text:
» The mermaid handbook : an alluring treasury of literature, lore, art, recipes, and projects
The mermaid handbook : an alluring treasury of literature, lore, art, recipes, and projects
Turgeon, Carolyn,
New York : Harper Design, an imprint of HarperCollins Publishers, 2018.
Aurora Hills - Adult Nonfiction 1 available
398.21 TURGE
Aurora Hills - Adult Nonfiction 398.21 TURGE Available
238 pages : illustrations ; 26 cm
Includes bibliographical references (pages 235-236).
Beautiful, seductive, mysterious, and potentially dangerous, the mermaid is a global literary and pop culture icon whose roots date back to ancient sea goddesses and Greek mythology. From Homer's Odyssey and Hans Christian Andersen's fairytale The Little Mermaid to T.S. Eliot's "The Love Song of J. Alfred Prufrock" and the Disney animated film The Little Mermaid, this sea vixen has long seduced popular imagination. Cosmetic companies have drawn inspiration for their makeup lines from mermaids, as have designers throughout fashion history, from Jean Patou to Jean Paul Gaultier and Alexander McQueen. The fishtail dress is a perennial long red-carpet staple, favored by the likes of Marion Cotillard, Sofia Vergara, and Blake Lively. Divided into four sections-Fashion and Beauty; Arts and Culture; Real Mermaids and Where to Find Them; and Food, Entertaining and Stories of the Sea-The Mermaid Handbook is a unique and sumptuous compilation filled with creative ideas for decorating and living inspired by these beauties from the deep. Learn to make a sailor's valentine; a mermaid comb and crown; and a pearl and sequin paillette necklace. There are recipes for mermaid-themed poke bowls, aquatic-themed honey gingerbread cookies, and the official cocktail of the 1960s-era mermaid attraction Aquarama. Folklore expert Carolyn Turgeon also includes profiles of true modern mermaids, tail makers, and mermaid bars; visits mermaid attractions like Weeki Wachee Springs; and provides tips on getting beachy mermaid hair and creating an alluring eye. -- from Amazon.
Real mermaids & where to find them
Food, entertaining & stories of the sea.
Mermaids -- Folklore.
Mermaids -- History.
Mermaids in art.
Mermaids in literature.
Mermaids.
Turgeon, C. (2018). The mermaid handbook: an alluring treasury of literature, lore, art, recipes, and projects . Harper Design, an imprint of HarperCollins Publishers.
Turgeon, Carolyn. 2018. The Mermaid Handbook: An Alluring Treasury of Literature, Lore, Art, Recipes, and Projects. New York: Harper Design, an imprint of HarperCollins Publishers.
Turgeon, Carolyn. The Mermaid Handbook: An Alluring Treasury of Literature, Lore, Art, Recipes, and Projects New York: Harper Design, an imprint of HarperCollins Publishers, 2018.
Turgeon, Carolyn. The Mermaid Handbook: An Alluring Treasury of Literature, Lore, Art, Recipes, and Projects Harper Design, an imprint of HarperCollins Publishers, 2018.


text:
I think, in many ways, this is a signature moment.
In case you're a non-U.S. reader, here's a quick summary. Donald Sterling, the owner of the Los Angeles Clippers (an NBA franchise), is a racist, misogynist, reprehensible ass. He's 82, and his 20-something year old girlfriend (seriously?) taped one of their conversations (you can listen to it here), in which Sterling sounds like something out of Mississippi in the 1950s.
Three days later (today), the NBA banned him for life.
People are congratulating the NBA for taking a firm stand, but I believe they're missing the point. Donald Sterling being a racist isn't new news, not by a long shot. It's been public knowledge for at least a decade.
Here's the distinction, and it's an important one: The NBA didn't ban Donald Sterling because he's racist. They banned him because racism is now bad for business.
That's why this is a signature moment. Finally.
In less than forty-eight hours after the tape was published, every major corporate sponsor of the Clippers either cancelled or suspended their relationship. Wait, that may not be accurate--I'm not sure it was all of them--but there's a list here, and it's huge.
Look, America is the "make your money" country. Anything that gets in the way of that, even if it would help a huge number of people, gets shouted down by the angry mob. So what makes this remarkable is that it's a market response to something that was widely accepted (and, in many cases, enshrined) in this country for centuries. It's corporations saying that their customers won't stand for this, and that they can't afford to be associated with a racist.
Damn, man, that's progress.
posted by Bill Harris @ 7:49 PM
Card Dungeon!
Gridiron Solitaire #103: The New Offseason
Attack Of The Friday Monsters
Lexus ES 300, 2001-2013
Gridiron Solitaire 102: Heading toward 1.3
Friday Links! (Supplemental)

redpajama_set_name: RedPajamaCommonCrawl


text:
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Dr. Gale A. Mattox is Senior Visiting Fellow at AICGS and Professor, Political Science Department, at the U.S. Naval Academy. She is a former elected department chair and chair of chairs, and was awarded the Distinguished Fulbright-Dow Research Chair at the Roosevelt Center, the Netherlands, for spring 2009. Professor Mattox served on the Policy Planning Staff of the Department of State, was a Council on Foreign Relations Fellow at the State Department Office of Strategic and Theater Nuclear Policy, and an International Affairs Analyst at the Congressional Research Service.
She has been a Bosch Fellow in Germany (also Founding President of the Bosch Alumni Association), NATO Research Fellow, and a Fulbright Scholar. Professor Mattox has held the offices of President (1996-2003) and Vice President of Women in International Security (WIIS), Center for Peace and Security Studies at Georgetown University, and served as Vice President of the International Studies Association and now co-chair of the ISA Women's Caucus.
She has served on numerous boards, including the Tactical Advisory Council, Center for Naval Analysis, and the George Marshall Center Advisory Board in Germany, and now serves on the advisory boards of St. Mary's College Women's Center, the Forum for Security Studies, the Swedish National Defense University, and WIIS. Professor Mattox published, with A. Rachwald, Enlarging NATO: the National Debates, and Evolving European Defense Policies with C. Kelleher. She has co-edited Germany in Transition, Germany at the Crossroads, and Germany Through American Eyes, and has published widely in scholarly journals. She holds numerous awards and has appeared on the Lehrer News Hour and other media outlets.
Professor Gale Mattox's Archive
Germany and Elections: Dodging the Afghanistan Bullet
By: Gale Mattox | Issues: Security and Defense | Programs: Foreign & Domestic Policy
Dr. Gale Mattox, professor at the U.S. Naval Academy and Director of the Institute's Foreign & Domestic Policy Program, writes that even though the grand coalition has tried to prevent the issue of Afghanistan from playing a role in the September elections, Germany's role in Afghanistan could prove to be a critical issue during the campaign. Dr. Mattox argues that whether or not this turns out to be the case, it is clear that after the election there is a need for German policymakers to engage the public in a discussion about this contentious issue.
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A series of weekly ukulele lessons for learning your chords beyond the third fret.
A series of weekly ukulele lessons, originally presented throughout 2007 on movable ukulele chords as the Chord a Week Series. Based on my Ukulele Chords book it takes the open position chords and shows the movable form and the variations.
Beyond memorizing a core set of basic open position chords, a couple of movable form chords as well as a basic set of 4-part chords. You can't possibly memorize all the possible chord shapes available on the ukulele. You need to be able to create chords on the fly as needed. With a basic knowledge of the principles of how chords are constructed and knowing the notes of the ukulele fingerboard this is possible. So throw out the chord dictionaries, software programs and your chord charts and get started on REALLY knowing chords.
I constantly read on-line and hear, "What's the best site or software for chords? What's an Em7/A, add, sus4, etc...?"
Well, some bad news. Chord dictionaries, software and web sites are not the answer. Even traditional chord theory does not offer any insight into unraveling the complexity of chord voicings. There's no magic to learning chords on the ukulele or any chord capable instrument. It's the organization of the material to be covered, knowledge of where and what the notes are that are available on your instrument, how chords are constructed and just work, work, work on it.
This Ukulele Chord of The Week series of lessons is set up to address one common problem I have seen over and over with students learning any new topic, scale, chord or just about anything on the ukulele. That problem is that simply understanding something gives a student a false sense that it's easy and therefore give me more. Initial success is no indication of future success when learning chords and switching chords.
Understanding something is just the first-step and really one of the easiest steps. BUT - and a big but, it's the time needed for the motor skills to develop for anything new and for the new material to get into your more long term memory. This development of the new motor skills like switching chords or learning new fingerings for a chord takes time. There are no shortcuts to developing the physical skills needed to the point that the ear is in control and getting to chords operates at a deeper sub-conscience level – This takes TIME - you just need to do it over and over and over.... Even a marathon runner knows is more than just putting one foot in front of another faster than the other runners - it takes time. It take deliberate work and effort.
As far as learning new basic open position chords and basic movable form chords don't try and absorb more than you can handle. This can happen if coming to the ukulele from guitar. You must treat the ukulele as a new instrument that just happens to be the same relative tuning as the guitar. The theory and motor skills will transfer but the names have changed when using the standard "C" tuning for ukulele. And - this is nice - you don't have the strumming accuracy issues that is inherent in the guitar with the additional lower two strings, five and six.
Learning basic open position chords and the basic movable form chords presented in the Ukulele Chord, Movable Chord Lessons will set you up for the more advanced chords, typically called "jazz" chords.
Beyond memorizing the basic open position, their movable form versions and a basic set of core 4-part chords. You create all other chords on the fly as needed. With a knowledge of how chords are constructed and the notes of the fingerboard this is possible. Heck, with this knowledge you can write you own dictionary, software or series of chord lessons. Ultimately your core chords expand to include more chords than you ever thought possible to learn.
Basic open position and movable form chords are the basis for this Ukulele Chord a Week series of lessons. The original series ran in the first part of 2007 and has been enhanced and improved ever since.
Movable chord forms are chords with no open strings. These chords are transposable by moving each note of the chord the same number of frets up and down the neck. Each movable form is based on a common open position chord. Movable forms allow you to play chords not found in the open position. Movable form chords allow you to play in any key and transpose chords to any key. From these basic movable form chords more advanced chords can be created.
Major are the most common chords and so common that they typically pronounced without the qualifier major and simply written as a single capital letter. Can be written as: maj, M, MAJ, or rare the delta symbol Δ. Any other symbol would be rare and you'll need to figure it out based on the content it is being used.
The Canadian chord - Eh?
The Spanish chord - sí.
Strange voicing with a bit of a stretch for tenor and baritone ukuleles - but worth exploring.
Note: There's no open position B major chord in C tuning. However anyone of the above chords can be transposed, using it's movable form to create a B major chord.
Minor are the second most common chords and typically pronounced as minor. Can be written as: m, min, -. Any other symbol would be rare and you'll need to figure it out based on the content it is being used.
With the introduction of the first minor chord we can start to do a wider variety of chord progressions.
Seventh are the third common chord and pronounced as seven or seventh. Typically written as: 7. Any other symbol would be rare and you'll need to figure it out based on the content it is being used.
Sometimes inaccurately referred to as a dominant seventh chord.
This seventh chord is a core chord. From your core chords ALL other 4-part chords can be derived.
This is a very common chord. It's sometimes the second or third chord that a ukulele player will learn after C and G. If a song in the key of C, an has only two chords, chances are it's C and G or G7.
A Diminished 7 chord doesn't really need a lesson page on its own. A diminished 7th chord is a "neutral" chord. This is where ANY note in the chord can be the root or letter name of the chord.
An Augmented chord doesn't really need a lesson page on its own. An augmented 7th chord is a "neutral" chord. This is where ANY note in the chord can be the root or letter name of the chord.
Congratulations on Knowing a Boat Load of Chords.
DONE!!! - Well, not really done - but a good start. At this point you should know a boat load of chords up and down the fingerboard.
Related Lessons for Movable `Ukulele Chords at this time.
Related Assets for Movable `Ukulele Chords at this time.
Related Books for Movable `Ukulele Chords at this time.
Related Lessons Series for Movable `Ukulele Chords at this time.
Related Songs for Movable `Ukulele Chords at this time.
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In addition to the worship, education, and play opportunities offered each Sunday morning many fun events are scheduled during the school year that keep our kids busy and happy. Yearly activities include our Back-to School Bash, the Fall Bonfire & Compline, the Giving Thanks Program in November, the Annual Children's Christmas Pageant, Young People's Good Friday Program, Easter Egg Hunt, Youth Sunday, and several intergenerational programs and events throughout the year. St. John's children are welcomed to ride our "parade float" in the Niantic Light Parade held each year in early December.


