be posted Monday on VMIKeydets.com. For the full bracket and further tournament information, please visit VMIKeydets.com.


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How Often Should my Baby Wake Up at Night?
I'm not trying to offer a magic number here. Newborns wake more often than infants, who wake up more often than toddlers, and so on. But in today's video, I'll give you an idea of how often the average baby wakes up at each stage of life, as well as some insights as to what might be causing your baby to be waking up more often than they should be.
One of the most popular search questions is how many times should my baby be waking up in the night? And that is a tricky question to answer. And it really depends on a few different things.
Obviously, it depends on the age of your child. If we're talking newborn baby, well, that could be once, twice, three or four times. There really is no magic number for a newborn. We know they need to eat. They need to eat around the clock, 24 hours a day. And that's really challenging and taxing on a parent. I get it. But that is the way their little bodies are designed, and so we have to adapt for the sake of their survival.
Okay, so we all get that, that we have to have newborns eating in the night, and I would never say anything other than that. But let's now move past that. Right, let's move into the three to four month age range.
I would say on average, three to four month old babies are waking about once, maybe twice a night for food. So if your baby's waking more than that, you might wanna check out what else could be going on. And the biggest thing that's usually going on that's causing more wake-ups is a prop dependency.
So that would mean that your baby is being rocked to sleep or to fed to sleep, and that is why she's having frequent nighttime wake-ups. Some of that is probably food-related, absolutely, but some of it's not. Some of it is prop-related. So she has a naturally occurring wake-up in the night, because waking it the night is normal and common, but because she's dependent on your rocking or your feeding or whatever it is, she's going to need your help. She can't do this on her own.
So, if you're gonna feed her, okay, she'll take it. Maybe she needed it or she didn't need it. But often it's just the prop that they're waking up for, so feed me back to sleep, rock me back to sleep, do whatever you did to get me to sleep in the first place, 'cause I can't do this myself. And that's why you're getting more frequent wake-ups.
Now, let's move into the six month to 12 month age range. Now, there are some babies at the six month mark who still may need one nighttime feed, one. And that would be if there's some health issues or if there's any kind of weight concerns. There may be some valid reason why your six month old baby still needs a nighttime feed. If your six month old baby, though, is waking up more than once, two, five, eight times a night, then you have a prop dependency problem. And that is something that you could address.
You don't have to yet. You could wait and see. But I would encourage you if you're having multiple nighttime wake-ups past this point that you investigate this. You could have a look at The Sleep Sense Program. I'll give you a clear step-by-step guide for why your baby's not sleeping well and how we're gonna encourage her to start developing some really good sleep skills that are all her own.
Now, if you've got a 12 month old and up, though, that's having any kind of nighttime wake-up, then, again, it's a prop dependency problem. It really shouldn't be a food issue. Even if she doesn't eat great during the day and you're worried about that, I promise you, if you stop feeding in the night, she will start eating better during the day. It's just a biological fact.
So, if you've got an older still waking up in the night, then you're gonna look at your bedtime, what's going on there, what could possibly be the prop. Once you've identified the prop, then, again, you would follow the steps outlined in the program for teaching her how to sleep without this prop. And the good news is she can learn it, absolutely she can. And it's always surprising to me still, 15 years into this business, how quickly they learn it. I mean, it's a brand new skill for a lot of kids, and within a few nights they've figured out how to do this.
So, that's the great news. Thanks so much for watching today. Sleep well.


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Bold Choices: A Busy June and Blockbuster Season Ahead at TITAS
Manuel Mendoza May 14, 2018
DanceDesign in Texas
TITAS concludes its season with Parsons Dance on June 30 at Winspear Opera House in Dallas.
Alonzo King LINES dancer Michael Montgomery in Alonzo King's Sand. Photo by RJ Muna.
The current TITAS season comes to a close this month with performances by the long-running American dance companies Alonzo King LINES Ballet (June 9) and Parsons Dance (June 30) before the Dallas dance presenter launches its 2018-19 offerings later this summer. Both groups are in their fourth decade, with LINES making its third appearance in the TITAS series, Parsons its ninth. The Parsons program includes the Mozart-fueled Wolfgang; two pieces set to New Orleans R&B and jazz, Trey McIntyre's Ma Maison and artistic director David Parsons' Whirlaway; a new solo, Clair de Lune, co-choreographed with departing company member Abby Silva Gavezzoli; and the ubiquitous Caught, whose illusion of flight will no doubt thrill the Dallas audience again. Like the Alvin Ailey troupe performing Revelations for the umpteenth time, Parsons Dance cannot hit the road without packing its founder's 1982 trick shot. Yet no matter how many times you've seen it, Caught still takes your breath away.
