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Home › Concert pamphlet signed 'Semiha Berksoy'.
Concert pamphlet signed 'Semiha Berksoy'.
SEMIHA BERKSOY, (Turkish soprano, opera singer and painter), (1910-2004).
Original Concert Program Pamphlet with Autograph Signature, Ist., 1955.
Original concert program signed and inscribed by Semiha Berkdoy. 24x12 cm (Folded size). Folded. 8 p., fully ills. Signed and inscribed by Berksoy. Semiha Berksoy was a Turkish opera singer and painter. Berksoy started her acting career in the role of Semiha in the first Turkish sound movie İstanbul Sokaklarında directed by Muhsin Ertuğrul in 1931. She was cast in operettas in Istanbul theaters early in her career. She sang in the first Turkish opera Özsoy in 1934 (commissioned by Kemal Atatürk, composed by Adnan Saygun). She was honored as the First Turkish Opera Singer and awarded the opportunity to go to Berlin Music Academy for further training. She started her international singing career in 1934, performing in Turkey, Germany, and Portugal, becoming known as a Wagnerian soprano. In 1939, for the 75th birthday of Richard Strauss in Berlin, she sang the role of Ariadne in Ariadne Auf Naxos, becoming the first Turkish prima donna to perform on stage in Europe. Back in Turkey, she worked with Carl Ebert helping him in his efforts to create the Turkish State Opera and Ballet. This initiative leads to the creation of the Experimental Stage of the Ankara State Conservatory 1940. She retired from the Istanbul Opera in 1972. She was decorated with the "Atatürk Opera Award" at the 50th-anniversary ceremonies commemorating the introduction of women's rights to vote and to be elected. She received the title of "State Artist" in Turkey in 1998. Following her retirement, she remained active mostly as a theater artist. Four years preceding her death, at the age of 90, she appeared in a dramatic scene singing Liebestod in Robert Wilson's opera The Days Before: Death, Destruction and Detroit III at the Lincoln Center in New York City (1999).


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Fermaatti-kuoro
Kuoropukuinfo
Kuoro
Tukiyhdistys
Fermaatti 40 vuotta
The Fermaatti Choir Today
In a way typical of youth choirs, the composition of the Fermaatti Choir changes every year. During its thirtyfive years of existence, hundreds of young girls from Kalajoki aged 12-20 have sung in the choir. At present the choir has 45 members.
The repertoire of the choir ranges from old Latin sacred music to spirituals and modern gospel music, and from Finnish and foreign folk songs to classical choral works and contemporary works written specifically for youth choirs. The choir has a permanent piano accompanist, Minna-Liisa Kaattari. Some songs are also accompanied by various instrumental groups formed of the members of the choir.
Fermaatti has made six recordings: Lähetän ilon oksiltani (I Send Out Joy from My Branches) (1986), Kuule kun laulu pisaroi (Hark, Drops of Song are Falling) (1992), Joulun sointuja (Sounds of Christmas) (1996), Laulun silta (Bridge of Song) (2000), Tuntisin mie tuulen (I'd Feel the Wind) (2006) and In Excelsis (2012). The choir has also recorded some material for the Finnish Broadcasting Company.
During 34 years the choir has co-operated actively with other choirs, music groups and music schools in and around Kalajoki. The choir has also participated both in the national and in the international activities arranged by SULASOL (FAMA, the Finnish Amateur Musicians' Association).
In addition to giving concerts and participating in training courses in Finland, the choir has also performed in Hungary, Holland, Belgium, Germany, Italy, Ireland, Japan and France. In Holland and in Italy the choir took part in competitions, in both of which it won the first prize. In 2000 the Finnish Broadcasting Company chose Fermaatti as the Youth Choir of the Year.
Apart from the parish of Kalajoki and the local open college, one of the most important backers of the choir has been the Fermaatti Choir Support Organization, which consists of some of the girls' parents and does selfless and valuable youth work in the locality. The choir has also received financial support from many enterprises and companies, organizations and funds. We would like to extend our heartfelt thanks to all our supporters.
Events over the years
Soili Autio, CV
English Front Page
Picture Gallerie
© 2019 Fermaatti-kuoron tuki ry

redpajama_set_name: RedPajamaCommonCrawl


text:
package io.pravega.segmentstore.server;

import io.pravega.segmentstore.contracts.AttributeId;
import io.pravega.segmentstore.contracts.SegmentProperties;
import java.util.Collection;
import java.util.HashMap;
import java.util.Map;
import lombok.val;
import org.junit.Assert;

/**
 * Helps compare SegmentMetadata instances.
 */
public final class SegmentMetadataComparer {

    /**
     * Verifies that the given SegmentMetadata instances contain the same data.
     *
     * @param message  The message to include in the assertion failures.
     * @param expected The SegmentMetadata instance to compare against.
     * @param actual   The SegmentMetadata instance to compare.
     */
    public static void assertEquals(String message, SegmentMetadata expected, SegmentMetadata actual) {
        String idPrefix = message + " SegmentId " + expected.getId();
        Assert.assertEquals(idPrefix + " getId() mismatch.", expected.getId(), actual.getId());
        Assert.assertEquals(idPrefix + " isDeleted() mismatch.", expected.isDeleted(), actual.isDeleted());
        Assert.assertEquals(idPrefix + " isDeletedInStorage() mismatch.", expected.isDeletedInStorage(), actual.isDeletedInStorage());
        Assert.assertEquals(idPrefix + " getStorageLength() mismatch.", expected.getStorageLength(), actual.getStorageLength());
        Assert.assertEquals(idPrefix + " getStartOffset() mismatch.", expected.getStartOffset(), actual.getStartOffset());
        Assert.assertEquals(idPrefix + " getLength() mismatch.", expected.getLength(), actual.getLength());
        Assert.assertEquals(idPrefix + " getName() mismatch.", expected.getName(), actual.getName());
        Assert.assertEquals(idPrefix + " isSealed() mismatch.", expected.isSealed(), actual.isSealed());
        Assert.assertEquals(idPrefix + " isSealedInStorage() mismatch.", expected.isSealedInStorage(), actual.isSealedInStorage());
        Assert.assertEquals(idPrefix + " isMerged() mismatch.", expected.isMerged(), actual.isMerged());
        assertSameAttributes(idPrefix + " getAttributes() mismatch:", expected.getAttributes(), actual);
        Assert.assertEquals(idPrefix + " isPinned() mismatch.", expected.isPinned(), actual.isPinned());
        Assert.assertEquals(idPrefix + " getType() mismatch.", expected.getType(), actual.getType());
        Assert.assertEquals(idPrefix + " getAttributeIdLength() mismatch.", expected.getAttributeIdLength(), actual.getAttributeIdLength());
    }

    /**
     * Verifies that the given SegmentMetadata instance has the expected Attributes.
     *
     * @param message  The message to include in the assertion failures.
     * @param expected The expected set of Attributes.
     * @param toCheck  The SegmentProperties instance to verify.
     */
    public static void assertSameAttributes(String message, Map<AttributeId, Long> expected, SegmentProperties toCheck) {
        assertSameAttributes(message, expected, toCheck, null);
    }

    /**
     * Verifies that the given SegmentMetadata instance has the expected Attributes.
     *
     * @param message  The message to include in the assertion failures.
     * @param expected The expected set of Attributes.
     * @param toCheck  The SegmentProperties instance to verify.
     * @param excludedAttributes A Collection of Attribute Ids to exclude from the comparison. If non-null and non-empty,
     *                           these attributes will not be considered in either expected or toCheck.
     */
    public static void assertSameAttributes(String message, Map<AttributeId, Long> expected, SegmentProperties toCheck, Collection<AttributeId> excludedAttributes) {
        Map<AttributeId, Long> actual = toCheck.getAttributes();
        if (excludedAttributes != null && !excludedAttributes.isEmpty()) {
            actual = exclude(actual, excludedAttributes);
            if (expected != null) {
                expected = exclude(expected, excludedAttributes);
            }
        }

        if (expected == null) {
            Assert.assertEquals(message + " No attributes expected.", 0, actual.size());
            return;
        }