White are dominant on this Road Safety Worksheets For Kindergarten Five Ways Pas Can Help due to table below. Then very light pink & light greycolor scheme is make it perfect. Combination beetween silver, greyish, grey, medium grey, charcoal grey are wraping around the room.
Below is the table contains color information of Road Safety Worksheets For Kindergarten Five Ways Pas Can Help.


A Maryland-based medical staffing agency is at the center of allegations that it placed a rogue radiological technician into a number of hospitals in Maryland and other states. The technician is believed to have infected dozens of people with hepatitis C.
Maxim Staffing Solutions, a national firm with headquarters in Columbia, Maryland, placed technician David Kwiatkowski into three Baltimore hospitals: Baltimore Veterans Affairs Medical Center, Johns Hopkins Hospital and Maryland General Hospital, and also at Southern Maryland Hospital in Clinton, between 2008 and 2010.
Kwiatkowski was arrested in late July in New Hampshire after he was caught in a hospital stealing narcotic drugs that were intended for patients. He now faces federal charges.
The four Maryland hospitals are sending notices to several hundred patients to get testing for hepatitis C, a viral infection of the liver that, in bad cases, can lead to liver destruction and need for transplant.
Whether Maxim had reason to suspect the technician's danger to patients has yet to be determined. Lawsuits are likely against Maxim and another staffing agency that sent him to hospitals in as many as seven states in the last few years.
It's also unclear whether any of the Maryland hospitals had an inkling of problems with the technician. But at least two other hospitals, the prestigious UPMC Hospital in Pittsburgh and the Arizona Heart Hospital in Phoenix, fired Kwiatkowski after finding him with narcotic drugs.
A couple of months ago, we wrote about the sloppy, widespread clinical practices that put patients at risk of contracting hepatitis C, but this case, it appears, goes well beyond carelessness.
Maxim Staffing is alleged to have sent Kwiatkowski to UPMC in the spring of 2008. There, he was observed by another employee placing a syringe containing fentanyl, a Schedule II narcotic, in his pants. He replaced the missing syringe with another containing another liquid. Management confronted him, found three empty syringes with fentanyl labels on his person and an empty morphine syringe in his locker. His urine tested positive for fentanyl and opiates.
But UPMC did not report the theft, use or diversion of its controlled substances to any government agency or law enforcement authority. The technician was free to practice his alleged crimes elsewhere, and Maxim placed him in a matter of weeks into the first of four Maryland hospitals where he worked.
By the time he tested positive for hepatitis C in June 2010, dozens of patients who had undergone cardiac catheterizations at the hospitals that had employed him had been exposed to a common strain of hepatitis C. Most of them have learned only in recent months of their diagnosis. Based on this information, thousands of cardiac catheterization patients at hospitals where he worked are being tested for hepatitis C.
As noted in our backgrounder, hepatitis C can cause liver failure. The blood thins, and patients bleed easily. In the worst cases, called fulminant hepatic failure, the brain swells and the patient goes into a coma. About half of these patients die without an emergency liver transplant.
In July, a warrant was issued in New Hampshire for the technician's arrest for acquiring a controlled substance by misrepresentation, fraud, forgery, deception or subterfuge, and for tampering with a consumer product with reckless disregard for the risk he posed to others of death or bodily injury, and for the serious bodily injury that has befallen others.
It's shocking enough that a drug addict in a position to contaminate hospital equipment with a deadly virus not only would be hired and rehired and rehired without regard for his illness or the harm he created for others. But that the hospital and the staffing agencies that knew about the risk failed to report his crimes is unconscionable.
The tech was placed by Maxim into the four Maryland hospitals AFTER his firing from the Pittsburgh hospital. What excuse does Maxim have for failing to find out what had happened in Pittsburgh and for enabling his further crimes? We will find out in the coming lawsuits.
We do know this much. As a result of this infected technician being given access to patients in seven states across the country, dozens of people face a dire infection, and countless others are left to wonder if and when it will strike. With a hep C diagnosis comes significant costs for treatment and care, the possible loss of livelihood and maybe even life itself. And none of it had to happen.


text:
Q: S.E.S given by: $0 \rightarrow \mathbb{Z} \stackrel{f}{\rightarrow} \mathbb{Z}^3 \stackrel{h}{\rightarrow} H_1(X) \rightarrow 0$ $0 \rightarrow \mathbb{Z} \stackrel{f}{\rightarrow} \mathbb{Z}^3 \stackrel{h}{\rightarrow} H_1(X) \rightarrow 0$
Where $f(1) = (1,0,2)$
Then $H_1(X) \cong \frac{\mathbb{Z}^3}{im(f)} \cong \frac{\mathbb{Z}^3}{\langle 1,0,2 \rangle}$
Is this all correct so far? The image of $1$ under $f$ is $(1,0,2)$, but i'm just confused. The correct answer is supposed to be $H_1(X) \cong \mathbb{Z} \oplus \mathbb{Z}_2$.. I'm trying to think about the best way to make sense of this. I often have problems on steps like this when analyzing a short exact sequence. Maybe I should think of $im(g) = \mathbb{Z} \oplus 2\mathbb{Z}$ and then $\frac{\mathbb{Z}^3}{\mathbb{Z} \oplus 2\mathbb{Z}} \cong \frac{\mathbb{Z} \oplus \mathbb{Z} \oplus \mathbb{Z}}{\mathbb{Z} \oplus 2\mathbb{Z}} \cong \mathbb{Z} \oplus \mathbb{Z}_2$
Any insight in general is appreciated!! Thanks!

