text:
Boston TV News Digital Library
WCVB Collection
WHDH
Include non-video assets
Cambridge Rent Control
Description: Silent footage of a rent control hearing in Cambridge. Court scenes. Spectators crowded into the balcony.
Collection: WHDH
Date Created: 12/08/1970
Melvin King
Description: Mel King (candidate for mayor of Boston) attends a meeting of the Tent City Corporation, chaired by Joan Tighe (chairwoman, Tent City Corporation), regarding the development of the Tent City site. Tighe says that the group will work to maintain affordable housing units at the site and to scale down a proposed plan for a parking garage on the site. Crowd sings happy birthday to Tinghe. Christy George interviews King about his position on housing issues and those of his opponents Ray Flynn (candidate for mayor of Boston) and David Finnegan (candidate for mayor of Boston). King criticizes condominium conversions and talks about the need for a strong rent control program. King discusses the link between employment and housing, and says that the community needs more low- and moderate-income housing units. King notes that the federal government is not aware of the housing crisis across the nation; he adds that the federal government needs a better housing policy.
1:00:04: Visual: Mel King (candidate for mayor of Boston) enters a room where a meeting about the Tent City Development is being held. White and African American attendees sit on either side of a long table. King greets a few of the attendees, then sits down near a window at the side of the room. Joan Tighe (chairwoman, Tent City Corporation) reviews the goals of the Tent City Corporation. Tighe says that the Tent City Corporation aims to be the sole developer of the Tent City site; that they will work with the mayor to maintain affordable housing units at the site; that they will work to scale down a proposed plan for a parking garage. The meeting is adjourned. Meeting members tidy up the room. King greets the attendees. Meeting members and King sing "Happy Birthday" to Tighe. King continues to greet attendees. 1:05:22: V: Christy George interviews King. She asks him about his position on housing and about the positions of his opponents Ray Flynn (candidate for mayor of Boston) and David Finnegan (candidate for mayor of Boston). King talks about the need for a strong rent control program and criticizes condominium conversions. King says that new public housing must be built. King says that there is a link between jobs and housing; that people need employment in order to afford housing. King says that the city and the voters must lobby the federal government for a better housing policy. George asks about the differences between King's position and the positions of Flynn and Finnegan. King says that housing must be community-based; that the community needs low- and moderate-income housing. King says that there are other housing issues besides rent control and condominium conversion; that public housing must be protected and improved; that the city must work to provide more housing. King says that he would like to investigate the possibility of a city-wide housing and finance program. King adds that the federal government needs to be aware of the housing crisis across the nation; that the nation needs a good federal housing program. George comments that there are differences between King's position and Finnegan's position. She asks about the differences between King's position and Flynn's position. King says that he has been involved with groups like the Tent City Corporation, who have worked to provide housing. King notes that Flynn has not advocated for a federal approach to the housing crisis. King talks about the need for a tenant equity program in Boston. George thanks King and closes the interview. The crew takes cutaway shots of George and King. George and King speak informally.
Collection: Ten O'Clock News
Description: Silent b-roll of rundown buildings and bad living conditions. Thomas Atkins holds a press conference. Exteriors of Boston Rehabilitation Plan Building. 154 Seaver St. Thomas Atkins walks through apartments, examining living conditions. Several takes of reporter standup on the rent strike. Cuts of Atkins and others speaking at press conference on Boston's attempts at building rehabilitation as part of a HUD program, and problems with the implementation of the program. They explain the efforts of the tenants to solve these problems, and the new tactics they are using against the officials and landlords.
Rent control demonstration
Description: Byron Rushing (State Representative) addresses a rent control demonstration outside Boston City Hall. He encourages tenants to fight for their rights, urges voters not to support anti-rent control candidates, and advocates a citywide referendum on the issue. Pat Burns (Catholic Connection) speaks about Sojourner House, a shelter for homeless families and the Catholic Connection's support for rent. Boston City Councilors Ray Flynn, Michael McCormack, Christopher Iannella and Maura Hennigan confer in the chambers of the Boston City Council. Boston City Councilors Frederick Langone, Albert "Dapper" O'Neil, Terence McDermott, Bruce Bolling , and Joseph Tierney are also present. The gallery of the chambers is filled with observers, many wearing pro-rent control buttons. Ianella calls the meeting to order and the clerk reads appropriation orders and requests submitted by Kevin White (Mayor, City of Boston) for the approval of the council. The council discusses and votes on orders from the mayor concerning the Public Works Department and the Public Facilities Commission. The clerk reads a request from the mayor concerning the financing of a bond for the Winthrop Printing Company. The Council conducts business on the chamber floor with Langone discussing a proposed law concerning the cleanliness of dumpsters in the city and about building affordable housing instead of high-priced condominiums. Sounds cuts out near the end and then comes back in.
1:00:04: Visual: Byron Rushing (State Representative) speaks into a microphone. He says that working class and poor people need to fight for their rights as tenants. The crowd claps. Rushing says that voters must vote against politicians who do not support rent control; that rent control must be brought to the ballot as a citywide referendum. The crowd claps. Shots of the crowd outside of City Hall. A white woman addresses the crowd, saying that it is not a good idea to classify tenants as elderly, disabled or low-income; that those classes of tenants will have difficulty finding apartments. Shots of two older men in the crowd. One of them is wearing a button which reads, "Rent Control: Continue and Strengthen it. Ban condominium conversion evictions." Shot of the button. Pat Burns (Catholic Connection) addresses the crowd. Burns talks about Sojourner House, which is a shelter for homeless families. Burns says that the Catholic Connection supports rent control in order to stop the increasing number of homeless families. Shot of a man holding a rent control sign reading, "No rent control plus no condo ban equals no housing." Shots of the crowd listening to Burns. Several crowd members are holding pro-rent control signs. 1:02:23: V: The white woman addresses the crowd as they move into the City Hall building. Shots of the crowd as they enter City Hall. One woman holds up a sign reading, "Landlords get the money. Tenants get the shaft." 1:03:33: V: Boston City Councilors Ray Flynn, Michael McCormack, Christopher Ianella and Maura Hennigan confer in the chambers of the Boston City Council. Frederick Langone (Boston City Council) confers with a woman on the floor of the chambers. Langone sits down in his chair, with his cigar in his mouth. The gallery of the chambers is filled with observers. Many observers wear pro-rent control buttons. Albert "Dapper" O'Neil (Boston City Council) joins the group of councilors. 1:05:51: V: Hennigan sits in her chair on the floor of the chambers. She flips through some papers on the table in front of her. Flynn sits down in his seat. Langone lights his cigar. Terence McDermott (Boston City Council) is sitting in his seat on the floor of the chamber. Albert "Dapper" O'Neil (Boston City Council) sits in his seat. The clerk calls the roll of city council members. Ianella brings the meeting to order. 1:08:28: V: The clerk reads appropriation orders and requests submitted by Kevin White (Mayor, City of Boston) for the approval of the council. The council discusses and votes on orders from the mayor concerning the Public Works Department and the Public Facilities Commission. Shots of McDermott; of McCormack; of Langone; of audience members in the Council gallery. The clerk calls the council roll for a vote on the order concerning the Public Facilities Commission. Shot of Bruce Bolling (Boston City Council). The clerk reads a request from the mayor concerning the financing of a bond for the Winthrop Printing Company. 1:12:03: V: Shots of audience members in the gallery; long shot of the floor of the Council Chamber from the gallery. Audio is muffled. Langone discusses a proposed law concerning the cleanliness of dumpsters in the city. More shots of audience members. 1:15:45: V: Councilors conduct business on the floor of the Chamber. Langone talks about housing. Shots of Christy George (WGBH reporter); of Bolling, Flynn and Hennigan; of Bolling; of Flynn; of Joseph Tierney (Boston City Council). The Council continues to conduct business. Langone talks about building affordable housing instead of high-priced condominiums.
Urban development, condo conversion, Latino voters, Victory Gardens
Description: Four stories from 1983. 1) Urban development in Boston is an issue in the mayoral race. Helicopter aerial of skyline from harbor. Tilt up Prudential and Hancock towers. Pan of Copley Place. Anthony Tappe of Boston Society of Architects comments on deterioration of Victorian Boston because of the scale of new development, making for a less desirable and livable city. Controversy over Mayor Kevin White's intense involvement in urban planning process is discussed by mayoral candidates at a BSA forum on the future of city planning. David Finnegan, Dennis Kearney, Lawrence DiCara, Robert Kiley, Ray Flynn, Mel King. Robert Ryan, BRA director. Marriott Long Wharf Hotel. 2) The dichotomy between preserving rent control/affordable housing and encouraging free market business development through condo conversions in Boston. Struggle of 87-year-old Hester Hurlbutt of 250 Commonwealth Avenue to stay in her apartment. Mel King comments on housing displacement. Ray Flynn favors ban on evictions. David Finnegan disagrees, worried about economic climate. Scenes of Back Bay, Copley Place, Boston Public Library. Sign for luxury condominium for sale. Mayoral candidates Dennis Kearney and Lawrence DiCara campaigning. 3) Latino voters will have an impact on Boston's mayoral race. Alex Rodriguez, Jorge Hernandez, Yohel Camayd-Freixas endorse Mel King. Jose Masso, Gov. Dukakis' Hispanic liaison, says Latinos will split ideologically according to their respective nationalities. 4) Joseph Nelson and Mabel "Matty" Matheson talk about the tradition of the Fenway Victory Gardens. Other plot tenders revel in the therapeutic value and beauty of gardening. Views of flower beds and vegetables.
Ten O'Clock News 3
WHDH 2
Boston (Mass.) 2
Back Bay (Boston, Mass.) 1
Cambridge (Mass.) 1
Fenway (Boston, Mass.) 1
Roxbury (Boston, Mass.) 1
Boston TV News Digital Library: 1960—2000
© 2021 WGBH


text:
package org.drools.core;

import java.util.Map;

import org.drools.core.base.QueryRowWithSubruleIndex;
import org.drools.core.common.InternalFactHandle;
import org.drools.core.common.ReteEvaluator;
import org.drools.core.rule.Declaration;
import org.kie.api.runtime.rule.FactHandle;
import org.kie.api.runtime.rule.QueryResultsRow;

public class QueryResultsRowImpl implements QueryResultsRow {

    protected QueryRowWithSubruleIndex row;
    private ReteEvaluator reteEvaluator;
    private QueryResultsImpl queryResults;

    public QueryResultsRowImpl(final QueryRowWithSubruleIndex row,
                               final ReteEvaluator reteEvaluator,
                               final QueryResultsImpl queryResults) {
        this.row = row;
        this.reteEvaluator = reteEvaluator;
        this.queryResults = queryResults;
    }

    public int getSubruleIndex() {
        return this.row.getSubruleIndex();
    }

    /**
     * Return a map of Declarations where the key is the identifier and the value
     * is the Declaration.
     *
     * @return
     *      The Map of Declarations.
     */
    public Map<String, Declaration> getDeclarations() {
        return this.queryResults.getDeclarations(row.getSubruleIndex());
    }

