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MARKS: "46" impressed in unglazed base.
This bottle is from the Smithsonian's Hans Syz Collection of Meissen Porcelain. Dr. Syz (1894-1991) began his collection in the early years of World War II, when he purchased eighteenth-century Meissen table wares from the Art Exchange run by the New York dealer Adolf Beckhardt (1889-1962). Dr. Syz, a Swiss immigrant to the United States, collected Meissen porcelain while engaged in a professional career in psychoanalysis and the research of human behavior. He believed that cultural artifacts have an important role to play in enhancing our awareness and understanding of human creativity and its communication among peoples. His collection grew to represent this conviction.
The bottle (its stopper is missing) was made in the Meissen manufactory but painted outside by an independent artist. Hausmalerei is a German word that means in literal translation 'home painting', and it refers to the practice of painting enamels and gold onto the surface of blank ceramics and glass in workshops outside the manufactory of origin. Beginning in the seventeenth century the work of the Hausmaler varied in quality from the outstanding workshops of Nuremberg, Augsburg, and Breslau (now Wroclaw in Poland), to the less skilled efforts of amateur artists. Early Meissen porcelain was sought after for this purpose, and wealthy patrons of local enameling and gilding workshops purchased undecorated porcelain, often of out-moded or inferior quality, which was then enameled with subjects of their choice. Hausmalerei was at first acceptable to the early porcelain manufactories like Meissen and Vienna, and Meissen sent blank porcelain to Augsburg workshops for decoration, but as the market became more competitive they tried to eradicate the practice. It was a temptation for Meissen porcelain painters to take on extra work as Hausmaler to augment their low pay, and the manufactory cautioned or imprisoned them if Hausmalerei activity was suspected or discovered.
The bottle follows the shape of Japanese prototypes in the collection of the Elector of Saxony and King of Poland August II (1670 -1733). In Japan this form had its origin as a flask for rice wine or saké, and the shape was a success in reproduction at Meissen, sometimes painted in imitation of the Japanese Kakiemon style, or with European subjects. This bottle was decorated in the Netherlands in about 1740-1750, although the Hausmaler is not known.
Dutch Hausmaler enameled large quantities of Chinese and Japanese porcelain imported from East Asia by the United East India Company (Vereenigde Oost-indische Compagnie), and they enameled European faience and porcelain as well. The quality of the Dutch Hausmalerei was not as refined as Meissen imitations of the Japanese Kakiemon style as this bottle shows, but at its best Dutch enameling can present difficulties in distinguishing East Asian decorative work from that of Holland. The objective was to sell these items at the higher prices obtainable for Japanese Kakiemon porcelain.
On Hausmaler see Ulrich Pietsch, 2011, Early Meissen Porcelain: The Wark Collection from The Cummer Museum of Art and Gardens, pp. 43-46, and the examples of similar saké bottles on p. 530.
Hans Syz, J. Jefferson Miller II, Rainer Rückert, 1979, Catalogue of the Hans Syz Collection: Meissen Porcelain and Hausmalerei, pp. 568-569.


But the 26-year-old has nothing to worry about right now—she has stolen the show so far with her performance. It was only her second time taking the stage in front of all her fellow nominated musicians at music's biggest night, so we can understand why she felt some pressure. In 2018, she absolutely crushed it performing "Finesse" with Bruno Mars at the Grammys. What a duo.