A: The group is isomorphic to $\mathbb{Z} ^2$. Define the homomorphism $f:\mathbb{Z}^3 \rightarrow \mathbb{Z}^2$ by $(a,b,c)\rightarrow(b,2a-c)$. This map is onto and its kernel is $\langle (1,0,2) \rangle$. This is because you are in the kernel precisely when $b=0$ and $a,c$ satisfy $2a=c$, clearly any value of $a$ works and $c$ must be $2a$.
You can tell that the quotient can't be $\mathbb{Z}+\mathbb{Z}/2$ because if $(a,b,c)$ has order 2 in the quotient $b=0$ and we get $2(2a)=2b$ which implies $2a=b$ meaning it was already 0 in the quotient.

redpajama_set_name: RedPajamaStackExchange


text:
Kopo kan syfta på följande platser:

Indonesien

 Desa Kopo (administrativ by i Indonesien, lat -6,67, long 106,91), Jawa Barat,
 Desa Kopo (administrativ by i Indonesien, lat -6,99, long 107,54), Jawa Barat,
 Kelurahan Kopo, administrativ by, Jawa Barat,
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 Kecamatan Kopo, distrikt, Banten,

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redpajama_set_name: RedPajamaWikipedia


text:
package org.apache.struts.webapp.tiles.dynPortal;

import java.util.ArrayList;
import java.util.List;

import org.apache.struts.action.ActionForm;

/**
 */

public final class PortalPrefsForm extends ActionForm  {

    /** Validate value */
  protected String validate;
    /** empty list used by reset */
  protected String[] empty = {};
    /** list of "remaining" choices */
  protected String[] remaining = empty;
    /** list of user columns */
  protected List columns = new ArrayList();
    /** list of user columns labels */
  protected List columnLabels = new ArrayList();
    /** list of columns selected by user */
  protected List newCols = new ArrayList();

    /** Choice list */
  protected List choice;
    /** Choice list labels */
  protected List choiceLabels;
    /** Is initialized ? */
  protected boolean initialized = false;

    /**
     * Set col
     */
  public void setCol( int index, List col )
    {
    columns.set( index, col);
    }

    /**
     * Add col
     */
  public void addCol( List col )
    {
    columns.add( col);
    }

    /**
     * Get col Labels
     */
  public List getColLabels(int index)
    {
    return (List)columnLabels.get(index);
    }

    /**
     * Set col Labels
     */
  public void setColLabels( int index, List col )
    {
    columnLabels.set( index, col);
    }

    /**
     * Add col Labels
     */
  public void addColLabels( List col )
    {
    columnLabels.add( col);
    }

    /**
     * Get col
     */
  public List getCol(int index)
    {
    return (List)columns.get(index);
    }

    /**
     * Set col Labels
     */
  public void setNewCol( int index, String list[] )
    {
      // ensure capacity
    while( index>=newCols.size())newCols.add(null);
    newCols.set( index, list);
    }

    /**
     * Get col
     */
  public String[] getNewCol(int index)
    {
    if(newCols==null || index>=newCols.size())
      return null;
    return (String[])newCols.get(index);
    }

    /**
     * Get number of columns
     */
  public int getNumCol()
    {
    return newCols.size();
    }

    /**
     * Set list1
     */
  public void setL1( String array[] )
    {
    setNewCol(1, array);
    }
    /**
     * Set list1
     */
  public String[] getL1()
    {
    return getNewCol(1);
    }

    /**
     * Set list1
     */
  public void setL0( String array[] )
    {
    setNewCol(0, array);
    }
    /**
     * Set list1
     */
  public String[] getL0()
    {
    return getNewCol(0);
    }
    /**
     * Set list1
     */
  public void setRemaining( String array[] )
    {
    remaining = array;
    }
    /**
     * Set list1
     */
  public String[] getRemaining()
    {
    return remaining;
    }

    /**
     * Set list1
     */
  public void setChoices( List list )
    {
    choice = list;
    }
    /**
     * Set list1
     */
  public void setChoiceLabels( List list )
    {
    choiceLabels = list;
    }
    /**
     * Set list1
     */
  public List getChoices()
    {
    return choice;
    }
    /**
     * Set list1
     */
  public List getChoiceLabels()
    {
    return choiceLabels;
    }

   /**
    * Is this form submitted ?
    */
  public boolean isSubmitted()
    {
    return validate != null;
    }

   /**
    * Is this form submitted ?
    */
  public void setValidate( String value)
    {
    this.validate = value;
    }

    /**
     * Reset properties
     */
  public void reset()
    {
    remaining =  empty;
    validate = null;
    columns.clear();
    columnLabels.clear();
    newCols.clear();
    }
    /**
     * Initialized flag
     */
  public boolean isInitialized()
    {
    return initialized;
    }
    /**
     * Initialized flag
     */
  public void setInitialized( boolean isInitialized)
    {
    initialized = isInitialized;
    }
}