    /**
     * Returns the Object for int position in the Tuple
     *
     * @param i
     * @return
     *     The Object
     */
    public Object get(final int i) {
        return getObject( this.row.getHandles()[ i + 1]); // Add one, as we hide root DroolsQuery
    }

    /*
     * (non-Javadoc)
     * @see org.kie.api.runtime.rule.QueryResultsRow#get(java.lang.String)
     */
    @Override
    public Object get(final String identifier) {
        Declaration decl = getDeclarations().get( identifier );
        if ( decl == null ) {
            throw new IllegalArgumentException( "identifier '" + identifier + "' cannot be found" );
        }
        return get( decl );
    }

    /**
     * Return the Object for the given Declaration.
     */
    public Object get(final Declaration declaration) {
        return declaration.getValue( reteEvaluator, getObject( getFactHandle( declaration ) ) );
    }

    /*
     * (non-Javadoc)
     * @see org.kie.api.runtime.rule.QueryResultsRow#getFactHandle(java.lang.String)
     */
    @Override
    public FactHandle getFactHandle(String identifier) {
        Declaration declr = getDeclarations().get( identifier );
        return declr != null ? getFactHandle( getDeclarations().get( identifier ) ) : null;
    }

    public FactHandle getFactHandle(Declaration declr) {
        return this.row.getHandles()[  declr.getObjectIndex() ];
    }

    public FactHandle getFactHandle(int i) {
        return this.row.getHandles()[ i + 1 ];
    }

    /**
     * Return the FactHandles for the Tuple.
     * @return
     */
    public FactHandle[] getFactHandles() {
        int size = size();
        FactHandle[] subArray = new FactHandle[ size];

        System.arraycopy( this.row.getHandles(), 1, subArray, 0, size );
        return subArray;
    }

    /**
     * The size of the Tuple; i.e. the number of columns (FactHandles) in this row result.
     * @return
     */
    public int size() {
        return this.row.getHandles().length -1;
    }

    /**
     * Get the Object for the given FactHandle
     */
    private Object getObject(FactHandle factHandle) {
        return (( InternalFactHandle ) factHandle).getObject();
    }
}

redpajama_set_name: RedPajamaGithub


text:
News Number of the Day
Most Economists Now See Climate Change Urgency
Number of the Day: The most relevant or interesting figure in personal finance
Rob Anthes
Rob Anthes uses his economics degree and a love of spreadsheets to shed light on how this era of rapid change affects your finances. A journalist for more than 14 years, he was managing editor at New Jersey-based Community News Service and now tackles inflation and the student loan debate as a reporter for The Balance.
That's the share of economists around the world who now say it's necessary to take "immediate and drastic" action on climate change, up from 50% in 2015, a recent survey shows.
The Ph.D. economists, polled by New York University School of Law's Institute for Policy Integrity in February, came to an "overwhelming consensus that the costs of inaction on climate change are higher than the costs of action, and that immediate, aggressive emissions reductions are economically desirable," the institute said in a report released last month. The share who said "some" action was needed fell to 24% from 43% in 2015.
President Joe Biden marked Earth Day Thursday by announcing his goal to at least halve the country's greenhouse gas emissions (government and private sector) by 2030, relative to 2005 levels. Earlier this week, the Department of the Treasury unveiled a new "climate hub" focusing on climate-related economic and tax policy, the financial risks associated with climate change, and the financial aspects of transitioning away from fossil fuels.
If the current warming trend continues, by 2025, climate change will cause $1.7 trillion in economic damage each year, according to the median estimate of the economists surveyed by the institute.
Institute for Policy Integrity. "Gauging Economic Consensus on Climate Change." Accessed April 22, 2021.
The White House. "President Biden Sets 2030 Greenhouse Gas Pollution Reduction Target Aimed at Creating Good-Paying Union Jobs and Securing U.S. Leadership on Clean Energy Technologies." Accessed April 22, 2021.
U.S. Department of the Treasury. "Treasury Announces Coordinated Climate Policy Strategy with New Treasury Climate Hub and Climate Counselor." Accessed April 22, 2021.
The Near-Term, Sobering Economic Cost of Climate Change
Does Extra Unemployment Tempt People to Stay Home? Sometimes
US Treasury Creates Post, Joins Climate Change Fight
Catastrophic Prognosis Adds Weight to Energy Incentives
Prices Now Tie With Covid-19 as Top Worry, Poll Shows
Vacations Are Back, as Growing Numbers Set Travel Plans
Is Crypto the New Down Payment? For Some, Yes
Financial Firms Call Win As IRS Reporting Plan Gets Ax
What Has Climate Change Cost Us? What's Being Done?
How Much More Inflation Are You Expecting?
Economists Unanimous on Vaccine Order Speeding Recovery
Could Carbon Emissions Trading Become the New Bitcoin?
Best ESG ETFs to Buy
31% of Small Businesses Reinstate Virus Restrictions
'Tiny Green Shoots' of Relief Seen on Shortage Problems
The Effects of Each Additional Degree of Global Warming

redpajama_set_name: RedPajamaCommonCrawl


text:
Just Swim
Love Swimming
Calorie Cruncher
Swimming Strokes
Love Swimming Campaign
Eat Better
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Swimming with Health Conditions
Be Fitter
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SET GOALS AND LOG SWIMS ON OUR JUST SWIM APP
'I spent my life hiding behind the stereotypes and the stigmas... until now'
Ed Accura first had a desire to learn to swim as a youngster in Ghana.
Swimming parties weren't quite the same when he couldn't get in the water but his requests for lessons went unanswered.
That isolated feeling returned during a holiday in Barbados as an adult, when Ed could only admire the glistening, still water from a boat – the only person wearing a life jacket.
But becoming a father meant the Buckinghamshire resident could hide no longer.
"I always had this thought in the back of my mind that if I was ever in a situation with my daughter and she fell into the water and she needed help, I wouldn't be able to help her," he said.
"That's a scary thought. I think that's one of the things that has really nudged me to learn how to swim.
"I spent the rest of my life, up until now, hiding behind the stereotypes and the stigmas of being black and swimming – all these stereotypes about heavy bones and such.
"I used it as a safety bed to not learn to swim. If anybody asked me if I could swim, I'd say 'of course not, I'm black'."
A shared experience
Ed admits he struggled to 'trust the water' but continues to take swimming lessons in what has proved a life-changing decision.
Having spent much of his life succumbing to perceptions, he decided to use his experience to spark change.
After initially planning to produce a song called 'Blacks Can't Swim' to tackle the misconceptions associated with black people learning to swim, Ed took his idea to the next level by directing 'A Film Called Blacks Can't Swim'.
He wrote, produced and starred in the film.
In it, a frenzied Ed reacts to reports of flooding by wearing a life jacket everywhere he goes, frightened by the prospect of not being able to keep himself afloat.
A global message
There is obvious hyperbole but the film touches on the very real concerns many adults face if they weren't taught to swim as a child.
Ed's experience wasn't a unique one and, through the film, he discovered a global community of people restricted by stereotypes, never learning to swim because it wasn't ingrained in their culture.
"I didn't for once think it would get the momentum and the attention it has received," he added.
"But I was always going to put it out there anyway and try and get people to confront their fears, address the stereotypes and dispel the myths.
"I think the film is doing that. Role models are very, very important. If people can see it, they will believe it and they will do it.
"The Olympics are coming up next year, I just want to see a lot of people focusing on black swimmers and I'm going to keep on campaigning and keep on talking about it to drive more attention to black competitive swimmers, because I believe that is part of the solution."
Ed has enjoyed positive reviews from all over the world, including the United States and Australia.
Since the film, he has started a weekly podcast called In The Deep End with Ed Accura.
Ed interviews BAME celebrities to talk about their positive experiences of swimming with the aim of encouraging more people from the ethnic community to take up swimming – both recreationally and competitively.
He said: "I figured that the more influential people of colour that I could get to talk about their personal experiences, the better the chances are of the community paying attention and recognising the importance of swimming."
If you would like to view 'A Film Called Blacks Can't Swim', visit blackscantswim.com.
#LoveSwimming
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Other articles from this section
Swimming is my way of trying not to be a burden on the NHS, says 72-year-old Diana
Swimming again after 22 years helped Sara lose six stone and gave her a fresh outlook
Helen back to enjoying family time in the water after lockdown reignited her passion
#LoveSwimming star Maria hails the 'massive' mental health benefits of being in the pool
Out of a wheelchair and into the pool – Lindsay's #LoveSwimming story
11/04/2019 Love Swimming