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text:
Edem Awumey
Translated by Lazer Lederhendler
Note: This is an excerpt of Awumey's novel Les Pieds sales, to be published in English by Anansi Press (you can order a copy of the French version here and go to Anansi's website here). This translation may differ from the final version. Dirty Feet is a working title. To see our Q&A with the translator in this issue of carte blanche, please go here.
Askia would recount how, in her final delirium, his mother had kept on about the letters that Sidi Ben Sylla Mohammed, his father, was supposed to have sent from Paris. And some photos. Which he had never seen. But then one day he went off on the same route as the absent one. He did not leave to find the missing father. He could live with gaps in his genealogy. He left because of a strange thing his mother had said: "For a long time we were on the road, my son. And wherever we went, people called us Dirty Feet. If you go away, you will understand. Why they called us Dirty Feet."
Paris. He was standing in front of 102 rue Auguste-Conte that afternoon because three days earlier, in his taxi, a client had intimated that she had photographed Sidi Ben Sylla Mohammed. Scrutinizing his face in the rear-view mirror, she had said, "You remind me of someone. A man with a turban who posed for me a few years ago." This was not the first time a passenger had used the remind-me-of-someone line on him, just to make conversation. Often enough, the exchange of words would turn into a physical exchange, as an antidote to boredom, that emptiness deep in the skin and the dark night. But the girl that evening had mentioned the turban, a detail echoing the distant words of Kadia Saran, Askia's mother. Yes, it was the same refrain: "You look like him Askia," she had said. "Exactly like him. If you wore a turban, it would be as if he'd come back. Almost as if. Because he won't come back." He was an adolescent at the time. More than thirty years had passed and Askia had gone away, but not to confirm his resemblance with the absent father. Still, he did want to see the photos, and the girl answered that he could, though not right away. She had to go to the provinces for one or two weeks to work on a project.
Askia's travels had begun owing to another of Kadia Saran's mysterious pronouncements: "Our family is under a curse is to depart again and again, to tramp over thousands of roads until we are exhausted or dead. Look at yourself, my son, always wandering through the night in your taxi." It was hard to understand his mother and her words. All Askia knew was that his line of work obliged him to rove the streets and highways. Yet in his flight across the pavements of the north, he wanted to verify whether his machinery, programmed to roam, could stop.
A dog and its mistress passed in front of him on the sidewalk. He recalled that as a child, spending his days at the garbage dump of the Trois-Collines, in the squalid tropical suburb where he had landed with his mother, he would mingle with dogs that he did not like. Especially one belonging to old Lem and whose name was Pontos.
102 rue Auguste-Comte. A newly refurbished four-storey building. Askia rang the doorbell. To the left of the door, a ground-floor window opened. He imagined it must be the apartment of the concierge, someone—and old lady or gentleman—banished to the desert island of this apartment, the old woman stationed there to challenge visitors with a thousand questions and drive away troublemakers. But it was not an old woman who greeted him. A fifty year-old man thrust his head out.
"I have an appointment with mademoiselle Olia," Askia said.
"The full name, please?"
"Olia."
"A given name—doesn't tell me very much."
"She has brown hair."
"That doesn't tell me much either. Which floor does she live on? You have an appointment? I wasn't told anything. Sorry, I can't help you."
And the man closed the porthole. Askia lingered on the sidewalk. He was not very angry. He simply thought this photographer, the client who had promised to show him portraits of his father, had had some fun at his expense. He headed toward the railings of the Jardin du Luxembourg, directly across the street. The railings were hung with an exhibition. Pictures suspended in the sky of another world—still shots from a film: Himalaya. L'enfance d'un chef. Images from a far-off world, hung on the park fence. Large boards displaying people walking in various seasons. Like him. The wind hammered at his neck. He raised his coat collar and strolled several times around the fence and the pictures. The crowd began to thin out, the night submerged the landscapes on display. The night overtook him. He decided to go home.
She came up behind him, surprising him in his dialogue with the faces on the boards. He followed her back across the street. She keyed in the code at the entrance. They took the stairway opposite the door. The brass of the handrails and the velvet of a red carpet glimmered in the faint light of the hallway. They climbed the stairs, she in front and he at her heels. She stopped when they reached the last floor and slipped the key into the lock of the double door. He went in behind her. The place was small, attractive, new. The front door opened immediately onto a room that served as both living room and kitchenette. Facing the door was a sofa draped with an ash-coloured sheet. Behind the sofa were four shelves in the same white as the walls. He scanned their contents: books, bibelots, an earthenware ashtray and bowl, a tiny square box made of wood.
Inserted among the books was a very broad bird feather that stirred on the slightest breath of air. The books lined the back of the shelves while the bibelots were placed in front. Affixed to the wall around the bookshelves were some photos. There was a noticeable relationship among the faces on the wall. He had once perused a tome on the writers of the Harlem Renaissance, so he had no trouble identifying the four portraits arranged in a row at the top of the wall over the shelves: W.E.B. Du Bois, Alain Locke, Langston Hughes, Countee Cullen. To the right of the bookshelves, hanging one above the other, he recognized Claude Mac Kay, Sterling Brown, James Baldwin. He was unable to put a name to the fourth face. The girl became aware of his interest.
"I enjoy portraits of Black people," she said. "They have a way of capturing and holding the light."
"My father has no connection with the celebrities on your wall. Could you show me the pictures you took of him? Wasn't that the reason you asked me to drop by?"
In front of the sofa, to the left of the door, the TV and CD player sat on a sort of chiffonier, only larger. On the wall over the TV was another photograph, which he found quite beautiful. It was the interior of a nightclub: a bar, high stools, two women and a man, all holding cigarettes between their fingers, their heads wreathed in smoke. The little group was standing around some musicians. He recognized the elegantly dressed man at the piano as Duke Ellington, and leaning on the piano, cradling his trumpet, was Louis Armstrong. Askia had a mental image of his hostess attending the nightly concert given by Louis and the Duke. At the exact moment when the concert began, she would no doubt sit down on the sofa facing the picture to take in and savour the sounds emanating from the glossy paper on the wall. But his father, Sidi Ben Sylla, would not have moved in such circles. His music, Askia's mother would have said, was not jazz, but exile.
Olia must have read his thoughts:
"You know," she said, "I sit down in front of that picture and conjure up the concert, the notes. I imagine them soft and translucent and as slow as the water in a stream, at times lapping against the bank when the high notes soar into the air… Can we be less formal and call each other by our first names?"
"Musical notes—they can be sad too, miss. Now, about those pictures? Could you please show them to me?"
More photos lined the white walls, including the space in the far corner next to the TV, where some stairs led to a mezzanine and what Askia guessed was the bedroom. These other pictures showed Jesse Owens and the king Carl Lewis racing at full tilt, propelled by the gods of Olympus, and a very emotional Ella Fitzgerald at the microphone, with the beams of fame on her forehead. This girl Olia was peculiar. She evidently lived in a strange world comprised of images and legendary figures. Askia thought she must be fond of legendary faces. She liked Owen and King Lewis, and Ella. Sidi, the ghost he pursued through the dark Paris nights, was not a legend.
He plumped down on the sofa. She bustled about in the kitchenette, to the left of the bookshelves beyond the sofa. She made some tea, set the cups, sugar, and teapot on the low table in front of her guest, and sat down in the lotus position. After the pictures of the Himalayas, here was the second image of the East that he'd been allowed to contemplate in the space of an evening. Olia sitting cross-legged as if she intended to meditate, as if he were an altar or the statue of a saint or an icon meant for prayers.
"You really do look like the turbaned man I photographed a few years ago," she said, laughing with her eyes and dimpling the corners of her mouth in a way that accentuated her charm. Then she admitted that, after their encounter in his taxi, she had searched through her photo albums for the man with the turban. Sidi's portraits must have gotten misplaced in one of her many boxes. It would just take a little time, but she would find them.
Askia had the impression that among all those images, the only thing in the room that was real was the shape of Olia's face, with her hair tied in a bun on the nape of her neck. She was neither too short nor too tall. But thin. Her face had the originality of a painting. Her body was ordinary. He thought she should always wear black. Black—the depths of night and mystery where her face had been designed. He discerned two small pears under her sweater. Mother nature could have been more generous, he said to himself. But he felt that what was most striking about this person was not her appearance so much as her personality. The tea did him good. The tea and the warmth of this little home. And yet he was afraid. Afraid the horrific hand bristling with razor-sharp hairs that lurked in his worst nightmares might punch a gaping hole in the ceiling of the apartment and seize him and cast him out into the cold. It was a dread that went back to his childhood.
Olia stood up, offering her guest a view of her outfit, black from head to toe. She crouched in front of the small fireplace built into the wall to the right of the door. She lifted the logs out from the ash, rearranged them and lit the fire. The flames enveloped the logs, the soot-coated hearth began to glow, the flames rose higher.
The flames and the question in the girl's eyes—"Who are you? Who are you?"— awoke a scattering of reluctant images in the haze of Askia's memories. The outlines of a village, a red dirt road travelled by herdsmen, back there near Nioro du Sahel. The ground, heated by the rays of a relentless sun, rising toward the thick clouds in a fine dust that stuck to the skin. Nioro, the point of departure, as far back as his memory could take him. He must have been five or six years old. Nioro or a dry patch of land somewhere in the vicinity. The long red road and a bridled donkey led by his father Sidi, who had sat his only son, Askia, on the animal's back. Behind the donkey, the father and son, walked the mother, Kadia Saran, carrying on her head a basket of provisions, a bundle, a pouch containing phials filled with potions, amulets, and root sticks, a noria of remedies against all the ills of time, to which were privy only these herders of the great winds. And all of them in tow of the faltering donkey that could trot no faster than their flight over the sloping trails.
Of this he was sure: It was there they had set off one opaque night steeped in a complicit silence. And when he hunted through his memory for the reason why they had departed, what emerged was the certainty that it could not have been for the grazing. Because there had been no cattle left for already a long while. Only the donkey had remained, sole survivor of the epidemic that had mowed down their herd. This fact came back to him, and he saw their journey in a different light. A sombre light: the lack of rain in the Sahel, the burnt millet fields, the land covered with lizards through which the despair crept in, the empty granaries, the stomachs hollowed out by hunger, and the gazes and prayers fixed on the horizon where the rain would come from.
He thought the departure was because of the rain and the earth dying under their feet. He recalled those days spent crossing other arid lands, ravaged plains where a few souls hung on, resigned or reckless, full of hope or outright scorn. Scorn because the father, the mother, the son, and the donkey passing by their huts had a strange smell. The smell of many unwashed days. The mocking voices on the roadside:
"It's true we don't have any water left, but is that any reason to smell so bad?"
"Can it be that the wind's tongue may not have washed away their filth?"
"It's true that they are not to blame."
"They have no water."
"Still, is anyone entitled to stink like pariahs, like miscreants, like undesirables?"
"Can it be that the sand may have refused to lather away their dirt?"
"Try to understand. The sand is hot. It's impossible to cleanse your body with…"
"Can it be…"
"That they…"
"Live on the long road…"
"Because the long road is all they have?"
"Who are you?" Askia read in her eyes and the camera lens. This is how those few scattered episodes, the starting point of the roads he had forever taken, came back to him.
Paris. A raw month of February running its monotonous course. His first meeting with the girl. He had forgotten to lock the doors of his taxi. She said, "You must have been sent by an angel— taxis are so rare at this time of night, especially on such a small street." And, without waiting for his response, she settled in and asked him to take her to rue Auguste-Comte by the Jardin du Luxembourg. Engrossed in the pictures she was deleting from her camera, she hardly looked at him. Their eyes met in the rear-view mirror, and he heard her explain, as if answering a question of his, that she used digital for minor projects. She stared at him for a split second and returned to her business. She talked while selecting and deleting pictures. He followed her with his eyes, furtively spying on his customer as she purged her camera of portraits that did not please her. A bitter smile appeared on his face. Because it occurred to him in very precise terms that, four years earlier, before he had fled, he too had been wiping out faces with the click of a button.
He had taken boulevard Saint-Michel. There was nothing very complicated about this run. All he had to do was let his customer off farther up, near the Luxembourg gates. By the fountain bearing the same name as the boulevard: silhouettes gliding past, coats buttoned up against the dying winter, noises, moods, skins, a man standing alone with his back to a corner of the fountain, tending a grill and the chestnuts he sold to those scurrying over the cobblestones of Lutèce. The night had spilled its ink across the page of the day, the street had retrieved a light different from that of the old sun: signs glittering on the façades of the cafés, waffle shops and newsstands. And another light streamed from the nimble fingers of a juggler, an artist throwing flaming torches, catching them and launching them back into orbit again. It was a beautiful performance but he was afraid the juggler would get burned. His customer was still bent low over her camera. He wanted to hear her voice again, perhaps for her to assail him with the music of her speech: "Isn't it a lovely night? Do you like chestnuts?" He wanted her to tell him something, a word, a thought: "You know, this technology makes things so easy. You can get rid of all the faces, I mean all the portraits, that aren't to your liking!" She raised her head, stared at him a second time in the rear-view mirror and finally said, "You look like someone. But without the turban."
He shivered. What she saw in the mirror was not him. Someone else behind him, beyond his face. She lifted her head and introduced herself, "I'm Olia," and instantly went back to deleting pictures, the ones she found unsatisfactory, frenetically hitting the keys of her camera. They were caught in traffic near the Gibert Joseph bookstore. The passers-by were rifling through the books laid out on tables on the sidewalk, searching for buried treasure, their attention focussed on the volumes that they leafed through before dropping them back on the piles.
Askia was still stuck in the long line of cars with his passenger. She took the opportunity to lower the window on her side and, leaning out her thin body, to photograph the readers in profile.
For a long time he had sought to cleanse his mind of the memory of his father, that ghost, that stubborn shadow filling the film screen of his childhood, the screen-like wall at the foot of the bed where he slept in his mother's hut. It was 1973 and already three years since the family had been reduced to the son and the mother huddled in their tropical shanty. The images that rained down on the windshield of Askia's taxi—that was the father, this film that started up at the end of a run, when he found himself alone in the car. There it was, in the film—the father's faithful shadow looming up at night in the hut, on the wall in front of him. It would play with a clown who sported a broad pair of wings on his back. The father and the clown were part of his world. Sidi, the father, who must have become associated with the clown at a travelling circus, wore a large white turban and inhabited the world of the dreamy child that Askia had been. Time had passed since their flight from the Sahel. The father and clown did their routine:
"Where are you going, big turban?"
"I don't know. I'm going."
"You're going."
"I'm going."
"How far?"
"I don't know. As far as I can go."
"You're going as far as you can go…"
"And how far can you go?"
"If I knew, I would tell you."
"You don't know where you're going. But you're going."
"But I'm going."
"And how long have you been going?"
"I don't remember."
"If you knew, would you stop because you'd say to yourself: I've been going for a long time and I don't know where, and I see this makes no sense?"
"Probably. Because it makes no sense."
"But maybe you can try right now to stay where you are."
Edem Awumey was born in Togo in 1975 and currently lives in Gatineau, Quebec. His first novel, Port-Mélo (Gallimard) won the Grand Prix littéraire de l'Afrique noir, and Les Pieds sales (Boréal) was nominated for the 2009 Prix Goncourt.
Lazer Lederhendler's translations have garnered a variety of literary distinctions, including a Governor General's Literary Award in 2008 for Nikolski (Knopf-Random) by Nicolas Dickner. The Breakwater House (Anansi), his translation of Pascal Quiviger's La Maison des temps rompus, was shortlisted for the 2010 Governor General's Award. He lives in Montreal.