TITAS director Charles Santos hopes the new season will engender the same reaction. "I think it celebrates diversity," he says. "We have two of the most important African-American artists touring the world today, groups who are redefining what we consider dance with technology, a celebration of tap as an art form and a music form, a highly contemporary voice from China, and new ways of embracing live music." The 2018-19 season assembled by Santos introduces four companies never seen before in Dallas. Three of those groups are led by female choreographers — Camille A. Brown & Dancers (Aug. 24-25), Dorrance Dance (Feb. 1) and Beijing Dance Theater (Feb. 8) — who not coincidentally represent a wave of innovative approaches that dance mavens like Santos are noticing. "I've been very focused lately on the female voice because I believe it's woefully ignored in the dance world," he says. "We're looking for the voices of today."
The other Dallas debut is by Ezralow Dance (March 29-30), a Los Angeles company founded in 2014 by Daniel Ezralow, one of the original performers and choreographers of design-oriented Pilobolus offshoot MOMIX. He tends to make short pieces, so for the evening-length OPEN Ezaralow strings together more than a dozen vignettes filled with goofy projections and physical antics not unlike the work of his predecessors. "He's going to be a surprise hit," Santos predicts. "The piece is so charming and so clever. People are going to love the visual effects and massive creativity." The use of technology also marks the appearances of Los Angeles' Diavolo (Sept. 14-15), the America's Got Talent finalist bringing a "greatest hits" package of its dangerous looking stunts atop giant sets, and Pilobolus (April 5-6), returning with its sequel to the shadow-play narrative Shadowland. "There's so much commercial appeal to them right now," Santos says of Diavolo. And that's surely the case with the ever-popular Pilobolus, too.
Abraham in Motion performs on the TITAS Presents season on March 1-2, 2019.
Photo by Tim Barden.
The rest of 2018-19 brings back a number of other TITAS mainstays and recent favorites, including the Stephen Petronio Company (Oct. 19-20), Aspen Santa Fe Ballet (Oct. 26-27), Complexions Contemporary Ballet (Nov. 9-10) and A.I.M (March 1-2), the new name of Kyle Abraham's Abraham.In.Motion. The TITAS Command Performance gala closes the new season on June 1, 2019. All the shows are at Moody Performance Hall or Winspear Opera House. "I ask myself, 'Will the piece work in our community? Will our audiences like it?' " Santos explains about his curating philosophy. "I'd love to build a second series with the tagline, 'If you're easily offended, don't come.'"
"Charles has a wonderfully curated sensibility that I appreciate," Abraham says. "TITAS is not afraid to take risks and introduce the Dallas community to a wide spectrum of dance and movement theater." He mentions Camille Brown as an example. "She's trailblazing and knocking down so many walls." Abraham is so busy himself, creating and commissioning new work, that he has no idea what A.I.M will perform in Dallas next year. The company's Joyce Theater season last month included premieres of INDY, a new solo choreographed by Abraham for himself; his Meditation: A Silent Prayer; and state, commissioned from Andrea Miller, the first time A.I.M has performed work by another choreographer. For the Joyce shows, Abraham also added pieces to the A.I.M repertoire by two others he admires: Doug Varone (Strict Love) and Bebe Miller (Habits of Attraction). "He's in a highly creative period right now," Santos says. "I want to see him percolate."
Brown opens the new TITAS season with her Bessie-nominated, evening-length BLACK GIRL: Linguistic Play. Only 38, she was already a veteran of the national dance scene. But her profile is on the rise lately with her choreography for last year's revival of the Broadway musical Once on This Island and the recently televised NBC production Jesus Christ Superstar Live in Concert. Starting with the proposition that our identities begin forming with childhood games, the African-American native of Queens uses black-dance vernacular to interrogate the complexities of being a black woman in a racially and politically charged world. Linguistic Play incorporates a dialogue with the audience. "Everyone in the audience related to it in a different way, whether they were male or female, African-American or not," Santos says of the night he saw it. "The diaspora is part of her but not all of her. It's about the role of play in culture, in daily life, how it shapes us from children to adults and in relationships."