text:
Ernesto Esposito Campaign S/S 2010 - Styling
Etichette: Alex Vaccani, Campaign, Ernesto Esposito, Styling
Terence Koh on Flaunt Magazine #107
My friends from Flaunt Magazine, by the fact I admire Terence and his works sent me this article like something I could appreciate and put on my blog and...they were right!
Terence Koh: The Grayscale Universe of a Post-Media Artist Written by Maxwell Williams
It was easier to remember the beginning of my three days with the artist Terence Koh than the end. In the beginning: there is a bedroom-sized restaurant in Chinatown called Brown, where I meet Koh for dinner. "I have no brains," he says exhaustedly. "Ilost all my brain cells." It's the week of the opening of Performa 9, the performing arts biennial in New York for which Koh is giving multiple performances. This part is true. I remember thinking it odd that Koh would meet me at a place called Brown, given I had just watched a conversation with him from his YouTube project, "The Terence Koh Show" (2008). In it, Koh says, simply, "I hate color."
We eat pike and share a flourless chocolate brownie with vanilla gelato, then grab some beers (for me) and cranberry juice (for Koh) and move over to Koh's apartment to continue the conversation. At the bottom of the stairs are a cluster of shoes and a sign that says SHOES OFF FAG. "I'm germaphobic," explains Koh sheepishly. Or maybe he's not. "Actually, I like to torture people. I like to watch them take off their shoes. Especially ladies. They're usually in high heels when they come. They get pissed off because it's part of their outfit." From there, up the white stairs into the rabbit hole of Koh's apartment we go. Here, as is true of a decent percentage of Koh's artwork, it is dominantly white. Nestled in the cracks of the white linoleum floor is a human skull; the taxidermied albino peacock you see on this magazine's cover sits in a glass vitrine by the white wall. A white couch, a white table, Terence Koh, dressed in white. We begin the interview. "I'm having tea," says Koh. But maybe I saw him pouring a vodka and cranberry juice. "No. I'm having chamomile tea."
"Probably, yes," says Koh when I ask him if he will answer truthfully to the questions I ask him.
Things can be interpreted in different ways in his life and art, an ambiguity that I admire more and more in Koh's work. It's not always threadbare like some shows at galleries and museums, where you walk in and you pick up the one-sheet artist's statement and you easily connect the dots between process and concept, medium and intention. It's the contrary for Koh's art—you have to work for it. To prove this, all I need to do is look to my right, where Koh's two mini-refrigerators [one of which may or may not be broken and which may or may not contain the cranberry juice in which Koh may or may not have mixed vodka into] and his microwave are fit like Tetris into several of Koh's famed vitrines from his Kunsthalle Zürich show in 2006.
In the vitrines—which remind me of Kinder eggs with prizes inside—are objects purchased while thrift store shopping in Berlin, all painted white. What are they exactly, other than glass boxes with trinkets inside? "I am purely a conceptual artist," says Koh, with infinite irony. So, maybe then it's the space in between concept and beauty, or maybe it's the space between post-minimalism and irony, that Koh exists. It's a start. But, where does it all come from?
What we do know about Terence Koh is he was born in either Beijing or Singapore or Malaysia or Vancouver. Somewhere on Earth, probably. Let's say China, 1980, because that's what it says on the website of the gallery that represents him, Peres Projects. He studied architecture, and was one of Zaha Hadid's star assistants. His early work was made under the nom de guerre asianpunkboy, and mainly existed as a website full of poems and pornography. Wikipedia says he was raised in Mississauga, Ontario,
a suburb of Toronto. asianpunkboy died when Terence's work became a hot commodity, around 2003. See, if anything is certain, Koh is the poster boy for contemporary art. He is, for lack of a better term, what Picasso, Duchamp, Warhol, Basquiat, and Gilbert & George were before him: a fully formed "art star." What that means is, again, open to interpretation and argument. He is not part of any categorical art movement, and his work sells for a lot of money. He is Asian and he is gay and he was married this summer to a graphic designer named Garrick—who designs all his art books—and he lives on Canal Street. He has ten fingers and ten toes and he doesn't pronounce the "h" in "th." He "tinks" about "tings." He is a very good artist. Or a very bad one.
In 2007, Marc Spiegler wrote a rather baiting article, albeit well-written and entertaining, treating his New York Magazine readers to a spectacle of excess (a document of Koh and his dealer Javier Peres on a shopping spree) and of semi-open insider art dealings (it cost $400,000 to create the 1400 vitrines for the Kunsthalle Zürich show). He documented Koh's usage of bodily fluids (a gold-plated collection, including Koh's excrement, sold for $500,000).
Given that the article was called "Is Terence Koh's Sperm Worth $100,000?," it is more a critique of the art market's treatment of a young artist, or a subtle jab against decadence in the art world, than it is a profile of Koh. In fact, Koh hardly shows up in it, as if to reiterate that it's hard to pin him down.
On the other hand, London's Serpentine Gallery's Co-Director of Exhibitions and Programmes and Director of International Projects, Hans Ulrich Obrist (the #1 most powerful man in the art world, according to ArtReview Magazine's much derided, yet often discussed, Power 100), has followed Koh's career for some time now. In an e-mail, he explains to me what he thinks of Koh's work. "[I'm interested in] the utopian dimension and obvious proximity with the notion of Gesamtkunstwerk," says Obrist, using an art historical term translated as "comprehensive artwork," referring to Koh's all-encompassing practice in the post-medium situation.
"Terence Koh does everything: he does books, he does boxes, he does exhibitions, he does Internet, he does performances. He does specific installations, but he also does what Gilbert & George call 'art for all.'" Obrist goes on to talk about Koh's main influences: Warhol and Yoko Ono. Fame is a word often associated with Koh. Ono was very famous, too, but weird. Maybe that's what ties them all together. They're all Gesamtkunstwerk-ing weirdos.
As I sit in front of Terence Koh at his kitchen table, I quickly understand my interview with him will be much more of a conversation. It will be less of the dialectic he and Obrist recently had (also on YouTube) and definitely not investigative or unpleasant. He speaks softly when he admits he doesn't allow very many face-to-face interviews—perhaps as a result of Spiegler's less-than-flattering look into his world—preferring to conduct them through e-mail. Koh puts on John Cage's "Music for Two Pianos." Other than that it is eerily quiet. Koh even notes that we are being extremely "civilized." But it could be even more so. "Ideally," he muses, "that would be a perfect life: to be in an all-white room and to have nothing but a bed and all my groceries would be brought in a little pill."
Regardless of our civility, we end up discussing everything from New York artist Ray Johnson's suicide ("I like artists' lives more than the artists' work.") to George Michael's art collection ("One of my goals in my life is for George Michael to collect a Terence Koh piece.") to meeting Madonna the night before in the Standard Hotel's Boom Boom Room ("She was grinding on me!"). He sings me an aria from "Adansionias, A Tragic Opera in 8 Acts," a recent project he did in Paris.
He is extremely intelligent and knowledgeable about art history and can expound upon his work like few other artists, but his lost brain cells keep him taciturn for the most part tonight. "I forgot the question," he says. "I'm being a difficult interview." Suddenly, the interview devolves into yes and no answers. And then he starts to just say "yes" to everything. In a video from "The Terence Koh Show," Chinese artist Zhang O asks Terence if his Chinese name is Ming Fing Ling. I ask him about that. "I guess that's my name," he says, giggling as though he'd never heard it before. "I like the way it sounds.
"I don't intentionally make things vague and inconsistent," he continues. "It's as truthful as I can be. It's what I remember. I just want to make things more honest. It's like Indian myths and folklore. It's just as truthful as the rain falling down." Then, Koh tells me about why rain falls. It's because of a white polar bear that he says died in Ontario. An Indian chief who wanted to show his prowess killed the bear. The bear's tears are the rain.
The next evening, Koh and I, along with his assistants Alex and Val take a car to the Brooklyn Museum. It is sprinkling outside, but unseasonably warm. When we get there we are herded into a tiny storage closet in the education center of the museum, where Val applies full black body paint to Koh, who is in a black leotard and matching black sheer tights. I have offered my assistance and will be Koh's videographer.
When Koh is fully blackened, Alex and Val, also in black, put on long black wigs backwards so as to cover their faces, like a pair of heavy metal Cousin Its. I am told by the museum to get Terence at exactly 9:30 p.m. I am told by Terence to stall. Finally at about 9:45, a museum staffer comes to get Koh. I try to tell her the paint is still drying, he'll come out soon. She makes it clear she's not leaving the room without him. Koh, the diva, steps in. "I've been doing this so long," he says. "I'll go out when I go out. That's how it works."
When we emerge from the storage closet, the lights in the museum lobby have been dimmed. Koh positions himself behind a makeshift DJ booth, lights some strobes and starts pumping techno music at the art-seeking crowd. "DANCE!" he commands into a microphone. The Cousin Its try to pump the crowd into a frenzy, but little works. "DANCE!" he shouts again. But it seems the people at the museum are there to watch a performance, not be participants in one. This is Terence Koh, after all, the man who says he's interested more in "artist's tricks than in artists." Maybe would-be ravers feel duped. It's probably just the denizens of Brooklyn not wanting to look uncool. Then, just as I sense people are starting to feel the pulse of the beat, Koh breaks off from the DJ booth and enters a roped-off circle of heroic Rodin bronzes, where he does a Butoh-inspired contortion dance. With the bright lights on him, a circle forms around the statues and watches Terence warp his body. It's truly beautiful, especially through a camera.
Later, he leans into me and says, "That part wasn't supposed to be good." It's an awkward moment for me. I truly thought it was good, even if he deflects the connotation.
At the end of the night, we go our separate ways, and I am somehow holding a black balloon in my hands. This is when things start to get fuzzy.
A photo shoot is happening in Asia Song Society. ASS, as it is almost only referred to, is Koh's art gallery just below his office, which in turn is below the apartment I interviewed him in 48 hours previous. Val is painting Terence again—white this time. The albino peacock is being photographed, along with Koh, who looks like a cross between an African tribesman and a Mayan warrior. He hooks the peacock's tail to his custom-made white Ralph Lauren bodysuit he received from Fischerspooner's Casey Spooner.
"I have done this more times than you can imagine," Koh retorts when I remark about his willingness to perform for the camera. He stands on a chair and contorts himself to the point where I'm ready to jump if he falls. He leans against the wall and let's out the most ferocious silent scream. And I can't remember the rest. Perhaps his scream sent us all into a state of hypnosis, like a siren's call.
I fly back to Los Angeles and begin to think about my trip. I've known Koh for a little while now, and I've seen a few of his performances (and even one "non-performance" in Miami at Art Basel). I saw his infamous Whitney Museum show, where he aimed, in his words, "the brightest light possible" at the entrance of the museum. It was, according to him, an "outpouring of white love.
It was my hippie piece to New York." I felt that love back then, even if the light was so bright I couldn't see right for several hours after. It embodied what Hans Ulrich Obrist later confirmed to me: Koh's "utopian dimension." The white pills, the white room, the white walls of art.
Maybe his bright beam of love mesmerized Aarons, Saatchi, Frahm… Did he cast a hypnotic light spell on these bastions of the art world? Obviously those collectors mentioned are very rich, very thoughtful white men, who are able to make
a purchase based on taste rather than value. Because it's hard to say if Koh's artistic bon mots can sustain their individual value on the primary market. In all honesty, I'd rather see Koh's work exist in an institution, breaking down the white walls of the museum gallery, than languishing in a collector's warehouse in Paris. They deserve to be experienced. They trigger something in us that whisks us away to a place where we are alleviated from our earthly contraptions. "I believe," says Javier Peres, owner of Peres Projects, over an e-mail late one night, "a primary influence of Terence's work is its ability to empower the viewer, including other artists, to explore the art-making process to its fullest and to create art in response both to the world around them, but also to what is inside them."
The grayscale world in which Koh lives is not so black and white. A complex lineage of abstract, post-minimalist work clashes in the air above him, forming singing clouds, the precipitates floating down in a snow blanket of operas and sculptures, performances and bunny heads. Something Terence said while sitting in his kitchen echoes in my mind: "When I create something, it just pops up in my mind."
Etichette: Flaunt Magazine, Terence Koh
Sabrina Impacciatore - Styling
Etichette: Alex Vaccani, Rolling Stone, Sabrina Impacciatore
The Big Pink - Photography
Etichette: Alex Vaccani, The Big Pink