redpajama_set_name: RedPajamaCommonCrawl


text:
Paul Kalanithi Quotes
26 of the best book quotes from Paul Kalanithi
"We often sneaked out at night to, for example, sing 'American Pie' beneath the window of the captain of the cheerleading team. (Her father was a local minister and so, we reasoned, less likely to shoot). After I was caught returning at dawn from one such late-night escapade, my worried mother thoroughly interrogated me regarding every drug teenagers take, never suspecting that the most intoxicating thing I'd experienced, by far, was the volume of romantic poetry she'd handed me the previous week."
Paul Kalanithi
When Breath Becomes Air
"Shouldn't terminal illness, then, be the perfect gift to that young man who had wanted to understand death?"
"I had a nagging sense that there was still far too much unresolved for me, that I wasn't done studying."
"Here you are, violating society's most fundamental taboos (cadaver dissection), and yet formaldehyde is a powerful appetite stimulant, so you also crave a burrito."
cadavers
"My life had been building potential, potential that would now go unrealized. I had planned to do so much, and I had come so close. I've spent almost a third of my life preparing for it. I had mapped out this whole forty-year career for myself—the first twenty as a surgeon-scientist, the last twenty as a writer. But now that I am likely well into my last twenty years, I don't know which career I should be pursuing. If I had some sense of how much time I have left, it'd be easier. If I had two years, I'd write. If I had ten, I'd get back to surgery and science. If only I knew how many months or years I had left. Tell me three months, I'd spend time with family. Tell me one year, I'd write a book. Give me ten years, I'd get back to treating diseases. The truth that you live one day at a time didn't help: What was I supposed to do with that day?"
"But how do you know when the tracing looks bad enough? Which is worse, being born too early or waiting too long to deliver? 'Judgment call.' What a call to make. In my life, had I ever made a decision harder than choosing between a French dip and a Reuben? How could I ever learn to make, and live with, such judgment calls?"
"The days are long, but the years are short."
"I recall the sun filtering through the magnolia tree outside my office and lighting this scene: Paul seated before me, his beautiful hands exceedingly still, his prophet's beard full, those dark eyes taking the measure of me . . . I remember thinking 'You must remember this,' because what was falling on my retina was precious. And because, in the context of Paul's diagnosis, I became aware of not just his mortality but my own."
Abraham Verghese
"I sat, staring at a photo of Lucy and me from medical school, dancing and laughing; it was so sad, those two, planning a life together, unaware, never suspecting their own fragility."
Lucy Kalanithi
"Even if you are perfect, the world isn't. The secret is to know that the deck is stacked, that you will lose, that your hands or judgment will slip, and yet still struggle to win for your patients. You can't ever reach perfection, but you can believe in an asymptote toward which you are ceaselessly striving."
"In this room, I had sat with patients and explained terminal diagnoses and complex operations; in this room, I had congratulated patients on being cured of a disease and seen their happiness at being returned to their lives; in this room, I had pronounced patients dead . . ."
"Any part of me that identified with being handsome was slowly being erased—though, in fairness, I was happy to be uglier and alive."
"If the unexamined life was not worth living, was the unlived life worth examining?"
"In anatomy lab, we objectified the dead, literally reducing them to organs, tissues, nerves, muscles. On that first day, you simply could not deny the humanity of the corpse . . . Anatomy lab, in the end, becomes less a violation of the sacred and more something that interferes with happy hour, and that realization discomfits. In our rare reflective moments, we were all silently apologizing to our cadavers, not because we sensed the transgression but because we did not."
desensitization
"Medical training is relentlessly future-oriented, all about delayed gratification; you're always thinking about what you'll be doing five years down the line. But now I don't know what I'll be doing five years down the line. I may be dead. I may not be. I may be healthy. I may be writing. I don't know. And so it's not all that useful to spend time thinking about the future—that is, beyond lunch."
"As a resident, my highest ideal was not saving lives—everyone dies eventually—but guiding a patient or family to an understanding of death or illness."
"Well, I guess I learned one thing: if I'm ever feeling down about my work, I can always talk to a neurosurgeon to cheer myself up."
"Even if I'm dying, until I actually die, I am still living."
being alive
"One night on the sofa in my apartment, while studying the reams of wavy lines that make up EKGs, she puzzled over, then correctly identified, a fatal arrhythmia. All at once, it dawned on her and she began to cry: wherever this "practice EKG" had come from, the patient had not survived. The squiggly lines on that page were more than just lines; they were ventricular fibrillation deteriorating to asystole, and they could bring you to tears."
"When you come to one of the many moments in life when you must give an account of yourself, provide a ledger of what you have been, and done, and meant to the world, do not, I pray, discount that you filled a dying man's days with a sated joy, a joy unknown to me in all my prior years, a joy that does not hunger for more and more, but rests, satisfied. In this time, right now, that is an enormous thing."
"Human knowledge is never contained in one person. It grows from the relationships we create between each other and the world, and still it is never complete."
"There is a moment, a cusp, when the sum of gathered experience is worn down by the details of living. We are never so wise as when we live in this moment."
"The tricky part of illness is that, as you go through it, your values are constantly changing. You try to figure out what matters to you, and then you keep figuring it out. It felt like someone had taken away my credit card and I was having to learn how to budget. You may decide you want to spend your time working as a neurosurgeon, but two months later, you may feel differently. Two months after that, you may want to learn to play the saxophone or devote yourself to the church. Death may be a one-time event, but living with terminal illness is a process."
"I knew medicine only by its absence—specifically, the absence of a father growing up, one who went to work before dawn and returned in the dark to a plate of reheated dinner."
"It's very easy to be number one: find the guy who is number one, and score one point higher than he does."
trying your best
"Being with patients in these moments certainly had its emotional cost, but it also had its rewards. I don't think I ever spent a minute of any day wondering why I did this work, or whether it was worth it."
Emily Dickenson
Rachel Hollis


text:
Tuesday's Headlines: Maybe this IS an L of a Plan Edition
Andy Byford in a file photo.
New details are starting to slowly emerge about the the Andrew Cuomo-endorsed plan to repair the L train without shutting down its East River tunnel for 15 months. The Daily News reported that MTA engineers had considered — and rejected — a version of the Cuomo plan once before. Meanwhile, the Post played up NYC Transit President Andy Byford admitting that he's on the hook for the success or failure of the Cuomo plan.
And, of course, the Times went with its latest annoying question headlines, "Is the Fix for the L-Train Apocalypse Too Good to Be True?" — and then never revealed the answer (which is "Yes!"). But the paper did quote an engineer who said, "A repair cannot last as long as a total rebuild." The MTA engineer gave the Cuomo patch job a life expectancy of 10-20 years, while Byford promised 40.
Vin Barone at amNY added a detail that 90 percent of the tunnel work that was originally planned will still happen, according to Byford — but the key time-saver is the new plan to merely seal water-damaged walls in the tunnel and hang new cables on the walls rather than embed them. And amNY also focused on the benefit to the Williamsburg rental market (oddly, though, with a photo of DUMBO and the Lower East Side).
And Curbed mostly focused on the real-estate impact, but also advanced Streetsblog's agenda-setting coverage to show that business owners in Williamsburg are already starting to demand their parking back. Emma Whitford and Amy Plitt get a shoutout here for a comprehensive impact story.
And in other news:
The Daily News Editorial Board came out strongly for congestion pricing on Monday, calling it "not a tax on drivers but a map to a fairer and more rational transportation system." (NYDN)
Queens Council Member Jimmy Van Bramer is ramping up his anti-Amazon rhetoric. (Via Twitter)
In case you missed it (our editor did!), Gov. Cuomo finally appointed a commissioner of the Department of Motor Vehicles — which is kind of a big deal, given that this is the agency that can help keep bad drivers off the road. (NY Post)
A subway panhandler allegedly stabbed a straphanger who declined to give him 10 cents. (NY Post)
Corey Johnson will be at the 77th Street station in Bay Ridge at 5 p.m. tonight to listen to subway riders' concerns. We wonder if he'll hear any!
Filed Under: Today's Headlines


To celebrate Black History Month, Hiram College is collaborating with Lake View Cemetery Foundation, the History Center at Western Reserve Historical Society and WVIZ/PBS ideastream® on a series of lectures on prominent African Americans buried at Lake View Cemetery in Cleveland. The lectures feature a distance-learning component through which high school and middle school students can either interact live or livestream and email questions beforehand.
Last week, Anisi Daniels Smith, Hiram College sociology instructor, presented the first of these lectures, on Jane Edna Hunter. A NAACP Spingarn Medal winner, Hunter founded the Working Girls Association, which offers assistance, shelter and education to women. Hunter graduated from the Cleveland Law School.
Vivien Sandlund, Ph.D., professor of history, will present a lecture next Wednesday on Carl and Louis Stokes. Louis Stokes was the first African American congressman elected to Ohio in 1969, headed the Congressional Black Caucus and was the first African American on the House Appropriations Committee. Cleveland-based politician Louis Stokes became the first African American elected mayor of a major U.S. city when he took the office in 1968.
Wrapping up the series, Liz Piatt, Ph.D., assistant professor of sociology, will present a lecture on Charles and Helen Chesnutt on Feb. 28. Charles Chesnutt was one of the best known writers of the Harlem Renaissance and the first African-American writer to publish in the Atlantic. His daughter Helen Chesnutt was the first African American teacher in Cleveland Public Schools. Both were actively involved in social, educational and civic efforts to not only improve the lives of African Americans, but to change white people's perceptions of African Americans during the early 20th century.
While these men and women spent a large part or all of their lives in Cleveland, their influence reaches beyond the city limits. They paved the way, in social, political, educational and civil means, for generations to follow.