        Assert.assertEquals(message + " Counts differ.", expected.size(), actual.size());
        for (Map.Entry<AttributeId, Long> e : expected.entrySet()) {
            Assert.assertTrue(" attribute not found " + e.getKey(), actual.containsKey(e.getKey()));
            long actualValue = actual.get(e.getKey());
            Assert.assertEquals(message + " value differs.", (long) e.getValue(), actualValue);
        }
    }

    private static Map<AttributeId, Long> exclude(Map<AttributeId, Long> from, Collection<AttributeId> keysToExclude) {
        val result = new HashMap<>(from);
        keysToExclude.forEach(result::remove);
        return result;
    }
}

redpajama_set_name: RedPajamaGithub


text:
Contact Us for Further Information  020 8033 2866
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02/01/2021 by Dominic Hobson 0 Comments
THE STRANGE LACK OF TECHNOLOGICAL DISRUPTION IN FOREIGN EXCHANGE
Despite their importance, size and liquidity the global FX markets have remained largely immune to the digital technology revolution. The reasons for this include their global scale, amorphous and fragmented structure and lack of an over-arching regulatory framework, but the principal cause of the lack of innovation is the domination of the FX markets by a small coterie of large global banks. Even the FX services for consumers developed by household name FinTechs have done little more than reduce the margins banks enjoy in one area of their business. In the wholesale FX markets large corporations, asset managers and asset owners continue to pay high prices for FX execution and hedging. This Future of Finance event engages with a group of innovators that have identified ways to challenge the banking oligopoly in FX.
Click here to see the Event information
Innovation in the FX industry is taking place largely outside the incumbent banks and stock exchanges that dominate the traditional industry.
Firms as various as the London Metal Exchange (LMX), digital money transfer house Revolut and crypto-currency trading firms ErisK and LedgerX are innovating in FX trading, clearing and settlement.
A group of banks is behind Fnality, which is looking to use tokenised cash to expedite settlements, but a switch to a tokenised FX market awaits the issue of central bank digital currencies (CBDCs).
Traditional FX is dominated by as oligopoly of large banks which dominate transactional activity bi-laterally, via platforms and through FX prime brokerage.
Post-trade operational costs outweigh execution costs, but the major banks have limited incentive to reduce these when the excess costs can be bundled up as a single price to the client.
With FX prime brokers shrinking their client lists in response to a perceived increase in risk and an actual increase in capital costs, a new model of trading FX has emerged.
The new model, based on crypto-currency techniques of tokenisation and "atomic" settlement on blockchain networks, relies on using tokenised assets to collateralise counterparty risk and access credit without the need for intermediation by a bank.
However, "real money" users of the FX market such as corporates and asset owners are unlikely to encourage the use of crypto-currency trading, clearing, settlement and custody techniques.
Innovative ventures are encouraging institutional investors to minimise the market impact of their trades by netting before going to market, but face challenges in building liquidity.
Inertia remains a potent enemy of change in FX, especially among asset owners, which rarely understand how much they are paying for FX and fail to encourage their asset managers to tackle the cost aggressively.
The FX Global Code, introduced by regulators to improve sell-side behaviour in the FX markets, is not attracting buy-side support, failing in its aim of improving sell-side behaviour and inadequately enforced.
Though regulators have threatened the FX markets with direct regulation if the FX Global Code does not succeed in its aims, the threat is seen as empty. As a global marketplace, FX can be regulated indirectly only, via the regulation of its participants at the national level.
Though many users of FX services rely on Transaction Cost Analysis (TCA) to manage their FX costs, most TCA is worthless because it does not use independent benchmarks.
Data standards would help to cut costs by improving transparency at execution and by making it easier to reduce post-trade operational costs by disintermediating some service providers and eliminating repeated reconciliations.
According to the Bank for International Settlements (BIS) biennial survey of the global foreign exchange markets, 40 per cent of foreign exchange trades are completed by telephone rather than digitally. This serves as an apt verdict on a market which boats of being the largest (the same BIS survey estimated the global FX market turns over US$6.6 trillion a day) and most liquid (a dubious claim far from true outside major currency pairs at certain times of day) in the world.
Innovation in FX is occurring outside the incumbents
Such technological disruption as there is comes largely from outside the large banks and traditional exchanges that make up the trading side of the FX industry. The London Metal Exchange (LMX), for example, offers 24/7 trading of two major currency pairs (euro/US dollar and US dollar/Japanese Yen). Revolut offers its retail customers FX bargains 24/7 at inter-bank rates, which it collects from third party data vendors such as Morningstar and CurrencyCloud.
Two crypto-currency trading firms now getting into FX - namely, ErisX and LedgerX - are now registered as clearing houses at the Commodity Futures Trading Commission (CFTC). By trading crypto-currencies against fiat currencies, they are beginning to impinge on the traditional FX markets.
Since they are already executing and settling crypto-currency trades in real-time, they are well-positioned to win business from traditional banks that still settle FX trades on trade date plus two days (T+2). Indeed, they could overtake even the traditional stock exchange and clearing groups that are now entering the FX markets.
CBDCs could tilt the FX markets towards a tokenised model
Other forms of innovation are also occurring, and not always outside the ambit of the incumbent banks. Fnality, for example, was set up by a group of established banks to work out how tokenised cash could be used to settle securities transactions on blockchain networks.
It has now expanded its scope to settle transactions through the use of tokens across six industries (securities, payments, clearing, trade finance, issuance and collateral management) and five major currencies (US dollar, Sterling, euro, Canadian dollar and Japanese Yen).
But what could prompt a mass migration of customers to a tokenised model is the introduction of central bank digital currencies (CBDCs). By fully digitising fiat currencies, CBDCs could encourage the most valuable sorts of foreign exchange trade to shift from banks and traditional exchanges to new entrants using trading and post-trading models honed in the crypto-currency markets.
An oligopoly of banks dominates the FX markets, including platforms
Such a transition is likely to be a prolonged and patchy. After all, at present, and by a variety of means, just five banks control four fifths of transactional activity in the FX markets. A small group of banks, expanded to no more than ten, also controls access to exchange trading platforms, which have yet to develop true customer-to-customer franchises.
Smaller banks are unable to compete with larger ones and are reduced to recycling to their clients the prices set by larger banks. The much-trumpeted non-bank liquidity providers (NBLPs), most of which are originally buy-side institutions, are ultimately dependent on credit intermediation by investment banks in their guise of FX prime broker.
In one high profile instance, a major bank jettisoned its NBLP-style clients in the wake of an uncomfortably large loss. That indicated exactly where the balance of power lies. Because NBLPs have credit lines with multiple prime brokers, and no one prime broker has complete visibility into the intra-day exposure of any one NBLP, unpleasant surprises of this kind are bound to occur.
Indeed, prime brokers in general are currently shrinking the volumes of business they are prepared to support, partly because of the risk but chiefly because the cost of the capital associated with the use of their balance sheet to support clients active in the FX markets is becoming insupportable.
Post-trade costs outweigh execution costs in the FX markets
The banks are simultaneously neglecting to tackle a major source of unnecessary costs in their back offices. More than one of the top ten FX banks has post-trade costs in their FX business of more than US$1 billion a year, but they have not managed to rationalise a post-trade infrastructure that fragments matching, credit allocation, confirmation, netting, compression, novation and settlement across multiple providers.
One bank is reported to employ 600 staff around the world to manage manual reconciliations in FX trades alone. Nor have banks managed to reduce the exorbitant price they pay data vendors for price information they themselves have created through their own activities.
These unmanaged costs offset the narrow spreads that are now being achieved in major currency pairs because the price of operational inefficiency is bundled up with the price of execution. Indeed, users of the FX markets are paying separate fees for post-trade services which dwarf the costs of execution.
One study of FX allocations between a master fund and sub-funds run by a major global fund manager found costs of US$270 per US$1 million, against the US$2-4 the professional market was paying. In other industries, bundled pricing and cross-subsidisation of this kind has led to anti-trust inquiries, but the FX industry is so far untouched by that threat.
True, some banks have woken up to the cost of post-trade inefficiency. They have proved that costs can be cut without necessitating a radical overhaul of internal systems, but enough inefficiency persists to encourage alternative service providers.
An alternative to FX prime brokerage has emerged from the crypto-currency markets
One model aims to eliminate the need for bank intermediation in FX altogether. The objective is to enable any counterparty to do business with any other counterparty without incurring the counterparty and settlement risk a prime broker covers. It is a demanding goal.
However, it is being met by the simple expedient of tokenising non-native digital assets. They can then be used to collateralise counterparties providing credit without the need to actually move the underlying assets between accounts.
The model has the additional advantage - not presently provided by crypto-currency exchanges that custody assets as well as handing the execution and settlement of transactions - of improving asset safety by leaving assets with third party custodians.
But prime brokers do more than solve counterparty risk. They also allow firms to trade assets they do not own. In other words, they advance credit. Tokenised assets can be lent. The DeFi token market, for example, brings together lenders and borrowers of crypto-assets without the need for intermediation by bank. The new model FX market is adapting the same technique.
It is a model which can appeal to prime brokers. Where a client can source assets from third parties on a blockchain network, the prime broker can continue to service the needs of the same client to settle and custody assets without taking the counterparty risk of the client on to its balance sheet.
"Real money" users of the FX market are unlikely to warm to crypto-currency techniques
However, collateralised trading on crypto-currency platforms that settle trades "atomically" will appeal to professional intermediaries and speculators only. The underlying clients of the FX industry – the corporates that need currency to complete purchases and the long-only asset managers and pension funds that are investing abroad – are much less sophisticated in their choices. They prefer the certainty of working with banks, and the convenience of platforms where banks control the prices, no matter how unfavourable the price.
Understanding of the costs of FX, particularly among asset owners, is low because it is often offered by custodian banks as a "free" service. Asset owners can be surprised to discover that FX bargains are costing them ten times as much as brokerage fees.
Pre-market netting can help "real money" investors cut FX costs
Efforts are being made to encourage "real money" clients to trade FX more intelligently. Siege FX, a London-based venture, enables institutional investors to reduce market impact by netting trades with each other before entering the bank-dominated public arena of spot FX. FX Hedgepool offers a similar peer-to-peer matching platform out of New York.
Netting services of this kind obviously depend on the ability to find a countervailing match. Though the act of searching for a match can of itself discover liquidity, buy-side netting engines do face a chicken-and-egg problem: as long as institutions are too sceptical to attempt to net, they will never be disappointed, and the banks will continue to profit from their scepticism.
In a separate but similar development, asset manager Vanguard has collaborated with blockchain vendor Symbiont, fellow asset manager Franklin Templeton and custodian banks BNY Mellon and State Street to use blockchain to cut the costs of FX forwards trading. Vanguard has previously mused that blockchain networks could be used to disintermediate banks and bank-controlled platforms from FX by enabling peer-to-peer matching of trades.
Asset owners are failing to understand and manage excess FX costs
But, unlike every NBLP, few traditional buy-side institutions are actively looking for alternatives to the status quo. Inertia, especially if the alternative demands sweeping changes to existing workflows. This inertia is a powerful constraint.
As signatories to the FX Global Code, a code of conduct for the FX industry which regulators published in the wake of a series of scandals, asset managers are conspicuous mainly by their absence. Yet Annex 1 of the Code consist of 18 pages of illustrative examples by which the sell-side exploits their inertia.
Asset owners are the root cause of this indifference. They and the corporates are the ultimate sources of liquidity in the FX markets, yet they do not believe the FX Global Code is aimed at them, and they have refused to understand the issues. As a result, they are unable to force their asset managers to drive the necessary changes.
The FX Global Code is proving ineffective
However, there is a view that the FX Global Code is flawed, not just in the sense that it does not protect asset owners from exploitation but also in the sense that following it does not protect sell-side dealers from breaching the law.
Mark Johnson, for example, the former head of global cash foreign exchange trading at HSBC found guilty in a New York Court in 2017 of exploiting confidential information in a client trade in 2011, behaved entirely in line with the stipulations of the Code.
In addition, parts of the Code are simply ignored in day-to-day business. But, whatever its shortcomings, the Code exists because it is not realistic to impose a uniform legal or regulatory regime.
As a global marketplace, FX cannot be regulated directly, only via the national regulatory regimes which apply to each market participant. The threat by regulators to regulate the FX market directly if the Code does not succeed in changing behaviour, is widely regarded as empty.
Transaction Cost Analysis (TCA) is not a useful measure of costs in FX
An alternative to regulation is data, but data that is genuinely useful to end-users is hard to find in the FX markets. Transaction cost analysis (TCA) is used by banks and brokers to reassure clients that the prices they are paying are fair.
Although the second iteration of the Markets in Financial Instruments Directive (MiFID II) forbids banks and brokers using rates from single banks or platforms in TCA calculations, the rule is not enforced.
In TCA reports, the impact of a client trade is routinely measured against the bank rate, instead of an independent rate. In effect, banks and brokers are marking their own homework, without clients (or regulators) protesting.
Data standards are needed to improve operational efficiency
Another obstacle to the effective use of data in FX is the absence of standardised formats. Data inputs as basic as currency pairs, rates, tenors and even the number of digits after the decimal point are not standardised.
This damages transparency, making it hard to reduce unwarranted costs in FX. It also obstructs efficient data exchange, making it hard to reduce reconciliations and improve the efficiency of operational processes.
The contrast with the crypto-currency markets, where the ERC-20 token standard has developed into a universal language for tokens, is marked. But agreement on standards, let alone obtaining a consensus to apply them, is a remote possibility.
Forceful intervention by a regulatory authority could impose standards, but the experience of the FX Global Code is discouraging. Market forces might be adequate, if blockchain displaced the present systems or asset owners finally understood that they are underwriting the costs of inefficiency, but neither outcome is imminent.
Questions to be addressed at FX Part II
1. How likely is it that crypto-currency techniques are widely adopted in the FX markets?
2. Are crypto-currency exchanges better placed to prosper in FX than traditional exchanges?
3. Is the biggest problem in FX operational cost rather than execution cost?
4. Is it possible to make effective regulatory interventions in the FX markets on a global scale?
5. What can persuade asset owners to take their unwarranted FX costs seriously?
6. What is the data opportunity in FX and how can it be exploited?
7. How can data standards in FX be (a) agreed and (b) adopted widely?
If you would like to participate as a panellist please contact Wendy Gallagher at wendy.gallagher@futureoffinance.biz
If you would like to participate in the audience please let us know below or contact Wendy Gallagher on the email above
If you would like to participate as a sponsor please contact Valerie Bassigny on valerie.bassigny@futureoffinance.biz
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November 3, 2018 | 10:37am ET
KINGS, HURRICANES HOT FOR NYLANDER
William Nylander, right wing
The Toronto Maple Leafs have less than one month to either re-sign William Nylander or trade him if the player hopes to play in the NHL this season.
As contract talks between the Leafs and Nylander's camp remain fairly stagnant, the Maple Leafs appear to be more engaged in trade talks than earlier in the season.
While roughly a dozen teams have inquired about Nylander's services, the Los Angeles Kings and Carolina Hurricanes appear to have expressed the most interest, according to multiple sources. TFP first reported Los Angeles' interest last week.
Speaking on the basis of anonymity, one league source told TFP on Friday the Kings appear willing to package defenceman Jake Muzzin and left wing Tanner Pearson in a deal, which may include additional pieces, for Nylander.
Muzzin, 29, has one-year left on his contract after this season and comes with a $4 million salary cap hit, while Pearson, 26, has two-years left on his deal after this season and has a $3.75 million cap hit.
According to a second league source, the Hurricanes may be the front-runners in this race, should the Maple Leafs decide to trade Nylander, and any deal with Carolina is almost certain to include defenceman Brett Pesce.
Pesce, 23, is in the first-year of a six-year, $24.15 million contract.
The Leafs and Hurricanes had discussed a deal involving Justin Faulk in the off-season, but Toronto's expressed significant interest in Pesce.
Two separate sources have confirmed to TFP the Hurricanes have spoken with Nylander's agent, Lewis Gross, while one source believes the two sides have discussed a contract. An offer-sheet, though, is not believed to be in the cards.
Gross did not respond when contacted by TFP for comment.
It's believed the Hurricanes and Leafs are discussing a larger trade involving multiple pieces on both sides. The Hurricanes have sent personnel to watch Toronto's last few games, while Dubas made headlines for taking in a Hurricanes game in Raleigh last week.
Kings GM Rob Blake has been scouring the League in an attempt to tinker with his roster. In addition to his interest in Nylander, Blake is believed to be exploring multiple options and Pearson has been at the centre of trade talks.
Nylander, a restricted free agent, is believed to be looking for a seven-year contract worth no less than $7 million, per season.
Trade talks are expected to continue, while the Leafs and Nylander's camp remain in communication.
TFP Editor-in-Chief David Pagnotta contributed to this report.