Served with miso soup, rice, shumai and choice of one roll.
Not available for hand roll.
Includes 3 grilled shrimp,and rice.
Available from 11:00 a.m. - 3:00 p.m. Served with miso soup.
Available Monday through Friday from 11:00 a.m. - 3:00 p.m. Served with miso soup and rice.
Available Monday through Friday from 11:00 a.m. - 3:00 p.m. Served with miso soup.
Available Monday through Friday from 11:00 a.m. - 3:00 p.m. Served with rice, shumai, California roll and miso soup.
Welcome to Sushi Time, they guarantee you'll have an unforgettable dining experience. Come enjoy the some of the most fresh and delicious sushi dishes that New York City has to offer. Their expert sushi chefs are serving up innovative and mouthwatering fish all day long, so anytime you want to satisfy your hunger, Sushi Time will deliver! The service is top notch, and their delivery service is well known for their timely manner. Even if you're not a sushi lover, you'll find something on the menu that will delight your taste buds!
the food was over 40 minutes late and nobody at the restaurant was answering the phone.
Posted 4 years ago by Andrew B.
Posted 4 years ago by Renato C.
Do not eat here...massive food poisoning...look at their yelp reviews and it will tell you how awful this place is. Or sort by date and see how terrible the recent reviews are. STAY AWAY!@@!!!
Posted 4 years ago by Louis T.
Awful sushi. Only reason this gets one star is because of the fast delivery. The sushi itself was horrible, they spilled half the miso soup in the bag and they failed to give me chopsticks. I only got a spoon for the soup. I will never order here again.
Posted 4 years ago by Silvia S.
SO disappointing! The tempura sweet potato roll contained uncooked sweet potato, surrounded by soggy greasy tempura batter. And the shrimp/lobster roll tasted like freezer burn. Never again.
Posted 4 years ago by Raven K.
Posted 4 years ago by Maxime J.
Pretty good sushi for the area.
Posted 4 years ago by Marymar B.
Delivery wait time usually >45 mins but food is good.
Posted 4 years ago by Ronak P.
Fast delivery... consistently good food!
Posted 4 years ago by Kerry S.
Though the food here is pretty unexceptional, the fast service and delivery times are why I keep returning to this place. Whenever I order food for pick-up, it's ready within 15 minutes.
Posted 4 years ago by Annie L.
REALLY not sure how this place ranks 5 stars. Food is bad, service is dire to say the least, and the stuff they are serving is not up to standards.
Posted 4 years ago by Elizabeth K.
Ordered pick up, and was ready in 20 min, so that was good. I got shrimp tempura entree and king crab dumplings. The tempura was fine and the portion was large. However, the "king crab" dumplings were definitely imitation crab meat, and basically inedible. If you list king crab on the menu, that's what the customer should be getting. I feel like I wasted $9, and won't be ordering from here again.
Posted 4 years ago by Jonathan F.
Fantastic fish, prompt delivery, and great prices!
Posted 4 years ago by Jason L.
good sushi. But be warned, the salad that comes with the lunch special is ridiculously SMALL. I was appalled. 4 bites of lettuce.
Posted 5 years ago by Tracey V.
Now talk bout stuffing ballot box. Hey fix this bull. Can't order from them reviews are not policed. Better yet liars deserve not to do business. Wonder what they are hiding. Well for one I'll never know!!!!
Posted 5 years ago by albert s.
Posted 5 years ago by remi s.
Crazy place - they called to say they didn't have one of the items on the menu then refused to replace it with a similar item. Tried to insist that I take a cheaper item and the loss. Had to cancel the whole order. Crazy.
Posted 5 years ago by W T.
Posted 5 years ago by Cathy J M.
Posted 5 years ago by Lisa N.
The sushi is reliably good, fresh and a decent value for the money. Busy place with a lot of orders but food is ready pretty quickly. I'm very picky about my spicy tuna and I do like the way it's prepared here.
Posted 5 years ago by Stacy F.
I tried ordering from Sushi Time. I requested that they switch the shrimp shumai in the bento box with something (anything) vegetarian as I have a shrimp allergy. They called me to tell me they wouldn't switch anything for the shumai - even extra salad...leaves of lettuce. Pretty silly. After reading the Yelp reviews, I am glad that I didn't end up getting the food, as there appears to be a threat of gastrointestinal distress. I will give them credit though...even with losing over $50 worth of business they stuck to their guns.
Posted 5 years ago by Gary S.
Posted 5 years ago by Mary L.
Delivery guy was hostile and angry and yelled at me over the phone.
Posted 5 years ago by Chandra B.
Posted 5 years ago by rully s.
Food is fresh and delicious. Delivery is so fast.. I live around 7 blocks away... and usually waiting just 20 - 25 mins. Recommended.
Posted 5 years ago by Karolina F.
Posted 5 years ago by Ali G.
Posted 5 years ago by sally c.
Posted 5 years ago by monic a.
Food was good. Service is horrible.
Posted 5 years ago by Amrit H.
Posted 5 years ago by fika o.
Consistently quick delivery and good food. Not a fan of the side salad as the dressing is alway runny.
Posted 5 years ago by Sonya V.
It was OK! Great price, fast delivery.
Posted 5 years ago by Megan T.
Posted 5 years ago by diana k.
Consistently good and on-time. A little expensive.
Posted 5 years ago by Nathan W.
Posted 5 years ago by Maegan S.
the quality is good the the staff are not. Their motto is obviously that the customer is never right. I ordered from them until Aki on 39 opened now I do not have to again.
Posted 5 years ago by Christofer G.
Posted 5 years ago by Jakob R.
Do not order from here. Service is incredibly slow and the staff are rude when you call to find out status. Plenty of other good options in the neighborhood.
Posted 5 years ago by Suki B.
Fast and great sushi every time. Always order from here.
Posted 5 years ago by Marisela G.
Posted 5 years ago by Riqie K.
Food always fresh. Very quick delivery.
Posted 5 years ago by Janet P.
Really disappointing - had a hibachi craving and decided to risk a new spot. The chicken was "off", and there was sand in the vegetables - yes seriously. They got the dessert wrong, but by that point I wasn't going to eat it anyway. Oh well.
Posted 6 years ago by Aaron G.
Best sushi in town; Always fresh; Fast delivery.
Posted 6 years ago by john k.
this place has the best sushi around , its always fresh tasting and it comes amazingly fast. everything i've tried, from edamame to sushi has been amazing. not only my favorite sushi place but they are my favorite place all around.
Posted 6 years ago by michelle l.
Posted 6 years ago by Daniel K.
Food is great, delivery is always on time. the best!
Posted 6 years ago by miles r.
I've been ordering from them for at least 5 yrs and I've never had any problems. Sure, sometimes when you order delivery *from anywhere* at a busy time it doesn't come as quickly as you like. But usually they are very prompt and the food is always fresh & good. I'm not sure what expectations people hold when they're ordering from a take-out place and their expectations are not met or exceeded with sushi time..
Posted 6 years ago by leo j.
After being quoted a delivery time of 25-40 minutes I called after 45 minutes with no word and was told my order was en route. After another 20 minutes I called again. After checking with the delivery person, I was told my order was given to another customer in error. I had to wait another 20 minutes for a "rush" order. Never again.
Posted 6 years ago by kent b.
Posted 6 years ago by jeffrey g.
Posted 6 years ago by sybil t.
Posted 6 years ago by nell r.
we eat here at least twice a week- the food is fresh & delicious and the service is fantastic!!
Posted 6 years ago by ivan j.
I love this place and consider it one of the best sushi places in the neighborhood. reasonable price for good quality of fish, very fresh and on time delivery.
Posted 6 years ago by nora s.
Expensive for very average sushi at best. Order also arrived over an hour after it was placed, when it was supposed to be 15-30 minutes.
Posted 6 years ago by Gil E.
terrible. Salmon was drowned in the sauce, salad was not fresh, the sushi either.
Posted 6 years ago by Joao J.
They delay a lot in delivering and do not inform you about the delay either. I ordered food for my 5 year old kid and kept calling them when after one hour I had not received the food. I kept calling and they had no clue where the delivery man was.
Posted 6 years ago by Bhaswar C.
Posted 6 years ago by Monica S.
If you are going to advertise a 15-30 minute delivery time--lower than most restaurants on seamless--you have to actually deliver your food in 30 minutes. Sushi Time does not.
Posted 6 years ago by Doug W.
Delivery window is a LIE. My food still isn't here. I called to ask where the food is, and they said it's "out for delivery." Wish I read the reviews first.
Posted 6 years ago by Lisa K.
IT'S BEEN MORE THAN AN HOUR!!! Agree that is not worth ordering from. EVER again.
Posted 6 years ago by Amanda M.
Avoid ordering delivery from this restaurant. They were unable to make a delivery to a simple Manhattan address and I had to call several times to figure out what was going on. Very annoying.
Posted 6 years ago by John B.
Definitely some of the best delivery sushi I've ever had. Their prices are awesome for the quality, and they deliver SUPER quick. Definitely ordering from these guys weekly!
Posted 6 years ago by Cole D.
Grossly overpriced, even for Midtown Manhattan.
Posted 6 years ago by julia g.
They delivered my food almost an hour after I delivered it. The 15-30 minute rating is highly inaccurate--I don't know how seamless gets that information, but it should clearly be reviewed and based on customer responses, and not based on what the restaurant says they're delivery estimate is. I don't have time to lose 30 minutes because of an incompetent restaurant.
Posted 7 years ago by Max R.
Always consistent in quality and fair pricing and the best beef or chicken teriyaki I have had in a long time.
Posted 7 years ago by Blair P.
Sushi Time was great the first few times we ordered, then unfortunately the quality fell downhill. Lately they have missed items from large orders multiple times and the rolls fall apart.
Posted 7 years ago by Tiffany O.
lunch bento is so much delicious food!
Posted 7 years ago by lindsey m.
The sushi was not fresh and the salad unfortunately was old and warm. Sorry I will not order from here again.
Posted 7 years ago by Latrice L.
excellent ! Sushi was fresh and delivery was quick (25mins).
Posted 7 years ago by Karen M.
Good food. Takes about an hour.
Posted 7 years ago by Elizabeth B.
The food was excellent but the service was a nightmare. The delivery man phoned me to come down to the lobby of my office building 30 minutes before he actually showed up. He didn't want to be inconvenienced by having to lock his bike so he thought he would have me waiting for him. I will never order from this restaurant again.
Posted 7 years ago by Richard R.
since when oyako don is made with deep fried chicken??!!!
Posted 7 years ago by Sung K.
It was so great,i got my order so fast and fresh sushi. I will recommend to my friends come to try they food and i mostly like the crunch shrimp lobster special roll ahhh mizinggg !!!!!!!!!!
Posted 7 years ago by Icey P.
Took over an hour to get to me, and the sushi had warmed up while out for delivery and did not taste good. Don't advertise 15-30 minute delivery if it's going to take so long!
Posted 7 years ago by Tamara P.
Generally, I really enjoy the food I get from Sushi Time, but this time it was well below par. My main complaint is that I tried the King Crab dumplings. If you're going to charge me for King Crab, please do not give me crabstick!
Posted 8 years ago by Christine P.
Posted 8 years ago by Samantha H.
Sushi Time is great! Always, always consistent quality, fresh food and delivery is on time for very reasonable prices. I personally love the bento box specials.
Posted 8 years ago by Miriam W.
The Sashimi Dinner Bento was a great option for a quick dinner. It had an excellent variety of food and was perfect for dinner.
Posted 8 years ago by Samantha F.
Great value for the sashimi lunch special.
Posted 8 years ago by Britta H.
Super fast delivery, fresh fish - what more can you ask?? oh the spicy crunchy rolls - amazing.
Posted 8 years ago by TIFFANY C.
The sushi was pretty much inedible.... I have a horrible taste in my mouth after... too much rice, the fish didn't taste very good either... it seemed somewhat fresh but definitely not the freshest that it could be... never ordering from here again.
Posted 8 years ago by Robert S.
Couldn't get past more than a few pieces of sushi from one of the large boxes. More or less inedible. Won't ever order from here again.
Posted 9 years ago by Donald P.
Tasted ok - but made me sick the next morning.
Posted 9 years ago by Jay M.
THE FASTEST DELEVERY I HAVE SEEN TO DATE. I live about 3 blocks away, never the less it, 8 Min....it's like they were a carefully polised sushi making crew, WAITING for MY order..
Posted 9 years ago by Kerry S.
Posted 9 years ago by Richard M.
Amazing sushi, extremely fresh food and super fast delivery!
Posted 10 years ago by Jennifer S.
Their bento box lunches are a teriffic deal. And their sweet potato tempura sushi is great. Delivery is okay. Nothing spectacular, but they generally aren't later than they say they'll be.
Posted 11 years ago by robin k.
Curry wasn't good, meat was to tough, sashimi was good but thin as paper. Delivery was great.
Posted 11 years ago by Silvio L.
Posted 11 years ago by Elizabeth A.
I have been ordering from Sushi Time for years now and have yet to be disappointed. Everything is always extremely fresh. The restaurant itself is quite nice with a very modern look.
Posted 11 years ago by Liisi V.
Food is good, but their delivery is not. They never send delivery people with proper ID to office buildings (a must in NYC)!!!
Posted 11 years ago by Camille M.
Posted 11 years ago by Jennifer L.
Order online from Sushi Time by entering your address below. Online ordering powered by Seamless.com.