Worship is at the heart of all we do at Columbia First Seventh-day Adventist Church. We believe that the primary reason for worship is to have a closer relationship with Christ and it is a continuum of becoming more like Him. This will enable us to minister to our church family, community, and the world in a way that conveys the love of Jesus, His Word, and His will for us all.
Come visit and worship with us!
9:30AM each Saturday morning with classes for toddlers to older children, teens and young adults, and older to golden ages.
Each Sabbath (Saturday) morning beginning with Songs of Praise at 10:45AM.


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Home / Products by Subject / Management/Case Studies / Just a Little Something from All of Us: Conflicting Expectations for Gift Fund Management Lead to Dissatisfaction
Just a Little Something from All of Us: Conflicting Expectations for Gift Fund Management Lead to Dissatisfaction
Nicole Bérubé
Mélanie Robinson
CASE STUDY. The case describes a situation where the employees of a department agree to contribute to a gift fund but have different expectations of how it will be used. An interim manager has decided to assume responsibility for managing the fund and has done so in a way that has caused employees to question his decisions.
Just a Little Something from All of Us: Conflicting Expectations for Gift Fund Management Lead to Dissatisfaction quantity
SKU: 2033-HEC Categories: Management/Case Studies, Management & Strategy Tags: motivation, organizational behaviour, organizational justice, perception
Just a Little Something from All of Us: Conflicting Expectations for Gift Fund Management Lead to Dissatisfaction: Abstract
Just a Little Something from All of Us: Conflicting Expectations for Gift Fund Management Lead to Dissatisfaction is a case study by Nicole Bérubé and Mélanie Robinson.
Jeanette Williams, the administrative assistant of the IT department of a large firm, had suggested creating a departmental gift fund to which employees would each contribute a set amount each year and that could be used to purchase gifts to mark significant events in the lives of department employees. Though she had managed the fund since its inception, Dave Babcock, the interim manager, had decided to take over its management.
Over the course of several months, a number of events occurred requiring the use of the gift fund. In most cases, those events were of the type for which the fund had been created – births, deaths, promotions, and departures. However, Dave had also used the fund to pay for a social event, generating mixed reactions from employees. The fund had been depleted, and Dave had solicited volunteer contributions from employees when more events occurred calling for gifts. Department staff had begun to ask questions about Dave's management of the gift fund. Faced with another event and a depleted fund, Dave had to decide what to do next.
Teaching objectives
Develop their analytical skills by applying theoretical concepts to examine relationships between supervisors and employees in cases where employees have a vested interest in management decisions
Gain a better understanding of how different factors can interact (e.g., factors related to the actors involved and the context) to impact perceptions, attitudes, and behaviours, and ultimately work motivation and satisfaction
Draw on both their analyses and knowledge of the literature to make recommendations as to how the manager should approach the current situation and improve it going forward
Main themes covered
The importance of communication
Collegiality, courtesy
Consideration in a team environment
Concepts & theories related to the case
Organizational justice
Teaching notes are available for teachers only. Please contact the HEC Montréal Case Centre.
Personal use, Teaching license
Yes, for university professors
Range of Pages
Be the first to review "Just a Little Something from All of Us: Conflicting Expectations for Gift Fund Management Lead to Dissatisfaction"
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CASE STUDY. The case is told in the words of the federal government bureaucrat who blew the whistle about the corruption. The way federal civil servants dealt with the whistleblower's revelations is examined.
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Sarah is wearing our Mercredi Hump Day jumper and Black Janet Skirt, you can shop her look now!
It's #HumpDay! How do you celebrate reaching the mid-week milestone?
I ensure the website is kept up to date with exciting new pieces and help put together the Joanie newsletters so everyone knows the latest products, offers and news from Joanie HQ!
The best part of my job is working with the wonderful Joanie team!
Is there an album you're playing on repeat at the moment?
Sarah jumping for joy in her Mercredi Jumper!
The 60s so I could be a mod.
The Moby Whale Breton Top – I like whales and stripes. I also have my eye on the Sharman Rocket Intarsia Jumper because it looks like the jumper that Danny wears in The Shining and the Gwen Tea Dress – because everyone needs a navy polka dot dress!
Thank you for reading Sarah's interview! Stay tuned to read the rest of the series with our Joanie HQ gals. You can shop Sarah's 'Hump Day' Mercredi Jumper now.


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Regime Change Venezuela
Ricardo Vaz
The Inglorious End of Juan Guaidó
Juan Guaido's "interim presidency" of Venezuela has come to an end, as opposition parties chose to end the U.S. backed arrangement. They hope to unify behind one candidate in next year's election and…
Roger D. Harris
Alex Saab, Venezuelan Political Prisoner on Trial in Miami, Refuses to "Sing"
Venezuelan diplomat Alex Saab was kidnapped by the U.S. in 2020 and is still in custody. An evidentiary hearing is taking place to determine if the country that constantly speaks of a "rules based…
Jacqueline Luqman
Venezuela Continues To Be the Model for True Democracy in the Americas
The 2002 attempted coup against Venezuelan president Hugo Chavez was undone because of popular action. The Bolivarian Republic recently held an international summit commemorating events which defied…
Dan Beeton
The Venezuela Coup 20 Years Later
The legacy of Venezuela's short-lived 2002 coup d'etat, and the subsequent countercoup, endures for US-Latin American relations.
US's Flaunting of Diplomatic Immunity Challenged in Court – Imprisoned Venezuelan Diplomat Contests Extraterritorial Judicial Abuse
The Vienna Convention on Diplomatic Relations protects the rights of Alex Saab. But the Trump administration violated international law in charging him with a crime and the Biden administration…
Illegally Imprisoned Venezuelan Diplomat Faces US Court Amid a Shifting Global Context
Alex Saab's April 6 hearing takes place in the setting of a mercurial world situation, where events in Ukraine may have indirect bearing on his case and on the larger US economic war against…
Glen Ford , BAR executive editor
The Racist, Imperialist War on Venezuela
We are reprinting Glen Ford's 2019 article on Venezuela not to demonstrate that he was prescient on the issue of U.S.-Venezuela policies, but because it is still relevant and demonstrates the t
Lauren Smith
Miami Defenders of Twice US Kidnapped Venezuelan Ambassador, Alex Saab, Rally for his Release
The U.S. has twice kidnapped Venezuelan diplomat Alex Saab.
Peoples Dispatch Staff
Venezuela Immunizes Its Population Against COVID-19 with Cuban Vaccine
Venezuela signed an agreement with Cuba for the purchase of 12 million doses of Abdal after the country announced and celebrated the success of its locally developed anti-COVID-19 vaccine.
Sara Flounders and Roger D. Harris
The Case of Alex Saab - US Abduction of Venezuelan Diplomat, a Global Challenge
The case involves the kidnapping of a diplomat by the world's sole superpower locked in an unequal struggle to destroy the formerly prosperous, oil rich country of Venezuela.