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text:
WC: BATMAN #146
Tom Brevoort	Windfall Comics	 August 22, 2021
It must be said that in the early 1960s, BATMAN was a weird comic book. The Caped Crusader was still popular, he was holding down regular positions in not only his self-titled series but also in DETECTIVE COMICS and WORLD'S FINEST (and occasionally appearing in JUSTICE LEAGUE OF AMERICA whenever his editor Jack Schiff's back was turned.) But the character was about as far from his nocturnal roots as it was possible to be. Looking through this issue of BATMAN once again, it's amazing just how bright everything is! There isn't a hint of shadows, of darkness. And while Batman is still fighting crime and protecting the innocent, he's much more likely in this period to run afoul of an alien menace–or have to fend off the well-meaning assistance of the extraterrestrial imp, Bat-Mite (as the cover blurb tells us we'll be seeing here.) As in past weeks, this was another book that I got in my Windfall comic book purchase, paying 33 cents for it. So let's take a look at this ancient, classic issue.
Editorially, BATMAN was under the purview of Jack Schiff, a longtime DC editor who often worked in the shadow of Mort Weisinger, who was now editing Superman, the big money-maker. Schiff was a talented editor, but the institutional fear after the Senate hearings on comic book violence in the 1950s and the advent of the Comics Code had him and most of the DC staff working in the most conservative manner possible. So anything that might be even slightly scary in a Batman story had to be eliminated. As was typical of this era, BATMAN carried three stories, all of them devoted to the Caped Crusader–you got exactly what it said on the cover.
This first story was written by Jerry Coleman and illustrated by Sheldon Moldoff. Bob Kane's contract still mandated that he be the only one credited for any Batman material, so these credits were worked out well after the fact. The story is a trifle, in which Batman and Robin save a stage magician, who makes a show out of conferring magical powers upon them. But Bat-Mite secretly shows up, and decides to make it actually happen. So the two crimefighters suddenly find themselves able to do extraordinary things–but when the underworld realizes that the magician's spell seemingly did work on the Caped Crusaders, they want to be similarly enchanted and the Dynamic Duo need to come to the rescue. It all winds up in typical fashion with a fight atop a colossal kitchen stove–such oversized props had become de rigeur in Batman's adventures that they were almost a requirement.
Next up came a beautiful full-page ad for a pair of titles out of fellow editor Julie Schwartz's stable, lettered and designed as most of these were by DC's crack letter-wizard Ira Schnapp. The combination of the cover illustrations, the electrifying copy and the elegant graphics make these two issues seem like must-buy material.
The second story in this issue was again drawn by Sheldon Moldoff–despite the obligatory Bob Kane signature in the lower left corner–and written by the Masked Manhunter's co-creator Bill Finger. A lot has been written about Finger in recent years, and it's terrific that he's finally getting credit on materials featuring Batman after so many years in obscurity. It's a typical adventure of the period, one far removed from the grimy alleyways of Gotham City. it opens with our heroes having trailed a gang to the African Jungle. But their Batplane is shot down, and they're forced to make their way on foot. When they find the criminals' camp, they discover that it is under siege by a strange Leopard Boy, who has an amazing rapport with animals.
Leopard Boy also speaks in the annoying "baby talk" language that DC loved to use at this time–essentially replacing "I" with "Me" in every sentence: "Me see what happened…called friend to help!" Batman is able to work out that Leopard Boy is the son of a crook who escaped with a fortune in stolen diamonds and vanished–his plane crashed here in the jungle and the boy was raised by the wildlife. The Gotham criminals are trying to find the lost jewels, and are hoping that Leopard Boy can lead them to them. Ultimately, though, the trip makes short work of the bad men, and in the final frame the Leopard Boy is reunited with his law-abiding mother for a happy ending. As is usual in this timeframe, the final story page includes a 1/3 ad for another DC title, in this instance the second issue of Schiff's recently launched AQUAMAN series.
After another filler page devoted to odd facts about fingerprints (a subject actually of some use to Batman stories) we next get the letters page for this issue. As opposed to most of the other letters pages we've seen in these books, it's a relatively dry affair, with the nameless editor reciting facts and plugging upcoming stories with all the enthusiasm of a homeroom teacher. It's a far cry from the more literate Schwartz pages, and the more colorful Stan Lee ones.
Finally, in the back slot of the issue is the cover-featured adventure of this month. This story was written by Arnold Drake, a writer who would go on to co-create the Doom Patrol and Deadman among other things. Artwork again was penciled by Sheldon Moldoff and inked (as the opening Bat-Mite story was) by Charlie Paris. Batman and Robin receive an urgent summons from adventurer Keith Larsen, but upon arriving at his estate, they are stunned to find one of his guests being carried off by a huge disembodied hand–the Hand of Korabo! Larsen tells the Gotham Guardians that on a recent mountain climbing expedition, he removed the jewel-encrusted Hand of Korabo from its protective place at the peak. And since they, one by one, the members of his mountain climbing party have been killed by the strange disembodied hand-thing. Which all sounds creepy, except that the depiction of said events is so absolutely matter-of-fact and so unrelentingly colorful on teh page.
The ending here is a bit of a complicated mess, as it turns out that Larsen himself is the killer, targeting the other members of his mountaineering party so that they won't disclose where he hid the actual jewel-encrusted Hand of Korabo. The giant hand, of course, is all stagecraft and nothing supernatural at all. But Batman figures this out and turns the tables on the explorer, tricking himself into revealing himself and also rescuing the other men endangered by him. It's a good story until you ask yourself for a second, if Larsen was the culprit all along, why in the world did he summon Batman and Robin? I get that he was trying to alibi himself, but that still shows some suspect judgment on his part.
And the issue closes out with one of Schiff's public service pages. Schiff wrote this one himself–it was illustrated by Lou Cameron–and he was largely responsible for these pages being a fixture in the DC titles for decades. They were a feature he cared about a great deal (and his pursuit of which had him labeled as the "house Communist" by the DC editorial staff.) For their time, many of these pages are remarkably forward-looking.
Arnold Drake
Ira Schnapp
Jack Schiff
Jerry Coleman
Julie Schwartz
Lou Cameron
Sheldon Moldoff
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3 thoughts on "WC: BATMAN #146"
I think Grant Morrisson was paying attention… He's embraced a lot of Batman's publishing history. "The Sci-Fi Closet". "The Black Case Book". His current "Superman & the Authority" is another example of anything previously published is fair game, if it has merit. And he finds it.
The Korabo story was a riff on a stock formula: exclusive group of businessmen/club members, someone tries to murder them, turns out it was an inside job ("Death Cheaters of Gotham City" for example).
That Flash/GL page is indeed one hell of an ad.
Bogie says:
I have always suspected that DC's use of aliens , big hands, etc., in their superhero comics was to somehow compete with Marvel's pre-hero books, even though DC had its own sci-fi/horror books.