like the second and if the second it reads way to much like the first.
OCAL using categories, links from koffice webpage).
considering they don't have any firm plans for having SVG import.
shaving of 30% of the adjectives would help a lot.
> really cool, because he's a name i recognize well from the KDE art community.
> technology, localization, accessibility, documentation and art.
> suited for both personal and professional content creation.
> examples of this trend.
> as well as in the KOffice documentation. But this is just the beginning.
> quite a splash in the coming months.
> help out with the process of vetting contributions.
> of over 200 individual artists.


I read my first romance novel. And I *sniff* cried.
I'll admit a bit sheepishly that I've never read a romance novel before. Okay, so I'm not sure this one would actually qualify as a typical romance, there were no sweaty hot bods or tingling make out scenes; it was from a series called "Love Inspired" from a Christian publisher. It's been out a few years now and how I came across it was that my grandmother read it, liked it, and gave it to me to read. It's been sitting on my shelf forgotten for awhile until I came across it packing up some things for an upcoming move. Since I'd just finished reading a Sue Grafton, I decided to set in on it. It's entitled "Rainbow's End" by Irene Hannon.
I've noticed that the older I get, the less selective I am about what I read. Nowadays, I'm reading anything and everything. I'll give it all a shot, knowing that if it doesn't hold my interest, I can always move to something else. I've discovered that I like a lot more of a variety of subjects than I used to because of this. And I was surprised that a clean romance like this actually held my interest (not that a dirty one would be grounds to hold my interest; okay, that all just came out wrong. You know what I mean, right?). Despite some minor structure and grammar errors throughout the book, the story was well crafted and the characters were fantastic. There were parts that even provoked an emotional response out of me (the formal term for "I cried.") and that's hard to do with a book. The last time I cried reading a book was when I read the end of "Odd Thomas" by Dean Koontz when I realized Odd's girlfriend has been killed. That was years ago.
Look it up. You never know. You might like this clean romance, too.
A "discussion" on Writer's Beware last week prompted this blog post. The topic was on self publishing which of course, almost always turns into a frantic 'bout of "I'm better than you."
One thing I like about such sites as the Absolute Write Water Cooler forum is that they have a respect for all writers, be it freelancers, content, self published, bestsellers, or otherwise. But there are writers out there with their bias and to that I say, good luck earning respect. You may be successful but you won't have respect from those who were or could be your audience. You have to show respect to earn it.
From self published writers, the complaint is that those who go the traditional publishing route are sell outs. They call them "cookie cutter" writers, who will shape and twist and mold their story out of the element of the original idea in order to fit an editor's demands.
From traditionally published writers, the complaint is that those who go the self published route are no good. They haven't put in the time or learning and they want to get published without doing the work required. In addition, their self published work is all poor quality and doesn't deserve recognition at all.
I mentioned Writer's Beware because even the person doing their Facebook page fed into the frenzy of it, claiming that she heard more self published writers criticizing traditionally published writers than vise versa. While I respect Writer's Beware, this statement disappointed me. As a representative of such a professional site, a bias of either should have been restricted to the person's personal Facebook page. Now in all fairness, she didn't say anything about whether she thought that self published writers were full of it, but the bias was slightly implied, thus leaving a margin of question there.
In any case, the debate, to me, is useless. There are good and bad writers everywhere whether self or traditionally published. Having a high and mighty attitude either way will do you no favors, that's for sure. And how will poking your nose in and trying to make someone else feel bad about their career decisions help your own career? It doesn't. Worry more about your own writing instead.
But bad writers make us all look bad!
Um, no they don't. Bad writers make themselves look bad, regardless of which platform they've published on.
The lesson here is that if you can't be happy for or support another writer, then go about your own business instead of criticizing their choices. If you'd like to put in your two cents, then review their work instead of criticizing them as a person. After all, how do you know what kind of writer they are unless you read them?


Click and copy Tenvir coupon code. Make sure to use it at checkout. No minimum order amount required.
Generic Tenvir (Tenofovir Disoproxil Fumarate)is an antiviral reverse transcriptase inhibitor, which works to treat HIV infection. The highly effective Generic Tenvir medication is widely used for curing patients suffering from HIV infection, and is one of the most prescribed medications of its kind by doctors worldwide.


text:
Choqur Chah (, also Romanized as Choqūr Chāh; also known as Choqerchāh and Choqerchah) is a village in Satar Rural District, Kolyai District, Sonqor County, Kermanshah Province, Iran. At the 2006 census, its population was 90, in 24 families.

References

Populated places in Sonqor County

redpajama_set_name: RedPajamaWikipedia


text:
IOM Releases Preliminary Results of 2nd CAR Displacement Survey
February 18, 2014 Comments Off on IOM Releases Preliminary Results of 2nd CAR Displacement Survey
GENEVA, Switzerland, February 18, 2014 – IOM has conducted a second survey of the return intentions of displaced people (IDPs) in Bangui, the capital of the Central African Republic (CAR). It follows an initial Intention Return Survey conducted January 15-16.
The goal was to identify changes in the IDP community's return intentions over a one-month period. The survey was based on over 600 interviews conducted by IOM site facilitators at over 40 IDP sites in Bangui.
According to the latest findings of the Commission on Population Movement, published on 11 February, there are currently 714,000 displaced people in CAR – some 425,000 outside Bangui, and some 289,000 living in 69 sites in Bangui.
In both the January and February surveys, insecurity was the main reason for leaving their place of origin (99 per cent of respondents) and 20 per cent of respondents said that they have changed taken shelter at more than one IDP site.
The conflict in CAR has divided the population along both ethnic and religious lines. The situation has deteriorated to the point that Muslims and other minorities do not feel safe anywhere other than in IDP sites. Most people stay at IDP sites at night, but go to work outside during the day.
In comparing the two surveys, the percentage of IDPs who would like to return to their place of origin has decreased from January to February, from 72 per cent to 65.5 per cent.
There is a significant difference in return intentions of the majority and minority populations: 72 per cent of the majority (Christians) would like to return, while 66 per cent of minorities (Muslims and ethnic minorities) would like to go to another region, their country of origin, or stay at an IDP site.
Of those who would like to return, the main priority is housing, while one month ago the priority need was an improvement in security.
The survey also indicates the economic hardship of the IDP population: 93 per cent have reduced family members' food portions, 90 per cent have reduced adult food to feed the children, and 85 per cent spend days without eating. All of these indicators have increased since the January survey.
IOM Head of Office in CAR Giuseppe Loprete said: "IOM remains focused on addressing the humanitarian needs of the displaced population. This exercise is extremely useful to better understand the situation based on the perceptions of displaced persons. And it provides the displaced population with an opportunity to express their needs."
The final report will be released this week in English and French.
SOURCE: International Office of Migration (IOM)
African energy leaders see global climate framework uncertainty, high energy prices, and commodity prices as top critical issues – World Energy Council (WEC)
IOM Charter Flight Carrying Relief Supplies Crashes in South Sudan