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HomeArchiveAUDIO INTERVIEW & ARTICLE: Help Audit the Fed, Now!
AUDIO INTERVIEW & ARTICLE: Help Audit the Fed, Now!
October 5, 2012 AFP Archive, Audio 0
Wendy Bidwell, the Director of The Project to Restore America, discusses her organization and its goals, the primary one being applying pressure to United States Senate Majority Leader Harry M. Reid (D-Nev.), to bring the Senate's version of the Audit the Fed bill, S. 202, to the floor for a vote, in this informative interview (18:04).
Push for Bill to Audit Fed Focuses on Senate Action
• Americans must rally behind S. 202 to achieve victory
A new AMERICAN FREE PRESS advertiser has a new message: let's restore America. In fact, the name of their campaign is The Project To Restore America, which seeks nothing less than a way to restructure America's governance. The advertiser, Stansberry & Associates Investment Research, began the project to "fix the underlying causes of our major national problems by establishing three new amendments to the Constitution."
The three new amendments are a balanced budget at every level of government, sound money backed by our country's large gold reserve and a change in the tax structure, so every American can keep 80% of their income.
The Project believes that "we have to fundamentally restructure our system. There must be more balance between rights and responsibilities. There must be some fundamental limit on spending and on taxes. And finally, we need a logical way to put a stop to the narrowing of the tax base. Everyone who votes should share in the burdens of government—otherwise the incentive will always exist to vote for more government spending, no matter how high taxes (and debts) rise."
And the Project has made it easy to have your voice heard, and it's all free. All you need is a computer, an Internet connection and some time. Currently, 55,000 Americans have signed onto the Project and that number is expected to climb to over 100,000 by year's end.
The brain behind the Project is Frank Porter Stansberry, who founded Baltimore-based Stansberry & Associates Investment Research in 1999, which publishes Stansberry's Investment Advisory, a monthly newsletter that discusses safe value investments. The newsletter is independent, which means it is not beholden to advertisers, so is free to tell the truth, much along the same lines as the paper you're now reading.
This year Stansberry launched a radio program, which is currently one of the top ten investment shows in America each week. Last year, Stansberry produced a video entitled "End of America," which forecasts the end of America's global economic dominance. It has gone "viral," meaning it has spread rapidly and has been viewed by over 20 million Americans, as well as being featured on many U.S. media outlets.
In order to gain a fuller understanding of the Project, AFP conducted an exclusive interview with Wendy Bidwell, the director of The Project To Restore America.
"We are trying to inform Americans about the real underlying problems of what we're experiencing in our day-to-day lives. We're also trying to do something about it. It's real grass-roots activism. This is our way of holding our elected officials accountable, so that they would do what they said they would do, and what the constituents want them to do."
The Project's main push is the Audit the Fed bill, overwhelmingly passed in the House (H.R. 459), and languishing in the Senate, compliments of Harry Reid (D-Nev.), although polls indicate over 75% of Americans are in favor of the bill. Bidwell hopes the Project can force a vote on the bill, S. 202, by flooding Senators' offices with petitions, through email and the good old-fashioned U.S. Post Office, referred to as "snail mail," buy Internet-savvy types.
Bidwell is confident the Project can have an impact through a focus on S. 202.
"I think if we make our huge push around one bill, that's already been drafted, that's already been passed in the House, and we don't stop putting on that pressure, then I think we'll see a change."
Visit the Project to have your voice heard.


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Personal attacks, court debate for GOP hopefuls
Posted: 11:01 PM, Feb 13, 2016
GREENVILLE, S.C. (AP) — Republican White House hopefuls insisted that President Barack Obama step aside and let his successor nominate the next Supreme Court justice, in a raucous Saturday night debate that also featured harshly personal jousting over immigration and foreign policy.
The debate was shaken by the death of Supreme Court Justice Antonin Scalia hours before the candidates took the stage. Among the contenders, only Jeb Bush said Obama had "every right" to nominate a justice during his final year in office. The former Florida governor said the presidency must be a strong office — though he added that he didn't expect Obama to pick a candidate who could win consensus support.
Data curated by InsideGov
The five other candidates on the stage urged the Republican-led Senate to block any attempts by the president to get his third nominee on the court.
"It's up to Mitch McConnell and everybody else to stop it," Donald Trump said. "It's called delay, delay, delay."
A debate that began with a somber moment of silence for Scalia devolved quickly into fighting between Trump and Bush, then between Trump and Cruz. The exchanges highlighted the bad blood between the billionaire businessman and his rivals as the race turns to South Carolina, a state known for rough-and-tumble politics.
Trump, repeatedly interrupting his rivals, lashed out at Cruz after the Texas senator challenged his conservative credentials, Trump calling Cruz the "single-biggest liar" and a "nasty guy." The real estate mogul also accused Bush of lying about Trump's business record and said Bush's brother — former President George W. Bush — lied to the public about the Iraq war.
Bush, who has been among the most aggressive Republican candidates in taking on Trump, said that while he didn't mind the businessman criticizing him — "It's blood sport for him" — he was "sick and tired of him going after my family."
Trump was jeered lustily by the audience in Greenville, South Carolina, a state where the Bush family is popular with Republicans. George W. Bush plans to campaign with his brother in Charleston Monday, making his first public foray into the 2016 race.
Ohio Gov. John Kasich sought to inject the election's high stakes into the discussion in the midst of the fiery exchanges between his competitors.
"I think we're fixing to lose the election to Hillary Clinton if we don't stop this," Kasich said.
The governor's warnings did little to deter his feisty colleagues.
Cruz and Sen. Marco Rubio also revived their fight over immigration, with the Texas senator haranguing his Florida counterpart for sponsoring failed legislation that would have created a pathway to citizenship for many of those in the United States illegally. Cruz also accused Rubio of taking a more moderate approach when speaking to Spanish-language media in an attempt to appeal to Hispanics.
"I don't know how he knows what I said on Univision — he doesn't speak Spanish," Rubio shot back.
Rubio entered the debate under immense pressure following his disappointing fifth-place finish in the New Hampshire primary. He stumbled badly in a debate days before that vote when he relied heavily on well-rehearsed talking points, even after being called out for it during the contest.
Rubio appeared more fluid in Saturday's contest, including during a robust defense of his proposed 25 percent corporate tax rate — which is not as much of a tax cut as many of his rivals are pitching. Rubio said his idea would leave enough revenue in the federal budget to triple the child tax credit for working families with children.
Just six contenders took the debate stage, far from the long line of candidates who participated in earlier GOP events. Yet the Republican race remains deeply uncertain, with party elites still hoping that one of the more mainstream candidates will rise up to challenge Trump and Cruz. Many GOP leaders believe both would be unelectable in November.
Scalia's sudden death could serve as a reminder of the consequences of elections.
Cruz cast the moment in stark terms, saying allowing another Obama nominee to be approved would amount to Republicans giving up control of the Supreme Court for a generation. An uncompromising conservative, Cruz urged voters to consider who among the GOP candidates would nominate the most ideologically pure justices.
"One of the most important judgments for the men and women of South Carolina to make is who on this stage has the background, the principle, the character, the judgment and the strength of resolve to nominate and confirm principled constitutionalists to the court," Cruz said.
Saturday's debate came one week before South Carolina's primary. Cruz and Trump emerged from the first two voting contests with a victory apiece and appear positioned to compete for a win in the first Southern primary.
Data curated by


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In the absence of evidence of tax evasion, addition under section 40A(3) of the Income Tax Act is unsustainable
by CA Shivam Jaiswal in Income Tax, Legal Court Judgement
The facts of the cae are that the assessee is engaged in the business of trading of medicine and is the stockist of H. L. Medicines. The assessee filed his return of income on 28.09.2012 reporting total income of Rs.6,67,340/-. Statutory notices were issued and served on the assessee which were complied by furnishing all the details including production of cash book, bank book, purchase ledger, sales ledger etc., which were examined on test check basis by the Ld. AO. In the course of assessment proceedings, Ld. AO noted that assessee has made payments in cash for purchases from M/s. Trishul Agency which exceeded Rs.20,000/- in a single day which is contrary to the provisions of section 40A(3) of the Act. It was noted by the Ld. AO that total payment of Rs.17,43,683/- were made for purchase of medicine in cash for which he proceeded to disallow the said business expenditure by applying provisions of section 40A(3) of the Act and added it back to the total income of the assessee. Aggrieved, the assessee went in appeal before the Ld. CIT(A) who also sustained the addition. Aggrieved, the assessee is now in appeal before the Tribunal.
Before us, Ld. Counsel for the assessee placed on record a written submission along with relevant documentary evidence in the paper book containing 37 pages. Ld. Counsel submitted that invoices of M/s. Trishul Agency were raised on different dates, all of which are below Rs.20,000/- and for which a ledger confirmation from M/s. Trishul Agency was referred to, placed in the paper book at pages 1-3. He pointed out that the purchases were made against different bills and none of such bills exceeded Rs.20,000/-.
Per contra, Ld. Sr. DR submitted that Ld. CIT(A) has rightly upheld the disallowance made by the ld. AO by noting that even though identity of the person from whom purchases having been made is established but the source of cash payment have not been established. He further submitted that Ld. CIT(A) noted that test of business expediency has also not been proved by the assessee and he thus supported and relied on the orders of the authorities below.
Observation by the Court
The court had heard rival submissions and perused the material on record. The issue for our consideration is in respect of disallowance made u/s. 40A(3) of the Act for the payments made in cash in excess of Rs.20,000/- for the purchases made by the assessee from M/s. Trishul Agency. From the perusal of the material placed on record and submissions made before us, it is an admitted fact that the genuineness of the party has not been doubted. Furthermore, it is an undisputed fact that all the payments of purchases made by the assessee from M/s. Trishul Agency pertains to invoices having value less than Rs.20,000/- each. It is also an admitted fact on record from the perusal of ledger account of both the parties i.e. the purchaser (assessee) and seller (M/s. Trishul Agency) that the purchases and corresponding sales are duly recorded in their respective books of accounts. Further, the purchases and sales registers were examined by the Ld. AO and from the perusal of the impugned order, there is no defect which has been pointed out, both for purchases and sales made by the assessee. Also it is important to note that the books of account were subjected to audit u/s. 44AB of the Act and have not been rejected by the Ld. AO in the course of assessment proceeding.
Considering the aforesaid facts and circumstances of the case and respectfully following the judicial precedents relied on hereinabove, we direct the AO to delete the addition of Rs.17,43,683/- made by invoking section 40A(3) of the Act. Accordingly, this appeal of the assessee is allowed.
The appeal of the assessee is allowed by the court.
Heera-Mani-Devi-Vs-ITO-ITAT-Patna
Tags: addition under section 40A(3) of the Income Tax Act is unsustainable, Heera-Mani-Devi-Vs-ITO-ITAT-Patna, In the absence of evidence of tax evasion, Income Tax, Income tax India
The Supreme Court overturns a Section 148A order for failure to provide sufficient information
Expenditure incurred by trusts outside of India cannot be considered as income application