You want to be the best parent that you can be. What if something as simple as keeping a journal could help you be a more effective parent?
I happen to be a writer, so it makes sense that I'm enamored with the power of the pen. But it's not just me! In fact, the myriad benefits of journaling have been well documented by study after study.
Let's take a look at a few of the perks of journaling, starting with something every parent can appreciate.
If you're alive-and especially if you're alive and a parent-you are intimately acquainted with stress. The good news is that the process of writing down your thoughts and feelings can reduce that stress. Researchers aren't exactly sure of all the reasons why, but studies show that it does.
Perhaps it's the process of spending quiet time reflecting, or the idea of taking all that inner turmoil and pouring it out onto the page where it feels a little farther away, or the fact that sometimes, in writing about challenges or struggles, it's easier to make sense of everything and even stumble across an unexpected solution or two. Actually, it's probably a combination of all that and more.
I'm not going to make the call that grumpy parents can't be good parents, but I will say that grumpiness makes parenting a lot less enjoyable for kids and grownups alike.
That said, if you're grumpy and want an almost instant attitude adjustment, sit down with your journal and make a list of 25 things for which you are grateful. Or find an encouraging Bible verse or saying, and write about what it might be saying to you. Or thumb through your journal and take note of previous dilemmas that, quite frankly, turned out far better than you thought they would. You can also about past victories and take a moment to bask in the glow of those good moments, even if they happened a long time ago. Hey, you could even make a list of all of the songs you've heard through the years that can instantly put you in a good mood (and maybe even make you dance a little). Even making a list of everything that's bugging you can be cathartic.
The point is, there are lots of ways journaling can help you put down the pen in a better mood than you were in when you picked it up.
Keeping a journal also allows you to identify patterns in your thoughts or behavior that you might not have otherwise noticed. For example, about nine years after going through a divorce, I was flipping through recent entries in my journal and noticed an unsettling trend. At random places in my journal, in the middle of unrelated entries, I had jotted the thought, "I don't know why my husband didn't love me." Seeing those words repeated page after page-nearly a decade after the fact!-opened my eyes to something I might never have figured out on my own: a wound I thought had healed over was obviously festering beneath the surface. Journaling helped me identify that wound so I could get help and take that tragic question off auto-play in my head.
Even patterns that don't seem "parenting-related" (like the one I just mentioned from my life), are important to identify. Unhealed wounds, chronic negativity, or lies you keep on auto-play in your head can really impact your effectiveness as a parent. They can also create hurts or issues you unintentionally pass down to your kids. Bottom line, tending to your emotional/spiritual/relational health and growth is critical to your effectiveness as a parent, and journaling is a great tool to help you do just that.
Goals, dreams, and priorities naturally work themselves onto the page as you write, helping you to clarify what's important and what you really want out of life. From there, it's just a hop, skip, and a jump to making a plan and putting it into action. I like making lists in my journal of all sorts of things-ways to save money, things I know make my kids feel loved, date night ideas, what I want life to look like five years from now, life lessons I want to make sure I pass along to my children, etc.
I've already mentioned that journaling reduces stress, and we know how good that can be for both mental and physical health. Here's more good news: Psychologist and researcher James Pennebaker says that regular journaling strengthens immune cells, called T-lymphocytes. Other researchers say that journaling can even decrease symptoms of asthma and rheumatoid arthritis. In fact, in one study conducted at Stony Brook University in New York, improvements in pain management, fatigue, and overall health were documented in participants with breast cancer, rheumatoid arthritis, and fibromyalgia when they took the time to journal about traumatic experiences in their lives for 20 minutes, 3 days a week.
If you don't consider yourself much of a writer, no problem. There are very few rules for journaling. Entries can rival War and Peace in length, or they can be just a few lines. You can even draw images in your journal (doodles and stick figures are welcomed!). You can blog online, but I also recommend that keep a private journal, too. Public and private musings have benefits that cannot be replaced one by the other. Finally, don't worry about grammar or punctuation in your private writings (blogging, of course, requires a little more attention to good writing rules).
The important thing is to create a small space in your day, every day that you can, in which you can get in touch with your thoughts and feelings, and explore those thoughts and feelings on paper.
Anything that can help you manage stress, stop being so grumpy, engage in inner growth and healing, dream and plan, and be healthier is going to improve your experience as a human being. And that, my friend, is going to impact your parenting. Happier, healthier people make better parents. So get busy journaling. You're going to benefit, and your kids will, too.