Drinking is a social engagement that brings people together all over the world. Some may be able to distinguish certain countries just on the the types of alcohol and liqueurs they indulge in. We think of the French culture and immediately consider wine or even the Irish who enjoy a lot of beer! Although the French are infatuated with their fine wines, their are some specific concoctions of cocktails that have been created over an extensive amount of time from the French themselves.
The legends that stand behind the true identity of the beloved mimosa are inevitable. Some may argue that the popular brunch drink was founded in London and other will say Paris. If you are asking us, we like to stick to the story that this mixed refresher was born in the year 1925. A bartender working in the notable Ritz Hotel in Paris, by the name of Frank Meier, stirred up the mimosa using equal parts of sparkling wine and Orange juice.
Created in the late 1920's at a well known Parisian bar located in the Chatham Hotel. This eye catching cocktail is typically served in a martini glass and garnished with a cherry! The vermouth-based beverage was very popular in this specific bar during a large chunk of the 20's, the dark pink drink has rosy-hues from the cherry liqueur and gin.
The "French 75" was deemed its creative name after a World War I artillery piece, it can also be known as a French Rose Cocktail. Mixed with only three ingredients consisting of gin, vermouth and brandy this strong cocktail is commonly served in any cocktail glass of your choice!
Named after the famous French silent film star from the roaring 20's, Pepa Bonafe, is this arousing cocktail. The French starlet inspired beverage is a combination of brandy, vodka and vermouth, for a bitter tang add a twist of a lemon peel to this French delicacy.
Not only for the admirable French blondes, this cocktail can be for any one! Using the unique St. Germain elderflower liqueur, gin, and white lillet, mix these with your favorite grapefruit juice and let the citrus delight brighten up the night!
Woody Allen's Midnight in Paris inspired this next refresher. Combining equal parts Cognac and Amaretto liqueur served on the rocks in an old fashioned glassware, for only the classiest of fellows of course.
Set in the 1930's this twist on a classic gin based drink was refined by Nitehawk Cinema's Beverage Director, Jen Marshal. Inspired by the Oscar-nominated film Hugo, this matured drink can be created by mixing gin, a splash of lime juice and a hint of chartreuse. In hopes to keep the journey of Hugo and Isabella through Paris alive, serve this enchanting beverage in a lovely tulip glass!
Savory, tangy and sweet all in one drink? Bring the ultimate punch with this elaborate martini. Easily digested with a five star meal in Paris, using pomegranate juice, grapefruit juice, orange flavored vodka, sweet vermouth, pink peppercorns and wait for it… a splash of balsamic vinegar! Garnish this grand thirst quencher with only black olives and let your taste buds do the talking.
The tale telling story of "The Beauty Spot" originates from the French decent that made its mark on Louisville, Kentucky. Here, in the established Pendennis Club, wine steward Jacques Straub's curated his famous "Drinks" book in 1914. The cocktail recipe reader included many inspired compounds that only call for the most high end products and liqueurs. The Beauty Spot is made with 2 parts gin to 1 part red vermouth and green chartreuse, shook together with again only the finest ingredients money can buy. Treat yourself to this luxurious potion.
Served at parties by none other than the creator, French artist Henri de Toulouse-Lautrec. This cocktail has come to its name from those who tend to "shake it up", the potent potion is shook with ice, cognac and absinthe. This chilled beverage will be the earthquake your body needs to wake up and have a good time!
All of these beautiful drinks look so enticing. Definitely going to mix up the "Lumiere" this weekend!


Beard and Mary.Cambridge English Corpus, array-specific cutoff determination provides more flexibility in the hybridizations and strains that can be compared.
The houses were not at all comparable in size.Ms Most Searched Words In 2019 So Far 9 Surprising Movies That Are Based On Classic Literature British Dictionary definitions for compare compare verb (tr usually foll by to) to regard or represent as analogous or similar; likenthe general has been compared to Napoleon (tr.
Cambridge English Corpus, the process of comparing and validating these methods should depend most heavily on the biological assessment.Phrase without compare (attested from 1620s, but similar phrasing dates to 1530s) seems to be altered by folk etymology from compeer "rival." Online Etymology Dictionary, 2010 Douglas Harper Idioms and Phrases with compare compare In addition to the idiom beginning with compare compare notes also.
Beard I could only compare them to the worst-constructed bridle-roads in England which the packhorses traversed centuries ago.Or I might compare them to cherubs, haunting that holy place.
The Mirror of Literature, Amusement, and Instruction.Rubios Embargo Anger Plays to the Past Michael TomaskyDecember 19, 2014 daily beast To compare, Lana Del Rey sold over 100,000 copies that same week.Cambridge English Corpus, the mean length of activators was.1 amino acids compared to a length.7 in the unselected population.


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Specialty of Surgery
Busca por especialidad o tratamiento.
Orthopaedic surgeryObstetrics & gynaecologyOtolaryngology / ENTSurgeryCardiology
What is abdominal wall reconstruction surgery?
The abdominal wall is the three layers of muscle that protect and hold the inner organs. Sometimes, the strength and thickness of these muscles can become weak and unstable, due to a number of reasons, including:
Recurring hernias
Open, non-healing wounds
The aim of abdominal wall reconstruction surgery is to redistribute more evenly, and hence strengthen the abdominal muscles across the abdomen, giving the patient more comfort and an improved look to the abdomen as well.
Why would you do it?
This treatment option is often a final option, when other procedures have been unsuccessful. The main objective of this surgery is to restore strength and stability of the abdominal wall, giving it the ability to tolerate physical activity.
Most frequently, this surgery is required to fix recurring abdominal hernias. Generally an abdominal hernia happens when the abdominal muscles become too weak, and as a result, the muscles split apart. This can result in fatty tissue and some of the bowel to protrude onto these muscles, causing swelling.
The types of abdominal hernia that can cause this are:
Incisional hernia –
Often developing near an old scar, fatty tissue and a section of bowel protrude through the weakened muscles after surgery.
Umbilical hernia –
Part of the bowel or protrudes through the umbilical opening in the abdominal muscles.
Although this type of hernia generally occurs in babies and infants, adults can be affected too, particularly in women after pregnancy.
What does this surgery involve?
During surgery, an incision into the abdomen is made and the layers of muscle are moved and redistributed. This allows the abdominal wall to closely return to its natural configuration.
Often in abdominal wall reconstruction surgery, a bioprosthetic mesh is used to reinforce the new positioning of the abdominal muscles. This mesh is made out of animal tissue allowing it to eventually be incorporated into the body. Using animal tissue has a lower risk of infection than if synthetic materials were used instead.
How to prepare for it
Like any other surgical procedure, before this treatment is recommended, a thorough examination will be conducted, with any relevant tests being carried out too. In addition, it may be necessary to cease eating and drinking the day of surgery.
Post-operative care
Those undergoing abdominal wall reconstructive surgery generally have to stay in hospital for up to five days following the procedure, or at least until bowel functions return to normal. You will also have drains attached to the site of surgery, to allow any fluids produced to be released. It may also be necessary to wear an abdominal binder after surgery for up to a month whilst the body heals.
Understanding the mini tummy tuck
By Mr Maisam Fazel
You might have heard of a tummy tuck procedure before, but what exactly is a mini tummy tuck? Mr Maisam Fazel, a skilled aesthetic surgeon, explains the differences and why this version of the procedure can be a good option for those with less abdominal skin to be removed. See more
Mr Joseph Varghese
Cholecystectomy
Therapeutic endoscopic retrograde cholangiopancreatography (ERCP)
Blood in stool (rectal bleeding)
Dysmotility
Bowel cancer screening
Rafaelo procedure


Defendant's motion to strike the Note of Issue was granted and claimant's counsel was directed to show cause why the claim should not be dismissed in light of his failure to comply with a previously served 90-Day Demand.
Defendant moves to strike the Note of Issue alleging material facts in the Note of Issue are false and the claim is not ready for trial.
In response to a 90-Day Demand served by the Court pursuant to CPLR 3216 on January 4, 2018, claimant's counsel, Franzblau Dratch, P.C., filed the Note of Issue and Certificate of Readiness for Trial on March 16, 2018. The Certificate of Readiness for Trial indicated, among other things, that a bill of particulars was served and filed, physical examinations were waived, discovery proceedings now known to be necessary were completed and that there were no outstanding requests for discovery.
In support of its motion to strike the Note of Issue, defense counsel avers that claimant's counsel has failed to provide responses to its discovery demands, including its demand for a bill of particulars, and has failed to comply with its request for an independent medical examination and examination before trial. Claimant has failed to oppose the motion.
A party may move to strike the Note of Issue within 20 days after service of the Note of Issue and certificate of readiness showing in what respects the case is not ready for trial (22 NYCRR § 206.12 [d]). "[T]he court may strike the note of issue if it appears that a material fact in the certificate of readiness is incorrect, or that the certificate of readiness fails to comply with the requirements of [§ 206.12] in some material respect" (22 NYCRR § 206.12 [d]). Defendant's motion was timely, having been served within 20 days after service of the Note of Issue.
Contrary to the representations made in claimant's certificate of readiness, not all discovery has been completed. In fact, it appears the claimant has failed to provide any discovery at all. Claimant has not responded to defendant's discovery demands, has not provided a bill of particulars, has not submitted to an independent medical examination and he has not complied with defendant's request for an examination before trial. Inasmuch as it appears material facts in the certificate of readiness are incorrect, the Note of Issue is stricken.
In light of the claimant's clear failure to comply with the 90-Day Demand served by the Court on January 4, 2018, claimant's counsel Franzblau Dratch, P.C., is directed to show cause at the Chambers of the Hon. Francis T. Collins, J.C.C., located at 65 South Broadway, Saratoga Springs, New York, on the 19th day of September, 2018 at 10:00 a.m. why this claim should not be dismissed for failure to prosecute pursuant to CPLR 3216 (see Cadichon v Facelle, 18 NY3d 230 , rearg denied 18 NY3d 935 ; CPLR § 205 [a]). Papers submitted in support of or in opposition to dismissal may be served and filed in the Clerk's office no later than August 31, 2018.
Based on the foregoing, the defendant's motion is granted and the Clerk of the Court of Claims is directed to strike the Note of Issue and Certificate of Readiness previously filed in this claim.
Return receipt card signed as received on January 9, 2018.