Camille. A. Brown & Dancers Fana Fraser and Beatrice Capote in Camille A. Brown's Black Girl: Linguistic Play. Photo by Christopher Duggan.
Like Brown weaving contemporary issues into historical African-American dance traditions, Michelle Dorrance updates tap with the help of technology and a broader concept of the form's possibilities. In ETM: Double Down, another full-length work, the Dallas audience will see her and her company tapping on electronic drum pads invented by her co-choreographer, Nicholas Van Young, that add a musical layer to the electronic score. They choreograph for the whole body, not just the feet, breaking tap's traditional vertical orientation. At one point, the dancers drop heavy chains, creating another soundscape. "She uses super, super complicated rhythms," Santos says of Dorrance, who has danced in the stage show STOMP and with tap innovator Savion Glover. "It's a musical adventure for her. But she's accessible, not pretentious."
Beijing Dance Theater also performs an evening-length piece, artistic director Wang Yuanyuan's take on Hamlet, which was inspired by her work on the 2006 Chinese film The Banquet. The set includes a hovering cloud formation whose movement acts as a metaphor for the Danish prince's emotional journey. The Stephen Petronio Company brings the latest work by one of the last remaining links to the "no spectacle" aesthetic of '60s-era Judson Dance Theater choreographers Yvonne Rainer, Steve Paxton and Trisha Brown. In Hardness 10, Petronio references the offbeat ballet steps of Merce Cunningham and engages in a bit of spectacle with unitards bearing slogans that look spray-painted. "There is some attitude to it," Santos says, "but a lot of technique."
Beijing Dance Theater makes its Dallas debut with Hamlet by artistic director Wang Yuanyuan on Feb. 8 at Winspear Opera House. Photo by Han Jiang.
For this trip to Dallas, Aspen Santa Fe Ballet's Eurocentric repertoire features Czech choreographer Jiří Kylián's pointe piece Return to a Strange Land, Brooklyn-born Nicolo Fonte's Where We Left Off and a new commission, Half/Cut/Split, from Jorma Elo, a native of Finland and resident choreographer at Boston Ballet. The entire program will be performed to live accompaniment by pianist Joyce Yang. "They're the new Cedar Lake," Santos says. "They're one of the companies that represent the future of contemporary ballet." As with Rise, its fast-moving, crowd-pleasing piece to the music of U2, Complexions Contemporary Ballet will send the audience home happy with a new tribute to David Bowie by choreographer Dwight Rhoden called Star Dust. "It's a big, splashy piece," Santos says of the show-closing number. "Audiences across the globe have been loving it."
—MANUEL MENDOZA
Manuel Mendoza is a Dallas freelance writer specializing in the arts.


Winners of its last five matches, Babson improves to 10-3 overall and 4-0 in league play, while Emerson drops to 2-13 overall and 0-4 in league play with its 28th consecutive NEWMAC loss.
Rosenbluth and first-year Chris Kolesnik (Staten Island, N.Y.) recorded an 8-1 result at number one doubles, while sophomores Dan Levitan (Winter Park, Fla.) and Dylan Pace (Atherton, Calif.) won 8-0 at number two. The Beavers won by default at number three doubles as the Lions had just five players available for the match.
First-year Andre Libnic (Coral Gables, Fla.) won 6-1, 6-1 at number one singles, Rosenbluth posted a 6-0, 6-0 decision at number two, and senior Connor Chin (Lexington, Mass.) contributed a 6-2, 7-5 victory at number three. Sophomore Scott Riester (Lynnfield, Mass.) was a 6-1, 6-1 winner at number four and classmate Jonathan Ben-Rey (Las Vegas, Nev.) recorded a 6-0, 6-0 triumph at number five.
Babson returns to action on Monday when it hosts 13th-ranked MIT at 3:30 p.m., while Emerson travels to Coast Guard on Wednesday at 3:30 p.m.
• The Beavers are 9-0 all-time against Emerson and have not dropped a point against the Lions in any of their last five matches.
• Babson, which locked up a conference tournament berth on Saturday, will be no worse than the second seed in the upcoming NEWMAC championship.
• The Green and White has now won at least 10 matches in each of the last six years.


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