redpajama_set_name: RedPajamaGithub


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This article was first published in April 2004 and was subsequently incorporated as a chapter in the author's book America's War on Terrorism. published in 2005.
Control of the drug trade was a central objective of the US-NATO led invasion, following the Taliban government's decision in 2000 to curtail opium production and suppress the trade in heroin, an initiative which was supported by the UN.
War and the Trade in Narcotics are intimately related. The Afghan war going back to the late 1970s was covertly financed by the proceeds of the Golden Crescent drug trade.
The evidence suggests unequivocally that the multibillion dollar heroin trade out of Afghanistan is protected by the US led military alliance.
According to the United Nations Office on Drugs and Crime (UNODC), opium production in Afghanistan in 2003 is estimated at 3,600 tons, with an estimated area under cultivation of the order of 80,000 hectares.
The various reports and official statements are, of course, blended in with the usual "balanced" self critique that "the international community is not doing enough", and that what we need is "transparency".
The headlines are "Drugs, warlords and insecurity overshadow Afghanistan's path to democracy". In chorus, the US media is accusing the defunct "hard-line Islamic regime", without even acknowledging that the Taliban –in collaboration with the United Nations– had imposed a successful ban on poppy cultivation in 2000. Opium production declined by more than 90 per cent in 2001. In fact the surge in opium cultivation production coincided with the onslaught of the US-led military operation and the downfall of the Taliban regime. From October through December 2001, farmers started to replant poppy on an extensive basis.
"Turning first to drug control, I had expected to concentrate my remarks on the implications of the Taliban's ban on opium poppy cultivation in areas under their control… We now have the results of our annual ground survey of poppy cultivation in Afghanistan. This year's production  is around 185 tons. This is down from the 3300 tons last year , a decrease of over 94 per cent. Compared to the record harvest of 4700 tons two years ago, the decrease is well over 97 per cent.
In fact, both Washington and the UNODC now claim that the objective of the Taliban in 2000 was not really "drug eradication" but a devious scheme to trigger "an artificial shortfall in supply", which would drive up World prices of heroin.
The Taliban prohibition had indeed caused "the beginning of a heroin shortage in Europe by the end of 2001", as acknowledged by the UNODC.
"CIA assets again controlled this heroin trade. As the Mujahideen guerrillas seized territory inside Afghanistan, they ordered peasants to plant opium as a revolutionary tax. Across the border in Pakistan, Afghan leaders and local syndicates under the protection of Pakistan Intelligence operated hundreds of heroin laboratories. During this decade of wide-open drug-dealing, the U.S. Drug Enforcement Agency in Islamabad failed to instigate major seizures or arrests.
The role of the CIA, which is amply documented, is not mentioned in official UNODC publications, which focus on internal social and political factors. Needless to say, the historical roots of the opium trade have been grossly distorted.
According to the UNODC, Afghanistan's opium production has increased, more than 15-fold since 1979. In the wake of the Soviet-Afghan war, the growth of the narcotics economy has continued unabated. The Taliban, which were supported by the US, were initially instrumental in the further growth of opiate production until the 2000 opium ban.
The revenues generated from the CIA sponsored Afghan drug trade are sizeable. The Afghan trade in opiates constitutes a large share of the worldwide annual turnover of narcotics, which was estimated by the United Nations to be of the order of $400-500 billion. (Douglas Keh, Drug Money in a Changing World, Technical document No. 4, 1998, Vienna UNDCP, p. 4. See also United Nations Drug Control Program, Report of the International Narcotics Control Board for 1999, E/INCB/1999/1 United Nations, Vienna 1999, p. 49-51, and Richard Lapper, UN Fears Growth of Heroin Trade, Financial Times, 24 February 2000). At the time these UN figures were first brought out (1994), the (estimated) global trade in drugs was of the same order of magnitude as the global trade in oil.
Based on recent figures (2003), drug trafficking constitutes "the third biggest global commodity in cash terms after oil and the arms trade." (The Independent, 29 February 2004).
Moreover, the above figures including those on money laundering, confirm that the bulk of the revenues associated with the global trade in narcotics are not appropriated by terrorist groups and warlords, as suggested by the UNODC report.
However, what distinguishes narcotics from legal commodity trade is that narcotics constitutes a major source of wealth formation not only for organised crime but also for the US intelligence apparatus, which increasingly constitutes a powerful actor in the spheres of finance and banking.
In turn, the CIA, which protects the drug trade, has developed complex business and undercover links to major criminal syndicates involved in the drug trade.
In other words, intelligence agencies and powerful business syndicates allied with organized crime, are competing for the strategic control over the heroin routes. The multi-billion dollar revenues of narcotics are deposited in the Western banking system. Most of the large international banks together with their affiliates in the offshore banking havens launder large amounts of narco-dollars.
This trade can only prosper if the main actors involved in narcotics have "political friends in high places." Legal and illegal undertakings are increasingly intertwined, the dividing line between "businesspeople" and criminals is blurred. In turn, the relationship among criminals, politicians and members of the intelligence establishment has tainted the structures of the state and the role of its institutions.
Where does the money go? Who benefits from the Afghan opium trade?
This trade is characterized by a complex web of intermediaries. There are various stages of the drug trade, several interlocked markets, from the impoverished poppy farmer in Afghanistan to the wholesale and retail heroin markets in Western countries. In other words, there is a "hierarchy of prices" for opiates.
Consistent with these UNODC estimates, the average price for fresh opium was $350 a kg. (2002); the 2002 production was 3400 tons.
The UNDOC estimate, based on local farmgate and wholesale prices constitutes, however, a very small percentage of the total turnover of the multibillion dollar Afghan drug trade. The UNODC, estimates "the total annual turn-over of international trade" in Afghan opiates at US$ 30 billion. An examination of the wholesale and retail prices for heroin in the Western countries suggests, however, that the total revenues generated, including those at the retail level, are substantially higher.
It is estimated that one kilo of opium produces approximately 100 grams of (pure) heroin. The US DEA confirms that "SWA [South West Asia meaning Afghanistan] heroin in New York City was selling in the late 1990s for $85,000 to $190,000 per kilogram wholesale with a 75 percent purity ratio (National Drug Intelligence Center, http://www.usdoj.gov/ndic/pubs/648/ny_econ.htm ).
According to the US Drug Enforcement Administration (DEA) "the price of SEA [South East Asian] heroin ranges from $70,000 to $100,000 per unit (700 grams) and the purity of SEA heroin ranges from 85 to 90 percent" (ibid). The SEA unit of 700 gr (85-90 % purity) translates into a wholesale price per kg. for pure heroin ranging between $115,000 and $163,000.
The DEA figures quoted above, while reflecting the situation in the 1990s, are broadly consistent with recent British figures. According to a report published in the Guardian (11 August 2002), the wholesale price of (pure) heroin in London (UK) was of the order of 50,000 pounds sterling, approximately $80,000 (2002).
Whereas as there is competition between different sources of heroin supply, it should be emphasized that Afghan heroin represents a rather small percentage of the US heroin market, which is largely supplied out of Colombia.
"The NYPD notes that retail heroin prices are down and purity is relatively high. Heroin previously sold for about $90 per gram but now sells for $65 to $70 per gram or less. Anecdotal information from the NYPD indicates that purity for a bag of heroin commonly ranges from 50 to 80 percent but can be as low as 30 percent. Information as of June 2000 indicates that bundles (10 bags) purchased by Dominican buyers from Dominican sellers in larger quantities (about 150 bundles) sold for as little as $40 each, or $55 each in Central Park. DEA reports that an ounce of heroin usually sells for $2,500 to $5,000, a gram for $70 to $95, a bundle for $80 to $90, and a bag for $10. The DMP reports that the average heroin purity at the street level in 1999 was about 62 percent." (National Drug Intelligence Center, http://www.usdoj.gov/ndic/pubs/648/ny_econ.htm ).
The NYPD and DEA retail price figures seem consistent. The DEA price of $70-$95, with a purity of 62 percent translates into $112 to $153 per gram of pure heroin. The NYPD figures are roughly similar with perhaps lower estimates for purity.
In Britain, the retail street price per gram of heroin, according to British Police sources, "has fallen from £74 in 1997 to £61 [in 2004]." [i.e. from approximately $133 to $110, based on the 2004 rate of exchange] (Independent, 3 March 2004). In some cities it was as low as £30-40 per gram with a low level of purity. (AAP News, 3 March 2004). According to Drugscope (http://www.drugscope.org.uk/ ), the average price for a gram of heroin in Britain is between £40 and £90 ($72- $162 per gram) (The report does not mention purity). The street price of heroin was £60 per gram in April 2002 according to the National Criminal Intelligence Service.
We are dealing with a hierarchy of prices, from the farmgate price in the producing country, upwards, to the final retail street price. The latter is often 80-100 times the price paid to the farmer.
In other words, the opiate product transits through several markets from the producing country to the transshipment country(ies), to the consuming countries. In the latter, there are wide margins between "the landing price" at the point of entry, demanded by the drug cartels and the wholesale prices and the retail street prices, protected by Western organized crime.
In Afghanistan, the reported production of 3600 tons of opium in 2003 would allow for the production of approximately 360,000 kg of pure heroin. Gross revenues accruing to Afghan farmers are roughly estimated by the UNODC to be of the order of $1 billion, with 1.3 billion accruing to local traffickers.
When sold in Western markets at a heroin wholesale price of the order of $100,000 a kg (with a 70 percent purity ratio), the global wholesale proceeds (corresponding to 3600 tons of Afghan opium) would be of the order of 51.4 billion dollars. The latter constitutes a conservative estimate based on the various figures for wholesale prices in the previous section.
The total proceeds of the Afghan narcotics trade (in terms of total value added) is estimated using the final heroin retail price. In other words, the retail value of the trade is ultimately the criterion for measuring the importance of the drug trade in terms of revenue generation and wealth formation.
A meaningful estimate of the retail value, however, is almost impossible to ascertain due to the fact that retail prices vary considerably within urban areas, from one city to another and between consuming countries, not to mention variations in purity and quality (see above).
The evidence on retail margins, namely the difference between wholesale and retail values in the consuming countries, nonetheless, suggests that a large share of the total (money) proceeds of the drug trade are generated at the retail level.
In other words, a significant portion of the proceeds of the drug trade accrues to criminal and business syndicates in Western countries involved in the local wholesale and retail narcotics markets. And the various criminal gangs involved in retail trade are invariably protected by the "corporate" crime syndicates.
90 percent of heroin consumed in the UK is from Afghanistan. Using the British retail price figure from UK police sources of $110 a gram (with an assumed 50 percent purity level), the total retail value of the Afghan narcotics trade in 2003 (3600 tons of opium) would be the order of 79.2 billion dollars. The latter should be considered as a simulation rather than an estimate.
Under this assumption (simulation), a billion dollars gross revenue to the farmers in Afghanistan (2003) would generate global narcotics earnings, –accruing at various stages and in various markets– of the order of 79.2 billion dollars. These global proceeds accrue to business syndicates, intelligence agencies, organized crime, financial institutions, wholesalers, retailers, etc. involved directly or indirectly in the drug trade.
In turn, the proceeds of this lucrative trade are deposited in Western banks, which constitute an essential mechanism in the laundering of dirty money.
Afghanistan produces over 70 percent of the global supply of heroin and heroin represents a sizeable fraction of the global narcotics market, estimated by the UN to be of the order of $400-500 billion.
There are no reliable estimates on the distribution of the global narcotics trade between the main categories: Cocaine, Opium/Heroin, Cannabis, Amphetamine Type Stimulants (ATS), Other Drugs.
Once the money has been laundered, it can be recycled into bona fide investments not only in real estate, hotels, etc, but also in other areas such as the services economy and manufacturing. Dirty and covert money is also funneled into various financial instruments including the trade in derivatives, primary commodities, stocks, and government bonds.
US foreign policy supports the workings of a thriving criminal economy in which the demarcation between organized capital and organized crime has become increasingly blurred.
The heroin business is not "filling the coffers of the Taliban" as claimed by US government and the international community: quite the opposite! The proceeds of this illegal trade are the source of wealth formation, largely reaped by powerful business/criminal interests within the Western countries. These interests are sustained by US foreign policy.
Decision-making in the US State Department, the CIA and the Pentagon is instrumental in supporting this highly profitable multibillion dollar trade, third in commodity value after oil and the arms trade.
The Afghan drug economy is "protected".
The heroin trade was part of the war agenda. What this war has achieved is to restore a compliant narco-State, headed by a US appointed puppet.
The powerful financial interests behind narcotics are supported by the militarisation of the world's major drug triangles (and transshipment routes), including the Golden Crescent and the Andean region of South America (under the so-called Andean Initiative).
Source: UNDCP, Afghanistan, Opium Poppy Survey, 2001, UNOCD, Opium Poppy Survey, 2002.


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Bishop Fliss, retired bishop of Superior, Wisconsin, dies at 84
By Brian T. Olszewski • Catholic News Service • Posted September 24, 2015
MILWAUKEE (CNS) — A funeral Mass was scheduled for Oct. 1 at the Cathedral of Christ the King in Superior for Bishop Raphael M. Fliss, who headed the Diocese of Superior for nearly 26 years. He died Sept. 21 in Duluth, Minnesota. He was 84.
Born Oct. 25, 1930, the Milwaukee native was ordained a priest for the Archdiocese of Milwaukee May 26, 1956. He earned a licentiate in sacred theology from The Catholic University of America in Washington in 1957 and a doctorate in canon law from Rome's Lateran University in 1963.
When he returned to the archdiocese, he served in a number of archdiocesan capacities, including notary in the curia, defender of the bond, and as secretary and master of ceremonies for two archbishops.
In 1969, Bishop Fliss was appointed vice chancellor. Nine years later, he was named rector of the Cathedral of St. John the Evangelist.
Despite Bishop Fliss' academic accomplishments and his role in archdiocesan administration, he remained humble, according to Father Erwin Matt, a seminary classmate and senior priest in the archdiocese.
"He didn't change," the priest said. "As brilliant as he was, he could always reach the lowliest of people."
Eleven people had another title for the bishop — "Uncle Father Ralph," according to his priest-nephew, Father Paul Fliss, pastor of Immaculate Conception, St. Peter Claver and SS. Cyril and Methodius parishes in Sheboygan, Wisconsin.
In an interview with the Superior Catholic Herald, Father Fliss described his uncle as "kind, gentle, and loving — so compassionate."
Noting that Bishop Fliss studied in Rome during the Second Vatican Council, and that he attended some of the council's sessions, Father Fliss said, "He was a Vatican II priest and bishop. He was fully supportive of Vatican II's emphasis on caring for people."
On Nov. 5, 1979, Pope John Paul II named Bishop Fliss coadjutor bishop of the Diocese of Superior with the right of succession to Bishop George Hammes. When Bishop Hammes retired, Bishop Fliss became the ninth bishop of the diocese June 27, 1985. He retired June 28, 2007.
In the mission diocese that includes 16 counties in northern Wisconsin, Bishop Fliss established the permanent diaconate program, helped facilitate the clustering of parishes as the diocese addressed its shortage of priests, and was engaged in interreligious dialogue in Wisconsin and upper Michigan.
Milwaukee Archbishop Jerome E. Listecki remembered Bishop Fliss as "a kind and gentle man whose love for the church and the priests, religious, deacons and faithful of his diocese reflected the love and care that Christ calls from each and every one of us."
"I will miss his reflections on the service rendered to our archdiocese, which introduced me to my predecessors and a number of our dedicated priests and people," the archbishop said.
Olszewski is the editor of the Superior Catholic Herald, newspaper of the Diocese of Superior. He also is executive editor of the Catholic Herald, a publication serving the Catholic community in southeastern Wisconsin.
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David Fliss says:
He was my grandfather's (Joseph Fliss) 1st cousin.