text:
Temperate Agroforester Vol. 24 No. 3, November 2018
Welcome to the November 2018 version of the Temperate Agroforester. The newsletter welcomes contributions for future issues and input or feedback about anything that you read in this issue.
Uma Karki, Christine C. Nieman, Steve Gabriel, Diomy Zamora and Callie Maron, Editors - Temperate Agroforester
2019. 16th North American Agroforestry Conference. Willamette Valley, Corvallis, Oregon.
Agroforestry in Practice: from the Amazon to Appalachia
Silvopasture Workshop Invites Participants into the Decision-Making Process
Silvopasture Practice Helps a Farmer Stay Strong and Healthy
Diversity, Structure, and Role of Field Boundary Habitats in Agro-ecosystems
Karam Sheban, Forestry Program Specialist with Rural Action; master's student at the Yale School of Forestry and Environmental Studies
It's late afternoon, and the sun is peaking through a gap in the clouds that loom overhead. I'm hunched over my knees in a small metal rowboat (Figure 1), the latest in a series of body postures I've assumed in the hope of making myself more comfortable. With me is my friend Helena—a Brazilian who works for NAPRA, the Support Center for the Riverside Populations of the Amazon—her colleague Bruna, and the two community members who picked us up in a nearby town. Our destination is Cuñia Lake, in the north of the Brazilian state of Rondônia, home to an agroforestry-based community. With funds through a federal exchange program* I spent a week at Cuñia in April 2018, supporting the agroforestry activities that sustain the community with the hope of shedding new light on my work at Rural Action with forest landowners in Appalachian Ohio.
On the evening of August 3rd, 2018, farmers and educators gathered around a campfire along the banks of a spring-fed trout stream in southwestern Wisconsin to discuss silvopasture. The group had gathered for a silvopasture workshop hosted by the University of Minnesota Extension, University of Wisconsin Extension, the Wallace Center Pasture Project, and the Savanna Institute. The two-day workshop began with a visit to Nettle Valley Farm near Spring Grove, Minnesota on August 3rd, and concluded with an evening campfire discussion and morning workshop at Willow Creek Ranch in Coon Valley, Wisconsin (Figure 1).
Lila B. Karki1, Uma Karki1, Sanjok Poudel1, Shailes Bhattarai1 1Tuskegee University Corresponding author's email: lkarki@tuskegee.edu
Silvopasture is a sustainable land management system that consists of trees, forages, and grazing animals grown together in a single land unit. This system offers multiple advantages over its components practiced alone. Although the impact of silvopasture may have a complementary, competitive, or independent relationship as illustrated by Chizmar et al. (2018), it offers the highest returns at all discount rates (4% = $1,807.08/acre) with complementary components. This finding is consistent with the experience and perception of the small-scale forestland owners and ranchers, who advocate silvopasture as a complementary component in their farm operations.
Laura Poppy and Shathi Akhter, AAFC Research Farm, Indian Head, SK, fardausi.akhter@canada.ca
Since 2016, Agriculture and Agri-Food Canada (AAFC) has been working on a project to help understand how field boundaries affect adjacent agricultural land.
Field boundaries are the non-cropped areas surrounding or adjacent to cropped land. Examples of a field boundary include planted shelterbelts (Figure 1) as well as native buffers (Figure 2). When farmland is consolidated into bigger fields, field boundaries are often removed. But not enough is known about the consequences. Producers often treat non-cropped areas (shelterbelts) as non-productive land that competes with crops for moisture and nutrients (Norris and Kogan 2005). However, studies have shown that shelterbelts increase yield in the 2H to 10H distance from shelterbelt with a maximum increase of 9% at 3H compared to the open field (H=shelterbelt height unit) (Alberta Agriculture and Forestry 2004). But the ecological role of non-cropped habitats within the scope of extensive, modern agriculture has not been fully quantified. There are many species of flora and fauna that are adapted to farmland and many depend entirely on these habitats. Since field boundaries represent an interface between farm practices and the ecosystem, it is desirable that the agricultural industry develop practices that enhance, rather than replace, these natural areas and processes (Leaver 1994).


Congratulations to Sutherland Comfort, the 2010 winner of the Battle of the Law Firm bands!We are excited to announce that we raised over $126,000at this year's event!! A huge thank you to all our sponsors, bands, and attendees for making Banding Together 2010 a success. Below are photos of the 2010 Banding Together and links to our press coverage.Pictures from Banding Together 2010.


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Montepaschi Siena 112
Local time: 00:00 PALAESTRA
Montepaschi Siena went into Thursday night knowing it might need to win by at least 44 points to be absolutely sure of making the Top 16. It did better than that. With 40 minutes of fullcourt pressing defense and all its offensive talent in full swing, Montepaschi handed Buducnost the biggest loss in three Euroleague seasons so far, 112-49. That 63-point winning margin helped Montepaschi take the last Top 16 berth as the best sixth-place team across three groups. It finished at 6-8, the same as Pau-Orthez in Group A and Real Madrid in Group C, but its 40-point positive point differential after the blowout was more than enough to win their tiebreaker. The outcome itself was clear in a matter of minutes on Thursday as Montepaschi opened the game with a 15-0 run. But what came after was more of the same, as the lead climbed in leaps of 20 points while the Montepaschi press forced 30 turnovers on Buducnost. Mirsad Turkcan led the way for Montepaschi, posting 22 points and pulling 13 rebounds in 30 minutes. Alphonso Ford tallied 20 more points, Roberto Chiacig 19 and Dusan Vukcevic 13. Dejan Milojevic bagged 12 for the guests, who finished the season 2-12.
With Aaron Mitchell replacing Vrbica Stefanov at the point, Montepaschi started on fire, throwing a zone press at Buducnost that yielded 3 quick steals and a 7-0 lead in less than 2 minutes. After another steal, Roberto Chiacig put back a Turkcan miss, got fouled and made the free throw for a 10-0 lead. And it didn't stop there. Buducnost was embarassed as Montepaschi increased the lead to 15-0 with Mitchell already scoring 7 points. The first basket of guests came from Dejan Milojevic, who proceeded to add 2 more as Buducnost pulled back to within 20-10. Still, Montepaschi's press continued to force turnovers and produce easy shots for the hosts. But with its man-to-man defense digging in better, Buducnost rallied to within 23-16 on a Zarko Cabarkapa jam. Now, Ford came alive for Montepaschi with 5 consecutive points for a new bit advantage, 28-16. Turkcan added a pair of free throws before the buzzer and Montepaschi had a 14-point lead, 30-16, after 10 minutes.
Montepaschi's intensity didn't waver at all in the second period. Just the opposite. The fullcourt press and the man-to-man in halfcourt defense were relentless, delivering steal after steal as the Italians roared ahead by 24 points, 42-18, after a 19-2 partial on a dunk by Turkcan. The game was already practically over in terms of outcome, but Montepaschi certainly knew what was happening elsewhere. So the hosts continued to go full-charge in its press. The lead ballooned to 46-20 and Buducnost all but disappeared completely from the wood. Ford was now ready with his own dunk after yet another steal to finish a new run of 11-2 as the lead soared to 57-22. Montepaschi was not finished. The agony for Buducnost continued to 61-24 score at halftime. TurKcan led the way with 15 points, while Ford had 12 and Mitchell 9 others. Milojevic was the best scorer for Buducnost with 7 points.
Montepaschi started the third period increasing till the 44 points of advantage needing to reach matemathically the Top 16 after three minutes on 68-24 with a lay up of Roberto Chiacig. But the agony followed, and Mirsad Turkcan slamming the ball gave to Siena an incredible +51, 77-26 in the middle of the period. Siena wanted to reach the Top 16, and Buducnost surely helped them, 85-30 became the largest lead, but after thirty minutes became 94-33.
The fourth period was just a wait for the final buzzer and the results of the other games, with Montepaschi again defending and running in the open court, always playing with its starters, improving till 109-38 its best advantage. When it finished, 112-49, the 63-point winning margin was by far the biggest in the three-year history of the Euroleague. The previous biggest margin had been 47 points when Olympiacos beat Ovarense of Portugal in the 2000-01 regular season.
Stefano Sensi, Siena
Referees: COELHO, ANTONIO; GALLO, ANTONIO; GKONTAS, SPIROS
Montepaschi Siena 30 31 33 18
KK Buducnost 16 8 9 16
Montepaschi Siena 30 61 94 112
4 STEFANOV, VRBICA 26:00 10 5/5 1 1 6 4 1 3 1 18
5 ZUKAUSKAS, MINDAUGAS 30:00 8 1/1 2/4 3 3 4 4 1 3 13
6 TURKCAN, MIRSAD 30:00 24 6/10 2/3 6/7 4 9 13 2 4 3 3 2 5 40
7 MARCACCINI, GIANCARLO 6:00 0/5 1 1 1 -3
8 VUKCEVIC, DUSAN 22:00 13 1/1 3/4 2/2 2 2 1 3 1 1 1 1 16
9 LECHTHALER, LUCA 2:00 0/1 1 1 1 -1
10 FORD, ALPHONSO 29:00 24 9/9 1/1 3/4 4 4 2 6 2 1 3 3 34
11 BERTI, SIMONE 3:00 0/1 -1
14 CHIACIG, ROBERTO 29:00 19 8/14 3/5 3 4 7 1 1 2 1 1 6 24
15 MAGGIOLI, MICHELE 4:00 1 0/2 1/2 2 2 1 1
16 BOWDLER, JAMES CALLOWAY 8:00 4 2/2 1 1 1 3 3
18 MITCHELL, AARON 11:00 9 2/3 1/3 2/4 2 3 1 1 2 9
Totals 200:00 112 34/49 9/20 17/24 10 27 37 18 30 11 6 1 19 19 158
69.4% 45% 70.8%
Head coach: ATAMAN, ERGIN
4 BAKIC, BOJAN 20:00 4 1/2 0/2 2/2 1 1 2 1 1 1 2 3 3
5 PAJOVIC, GAVRILO 20:00 0/4 2 2 3 3 2 -6
6 SMILJANIC, ALEKSANDAR 16:00 5 2/3 0/2 1/2 2 2 2 3 1 2 3
7 BROWN, JOHN 23:00 8 3/10 0/1 2/2 3 3 6 3 3 1 2 7
8 BULAJIC, NIKOLA 12:00 1 0/3 1/2 1 1 1 1 1 3 1 -5
9 ALEKSIC, MILUTIN 8:00 7 2/3 1/1 1 1 3 2 2
10 KOLJEVIC, IVAN 17:00 0/1 0/5 1 1 1 2 1 1 -6
11 PAVLOVIC, SASHA 8:00 0/2 0/1 1 1 -3
12 VRANES, SLAVKO 8:00 0/2 2 2 1 2 1 -2
13 MILOJEVIC, DEJAN 37:00 16 6/9 4/5 7 2 9 7 4 8 3 4 25
15 CABARKAPA, ZARKO 31:00 8 4/6 0/1 0/2 1 1 1 3 2 3 3
19 RAKOCEVIC, IVAN DNP - - - - - - - - - - - - - - -
41.9% 7.7% 58.8%
Head coach: BALETIC, MIODRAG
ATAMAN, ERGIN
"We prepared very well the match to win over 44 points. We were concentrated and we started to play strong, even from the beginning. We played good thanks also to the switch. Now we are one of the Top 16 teams, so we arrived to our first goal and we will make everything to reach the Final Four."
TURKCAN, MIRSAD
"I hoped to win but I never imagined we would win by such a big difference. I'm very happy about the good match we played. When we play like a team we are very strong. Now we are on the Top 16 and for us everything is open."
"It has been a very fast match and the points reflect what we have seen on court. For us it wasn¿t an important match and maybe we weren't concentrated. We are a very young team and working on it can become unstoppable. Siena is a very good team which played very well."
Maccabi Elite 76