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Putnam's Reynolds: Better Times Call for Active Management
Portfolio > Investment VIPs
By Savita Iyer-Ahrestani
May 15, 2014 at 12:43 PM Share & Print
Robert Reynolds, president and CEO of Putnam Investments, is happy with the state of the U.S. economy.
It isn't booming, he said earlier today during the keynote presentation at Envestnet's 14th Annual Advisor Summit in Chicago, but it's certainly robust enough to boast, among other achievements, a strong financial system, a chance to be energy independent by 2020 and extremely favorable demographics compared with many other industrialized nations.
Globally, too, things are looking pretty good.
The worst of the European crisis is apparently over, and while emerging markets are going through some challenges, elections in several countries — India, Indonesia, Brazil — will allow a record number of voters to have their say, and hopefully, elected leaders will enact the necessary structural reforms to ensure long-term, sustainable economic growth.
All this is very new, of course, but against a more favorable backdrop — one where globalization continues, Reynolds said, and where "in 10 years, China will be even bigger than it is now" — advisors are going to have to work hard to figure out the best investment options for their clients. The low-interest environment provides an added challenge when seeking to meet retirement goals in particular, Reynolds said, calling on advisors to be nimble and creative in seeking out the best, long-term investment solutions and managers to work with on their clients' behalf.
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For Reynolds, this is the time for active management, for seeking opportunities and value beyond the tried and true, to figure out different ways to manage volatility, all the while embracing new opportunities.
"Today, we're entering a period where active management can really add premium," he said.
As life expectancy increases, there's a greater need to generate income in retirement. Being able to meet those income generation goals means operating in a global environment that lends itself to active management — to stock picking, for example, rather than indexing.
Those who are stock pickers, who are ready to look for different opportunities in various countries across the globe in an active manner, will fare well, Reynolds believes, and those advisors who seek out actively managed funds will be able to add greater value to their clients' portfolios by capitalizing on individual opportunities within a favorable overall backdrop.


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Ivan de Warenne (eng. John de Warenne; 30. lipnja 1286. – 29.? lipnja 1347.) bio je sedmi grof Surreya, a njegova je žena Ivana bila unuka Edvarda I., kralja Engleske.

Ivanovi roditelji su bili Vilim de Warenne, sin grofa Ivana de Warennea i Ivana, kći grofa Roberta de Verea.

Ivan je naslijedio na mjestu grofa svog djeda po ocu kad je imao 19 godina, 1305. god. Sljedeće je godine, 25. svibnja, oženio Ivanu od Bara, čija je majka bila kći Edvarda I. Engleskog.

Mnogi su plemići bili nezadovoljni položajem Piersa Gavestona, koji je bio miljenik kralja Edvarda II. Ivanova je žena bila nećakinja tog kralja, ali je Ivan također bio nezadovoljan Gavestonom. Sam Ivan za svoju ženu ni nije mnogo mario te je pokušao poništiti svoj brak.

Kad je Edvardova žena Izabela Francuska postala de facto vladarica Engleske, Ivan je isprva i dalje bio odan njezinom mužu. Ipak, na kraju je prešao na kraljičinu stranu, možda iz straha.

Škotski kraljević Edvard Balliol učinio je Ivana grofom Stratherna, ali je to bila samo titula. Edvard je bio sin Izabele de Warenne, koja je bila Ivanova teta.

Moguće je da Ivan i Ivana nisu ni konzumirali brak, ali je Ivanu bilo onemogućeno poništiti ga. Tvrdio je da je spavao s Marijom, Ivaninom tetom, ali čak ni to nije pomoglo. Zna se da su njegove prave ljubavnice bile Matilda de Nerford i Izabela de Holand, sestra Tome Hollanda.

Djeca Matilde i Ivana:
Ivan Warenne
Toma Warenne
Edvard Warenne
Ivana Warenne
Katarina Warenne (žena Roberta Heveninghama)
Izabela Warenne (redovnica)

Ivanova je sestra Alisa bila supruga Edmunda FitzAlana.

Izabeli je Ivan ostavio nekoliko zlatnih prstenova. Na mjestu grofa Surreya ga je naslijedio Rikard FitzAlan, 10. grof Arundela.

Izvori

Životopisi, Engleska

redpajama_set_name: RedPajamaWikipedia


There are 3 public schools and 0 private schools listed on our site for Calumet.
There are 87 full-time teachers educating a total of 1,445 students. 675 students receive a free lunch while 226 receive a reduced-price lunch.


What an amazing opportunity for Sapphire class!
The date has been set! Tuesday 26th March, Carlton's Primary School Choir will be performing in the Primary Choir Festival.
The Festival is taking place at Somers Town Sports Centre. Tickets are now available from the school office.
Year two and the Road Safety visit.
Year two and the Road Safety visit. Stopwatch the Theatre performing Footsteps the movie! The children were the stars of the show. Thank you @Stopwatch, we had a great session on Road Safety.
Next Thursday (7th March) is World Book Day!
Year one visited The Science Museum to continue with their learning of Space and Science. They saw an interactive show gives that gave Year one the chance to experience different aspects of living and working in space.
Dear parents and carers. Come in with your ideas of topics that you would like to be discussed in the Coffee Mornings after the half term. We look forward to seeing you there.


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Breast Cancer Services Fury
Marc Jones, health campaigner, with Fiona Boyce, Barbara George, and Beryl Rogers Breast Cancer Services Campaigners at the BCUHB Board meeting
Campaigners fighting to keep Breast Cancer services in Wrexham were bitterly disappointed that they were not allowed to address the Health Board today (Tuesday 10 March).
The Betsi Cadwaladr health board were meeting at Mold for the first time since the shock decision to transfer consultant-led services from Ysbyty Glan Clwyd to Wrexham and Bangor. This was also the first opportunity campaigners had to challenge the Board about plans to move Breast Cancer Services from Wrexham to Glan Clwyd. The change comes as the Health Board are looking to change maternity services at Glan Clwyd Hospital, with more mothers and babies expecting to have to go to Wrexham Maelor Hospital as a consequence.
Campaigners travelled to the board meeting in Mold in order to question the Board on the proposals. However, having received verbal indication that they would be allowed to express a comment, they were denied that opportunity when the issue arose.
Mabon ap Gwynfor, Plaid Cymru Candidate for Clwyd South who attended the meeting and sat with the campaigners, said: "The proposed changes to downgrade maternity services in north Wales have been universally criticised by clinicians, campaigners and politicians as ill-judged, and poorly thought out. But one untold consequence of this hurried decision is that Breast Cancer services will be moved from Wrexham over to Glan Clwyd in order to accommodate the new influx of mothers and babies at Wrexham Maelor. This has resulted in many women voicing their concerns about their future treatment at Wrexham Maelor. We have received no assurances that these changes are only temporary, nor whether check-ups and other breast cancer treatments will remain in Wrexham.
"Campaigners attending the Board meeting wanted to challenge the Board on these and other issues, but were refused a chance to ask their questions. They and other patients deserve answers as a matter of urgency.
"It is not right that major changes are being carried out without consultation and without seeking the opinion of those affected."
Campaigners have set up a petition on the online campaigning website 38 Degrees, 'Keep Breast Cancer Surgery In Wrexham', and over a thousand have already signed it, which reads:
Review the decision to centre breast surgery at Glan Clwyd to serve the whole of North Wales.
Clarify whether this decision is an 'interim' change, or a permanent one.
Clarify whether or not check-ups and other breast cancer treatments currently carried out in Wrexham will remain in Wrexham.
Tags: BC, Breast Cancer, Cancer, Health
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Survivor Of Colorado Propane Blast Advocates For Burn Victims After Losing Partner In 'Tremendous Explosion'
By CBS4 Health Specialist Kathy Walsh October 3, 2020 at 4:51 pm
Filed Under:Colorado News, Englewood News, Explosion, House Explosion, Pagosa Springs News
ENGLEWOOD, Colo. (CBS4) – It has been nearly a year since a man was critically burned in a propane explosion just outside Pagosa Springs in Archuleta County. Thanks to the care he received at Swedish Medical Center, that man has recovered physically with few limitations.
But Fred Phillips told Health Specialist Kathy Walsh he will never get over losing his loving partner who was killed in the inferno.
(credit: Fred Phillips)
"I write her a letter every night," said Fred.
That is how the 73-year-old stays connected to Electra Churchill, the woman he shared his life with for 25 years.
On October 11, 2019, the couple from Louisiana traveled to Colorado to catch the changing aspens. They were in the guest house on their property in Pagosa Springs.
"I turned the projector on and the next thing I know was a tremendous explosion," Fred explained. "I was digging and fighting my way out of there. That's all I remember."
(credit: Trevor Schoelhamer)
Bystanders pulled Fred out. He was told he tried to go back.
"… and get Electra," said an emotional Fred.
But Electra was trapped and died. Fred was flown to Swedish Medical Center.
"He had full thickness burns to about 50% of his body," said Dr. Benson Pulikkottil, Medical Director of Burn and Reconstructive Centers of America at Swedish.
Pulikkottil and his wife, Dr. Lily Daniali, both plastic surgeons, treated Fred with skin grafts and a solution of spray-on skin cells made from a sample of Fred's healthy skin.
"Those then grow and will cover and make new skin," said Dr. Daniali with Burn and Reconstructive Centers of America at Swedish.
Fred left Swedish after 46 days.
"This is a guy that's flying planes, he's working out, he's doing all the stuff he was doing before his injury," said Pulikkottil.
Fred credits the hospital staff and his family for his physical healing.
Emotionally, he aches because he lived and Electra didn't.
"I have flashbacks of her ordeal," said Fred. "I don't think I'll ever get over it."
Fred is now an advocate for burn survivors and he is pushing for stronger warning signs of gas leaks.
"I would say your eyes should start burning," said Fred. "It should be so terrible that you turn around and walk out."
Fred cannot change what happened to him, but he hopes he can keep prevent someone else from suffering.
Kathy Walsh
Kathy Walsh is CBS4's Weekend Anchor and Health Specialist. She has been with CBS4 since 1984.More from Kathy Walsh