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Perhaps the answer is here?
Racing Drones over the mini town
Ann-Kathrin Scholtyssek lets upcoming drone pilots unleash their inner child when she teaches them how to navigate the flying objects of the future.
SWOOOOMMMM… The drones are here to stay. We know the spinning, unmanned flying robots, outlined against a dystopian black sky, from the big screen. But the future is well under way, and the drones are already solving tasks today. With cameras and sensors, they fly across fields and transmit data, which makes it possible to fertilize plants exactly where it is needed. The police can monitor the traffic, foresters can keep track of the stock of game, and roofers can examine a roof construction close up with a small camera without having to balance on tall ladders. And who knows – maybe the future steaming hot pizza or the groceries you order online will be delivered on your doorstep by a drone. Drones allow us to see the world from an entirely new perspective.
Small drones – big commotion
Ann-Kathrin Scholtyssek is among those who prefer to see the drone from below and with her own remote control in her hand. Besides an education as an engineer specializing in interaction design, a passion for triathlon and now a Master's degree in Design for Play from Design School Kolding, she also knows how to fly a drone – only the small ones, mind you, and outside built-up areas, which requires only one drone authorisation. But for the big dudes, which can be the size of a dining table and are run by a diesel engine, one must have a specific drone certificate, which is the 'driving license' for drone pilots. Ann-Kathrin still needs to take additional flight lessons before receiving her certificate, but she has passed the theoretical portion of the mandatory course, which lasts three to four days, depending on which type of drone you want to fly.
But just as fun or exciting it is to fly a drone, just as boring is the type of instruction you must go through in order to qualify for a drone certificate. That's what Ann-Kathrin discovered.
"It was three days of classical 'sit-on-your-arse' instruction, and a lot of PowerPoint presentations, fortunately presented by competent and enthusiastic teachers, but not particularly engaging. And nothing to stimulate the senses," she says.
This caught the attention of the now Master's graduate in Design for Play, who therefore designed an alternative course for future drone pilots.
Should we play at learning?
"In order to ensure maximum safety, it is particularly important to control how the drone flies over populated areas – how about distances, and how far does a security zone stretch? That can be very difficult to assess. Therefore, I have built a mini town that you can fly over with a small drone model on a stick, and also installed a wind machine to simulate windy weather of different strengths. While flying the model around, the pilot draws different playing cards with instructions, exercises or questions. For example, whether it's okay to fly over a garden and film a bunch of girls – a question that most people can probably answer correctly," she chuckles.
But how do grown-ups feel about going into play mode? And what is it that play can do?
"My work is based on what is called 'guided play', which maintains that you learn and experience much more if you are allowed to explore things yourself – and that applies to grown-ups as well as children. Imagine you receive an instruction to do something. Fine. But then you have only one option, and that restricts your learning. If you are allowed to play and investigate at the same time, then you learn much more about the options and the context, says Ann-Kathrin. "Most people actually love to play. But to be certain I tested whether my target group was ready to try something new. They were thrilled to be socially and physically active in connection with the instruction. So the door has opened for much better learning – and eventually some super safe drone pilots!"
Collaboration partner: Integra Aviation Academy
Ann-Kathrin Scholtyssek is one of the first graduates from the programme Design for Play from Design School Kolding. The programme, which was developed in close collaboration with the LEGO Foundation and the LEGO Group, is the first Master's programme in the world that is focussed on design and play. One of the main topics of research is how play can reinforce creativity, innovation and learning.
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Pavai Arts & Science College for Women,Namakkal and Inner Wheel Club organised the World Breast Feeding Week Function on 5th August 2011 in Keerthi Hall.
Special Invitee Dr. Mallilga Kulanthaivelu, gave a lecture about the significance of breast feeding.
The chief guest Dr. Alagammal Palanivel, cleared all the doubts raised by the students.


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Touching image of old man using alarm clock in pub sparks online fury about Ireland's Covid-19 restrictions
shares 2.4k
A HEARTWARMING image of an old man sitting in a pub with an alarm clock has caused much of the the Irish public to slam current Covid-19 restrictions.
The photograph - which was taken in McGuinn's Hop House in Galway - went viral after the pub published it to their Facebook page this week.
Social media users were quick to pay tribute to the adorable fellow, who had placed an alarm clock on the table, as he ate his meal and sipped from a pint of Guinness, to make sure he didn't stay longer than the 90 minutes government regulations allows him to.
The image is as sweet as it is sad, and many are now calling for the government to end - or at the very least relax - the maximum time allowances for customers in pubs.
I'm not able.... this little old man has an alarm clock on the table so he doesn't stay over the 90min in McGinns in Galway.... 💔💔 pic.twitter.com/kByApsKMgC
— Kieran O Malley (@GalwayPlayer) September 7, 2020
"We should ask every member of the government to comment on this photograph, and to see what you are doing to elderly people all over the country," wrote one social media user.
"Hit soft targets, ignore the real issues. I hope ye are proud of yourselves."
Another, Karen Murphy, said: "My heart goes out to the older generation, their [sic] living in fear on all levels ... let him enjoy his few pints."
"So wrong on all levels," another added, "I hope he enjoyed his brief respite."
"A picture paints a thousand words - so sad to see this man can't enjoy his few pints without having to worry about the time," tweeted Marianna McGrath.
Kieran O'Malley - who took the original snap - discovered that the gent's name was Finbarr, and said online that he had "dropped a few quid behind the bar for the man ... on behalf of all the lovely people here."
See More: Covid-19, Elderly Irishman, Galway, Heartbreaking Photo, Heartwarming, Irish Pubs, Pub, Twitter
Anger as non-frontline workers receive Covid-19 vaccine ahead of healthcare staff in Irish hospitals
Warning issued as new Covid-19 vaccine scam targets vulnerable elderly people living alone


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Billy Budd (bra: O Vingador dos Mares) é um filme de 1962 do Reino Unido do gênero drama, produzido, dirigido, corroteirizado e coprotagonizado por Peter Ustinov. É uma adaptação da versão teatral do conto homônimo de Herman Melville. É o primeiro filme protagonizado por Terence Stamp, que foi indicado ao Oscar de melhor ator coadjuvante e venceu o Globo de Ouro de melhor revelação masculina. O filme foi indicado ainda para cinco BAFTAs.

Sinopse
Em 1797, o comandante do veleiro de guerra britânico chamado HMS Avenger ou "Vingador" (no livro era chamado de  Indomitable e depois Bellipotent) alista o jovem marinheiro do navio mercante "The Rights Of Man" ("Os direitos do homem") chamado Billy Budd. Billy é amigável com todos e um eficiente marujo, logo sendo promovido a chefe dos grumetes. No entanto, entre os oficiais do navio está o brutal e odiado mestre-de-armas John Claggart. Claggar aplica castigos físicos com frequência nos tripulantes e, apesar de contrariados, os outros oficiais não intercedem para não afetarem a disciplina. Claggart desconfia que os homens estão a prepararem um motim e acaba implicando Billy na conspiração. Os oficiais sabem que Budd é inocente mas não querem confrontar Claggart.

Elenco
Terence Stamp ... Billy Budd
Robert Ryan ... John Claggart
Melvyn Douglas ... tripulante
Peter Ustinov ... capitão Edwin Fairfax Vere
John Neville ... Julian Ratcliffe
David McCallum ... Steven Wyatt
Lee Montague ... Squeak
Robert Brown ... Arnold Talbot
John Meillon ... Neil Kincaid
Niall MacGinnis ... Capitão Nathaniel

Prêmios e indicações
BAFTA Awards
 Melhor filme (indicado)
 Melhor filme britânico (indicado)
 Melhor roteiro de filme britânico – Peter Ustinov, DeWitt Bodeen (indicados)
 Melhor ator estrangeiro – Robert Ryan (indicado)
 Melhor ator revelação – Terence Stamp (indicado)

Directors Guild of America
 Melhor direção em cinema – Peter Ustinov (indicado)

Globo de Ouro
 Melhor revelação masculina – Terence Stamp (vencedor)

Oscar
 Melhor ator coadjuvante – Terence Stamp (indicado)

Writers Guild of America
 Melhor roteiro de filme dramático estadunidense – Peter Ustinov, DeWitt Bodeen (indicados)

Filmes do Reino Unido de 1962
Filmes de drama do Reino Unido
Filmes baseados em obras de Herman Melville
Filmes em preto e branco
Filmes ambientados no século XVIII
Filmes premiados com o Globo de Ouro de melhor ator revelação
Filmes em língua inglesa