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USA Gymnastics Files For Bankruptcy Amid Legal Challenges With Larry Nassar's Victims
Gabe Fernandez
Photo: Aaron P. Bernstein (Getty)
USA Gymnastics filed for bankruptcy on Wednesday in a decision likely intended to brace the governing body for the impact of impending legal, financial and structural concerns that the organization will have to face in the near future.
The Chapter 11 protection was filed in Indianapolis federal court and will most certainly affect the two main challenges that the organization is trying to overcome: maintaining their governing body status, and lawsuits and investigations related to Larry Nassar's sexual abuse scandal. The Wall Street Journal reports that the filing will stop the depositions and discovery in lawsuits that Nassar's victims have filed.
In another report from the Orange Country Register, USA Gymnastics claimed that the bankruptcy would have no effect on any claims from survivors.
USA Gymnastics said the survivors' claims against the organization are covered by insurance previously purchased by USA Gymnastics. The the amount of available insurance proceeds is not affected by the Chapter 11 filing, the organization said. USA Gymnastics said other than these insurance proceeds it has "no other significant assets that could be used to pay claims."
But an attorney for Nassar's victims told the Register that this announcement is just the organization looking to protect itself after it couldn't do enough to protect its core group of athletes.
"Today's bankruptcy filing by USA Gymnastics was the inevitable result of the inability of this organization to meet its core responsibility of protecting its athlete members from abuse," John Manly, an attorney for several Nassar survivors, said. "The leadership of USA Gymnastics has proven itself to be both morally and financially bankrupt. They have inflicted and continue to inflict unimaginable pain on survivors and their families. They are incapable of meeting their obligations as an Olympic governing body.
"The bankruptcy filing follows more than two years of organizational chaos and attempts to cover-up the Larry Nassar scandal by destroying key documents, issuing false statements to the public, obstructing criminal investigations and attempting to silence victims of child sexual abuse."
The filing could also disrupt the USOC's decertification process, and could put that organization in position to shoulder some of the financial responsibility of settlements related to Nassar, according to the report.
While it's a move that would disrespect the very notion of justice, it bears repeating that USA Gymnastics is an organization that's gotten as far as it has with shady behavior meant to obfuscate the horrors going on behind the scenes. Any type of nefarious intent behind any of its decisions—let alone this bankruptcy filing—isn't difficult to fathom.


Just like other states, Virginia legislation implies that all auto dealers get licensed and obtain an auto dealer bond as part of the licensing application. The Virginia Department of Motor Vehicles requires that applicants post a $50,000 surety bond in order to conduct their businesses.
The Virginia auto dealer bond follows the same basic principle just like any other bond. The bond is essentially a contractual agreement involving three parties: the principal (the dealership), the obligee (the Virginia Motor Vehicle Dealer Board) and the surety (the institution or company underwriting the bond).
The auto dealer bond is necessary as it will be protecting the state and its citizens from any possible illegal activities the dealer might engage in. It is essentially a safety measure that ensures your business follows the provisions of Chapter 15, Title 46.2 of the Virginia Code.
Who needs the Virginia auto dealer bond?
How much does the bonding cost?
Are bad credit dealer bonds available in Virginia?
How to get a Virginia auto dealer bond?
When should I renew my bond?
Both new and used vehicles dealers in Virginia need to get licensed in order to proceed with conducting their businesses. Getting bonded is an essential part of the licensing process and dealers need to post a bond in the amount of $50,000.
In the Commonwealth of Virginia the agency overseeing new and used vehicle dealer licensing is the Motor Vehicle Dealer Board, while the DMV is taking care of the motorcycle, trailer and recreational vehicles. That means that in the bonding process the Motor Vehicle Dealer Board is the obligee that the bond will be protecting.
Dealers are required by the Virginia Department of Motor Vehicles to post a $50,000 surety bond as part of their licensing procedure. The annual premium you will be paying, however, is just a fraction of the whole bond amount, usually a percentage varying between 1% and 3%.
Keep in mind that auto dealer bonds are subject of underwriting, which means that the final bonds cost will be formed based on your financial background. The major factor taken into account is your personal credit score.
The following table can give you an example of how the auto dealer bond premium varies according to your credit score.
There are still options for good bonding deals left for you, even if you have a bad credit. Lance Surety Bonds has its own bad credit program designed to help applicants with bad or even no credit score get the best deal possible.
Keep in mind that bad credit is a higher risk factor for bonding companies. This means the premiums will be slightly increased, between 5% and 10% to be precise. That will serve as a safety measurement against the higher risk. Lance Surety Bonds, however, works only with A-rated, T-listed bonding companies which ensure you get top rates for your score.
Auto dealer bonds are underwritten by surety bond companies, based on an evaluation of your business and financial background, with credit score playing the most important role in the quoting process.
You can get your free quote by accessing our online application and submitting your request. Our team will get back to you within minutes with your personal bond quote. For further questions, feel free to reach out at (877) 514-5146. Our experts will assist you with anything you need to know about the Virginia auto dealer bond.
If you want to get acquainted with the bonding process in details, check our "How to Get Bonded" page for more information on the process of obtaining an auto dealer bond.
The Virginia auto dealer bond will not expire automatically when the dealer's license does. It will continue indefinitely from license term to license term.
If dealers fail to comply with Virginia state laws and regulations regarding their business operations, a claim might be filed against them. The surety company will cover the compensation initially but the dealer will have to repay the reimbursement eventually.
It's always better to reach a settlement before going to court. If the claim is valid this will not only cost you money but can also affect your reputation and increase your premium in the future. That's why it's best that you do avoid claims at all costs.