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Home / Home / Projects
180 5th St. E., Suite 700
St. Paul MN 55101
Updated March 2018
Pokegama Dam and Recreation Area is one of six recreation areas included in the Headwaters Lakes Project. Pokegama Dam is located on the Mississippi River, in Itasca County, approximately three miles upstream of the city of Grand Rapids, MN. The reservoir is operated for flood damage reduction, recreation, fish and wildlife conservation and water quality.
Pokegama Dam was constructed in 1884. The main embankment was constructed with a pervious rock and clay-filled timber structure core and covered with sandy material. In 1941, a sheet pile wall was installed upstream of the timber core to minimize unwanted seepage (flow) through the embankment. The existing sheet pile wall has been effective at controlling seepage, but its overall condition is currently in question. Without an effective seepage barrier, the water levels could rise throughout the embankment causing downstream slope instability, which would threaten the integrity of the dam.
An existing sheet pile wall has been in place to control unwanted seepage through the Pokegama Dam main embankment, but its current condition is in question. A cement-bentonite slurry wall will be installed upstream of the existing sheet pile wall to provide additional seepage control measures.
If funded, the U.S. Army Corps of Engineers team will perform a design charrette focusing on a design concept with cost estimate for a comprehensive solution to the site. When additional funding is available, the plans and specifications will be completed and a contract for construction awarded.
The project was authorized by the Rivers and Harbors Act of 1880 for the purpose of forming reservoirs and to provide supplemental water during periods of low flow.
Design Charrette $50,000
In-house design/oversight costs $300,000
Related Fact Sheet: Information Paper
pokegama dam
seepage
slurry trench


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Q: how to deploy projects with maven and jboss? I am new to maven and Jboss(actually, never used other server as well)
I have a flex/blazDS/Java project with maven and jboss server. How can i deploy it?
PS: When i do the development, I used maven to build the project(using mvn clean install package ...).
then, go to my eclipse, right click the main app, let it run on my server.

A: The command is not jboss hard-deploy as given in above comment. The correct command to deploy using maven in jboss is
jboss:hard-deploy

A: You could use the Maven JBoss Plugin.  Once configured properly, you can use it to start and stop the server as well as deploy via JMX (for remote instances) and by hard-copying (for local instances).  As the guide states, first you would add the plugin to your pom:
       <plugin>
        <groupId>org.codehaus.mojo</groupId>
        <artifactId>jboss-maven-plugin</artifactId>
        <version>1.5.0</version>
        <configuration>
          <jbossHome>/usr/jboss-4.2.3.GA</jbossHome>
          <serverName>all</serverName>
          <fileName>target/my-project.war</fileName>
        </configuration>
      </plugin>

Make sure you customize the fields in the configuration section appropriately.  Then you can deploy to your JBoss server using (for remote)
mvn jboss deploy