Plastic cards have a slew of applications in our day-to-day activities. Owing to their durability, portability, and standard size, they are perfect for use as payment cards, membership cards, driver's licenses, employee identification badges, and others.
How are these cards produced? Before the early 1990s, the major technology for producing ID cards was the film-based or composite method. In the technique, a persons' photo would be captured, cut out and laminated to a card-sized piece of paper, which holds the individual's name, ID number, along with other personal info.
Card printers are devices used for printing personalized, secure, and affordable on-demand cards. Card printing can be done in color or monochrome, and they can be encoded using several features, such as RFID or magnetic stripes, for extending their use from highly secure staff identity cards to gift cards.
This technique involves the use of a single color, like white, black, blue, silver, red, gold, and so on. Of all the technologies for card printing we will examine in this article, it is the most cost-effective, particularly when it comes to personalizing with pre-printed cards. Monochrome printing is the best solution for printing cards which don't need color picture. Monochrome is frequently utilized for printing barcodes.
Color printing applies a color ribbon that contains the YMC panel. During plastic card printing, it is passed through a thermal print head in the company of the color panels. Then, the color from this panel is transferred onto the card by using the heat, which is released from the print head. It is worthy to note that the standard performance for card printing remains 300 dots per inch (dpi) that is equivalent to 11.8 dots per millimeter. This technique helps in optimizing the quality of printed images as well as logos.
UV or Ultra-Violetsecuritypanel is an advanced kind of security panel, which brings forth a fluorescence image on exposure to UV light. This method is a cost-effective and stress-free technique for protecting against fraud and counterfeit cards. It allows you to design a logo or trademark of your choice in a card without the need to make any additional payment. UV security panel is the best solution for firms and businesses that need to issue an assortment of low cost, low volume, and mid-range security ID cards.
This is one of the essential processes required for producing ID cards using printers. ID cards are given for visual identification and equally for storing vital information. Sensitive pieces of information are stored in such cards, particularly those that are used for financial purposes. 3 major encoding methods are used in card printing and include magnetic stripe, contactless IC, and contact IC.
Here, the card isn't personalized with the aid of a ribbon. It has to do with the activation of a thermal sensitive foil that covers the plastic card surface. Such cards can be erased and rewritten repeatedly for the purpose of customization. Rewritable printing technology is commonly used for bonus point cards, temporary visitor's card, and others. One of the major benefits of rewritable cards is that they can be erased, as well as rewritten, for as much as 500 times. You also have the option of incorporating different encoding features like a magnetic stripe, contactless IC, etc.
In the conventional direct-to-card technology, your image gets printed onto the surface of the PVC card directly. This is the major difference between the Direct-To-Card printing and the Re-Transfer badge printing, which we have explained below. Though the former does not last long like the latter, an overlaminate could be employed for stronger card protection.
How does the process in question work? In the direct-to-card printing technique, a blank card gets fed into the printer, where it will be made to pass beneath a ribbon with a bevy of thermal elements. These elements become heated by the print head, after which they are passed to the card hard surface for creating the image.
Direct-to-card printers are typically expensive and come with a delicate, print head that touches every part of your card directly. This feature can affect work quality because any imperfections or dirt on the card is liable to damage the head. This could make a head replacement necessary. Though the printers don't have the capability of producing the level of ID card ReTransfer printers produce, they are still the most widely used printers because they demand lower up-front cost and can usually take care of the ID card needs of various industries.
BothHDP (High-Definition Printing or ReTransfer badge printing) and direct-to-card printing technologies use two methods for printing onto cards. The first one is dye –sublimation— the process certain printers use for printing smooth, continuous-tone images, which have a real photographic look. The technique applies a dye-based ribbon roll, partitioned by a series of consecutive color panels. These panels are categorized in a repeating series of the 3 process colors, YMC, along this ribbon's entire length.
Resin thermal transfer, the second process, involves printing sharp black text as well as crisp barcodes that are readable by infrared barcode scanners and the visible-light type. Also, this process is used for printing ultra-fast, one-color identity cards. Like dye-sublimation, it also employs the same thermal print head for transferring color from the ribbon roll to the PVC card. But the difference lies in the fact that solid dots of color are transferred as a resin-based ink that gets attached to the card surface under the application of heat. This technique yields single-color images that are extremely durable.
ReTransfer printersare also called Reverse Thermal Image Transfer, Over-The-Edge, or HDP. They are equipped with features for printing over the whole surface of the card. Besides, these printers make the ribbon (both data and image) get adhered to a separate film. This is, in turn, becomes adhered to the card surface. Thus, with this technology, the printer's head can never make any direct contact with the ID card.
The benefits of a Reverse Thermal Transfer image printer are, it generates a more beautiful card, can add on additional modules (if necessary), and offers a lifetime warranty on the costly print head. Printers with HDP technology are most suited for high-quality, high-volume enterprise use and are commonly used in universities, airports, and government agencies.
Explained above are the 7 card printing technologies you should know about. You can read further on these card printers and a widerange of smart cards you can get for personal and professional purpose.


Another excellent Saison-style brew here from Oklahoma-based Prairie Artisan Ale - Brett C is made with Citra and Cascade hops, and also features a little bit of sea salt in the mix, too!
This is a discounted bottle of Prairie Brett C.
This bottle of Prairie Brett C. is past its best before date so we're selling it at 50% off the normal price (Why?).
Hay, citrus, mango, funky lemon and grass, grape, a subtle saline hint.


This is a guide for people who want to enjoy Berlin's bars and clubs as a Berliner might and focuses on Berlin originals; that is, places that are found in Berlin and nowhere else. Mediocre spots (i.e. those overrun by tourists, both literal and figurative) are specifically excluded. This is not a guide geared toward theater, classical music or objectivity. Big J says "I love Berlin and I hope that this guide will show you why. I made it for me and my friends and you and yours."
Big J is an American artist and musician living in Berlin since 2001.


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Business expansions, community revitalization projects create 269 jobs in Michigan
Kathleen Achtenberg
•Global circuit board manufacturer Actia locates North American headquarters in Romulus •Projects to generate total capital investment of $26.7 million •Community revitalization projects in Detroit, SW Michigan, Northern Michigan
Photo courtesy of Actia Corporationon
LANSING, Mich. – Three business expansions and three community revitalization projects that will generate more than $26.7 million in total investment and create 269 jobs in Michigan have received Michigan Strategic Fund support, the Michigan Economic Development Corporation announced today.
"These projects will lead to new business growth, revitalized communities and more and better jobs for our residents. We're pleased to work with our local partners and support these investments," said Jeff Mason, CEO, Michigan Economic Development Corporation, the state's chief marketing and business attraction arm that administers programs and performs due diligence on behalf of the MSF.
"We welcome Actia Electronics' investment in Michigan and look forward to working with them in the years to come as they grow and create jobs here," Mason said.
Business expansion projects are as follows:
Actia Electronics, Inc. is a subsidiary of Actia Corporation. Based in Elkhart, IN, the company processes the final assembly of circuit boards, testing and distribution. In addition to the North American presence, the ultimate parent, Actia Group, has operations in Northern Africa as well as Southern France. The overseas facilities are at capacity and the company needs to bring production and R&D capabilities to North America. Actia Electronics plans to purchase a 50,000-square-foot facility in the city of Romulus, investing $18.5 million and creating 151 jobs. As a result, the company has been awarded a $750,000 Michigan Business Development Program performance-based grant. Michigan was chosen over a competing site adjacent to the company's existing facility in Elkhart.
"ACTIA is poised for tremendous growth in the vehicle electronics market and as such has decided to invest heavily in the US to support this growth. After meeting with various representatives at all levels of government in the state of Michigan, we were convinced that Michigan was the place to be," said ACTIA Chief Executive Officer Adam Ramouni. "Early on in the selection process we recognized that a business-friendly city and state was key to our long term vision of growth and prosperity."
The city of Romulus is supporting the project with a 50 percent property tax abatement. For information on careers with Actia, visit http://automotive.actia.com/en/actia-automotive-job-ads.
"The City of Romulus is pleased Actia Electronics Inc. has chosen to locate in our community," said Romulus Economic Development Director Tim Keyes. "This is an international company that has enormous potential to expand and grow and also attract other research and development companies."
"With all the recent developments in Aerotropolis, it makes perfect sense to have a supplier like Actia Electronics locate there as we work to create a cluster of companies in logistics and transportation near the airport," said Wayne County Executive Warren C. Evans. "Clearly companies are seeing the value of locating in that area and we think others will continue to follow."
HNTB Corporation is an employee-owned infrastructure solutions firm serving public and private owners and contractors. With more than a century of service, HNTB delivers a full range of infrastructure-related services, including planning, design, program, and construction management. The company's sales have been steadily growing and plans to expand its operations in the city of Detroit, investing $483,000 and creating 28 jobs in Michigan. As a result, the company has been awarded a $112,000 Michigan Business Development Program performance-based grant. The city of Detroit has offered property tax abatement in support of the project. For information on careers with HNTB, visit http://www.hntb.com/careers.
International Wheel and Tire, Inc. (IWT) is a premier tooling and equipment supplier specializing in the design and manufacture of a wide range of balancing machines for balancing tires, wheels, assemblies, and components. As a result of increased sales, the company is in need of a high-tech facility to research, develop, manufacture and sell industrial automation equipment related to tire and wheel production and testing. The facility will also serve as the parent company's North American headquarters. IWT plans to establish its operations in the city of Farmington Hills, investing $4.275 million and creating 30 jobs, resulting in a $270,000 Michigan Business Development Program performance-based grant. Michigan was chosen over competing sites in the southeastern U.S. The city of Farmington Hills has offered to host a talent recruitment event in support of the project. IWT is currently looking for engineers, electrical apprentices and other technical positions. To apply, visit www.iwt-global.com.
Community revitalization projects are as follows:
Holden Block, LLC plans to rehabilitate a vacant, single-story building located at 1314 Holden Street in the Woodbridge neighborhood of Detroit. The completed project will include retail and commercial space that could be used as a restaurant, coffee shop and bakery. The project is expected to generate a total capital investment of $3.3 million and create 60 full-time equivalent jobs, and will rehabilitate a long-vacant building, increase economic activity in the area, and serve as a catalyst for additional investment. As a result, the project has been awarded a $400,000 Michigan Community Revitalization Program performance-based grant. In addition, the city of Detroit has approved a 12-year Obsolete Property and Rehabilitation tax abatement valued at $300,000.
The city of South Haven was awarded $184,850 in Community Development Block Grant funds for two downtown façade projects in downtown South Haven. The grant funds will historically renovate two buildings and will also improve the security, accessibility, and energy efficiency of the buildings, and will make the downtown more viable and attractive for shoppers and visitors to the area. The project is expected to generate private investment of $185,000.
The village of Central Lake has been awarded $261,350 in Community Development Block Grant funds for infrastructure improvements needed for the Project Rising Tide initiative in Central Lake. The village plans to use the funds to create a public pavilion at the farmers market and add new boat slips at the waterfront in Thurston Park, allowing visitors and residents to use the waterfront and improving the economic activity at both of these important community assets. The village of Central Lake plans to contribute $20,000 in support of the project.