text:
South Carolina (U.S.)
Last modified: 2003-07-12 by rick wyatt
Keywords: south carolina | united states |
by Mario Fabretto, 24 February 1998
History of the flag
SC Version of CSA Statement flag
State Military Crest
Dillon County
S.C. Colonial/Rev. War Flags
S.C. Secession Flags
"Big Red" - The Citadel Flag
One of the original 13 colonies, South Carolina is represented by a star and a stripe on the 13 star U.S. flags.
Asked by the Revolutionary Council of Safety in the fall of 1775 to design a flag for the use of South Carolina troops, Col. William Moultrie chose a blue that matched the color of their uniforms and a crescent that reproduced the silver emblem worn on the front of their caps.
South Carolina needed a national flag after it seceded from the Union on Dec. 20, 1860. The General Assembly considered a wide range of designs, but on Jan. 28, 1861, added the palmetto to Moultrie's original design. The palmetto represented the colonials defense of the palmetto-log fort on Sullivan's Island against the British on June 28, 1776.
A resolution proposing to change the color to "royal purple" as a memorial to Confederate dead was defeated in 1899, leaving the flag's Revolutionary War symbolism complete.
Robert Hainer, 9 April 1998
Actually there were SC flags with Palmetto trees on them prior to the Civil War. The SC Militia Act of 1839 specified flags of that type (sometimes on red fields as opposed to blue) and the Palmetto Regiment of the Mexican War carried flags of this nature in the mid-1840's.
At the beginning of the secession period of 1860-1861 there were indeed a number of designs submitted to the state committee. For a detailed account of these flags please see "A Flag Worthy Of Your State And People" by Wylma Wates. This was published by the SC Dept. of Archives And History.
Greg Biggs, 9 April 1998
Back in 1965, the Flag Bulletin published an article entitled "And the Ensign of South Carolina Shall Be ..." which stated that the legislature adopted a different Palmetto flag the day prior to the adoption of the present flag. It was blue with a crescent in the canton and a white oval in the center bearing a gold palmetto tree.
Dave Martucci, 9 April 1998
by Tom Gregg, 14 April 1998
Adopted 26 January 1861 and superseded on 28 January by the present design.
Tom Gregg, 14 April 1998
by Rick Wyatt, 21 October 1998
Recently, I was in New Mexico and saw a house flying a flag that was half traditional confederate flag and half crescent moon with the shaded part facing out and what appeared to be a palm tree to the right of the crescent moon. The half with the moon and tree was on the left half, opposing the confederate flag. The colors were, as I recollect, a white background with green filling. I do not know the identity of this flag and am very curious. Any help you can offer me will be appreciated.
Steve Quick, 21 October 1998
This is definitely a cross between the Confederate and South Carolina flag. This is not an official anything. Ever since the movement to remove the confederate flag from the Georgia State flag, various flags have been made. I Ain't Coming Down, Heritage not Hate and "state" confederate flags. We sell the Confed/South Carolina and Confed/North Carolina. I suppose flags are a way of making a statement and some people are doing just that.
Rick Wyatt 21 October 1998
by Joe McMillan, 21 April 2000
The state military crest, which is the crest used in the coats of arms of units of the National Guard, as granted by the precursor organizations of what is now the Army Institute of Heraldry. The official Institute of Heraldry blazon is "Upon a mount vert a palmetto tree proper charged with a crescent argent."
Joe McMillan, 21 April 2000


WOW. That is a beautiful plant. I can't believe it is actually purple. WOW.
Who wouldn't giggle with all that purple! Awesome color.
Thanks for making these videos dude! This is pure greatness! Im working hard to build a better setup right now.
Oh wow thats on exotic supermodel.. I'm jelly, congrats on that super dank GG!
I posted a video of my 9' monster of you wanna see her. Sorry i missed you Last night.


Recently Masoud Soltanifar, as Iran's top tourist official says, Iran has more attractive to toursits after new government. Associate Press and some other american agencies like NPR report about desire of american tourists to visit Iran.
Mehregan feast was the second great celebration after Nowruz in old Persian era. As Nowruz shows the first day of a year at Persian calendar, Mehregan was the beginning of fall as Persian Festival of Autumn. This feast has been symbol of love, friendship, God, and joy.


text:
Q: Set the first day of the week in JavaFX's DatePicker Is it possible to change the first day of week on JavaFX's DatePicker when applying Arabic locale? I need to change it from Saturday to Sunday.

A: I was able to change the first date of the week by injecting the following class within my application:
package sun.util.resources.ar;

import sun.util.resources.LocaleNamesBundle;

public final class CalendarData_ar_SA extends LocaleNamesBundle
{
    protected final Object[][] getContents()
    {
        return new Object[][] { { "firstDayOfWeek", "1" }, { "minimalDaysInFirstWeek", "1" } };
    }
}

Do not forget to change the default locale:
public static final Locale SAUDI_AR_LOCALE = new Locale.Builder().setLanguageTag("ar-SA-u-nu-arab").build(); // nu is for numbers

// ....

Locale.setDefault(SAUDI_AR_LOCALE);

EDIT:
The previous solution does not work on latest updates of Java 8 (u152). The proper way to achieve that is to use something called "Locale Sensitive Service Provider".
First, create a custom implementation of CalendarDataProvider:
package io.fouad.utils;

import java.time.DayOfWeek;
import java.util.Locale;
import java.util.spi.CalendarDataProvider;

public class ArabicCalendarDataProvider extends CalendarDataProvider
{
    private static final DayOfWeek FIRST_DAY_OF_WEEK = DayOfWeek.SUNDAY;

    @Override
    public int getFirstDayOfWeek(Locale locale)
    {
        return (FIRST_DAY_OF_WEEK.getValue() + 1) % 7;
    }

    @Override
    public int getMinimalDaysInFirstWeek(Locale locale)
    {
        return 1;
    }

    @Override
    public Locale[] getAvailableLocales()
    {
        return new Locale[]{new Locale("ar", "SA")};
    }

    @Override
    public boolean isSupportedLocale(Locale locale)
    {
        return locale != null && "ar".equals(locale.getLanguage()) && "SA".equals(locale.getCountry());
    }
}

Then create a jar file and package ArabicCalendarDataProvider as a service provider. i.e. The jar file will have the following files:

META-INF/services/java.util.spi.CalendarDataProvider
  io/fouad/utils/ArabicCalendarDataProvider.class

The file java.util.spi.CalendarDataProvider contains the following line:

io.fouad.utils.ArabicCalendarDataProvider

Now, in order to make it working you need to install this jar as an extension either by putting the jar into the default extension directory or by passing the following JVM argument at launch time:

-Djava.ext.dirs=path/to/the/folder/that/contains/the/jar

Note that in Java 9 the locale sensitive services implementations will work directly if the jar is on the application's classpath.
Last, you need to modify the order of locale providers used in your application. i.e. pass the following JVM argument:

-Djava.locale.providers=SPI,CLDR,JRE,HOST

SPI should be first.
You can test it as follows:
DayOfWeek firstDayOfWeek = WeekFields.of(new Locale("ar", "SA")).getFirstDayOfWeek();
System.out.println("firstDayOfWeek = " + firstDayOfWeek);

In the default behavior the output would be:

firstDayOfWeek = SATURDAY

When applying the custom locale provider and put SPI as first one the output would be:

firstDayOfWeek = SUNDAY

See:

*

*LocaleServiceProvider's JavaDoc.

*Lesson: Service Providers for Internationalization.

*Why does the Java Extension Mechanism not check the classpath for an optional package implementing LocaleServiceProvider?

A: I found a solution for this:
@FXML
private DatePicker date;

//In the initialize method you can use the following code:

@Override
public void initialize(URL location, ResourceBundle resources) {
    //So here you need to use a Locale which actually has Monday set up as the first
    //day, here the UK format has the Monday as first day, but you can try different
    //options for the language that you're using
    date.setOnShowing(e -> Locale.setDefault(Locale.Category.FORMAT, Locale.UK));
    //...
}