or (for local)
mvn jboss hard-deploy

redpajama_set_name: RedPajamaStackExchange


This is a site-specific collective artistic praxis and we are investigating into vague spaces through the interventions of temporary, process-based, textile installations in non-traditional spaces. The vague spaces are based on "terrain vague", a concept coined by the architect Ignasi de Solà-Morale (1995). Vagueness is here explored from the point of view of the citizen, the habitant and the wanderer inspired by Michel de Certeau (1984). Therefore the vague terrains explored are small in-between vacant areas in (sub)urban spaces, scheduled to be built upon in the future.
Vague Tissue is the development of site-specific tissues that grow, transform, pulsate, molds, camouflages and play with visions through transparency and create complex spaces that changes over time. The materials used are experiments with the spinning and preparation of textile fibres and yarn. The first year 2012/2013 will be devoted to basic research focusing on vague space, designing the probing activities, material experiments and development.
On this blog you can follow experiments, encounters and interventions in vague spaces of Västra Frölunda.
The finishing process of the project "Vague Space – Vague Tissue" project by Vague Research Studios will include feedback to the community in Västra Frölunda. In September 2014 we will have an exhibition at Frölunda Kulturhus including a seminar, workshop and presentations. During the year spent at the vague space we have collected not only the material but also other traces from the space and a massive amount of photographs. The image archive now consists of 3500 images. From this archive we will make an animation a multimedia film named "Barnen, alkoholisterna och konstnärerna" (The children, the alcoholics and the artists) where we will collaborate with Gustaf Leijelind, Milena Karlsson and Pontus Gunve.
The time has come to strip down the material that has been part of the vague space for over a year. The time of moving on has come. We will create something with the material, the threads will re-appear as a textile trace of the space. A formation of a memory since the trees and the vague space will eventually disappear.
In the summer of 2012 Vague research studios initiated the project "Vague Terrain – Vague Tissue", in which the concept of vagueness is explored through an artistic process. The concept of vagueness is inhabiting a potential, that is to say a possibility for the unexpected to happen or to be created. In the project of "Vague Terrain - Vague Tissue" VRS would like to exemplify and concretize this potential through a long-term exploration of a vague space. This is a translation of an article about the project published at the blog "This Must Be The Place" the autumn of 2013. It was published in Swedish and here you can read it in English.
In the city, especially in peripheral project areas there are spaces characterized by the ephemeral as they are scheduled to be built upon in the future, so called "vague spaces". Vague Space or "Terrain Vague" is a conception coined by the architect Ignasi de Sola- Morales. These places usually have a life-cycle of a few years, sometimes longer. For city planners, politicians and landowners these spaces are archived as potential future building prospects. But for those people who are using these spaces and who passes by they are part of their everyday life. Vague spaces have a character of the city's "subconscious" and are frequently used as dumping sites by both residents and the city, the dumping could be consisting of various materials like gravel, old clothes, trash and shoveled snow. These places are invisible not only geographically but also linguistically as they are not mentioned or named and usually only heard of as problem areas. The sites are partially hidden but also populated by dog owners, moped riders, alcoholics, kids and joggers. "Our" vague place was found in Västra Frölunda and VRS then made their workplace and studio as a one year project and commitment. In this case the location of the vague space will be developed with housing in autumn 2014 and will thus disappear as a common and public space. The new buildings are part of a project called "Äppelträdgården" (the apple orchard) and has three stages. The first phase is already built, the second built in the autumn of 2013 and the last phase will be building on the actual site of the vague space making it disappear.
THE ROUND RING – public yesterday, semi-public tomorrow.
The shopping mall Frölunda Torg and the houses around it was planned in the late fifties and was built in the early sixties and by that the area was converted from a pure rural area to the urban space it is today. Also mentioned in the early plans and how patios were linked to the rental apartments. For example, in the plans from 1959 it is said that it must be scheduled to be at least 12 square feet of play area per average-sized apartment. Through the community center Frölunda Kulturhus we have made contact with some people who have lived in the area for a longer time and they could tell their story about the place. One story told about the vague space is that it had trees planted all around the circular shaped green area which is visible from the early flight photo. The space is drained and has a manhole in the center, the ground is immersed and therefore sheltered and the trees around the meadow creates a shaded circle. Who designed this place is a mystery since the early plans only reveal the space as a regular square ball field.
In the sixties the place was used as a playground and parents were resting in the shade and had joint oversight of the children playing on the lawn. The place has since been named by the people using it, it´s called THE ROUND RING. In the seventies the place changed character and became a sort of backside of Frölunda High School where young people hung out. Today THE ROUND RING has developed into a vague place, "in between ", a margin that can be completed and interpreted by many. When reading the old city plan and comparing it to the new plan from 2008 the linguistic change is striking. The Town Plan of 1959 highlights and describes a "public place" with different characters and there are areas that can only be used for "general purpose". The "general" can be linked to "common" to older expressions that describes something that is common. The new plans of the area describes the open slots that will be left between the new buildings with the words "the contiguous garden rooms stands for the semi-public space. There are common areas for play and recreation ". This way of writing is revealing a new desire different from earlier public spaces and commons, here the plan reveals ideas of semi-private spaces and semi-public spaces and the argumentation for this new structure in urban planning is to provide and enhance security.
In order to explore the space Vague Research Studios started the process by installing a "textile text" that would interact with the site's unclear identity but not eliminate the vague or "tidy up" the character of "subconscious" public space. VRS was aiming towards a form and content of the intervention that integrates with the site at several levels; materially, socially, geographically and sustainable in the sense that the interventions organization and degradation becomes part of the site's story. In addition to formative and documentary processes, we have worked through informal meetings, these were constantly occurring since we physically were spending time in the place. The collaboration that developed out the most from the process of informal meetings was with Frölundaskolan (school) and with a group of children 7-10 years who during the year we have met several times. They worked with us as co-researchers exploring the vague space together with us. The school children were already using THE ROUND RING as some sort of playground and after they found us as we were making our textile intervention the collaboration started. As co-researcher the schoolchildren was given a material from us and to a certain extent we formalized the explorations and discussions of vague places and public spaces. The school children brought a frenetic energy and occupied the space with ease and self-confidence.
The development of the informal meetings with the school kids was quite straight forward but what was more difficult to develop was the meetings that took place wordlessly. We had a few conversations with the alcoholics who populate the area a few times, instead we observed each other's presence on hold. They as a group noticed us and we noticed them but there was not many crossings of our paths even if we occupied the same space. It is only now at the end as we have come to actually meet and had conversations, probably has both the way we look at them and they at us changed, but it has taken time. Those who use the area to sit outside and drink beer together has already built up its own structure with places where they congregate.
The entire area around the vague space is and has been a construction site in the past year and the recently completed recreation area Positivparken (Positive park) with new play areas for different ages, fitness equipment, bowling greens, football and volleyball courts and dog parks is a process that we have noted and documented. In the late sixties Frölunda was known for a large play ground where the kids could build whatever they wanted from real wooden materials. The playground is no longer there, during the seventies the space shifted and became a hangout for young people who drank "mellanöl" and was demolished. "Mellanöl" is a pilsner beer which was sold in shops and not in the regulated shops of Systembolaget in Sweden between the years 1965-1977. The idea of the playground as a place where you build and create, agree well with other ideas and artistic examples from the late sixties. One can compare the "lumberyard" playground in Frölunda with artist Palle Nielsen's major exhibition "The Model – A Model for a Qualitative Society" at Moderna Museet of 1968. This an example of art which includes strong visions of the society. It is described that the kids were swimming in paint at the Museum of Modern Art and the kids' hands-on creativity was seen as a slow but steady road to freedom and an active community.
Today's playground for the young children in Postivparken in Frölunda stands in sharp contrast to the playground at the Moderna Museet. Here everything is ready, things can only be chosen and used, not amend, build or re-build. Vague is that which is not complete, where there is a potential for an addition. The not-yet-ready is not something alien to us in an everyday life setting but is often perceived as something negative. The not finished requires both tolerance and forbearance with the undefined, all boxes cannot be ticked and everything cannot have a box with a label on. Layout and design traditions has a dark side, an idea of an ultimate finality which promise to include all dreams and desires. Design is after all not necessarily the ultimate place for dreams and visions, especially not if the designs are pre-determined by someone else. It feels as if the tolerance around our commons and public spaces decreases. It is also a story about socio economical class, where and in which context things are done, for example if you own a piece of land and maybe have your own patio drinking a glass of wine together with your friends, or if you take the freedom of doing the same action on a city-owned (our common) ground. Coming back to the vague place THE ROUND RING, an ultimate public place and a vague space whose identity is unclear and therefore fragile. But even so, this is an excellent place for resting, secrets and explorative sketching. Vagueness make up a space where the division between the useful and the useless is becoming blurred and not distinguishable and this gray area and margin allows and enables me to add something, if only myself.
The place as a space moves into my body and becomes a part of it. This is an un-reversible process. To flow, to flee into a space, to mimic, to appropriate and partially assimilate. The space is eventually left and abandoned and still the space lives on inside of me as memory, experience, new stories and fantasies. The process goes on regardless if the space is self-organized or governed but there is a difference, in a governed space the actual structure and system of the space seem to move in to my body rather than the informal and random meetings of a vague space and in this case a particular "terrain vague" in Västra Frölunda.
I picture the connection between my body and the space as an invisible thread that continue to exist between me, people, plants, animals and material.
The environment around the vague space is becoming a building site where new houses are popping up very quickly. We are observing and documenting another building which been around for quite a while. This wind shed are an informal and self-organized meeting place for people drinking beer outdoors in the area.
Äppelträdgården provides its inhabitants with their own separate identity. People living on this estate will not just be living in Frölunda but in the "apple orchard". At the same time, Äppelträdgården offers an attractive aspect for people who already live and work in that estate. Instead of constructing sharp physical boundaries between the site, the estate and the surrounding areas with the purpose of creating an island of safety, we are creating an local attraction that is open to all. This will give people living here the opportunity to get onto the property ladder, with a home on their own plot of land within the same housing estate."
The second stage is already on its way and will look like this according to the builders and architects.
In this picture one can see the vague space at the end of the field.
The houses from stage one looks like this from within the vague space.
One of the ideas of the Apple Orchard is that there will be spaces between the houses left as an apple garden for everyone to use. Therefor there are no fences on the architect drawings of the garden. The people who live in the houses have another idea and have been putting up fences to mark their property. A quite new phenomena in the area.
Here you can read more about the Apple Orchard in Swedish.
We have found that the vague space have become a place for playful constructions with materials like branches, sticks, stones and straw. Is it the kids from school using the space?
A few days later we found out what was going on. The art school at Frölundaskolan was inspired by the workshops/interventions we had done in the vague space and had started their own outdoor project there using natural material found in the space to built and create different forms and shapes.
By doing something in a space does not only mean it ends there. As long it is public other people will be inspired.
Lena T H Berglin is a researcher in Textile Material Design with an interest in future textile materials and the fluid relation between textile science and the use of materials. In my research I collaborate with researchers in polymer technology, art and physics. My experimental work covers the assembling of fibres into different kinds of yarns to the creation of the textile structures.
Kajsa G. Eriksson is an artist and a researcher in urban art and design with the aim of enhancing engagement in public space. I work process based, site-specific and collaborative using the methods of "performing explorations". This method can be thought of as a probe, involving oneself as a starting point and using narrative, props, performance and materials to both create and discover scenarios and by this promote a sensuous understanding of urban space.


ISTANBUL (AA) - Turkish dailies' coverage on Monday focused mainly on Turkey's capture of an accused serial killer, the national team's poor start at Euro 2016, and the mass shooting at a U.S. nightclub.
"Serial killer caught in minibus," was SABAH's headline, reporting that Atalay F., the alleged killer of three people since 2013, was arrested in the Aegean province of Izmir on Sunday.
STAR said the fugitive was caught in a minibus when some commuters and the driver recognized him and alerted the police.
The case of the suspected serial killer heated up last week after it emerged that Atalay F. was also allegedly responsible for the murder of a history teacher on May 26.
Local press claimed that the suspect also murdered two other people back in 2013.
He has been on the loose since then.
"[He] ate frogs and plants," was MILLIYET's headline, saying that he had spent his last days on the run around the mountains, eating frogs and plants to survive, according to MILLIYET.
HABERTURK claimed that in questioning with Istanbul police, Atalay F. confessed to having killed the history teacher because she recognized him from news accounts of his earlier murders.
VATAN said that one police officer drew criticism after she took a selfie with the suspected killer.
The deadliest-ever mass shooting in the United States, in Orlando, Florida on Saturday, was also covered by many dailies.
The shooter, identified as Omar Mateen, 29, killed at least 50 people and injured 53 others at a gay nightclub in Orlando.
"ISIS massacre in the U.S.," was CUMHURIYET's headline, using an alternate name for Daesh.
CUMHURIYET said that Daesh claimed responsibility for the shooting and added that Mateen, who was killed when police stormed the nightclub, had been questioned three times since 2013 for alleged links with radical groups.
"Deadliest since Sept. 11," was HURRIYET's headline, reporting that the shooting was the bloodiest on American soil since the September 2001 attacks.
VATAN reported that U.S. President Barack Obama blamed lax gun laws for the shooting.
In other news, on Sunday Turkey's national soccer team was defeated by Croatia in the Euro 2016 Group D opener in Paris.
"Poor start," was YENI SAFAK's headline, while CUMHURIYET declared: "Disappointment".
HABERTURK said the Turkish team was defeated but commented that it is "too early for despair".
The national team's coach Fatih Terim congratulated Croatia and said, "I am sorry. But we will learn lessons [from this match]," according to HABERTURK.
After losing to Croatia 1-0, Turkey is looking ahead to Spain in the upcoming Group D match on June 17 in Nice.
Title contenders Spain will play their first Euro 2016 match against the Czech Republic on Monday in Toulouse.


Financial Times spoke with SVP for Sustainable Investing Julie Gorte about a new law in California that will require two large pension funds to report how they manage climate-related financial risk.
Read article at Financial Times .
Morningstar Blog – Gender-Diversity Funds: How Strong Are Their Intentions?
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I was recently invited to write an information piece, explaining ways in which I have worked with Drama in the EU.
I have worked in 11 countries in the EU with teachers, actors and academics and have participated in several EU funded arts projects, many conferences and several IDEA Europe meetings.
Professionally, my work in Europe has resulted in some strong partnerships and lasting friendships. I am unhappy that the UK has decided to leave the EU.