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Personal Loan Guna, 20 January 2020 from Jammu & Kashmir Bank
Advance Salary Loan from Jammu & Kashmir Bank in Guna
Guna is a small city in the Indian state of Madhya Pradesh. It functions as the administrative headquarter of the eponymous district. The city lies on the north-eastern regions of Malwa Plateau and is defined by the Parbati river in the west. Guna is an acronym for Gwalior United Nation Army. It was founded by Chand Pradyota Mahesena and was a part of the ancient Avanti Kingdom. It was later added to the growing empire of Magadha. It passed on to the Marathas and to the Kingdom of Gwalior till it was made a part of Madhya Pradesh in 1956. Although Guna is very small and nondescript town, it still functions as an important industrial center with major industries such as National Fertilizers Limited, Gas Authority of India Limited, Deepak Spinners Limited, KS Oil Ltd, Spice park at Mavan, etc. The first private state university of the state is at Guna. The Jaypee University of Engineering & Technology has a sprawling campus in Guna which offers facilities like hostel, mess, laundry, shopping center, medical center, etc. to the 1500+ students. A few places worth visiting in and around Guna are Shri Shanti Nath Digambar Jain temple at Bajrangarh, Bees Bhuja Devi, Kedarnath, Hanuman Tekri, Christ The King Church and Panchmukhi Hanuman Ashram.
Low interest rate Premium Bike Loan in Guna, 20 January 2020 from Jammu & Kashmir Bank
The J&K Bank is a private sector banking and financial services company based in Srinagar, Jammu, and Kashmir. J&K Bank established on October 1, 1938, was the first bank in the country to emerge as a state-owned bank. On 1 October 1938, the Jammu and Kashmir Bank was founded by Maharaja Hari Singh (the Maharaja of Jammu and Kashmir). The eminent investors were invited by the Maharaja to become the founding directors and shareholders of the bank. The most notable investors were Abdul Aziz Mantoo, Pesten jee, Pandit Sriniwas Magotra, and the Bhagat Family, all of whom acquired a significant holding in bank shares. On 4 July 1939, the bank commenced the operations, and it was declared as the first semi-state-owned bank of with participation in capital by State and the public under the control of State Government. The bank had achieved the status of a scheduled bank In the year 1971 and was recognized as an "A" Class bank by the Reserve Bank of India in 1976. The bank had to face severe difficulties during independence time as out of its ten branches two branches of Muzaffarabad, Rawalakot, and Mirpur fell to the other side of the line of control (now Pakistan administered Kashmir) along with cash and other assets. As per the regulations of Indian Companies Act 1956, the bank was declared as a government company following the extension of Central laws to the state of Jammu & Kashmir.


As a backyard flock owner, it's tempting to dismiss the Center for Disease Control's warnings about close contact with your chickens being a health risk. It's not like you have a factory farm with overcrowding that leads to disease, which leads to overuse of drugs, which leads to drug-resistant disease mutations, which spread and becomes an outbreak. No, thank goodness! You just have a few chicks, ducklings or turkey poults and you raise them like pets. They come when you call them, and you like to be affectionate with them. How could something so innocent as kissing a baby chick make you sick? When you look at the facts, you may think twice before you get physical.
Ten main diseases are described as zoonotic, transmitted from animals to humans, in the Agricultural Extension publication Avian Diseases Transmissible to Humans: Salmonellosis, Arizonosis, Eastern Equine Encephalitis, Colibaccilosis, Avian Tuberculosis, Histoplasmosis, Cryptococcosis, Cryptosporidiosis and Allergic Alveolitis.
Of these ten, Salmonellosis is the one we hear about because it is the most common food-borne illness in humans. The CDC's notice in July 2015 warned backyard poultry keepers of salmonella outbreaks because of 218 individual cases, from 41 states. Their investigations perform a type of DNA fingerprinting, called serotyping, to find out if the infections are connected. They determined that these illnesses were caused by four outbreaks, each outbreak a different strain of salmonella. Eighty-four percent of people interviewed reported contact with live poultry in the week before their illness.
How does that compare with food-borne illness due to salmonella? So far this year, 41 percent of all reported salmonella outbreaks were due to live poultry. In 2014, it was 34 percent. Your chances are greater of getting sick because of handling a chicken than from eating poultry products. Just as you would carefully clean up after preparing raw meat in your kitchen, you will stay healthier by keeping things clean when you interact with your birds.
Let's Get Physical: Why Cuddle?
Backyard flock keepers are dedicated and passionate. Several Urban Farm readers have submitted their reactions to the CDC's warnings.
We humans have a habit of imposing our means of communication on other species. It's a way to make them seem more human to us so that we can relate to them better. Most chicken owners would not cuddle their birds if it seemed to upset them, and nobody is saying to stop being affectionate with your flock. However, any contact with the mouth is crossing a line that could mean serious illness.
Chris Kleefisch is a bit more stand-offish and says, "I just pet my girls on the back. One of my girls pecked my kid in the eye." That's another good reason to keep birds' beaks at arm's length, especially because their instinct is to peck at shiny objects like water bubbles. Your eye could get popped!
Does knowledge change behavior? Is the CDC's report going to affect they way you show love to your birds? For Sarah Gobeille, the answer is no.
There are more than 25,000 strains of salmonella. A few of these will make your birds sick; others will make you sick but not affect your birds. It doesn't matter whether your flock looks and acts healthy. If they carry pathogens, you usually can't tell by looking. They could have arrived at your home already carrying salmonella from the hatchery.
The germs are on the feathers, beak, feces, feet and in the coop. Infections happen when a person ingests those germs. Children are more susceptible because their immune systems are still developing, and they tend to put things in their mouths. The elderly or those with compromised immune systems are also at higher risk.
You can also help with containing any problems and paying attention to the health of those who handle your birds. If you have flu-like symptoms and those around you do not, make sure you tell your health-care provider that you handle birds. It will help them diagnose you properly, and most zoonotic diseases require reporting at either the state or federal level. Remember that sanitation goes both ways. If you have contracted a food-borne case of salmonella, you could actually infect your birds.
Proper sanitation means keeping chicken-coop equipment separate from any other gear. Leave boots or shoes outside, and don't use the kitchen sink for cleaning feeders. If you allow children to handle birds, supervise their hand-washing afterwards. It's best not to keep chicks indoors at all. Also, wear a dust mask when cleaning the coop. With proper hygiene, you and your feathered friends will stay healthy enough to kiss your fears of cuddling goodbye or maybe just give them a high-five.


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allmediascotland...Your key to the media > Broadcasting > BBC One Again Voted 'Terrestrial Channel of the Year'
BBC One Again Voted 'Terrestrial Channel of the Year'
By Administrator in Broadcasting, Media News · August 29, 2009 · No comments
The BBC last might scored a hat-trick after being voted Terrestrial Channel of the Year for the third year running. BBC One Controller, Jay Hunt, collected the award at the MediaGuardian Edinburgh International Television event, hosted by comedian, Michael McIntyre.
BBC One's hit series, The Apprentice, produced by talkbackTHAMES, was voted the Terrestrial Programme of the Year, with series' editor Mark Saben, collecting the award.
Meanwhile, Channel 4 head of Specialist Factual, Angela Jain, picked up the award for Non-terrestrial Channel of the Year, for E4.
The Wire, originally on FX channel, scooped the award for Non-terrestrial Programme of the Year. The award was picked up by one of the stars of the critically acclaimed-drama, Dominic West. He told the audience it was being received "in contempt of the Murdoch doctrine" – a response to James Murdoch's MacTaggart Lecture of the previous evening, which argued for an de-regulated broadcasting market. The previous day, The Wire creator, David Simon, had described, at the festival, his drama as a "critique of unrestrained capitalism".
This is the first time the winners of the prestigious awards were decided by a live audience vote , after over 2000 online voters had chosen the shortlist.
The shortlist was:
Terrestrial Channel of the Year: BBC One, BBC Two, ITV1, Channel 4 and Five.
Non-terrestrial Channel of the Year: Sky One, Dave, BBC Three, E4 and FX.
Terrestrial Programme of the Year: The Apprentice, Top Gear, The X Factor, The IT Crowd, Harry Hill's TV Burp.
Non-terrestrial Programme of the Year: Ross Kemp in Afghanistan, Red Dwarf: Back to Earth, Being Human, The Inbetweeners and The Wire.
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LAS VEGAS--(BUSINESS WIRE)-- Golden Entertainment, Inc. (NASDAQ:GDEN) (�Golden Entertainment� or the �Company�) today reported financial results for the third quarter ended September 30, 2018. The Company also announced that its Board of Directors has authorized the repurchase of up to $25 million of its common stock.
Mr. Sartini continued, �We are seeing improving trends early in the fourth quarter and expect stronger performance in 2019, particularly at the Stratosphere following the renovation of over 750 rooms and the opening of our new sports book, lounge, and tap room concept. We also expect the closing of the acquisition of the Edgewater and Colorado Belle Resorts to solidify our market leading position in Laughlin and be immediately accretive to our free cash flow. Golden Entertainment remains well-positioned for future growth from these opportunities, as well as the expected addition of six new wholly-owned taverns over the next twelve months and the integration of our player database with a one-card solution across both our casino and distributed gaming businesses.
The Company reported third quarter revenues of $210.3 million, up from $107.7 million in the third quarter of 2017. Net loss for the third quarter of 2018 was $3.1 million or a loss of ($0.11) per diluted share, compared to net income of $8.6 million or earnings of $0.36 per diluted share in the third quarter of 2017. Adjusted EBITDA was $38.1 million for the third quarter compared to $15.1 million for the third quarter of 2017. Adjusted EBITDA was down 7.1%, when compared to Pro Forma Combined Adjusted EBITDA of $41.0 million for the third quarter of 2017, which includes the results of American Casino & Entertainment Properties, LLC (�American�). American was acquired in October 2017.
Casino segment revenues grew to $128.8 million in the third quarter of 2018 compared to $27.4 million in the third quarter of 2017. Including the results of American, Pro Forma Combined Revenues would have been $134.3 million in the third quarter of 2017. Casino segment Adjusted EBITDA grew to $37.7 million compared to $8.9 million in the same quarter of 2017. Adjusted EBITDA declined 7.7% when compared to the segment Pro Forma Combined Adjusted EBITDA of $40.8 million for the third quarter of 2017, which includes the results of American.
For our Nevada Casinos, third quarter revenues were $110.1 million, down from $115.6 million compared to Pro Forma Combined Revenues in the prior year period, which includes the results of American, while Adjusted EBITDA of $31.5 million was down 8.8% from Pro Forma Combined Adjusted EBITDA of $34.5 million for the segment in the prior year period. The decline was primarily due to weaker than expected performance at Stratosphere partially offset by strength in both our Laughlin and Las Vegas Locals properties.
Our Rocky Gap Resort in Maryland generated revenue of $18.8 million in the quarter, while Adjusted EBITDA declined 1.6% to $6.2 million, compared to the prior year period.
Distributed Gaming segment revenues increased to $81.2 million, up 1.3% from $80.1 million in the third quarter of 2017. Adjusted EBITDA declined 6.8% to $10.4 million from $11.2 million in the same period of 2017.
In our Nevada distributed gaming business, total revenues during the third quarter were $65.5 million, a year-over-year increase of 0.4%. Adjusted EBITDA of $8.4 million was down 8.2% compared to the same period last year as EBITDA growth in our wholly-owned tavern portfolio continued to be offset by weaker performance from our chain store locations.
Our Montana distributed gaming business generated revenues of $15.7 million in the third quarter, an increase of 5.4% compared to last year. Adjusted EBITDA for the Montana distributed gaming business was $2.0 million for the third quarter, flat to the prior year.
Stratosphere renovations began in May 2018, including room renovations, the installation of state-of-the-art exterior signage and lighting, as well as the addition of a unique tap room concept connected to a newly renovated sports book and lounge that will be completed in the first quarter of 2019. By the end of 2018, the renovation of 317 rooms will be completed. The Company plans on renovating over 450 additional rooms in 2019 as well as additional food and beverage outlets and a portion of the casino.
Golden Entertainment�s total budget for the Stratosphere renovations continues to be $140 million, with the full project expected to be completed in 2021. When complete, the Stratosphere will have remodeled 1,133 of 2,429 rooms, refreshed the interior and exterior of the property, provided guests with new premium food and beverage outlets and added attractive group meeting space. As of September 30, 2018 the Company had spent approximately $17 million on Stratosphere renovations.
As of September 30, 2018, the Company had cash and cash equivalents of approximately $132.4 million and total outstanding debt of approximately $999.7 million, and the Company�s net leverage ratio (total debt less cash to Adjusted EBITDA for the 12 months ended September 30, 2018) was 5.3x. There continues to be no outstanding borrowings under the Company�s revolving credit facility which, today, was upsized to $200 million.
The Board of Directors has authorized the Company to repurchase up to $25 million shares of common stock, subject to available liquidity, general market and economic conditions, alternate uses for the capital and other factors. Share repurchases may be made from time to time in open market transactions, block trades or in private transactions in accordance with applicable securities laws and regulations and other legal requirements, including compliance with the Company�s finance agreements. There is no minimum number of shares that the Company is required to repurchase and the repurchase program may be suspended or discontinued at any time without prior notice.
The Company will host a webcast and conference call today, November 8, 2018 at 4:30 p.m. Eastern Time, to discuss the third quarter 2018 results. The conference call may be accessed live by dialing (844) 465-3054 or (480) 685-5227 for international callers and entering the passcode 7967628. A replay will be available beginning at 8:00 p.m. ET on November 8, 2018 and may be accessed by dialing (855) 859-2056 or (404) 537-3406 for international callers; the passcode is 7967628. The replay will be available until November 11, 2018. The call will also be webcast live through the �Investors� section of the Company�s website, www.goldenent.com . A replay of the audio webcast will also be archived on the Company�s website, www.goldenent.com .
This press release contains forward-looking statements regarding future events and our future results that are subject to the safe harbors created under the Securities Act of 1933 and the Securities Exchange Act of 1934. Forward-looking statements can generally be identified by the use of words such as �anticipate,� �believe,� �continue,� �could,� �estimate,� �expect,� �forecast,� �intend,� �may,� �plan,� �project,� �potential,� �seek,� �should,� �think,� �will,� �would� and similar expressions, or they may use future dates. Forward-looking statements in this press release include, without limitation, statements regarding: the pending Laughlin acquisition and the expected timing of the closing thereof; the benefits of and realization of cost synergies from the American and Laughlin transactions; estimated future financial and operating results and future net leverage ratio; proposed future capital expenditures, investments and property improvements, including the Stratosphere redevelopment plan and anticipated opening of new tavern locations, and their associated timing, source of funding and cost; and the Company�s plans, strategic priorities, objectives, expectations, intentions, including with respect to its growth prospects and growth opportunities and potential acquisitions. Forward-looking statements are based on our current expectations and assumptions regarding the Company�s business, the economy and other future conditions. These forward-looking statements are subject to assumptions, risks and uncertainties that may change at any time, and readers are therefore cautioned that actual results could differ materially from those expressed in any forward-looking statements. Factors that could cause actual results to differ materially include: the failure of our pending Laughlin acquisition to close as anticipated; the Company�s ability to realize the anticipated cost savings, synergies and other benefits of the American and Laughlin transactions and its other acquisitions, and integration risks relating to such transactions; changes in national, regional and local economic, political and market conditions; legislative and regulatory matters (including the cost of compliance or failure to comply with applicable laws and regulations); increases in gaming taxes and fees in the jurisdictions in which the Company operates; litigation; increased competition; the Company�s ability to renew its distributed gaming contracts; reliance on key personnel (including the Company�s Chief Executive Officer, Chief Operating Officer and Chief Strategy and Financial Officer); the level of the Company�s indebtedness and the Company�s ability to comply with covenants in its debt instruments; terrorist incidents; natural disasters; severe weather conditions; the effects of environmental and structural building conditions; the effects of disruptions to the Company�s information technology and other systems and infrastructure; factors affecting the gaming, entertainment and hospitality industries generally; and other risks and uncertainties discussed in the Company�s filings with the SEC, including the �Risk Factors� sections of the Company�s Annual Report on Form 10-K for the year ended December 31, 2017 and most recent Quarterly Reports on Form 10-Q. The Company undertakes no obligation to update any forward-looking statements as a result of new information, future developments or otherwise. All forward-looking statements in this press release are qualified in their entirety by this cautionary statement.
To supplement the Company�s consolidated financial statements presented in accordance with United States generally accepted accounting principles (�GAAP�), the Company uses Adjusted EBITDA, Pro Forma Combined Revenues, Pro Forma Combined Net Income and Pro Forma Combined Adjusted EBITDA which measures the Company believes are appropriate to provide meaningful comparison with, and to enhance an overall understanding of, the Company�s past financial performance and prospects for the future. The Company believes Adjusted EBITDA and Pro Forma Combined Adjusted EBITDA provide useful information to both management and investors by excluding specific expenses and gains that the Company believes are not indicative of core operating results. Further, Adjusted EBITDA is a measure of operating performance used by management, as well as industry analysts, to evaluate operations and operating performance and is widely used in the gaming industry. Other companies in the gaming industry may calculate Adjusted EBITDA differently than the Company does.
Pro Forma Combined Revenues, Pro Forma Combined Net Income and Pro Forma Combined Adjusted EBITDA represent historical revenues, net income and Adjusted EBITDA of American (for periods prior to the American acquisition) and Golden on a pro forma combined basis, as if the American acquisition had occurred on the first day of the period presented. All pro forma combined financial information is unaudited. The pro forma combined financial information has been prepared by the Company�s management for illustrative purposes only and does not purport to be indicative of what its results of operations, financial condition or other financial information would have been if the American acquisition and related transactions had occurred at the beginning of the period presented. In addition, the pro forma combined financial information does not reflect non-recurring charges incurred in connection with the American acquisition, nor any cost savings and synergies expected to result from the American acquisition (and associated costs to achieve such savings or synergies), nor any costs associated with severance, restructuring or integration activities resulting from the American acquisition.
The presentation of this additional information is not meant to be considered in isolation or as a substitute for measures of financial performance prepared in accordance with GAAP. Reconciliations of Adjusted EBITDA to net income (loss) are provided in the financial information tables below. Additionally, a reconciliation of Pro Forma Combined Revenues to revenues is provided in the financial information tables below.
The Company defines �Adjusted EBITDA� as earnings before interest and other non-operating income (expense), income taxes, depreciation and amortization, acquisition expenses, loss on disposal of property and equipment, share-based compensation expenses, preopening expenses, class action litigation expenses, executive severance, gain on change in fair value of derivative, and other gains and losses. Adjusted EBITDA for a particular segment or operation is Adjusted EBITDA before corporate overhead, which is not allocated to each segment or operation.
Golden Entertainment, Inc. owns and operates gaming properties across two divisions � resort casino operations and distributed gaming. The Company operates approximately 16,000 gaming devices, 121 table games, 5,164 hotel rooms, and provides jobs for over 7,000 team members. Golden Entertainment owns eight resort casinos � seven in Southern Nevada and one in Maryland. Through its distributed gaming business in Nevada and Montana, Golden Entertainment operates slot machines at over 1,000 locations and owns 60 traditional taverns in Nevada. The Company is licensed in Illinois to operate video gaming terminals. Golden Entertainment is focused on maximizing the value of its portfolio by leveraging its scale, leadership position and proven management capabilities across its two divisions. On July 16, 2018, the Company announced that it entered into an acquisition agreement for the Edgewater Hotel & Casino Resort and the Colorado Belle Hotel & Casino Resort in Laughlin, Nevada, with the transaction expected to close in the 2019 first quarter. For more information, visit www.goldenent.com .
(1) Prior-period information has been recast for the adoption of Accounting Standards Codification Topic 606 (ASC 606), Revenue from Contracts with Customers, which the Company adopted effective January 1, 2018, utilizing the full retrospective transition method.


Is the official red carpet premeire of I Love Huckabees going to be in Los Angeles the same week it comes out and will Mark be there?
There's nothing official yet from Fox Searchlight. I'll report to you as soon as I know different, however.


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Suffolk selected
Alleged hacker Lauri Love 'relieved' by court ruling
By Sarah Bell Victoria Derbyshire programme
https://www.bbc.com/news/uk-england-suffolk-42958544
Lauri Love case
Media captionLauri Love: US prison would have led to suicidal thoughts
Alleged computer hacker Lauri Love says he is "greatly relieved and joyous" after High Court judges blocked his extradition to the United States.
The judges decided that sending him to the US would bring on severe depression and could lead to suicide.
The 33-year-old, who has Asperger's syndrome told the BBC's Victoria Derbyshire programme he was thankful for the support he had received.
Mr Love says he wants the Crown Prosecution Service to charge him.
On Monday, appeal judges said extradition would be "oppressive by reason of his physical and mental condition", with evidence showing it would bring on severe depression "and that Mr Love would probably be determined to commit suicide".
They urged the Crown Prosecution Service (CPS) to prosecute Mr Love in England.
Mr Love, from Stradishall, Suffolk, said he was thankful that the ruling had shown that prison conditions in the US "had a lot to be desired" compared with those in the UK.
"I didn't entertain any hopes that there would be a light at the end of the tunnel," he said.
"One of the main differences is if I am prosecuted here in the UK, the maximum prison sentence would be around 36 months.
"In the US, they wanted to lock me up for 99 years.
"You don't have any hope if you think you're going to spend the rest of your life in prison in less than humane conditions."
Image caption Lauri Love attended the appeal hearing with his girlfriend, Sylvia Mann
Mr Love says he wants to be charged by the CPS as the US would then be unable to extradite him, because of double jeopardy rules.
At the moment, he cannot travel as he could be extradited from another country.
"I will do my best to facilitate my prosecution, as Kafkaesque as that might sound, so that I can get some closure and get on with my constructive work in engineering and internet security," he said.
Mr Love is alleged to have stolen huge amounts of data from US agencies, including the Federal Reserve, the US Army, the defence department, Nasa and the FBI, in a spate of online attacks in 2012 and 2013.
He says the stress of the past five years has affected his health.
"I don't sleep very well. I've had very severe depression. I've had weeks at a time where I've been suicidal. I have eczema, which results in me clawing my face open, I have digestive issues, every part of my digestive tract is inflamed, which is three different itus-es," he said.
"I'm hoping that now the stress is going to go down, I'll be able to recover some of my health and be able to be more productive."
Mr Love describes himself as a hacker, saying they contribute to society.
He said: "In the media 'hacker' is often connoted with criminality, but the original definition, and in the internet community, a hacker is just someone who understands technology, takes it apart, puts it together in novel ways, makes it do interesting things.
"We absolutely need hackers and their mindset of troubleshooting and problem-solving to help us adapt to an internet-based society."
The United States authorities now have 14 days to lodge a request for an appeal hearing at the UK Supreme Court.
Watch the BBC's Victoria Derbyshire programme on weekdays between 09:00 and 11:00 on BBC Two and the BBC News channel.
Video Lauri Love case 'victory for justice'
Video Lauri Love: Alleged hacker hopes extradition case 'sets a precedent'
Hacking suspect Lauri Love appeals against US extradition
Lauri Love hacking case: MPs fight extradition to US
Lauri Love: Hacker claims extradition would 'result in a tragedy'
US hacking case Lauri Love released from bail
Lauri Love -v- The Government of the United States of America & Liberty
Suffolk live reporting


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Home > Competitions designs - buildings + architects > Floating Cinema Architecture Competition: Design Contest
Floating Cinema Architecture Competition: Design Contest
Published by David McManus updated on August 27, 2016
Floating Cinema Design Contest, Building, Architecture, News, Deadline, Image
Floating Cinema Architecture Competition : Design Contest
Floating Cinema Architecture Competition : Architecture Information
Floating Cinema Competition – Winner
Winner Announced – Duggan Morris to Design the New Floating Cinema, UK
UP Projects and The Architecture Foundation are delighted to announce that Duggan Morris Architects have won the Open Architecture Competition to design the next phase of UP Projects' acclaimed Floating Cinema project. This project has been commissioned by the Legacy List with corporate partner Bloomberg as part of the Bloomberg East series of artist-led programmes to animate the waterways in East London working in partnership with the Canal and River Trust.
Hackney-based practice Duggan Morris Architects' outstanding design was selected from a shortlist of four international practices including OBRA (New York/Beijing) Nilsson Pflugfelder (London/Berlin) and vPPR (London) by a panel of seven judges including Lady Patty Hopkins (Hopkins Architects), Sarah Weir OBE (Legacy List), Sarah Ichioka (Architecture Foundation), Nina Pope (Somewhere), Karen Guthrie (Somewhere) and Emma Underhill (UP Projects).
Duggan Morris Architects developed their proposal "A Strange Cargo of Extra-Ordinary Objects" in partnership with Skelly & Couch, Services Engineers; Appleyard and Trew, Quantity Surveyors; Price & Myers, Structural Engineers; and MSO Marine, Boatyard and Marine Services to produce a robust and practical, as well as highly inventive and imaginative, response to the brief.
UP Projects' Director and Curator Emma Underhill said:
We are thrilled to have the opportunity to work with Duggan Morris Architects on the next iteration of our Floating Cinema. Their proposal and their commitment and enthusiasm for the project is exceptional and we are really excited to see how the new Floating Cinema will develop from here. Equally important to the quality of their design was the architects' openness to collaboration with us and the Floating Cinema artists Nina Pope and Karen Guthrie and I'm sure the final result will provide a really unique and special resource for the waterways.
Duggan Morris Architects Director Joe Morris said:
Duggan Morris Architects is proud to have been selected for this prestigious project. The Floating Cinema has the potential to be a wondrous addition to London's network of canals and waterways. As such we very much look forward to delivering this unique structure and creating a legacy for generations of visitors to the Lea Valley.
Sarah Weir, Chief Executive, The Legacy List said:
We are extremely pleased to be able to commission the Floating Cinema in its next phase with this new boat by Duggan Morris Architects bringing the Extra-Ordinary dimension to the project. We look forward to giving our support to the teams over the coming months and seeing the collaboration between artists and architects for this innovative and unique project to animate the waterways in east London.
The Architecture Foundation's Director Sarah Ichioka added: The design competition for the new Floating Cinema, which we at the AF were happy to help organise, attracted many strong submissions, from tender stage through to shortlisting, and now the final interviews and appointment. I'm delighted that the bespoke selection process has helped UP Projects find the right match for them and their exciting, challenging brief, and I look forward to enjoying the built outcome next year.
Building on the resounding success of the pilot Floating Cinema 2011 project, designed by Studio Weave, UP Projects are continuing to work with film-maker artist duo Somewhere (Nina Pope and Karen Guthrie), who will be devising an "Extra-Ordinary" programme of on-board screenings, quirky canal tours, talks and workshops for the new Floating Cinema, which will launch in June 2013. The artists and project team felt that Duggan Morris's proposal offered design solutions that embody the new 2013 programme theme of 'Extra-Ordinary', offering delight and playfulness as well as being robust and serviceable for a permanent lifespan on the water.
The Floating Cinema is part of UP Projects' ongoing Portavilion programme; a series of temporary pavilions for London's parks and public spaces that have brought high quality sculptures and cultural events to a broad public audience since 2008. The new Floating Cinema is supported by the Legacy List and Bloomberg and will form an important strand of the cultural programme that supports the legacy of the Queen Elizabeth Olympic Park. UP Projects partnered with The Architecture Foundation to produce the architecture competition to select the design team for the new Floating Cinema.
The Floating Cinema competition was also generously supported by the following technical advisors; Wolf Manglesdorf from Bruro Happold; Richard Collis from Jackson Coles; and Claire McLean, Tav Kazmi and Tim Eastop from Canal and River Trust.
For more information about the previous Floating Cinema, please visit: www.floatingcinema.info
Floating Cinema Architecture Competition
Architectural Competition Launched for A New Floating Cinema, UK
This morning, UP Projects and The Architecture Foundation were delighted to announce an Open Call through which a team will be selected to design the next phase of the acclaimed Floating Cinema project. This project has been commissioned by the Legacy List and sponsored by Bloomberg as part of the Bloomberg East series of artist-led programmes to animate the waterways in East London working in partnership with the Canal and River Trust. Once built, this new cinema-craft is planned to launch to the public in June 2013.
Building on the resounding success of the pilot Floating Cinema 2011 project, designed by Studio Weave, UP Projects are developing a brand new Floating Cinema, continuing to work with film-maker artist duo Somewhere (Nina Pope and Karen Guthrie), who will be devising a varied and vibrant programme of on-board screenings, quirky canal tours, talks and workshops which will be live during the summer 2013. The project team are seeking an architectural design solution that embodies their new 2013 programme theme of 'Extra-Ordinary', offering delight and playfulness as well as being robust and serviceable for a permanent lifespan on the water.
The Floating Cinema in 2011 exceeded all expectations in terms of audience reach and public interest and there is clearly a healthy appetite for this kind of initiative to take place on East London's waterways. We are excited to have the opportunity, through the support of the Legacy List and Bloomberg, to be able to develop a new and longer term Floating Cinema through an open international competition in partnership with The Architecture Foundation.
We are delighted that this generous sponsorship from Bloomberg, as part of Bloomberg EAST, will enable us to continue and develop the success of the original Floating Cinema pilot, bringing a new Extra-Ordinary programme of events and engagement activities to East London. This is one of a number of imaginative projects we are commissioning which will have an impact on the lives of the communities around the future Queen Elizabeth Olympic Park. This architecture competition will offer a further creative opportunity to take a fresh look at the Floating Cinema and reinvent the structure before it embarks upon its programming journey in 2013.
The Architecture Foundation's Director Sarah Ichioka added:
We at The Architecture Foundation are always keen to create opportunities for innovative design to reach new audiences. With this in mind, we are absolutely delighted to be collaborating with UP Projects to organise this open competition to design a very special new contribution to London's cultural and urban landscape.
The Floating Cinema is part of UP Projects' ongoing Portavilion programme; a series of temporary pavilions for London's parks and public spaces that have brought high quality sculptures and cultural events to a broad public audience since 2008. The new Floating Cinema is supported by the Legacy List and Bloomberg and will form an important strand of the cultural programme that supports the legacy of the Queen Elizabeth Olympic Park.
This two-stage competition invites architects and designers to express their interest in taking part by responding to a prequalification questionnaire, which is due by 4pm, 26 June 2012. For more information about the previous Floating Cinema, please visit: www.floatingcinema.info To download the pre-qualification questionnaire and outline brief please visit: www.architecturefoundation.org.uk
About The Floating Cinema
The Floating Cinema 2011 was an extraordinary customised narrow boat, curated and produced by UP Projects and created by architects Studio Weave in collaboration with Somewhere. The Studio Weave 2011 design included contributions from traditional marine craftspeople (eg sail-makers and boat painters) as well as from contemporary designers. The Floating Cinema 2011 presented larger scale outdoor film events for canal-side audiences (such as an al fresco fancy dress screening of Fantastic Mr Fox) and informal 'on board' screenings where you could meet the crew and watch rare films selected especially for the Floating Cinema. The new Floating Cinema programme will also be developed by Somewhere.
www.floatingcinema.info
About Somewhere
Somewhere is a multi-disciplinary, collaboration run by artists Nina Pope and Karen Guthrie. They produce ambitious, innovative and challenging projects spanning film, the web, installation, live events and public art. Recent work includes " What Will the Harvest Be?" a project at Abbey Gardens in Newham which transformed a former waste ground into a unique open access Harvest Garden. They began working with UP Projects on the Floating Cinema in 2011.
www.somewhere.org.uk
About UP Projects
UP Projects believes in challenging perceptions of what public art can be. Operating as if a gallery without walls, they are inspired by the complexities of the public realm to create a programme of artists' commissions, projects, strategies and multi-disciplinary events for a broad public audience. Since their first project in 2002, their work has consistently attracted considerable public attention. Their Portavilion programme is one of the most ambitious contemporary art projects to take place in London's public realm.
Curated by Emma Underhill of up projects, it launched in 2008 with four temporary pavilions by internationally renowned artists in some of London's most popular parks. In 2010, raumlaborberlin developed a mobile, inflatable pavilion that toured thirteen London parks and public spaces presenting a diverse programme of cultural events and activities produced in partnership with leading cultural organisations. This ongoing project explores the possibilities for temporary, large scale public art, and is as much a celebration of the city's most treasured open spaces as it is a cultural event. For 2011, the Floating Cinema with Somewhere and Studio Weave took the project into a new, water based territory. www.upprojects.com
About The Architecture Foundation
Founded in 1991 as the UK's first independent architecture centre, The Architecture Foundation is a non-profit agency for contemporary architecture, urbanism and culture. We cultivate new talent and new ideas. Through our diverse programmes we facilitate international and interdisciplinary exchange, stimulate critical engagement amongst professionals, policy makers and a broad public, and shape the quality of the built environment. We are independent, agile, inclusive and influential. Central to our activities is the belief that architecture enriches lives.
www.architecturefoundation.org.uk
About The Legacy List
The Legacy List is a newly registered charity whose founding members were the Mayor of London's office and the Olympic Park Legacy Company (OPLC) and which will help deliver the cultural and education legacy of the future Queen Elizabeth Olympic Park and its surroundings. The mission is to actively engage people in the Park and the vision is to use the Park to transform people's lives. This will be done by finding and funding an imaginative range of places, programmes and partnerships which deliver the charitable objectives of; Promoting the Park and contributing to its unique identity; Advancing arts and culture in and around the Park; Enhancing education and skills in and around the Park; Contributing to sustainable development in and around the Park; Engaging local communities in and around the Park. The charity is for the long-term benefit of East London, ensuring the developing culture of the park comes from the culture around it and making creative and sustainable connections between people and the park.
Bloomberg LP's Philanthropy programme reflects the company's core business – to connect people and communities to a dynamic network of information and data, opportunities and ideas. Through a wide range of dynamic partnerships with visual, performing and literary arts organisations across London, Bloomberg expands its commitment to artistic excellence and audience engagement in 2012 to look beyond the Olympic period and to focus on creating stronger and more sustainable communities for the future.
Bloomberg East – Bloomberg is proud to support the Legacy List in its mission to ensure a lasting legacy of art, culture, education and skills for the communities living in and around the future Queen Elizabeth Olympic Park. Bloomberg's partnership with the Legacy List will support UP Projects' Floating Cinema Extra-Ordinary and a series of regenerative art projects on the walls, towpaths and bridges of the canals around.
Floating Cinema Design Contest information from The Architecture Foundation
Architecture Foundation – Events
London Festival of Architecture, 2012
A key Architecture Foundation Competition on e-architect:
Regent's Place Pavilion Competition, London
photograph : Luke Hayes
Architecture Foundation Contest
A recent Architecture Foundation Competition on e-architect:
Bankside Bikeshed Competition, London
competition design – images courtesy AF
Bankside Bikeshed Competition
Another Architecture Foundation Competition on e-architect
Art Fund Pavilion Competition, London
Architecture Foundation Competition
Tent London and The Lightbox are delighted to announce the shortlist for The Art Fund Pavilion architecture competition. The design competition received an overwhelming level of interest with over 600 entries. The Art Fund Pavilion Competition entries were reviewed by a panel of judges that included the Director of The Architecture Foundation.
Building Competitions : Archive
Comments / photos for the Floating Cinema Design Competition page welcome
March 20, 2010 in Competitions designs - buildings + architects. Tags: Cinemas building designs + architects
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Our old friend Rich (GhoulishCop) has been putting out some great videos on YouTube lately. He's doing a YouTube Vlog (video blog) instead of making traditional how-to videos, so we get to join him every day as he builds the props for the haunted Halloween yard display he's working on for next year. We get to see both what works for him, and what doesn't – and we get to know Rich a little better, too, which is a lot of fun.
In the video at the top of this page he's starting the process of putting some skin on a skull, using his new air-dry clay recipe that uses cellulose insulation and his home-made glue. (I'm not really sure it works with Elmer's, but since saving money is half of the reason for using his recipe instead of one of mine, you should go with the home-made glue, anyway).
You can see the video that includes his new recipe for air dry clay here, and his recipe for the home-made glue used in the air dry clay here. I haven't had time to try his new recipe yet, since I spent the last few months working on my new novel, but you can see from the video that it's easy to work with, smooth, and cheap. Working up a batch is definitely on my to-do list.
If you have any interest in creating a large display like this, even if it's for a holiday other than Halloween, I highly recommend that you subscribe to the GhoulishCop YouTube channel. That way, from now on you'll get a notice once a day when he puts out new videos. In fact, I regret not telling you about this series sooner, because he's already on Vlog #33!
You can also find Rich on Facebook.