redpajama_set_name: RedPajamaStackExchange


Feng Yan is a mid-career, Beijing-based photographer whose work was shown this spring at Three Shadows Plus 3 Gallery, a commercial space located on the same grounds as the esteemed Three Shadows Photography Art Centre, in the Caochangdi arts district in Beijing (the former is affiliated with the latter but independent from it financially). The exhibition, primarily consisting of colour photographs of isolated everyday objects, brought up interesting questions pertaining to the social or domestic power of solitary objects and their effect on the viewer. Feng Yan's sophistication, for example, in his colour rendering of the massive steps in The People's Conference Hall (2006), emphasizes the monolithic nature of the depicted building but also instills an anxiety about its purpose, as the uninhabited stairs reveal nothing but themselves. And Feng Yan's focus on another isolated object, as in Car Door (2006), an image of a detail of the sedan Joseph Stalin gave to Mao Zedong, is straightforward enough, yet a spirit of menace is communicated through the evidence of bullet hole indentations in the window. Even so, when looked at simply as an object, the car carries no particular meaning as a sign of political power; it is merely a picture of a car. But once one knows the car's history, it loses its anonymity. His portraits of such things amount to a documentary-like treatment of myriad objects from everyday life within both the public and private realms.
Feng Yan, Car Door, 2006, C print, 85.7 x 130 cm. Courtesy of the artist.
Feng Yan's imagery thus functions as a kind of mirror of the isolated object because he refuses to embellish anything in the photograph. The inclusion of Mao's car photos, however, opens up questions about power given its ominous black paint, its massive solidity, and its provenance. This implies that the meaning embedded within this photograph is made powerful by the car's politicized origins. So it happens that Car Door, like most of Feng Yan's work, leans toward resisting interpretation until its context is made clear. This tends to position his imagery into the realm of the anonymous—at least at first look.
Feng Yan, The People's Conference Hall, 2006, digital photograph, 110 x 163.9 cm. Courtesy of the artist.
of objectivity can in fact be achieved. For example, the unplugged electric fan depicted in Feng Yan's Fan (2010) has specificity and functions as an object but it is so mundane that it is hard to imagine what personal meaning it might have for the artist. Its virtue as an artifact, however, lies in our ability to see something as it is, in all its detail, and without any cultural or even personal history. Feng Yan is attentive in presenting these objects as seemingly impersonal, even though most of them belong to the photographer himself. So, here, one doesn't have to know the object's origins in order to appreciate the distance between it, the photographer, and his audience. This effect of distancing amounts to a kind of alienation—as if the fan were somehow foreign and exotic—despite the utter familiarity we have with such an object. In these works of art, Feng Yan has attempted to absent the personal to the point where the items appear to have become cultural relics dug up from some contemporary midden, cleaned up, and carefully positioned for our close scrutiny.
But if Feng Yan is practicing a kind of cultural anthropology, he is oriented towards the physical materiality of the artifact rather than its cultural meaning. Moreover, this formal materialism shows us that objects are meant for use or public display rather than interpretation; material culture can be commented upon, of course, but the object's real function is to do the job it was created to do. So Feng Yan's documentation of the object places it in the realm of the ordinary to the point where the object assumes a banality. The fan is just a fan, although he has recorded it with notable precision. At the same time, the seeming objectivity his images present can have troubling connotations, as in the image of the bullet holes on the window of Mao's sedan in Car Door or the staircase that appears to lead to nowhere. Moreover, Feng Yan's work implies that the political is an inevitable part of cultural expressiveness. For example, focusing on something as seemingly trivial as a small group of bonsai plants that seem misplaced or trapped in a corner in Corner Plants (2006), enables Feng Yan to present his view on the present state of affairs in China. One can feel that current political conditions—China's authoritarian rule—might here be alluded to, although such an interpretation is inferred rather than explicit.
Feng Yan, Fan, 2010, digital photograph, 148 x 100 cm. Courtesy of the artist.
studies of architectural typologies, of industrial buildings for example, mostly but not exclusively located in Germany. The Bechers's images are completely without embellishment; indeed, the lack of it, and their promise of an undiluted objectification of their subject matter, accounts for the visual power of the structures they photograph. According to Feng Yan, he has only recently become familiar with the Bechers, yet there is a clear connection between his work and theirs. The tension between the artist's subjective and objective states of mind, as illustrated in the Bechers' impassive imagery, is also at the unspoken core of Feng Yan's creativity. The inclination towards an industrial aesthetic in American Minimalism, in which the sculpture reveals no cultural narrative other than the conditions of its manufacture, is an approach not so distant from Feng Yan's. Indeed, Feng Yan has remarked in conversation that he admires the Minimalist movement in general.
Feng Yan, Corner Plants, 2006, C print, 74 x 110 cm. Courtesy of the artist.
Yet, ironically, despite the politicized disposition of many of the sculptors who were affiliated with Minimalism, its style has become a favourite for corporate art—likely because of its very nihilism in regard to expressions of cultural meaning. Although Feng Yan's photography could be understood as a sort of continuance of the New York Minimalist tradition, it is unlikely to hold aesthetic appeal within a corporate context. The artist himself spent time in New York, living in Williamsburg from 1998 through 2001, and here he would have had ample opportunities to visit galleries and museums, thus becoming knowledgeable about American art.
the ubiquity of bamboo in China, in both art and nature. Feng Yan's use of abstraction also relates to his fondness for traditional Chinese painting with its dynamic nonrepresentational brushstrokes and flourishes.
this image its power; it is reminiscent of works by other artists such as the aforementioned Dan Flavin, but it is also strikingly original. Indeed, the romanticism of these photographs—their deliberate beauty—raises useful questions about the relationship between photography and painting. For example, does the photograph continue to undermine painting's ability for realistic representation? And why has current photography mostly been taken over by the conceptual artist and not by the realist craftsperson?
Feng Yan, Psychedelic Bamboo 04, 2009, digital photograph, 120 x 90 cm. Courtesy of the artist.
Even so, one recognizes at the outset that Psychedelic Bamboo 04 is indeed a photographic image, its narrow bands of colour self-evidently flat, lacking the more nuanced surface of painting; brushstrokes would add depth, however small, to the surface of the picture. In Psychedelic Bamboo 06 (2009) the bands are wider, and the edges between them blurred. The stripes are red and white in the top two-thirds of the image, while the bottom of the composition is much denser, consisting of dark maroon and dark purple, which shifts into a near black. These bands of colour are beautiful in and of themselves, but Feng Yan is do not deliberate in suggesting the act of painting. The flatness of the surface shows us that the image is resolutely photographic, even if it recalls, in its quiet luminosity, a painter like Rothko.
Feng Yan, Psychedelic Bamboo 06, 2011, digital photograph, 120 x 90 cm. Courtesy of the artist.
Feng Yan, File Cabinet, 2010, digital photograph, 148 x 100 cm. Courtesy of the artist.
in ontology, again emphasizing the physical presence of what is gazed upon. In his celebration of everyday objects, Feng proposes a less idealized, but equally eloquent point of view. This is because objects themselves possess an intrinsic value visually, no matter how small or ordinary that value may be.
As the pictures described above do not specifically relate to Chinese culture, they could be considered international in outlook. Yet Feng Yan's remarkable Rock series, also on view in the exhibition, fully recalls the tradition of scholar' rocks portrayed in Chinese ink painting. His fine depictions of a rock turn their rough surfaces into objects of visual delight; Feng Yan turns back the clock by emphasizing the legacy of his culture. The large scale of the images—180 x 120 cm—makes them even more visually compelling. Even though one might relate this work to Chinese ink painting, the fact remains that Feng Yan continues his process of focusing fully on the object before him, finding a visual lyricism in it that is contemporary in its isolation of a particular object, and venerable in its recognition of tradition. Ironically, the pattern he finds in these close-ups, such as Rock 03 (2011), is suggestive of a Jackson Pollock drip painting, with a reference to Western art history again becoming evident. But in Rock 02 (2011), the affiliation is decidedly more toward Chinese ink paintings of mountains, proving that Feng Yan is not committed to any one style but, instead, to a process that results in subjects derived from a broad range of cultures and times. What ties this work together is an emphasis on extraordinary detail and clarity within each image.
Feng Yan, Black Stool, 2010, digital photograph, 148 x 100 cm. Courtesy of the artist.
Feng Yan, Chest of Drawers, 2010, digital photograph, 148 x 100 cm. Courtesy of the artist.
For artists, the current sociopolitical situation in China remains tenuous— the personal freedom of their lives can be compared to that in the West, but their freedom to express oppositional politics cannot. Part of the problem has to do with critical writing, of which there is very little to match that of the West (or so my Chinese artist colleagues tell me). Yet an artist can find subtle ways to suggest government control. Returning to the issue of power in Feng Yan's work, in another stairway photograph, Military Museum (2006), the steps lead quite literally to a closed wall—as if access to the museum and its history is forbidden. Another work with political implications is Four Flags (2006), which consists of four red flags that lack the red stars that would make each the flag of China; it is as if the flag has had its national symbolism stripped away. The VIP Room (2005) looks ominous in its treatment of shrouded furniture and lack of people. And, finally, the plastic yellow strip whose red letters announce Security Check (2006) in front of an anonymous, red marble background, feels like a warning and conveys a sense of governmental constriction in everyday life.
Feng Yan, Rock 03, 2011, digital photograph, 180 x 120 cm. Courtesy of the artist.
Feng Yan, Rock 02, 2011, digital photograph, 180 x 120 cm. Courtesy of the artist.
Left: Feng Yan, Military Museum, 2006, C print, 141 x 230 cm. Courtesy of the artist.
Right: Feng Yan, Four Flags, 2006, C print, 148 x 230 cm. Courtesy of the artist.
Feng Yan manages to merge opposites only to find them freed by the response and interpretation of his audience. Once his images are lodged in the viewer's mind, the artwork can be interpreted in ways that may not reflect his intentions. But it is fair to say that the implicitly politicized images described in the paragraph above and grouped under the heading The Order—The Power, owe their effectiveness to the ambiguity with which they are presented by the artist. While there is nothing openly contentious about these images, gathered together they suggest a fragile resistance, one that cannot risk being more overt than it is. This is true for most artists in China; Ai Weiwei's experience as an ethical witness of political decay is a cautionary tale. In China, art is taken seriously by the government and puts the artist in a place of dynamic morality. Feng Yan doesn't talk about this sort of thing directly, either in life or in art, yet his concerns are such that they inevitably lead him to an independent stance. More artists like him are needed.
Left: Feng Yan, VIP Room, 2005, C print, 110 x 164 cm. Courtesy of the artist.
Right: Feng Yan, Security Check, 2006, C print, 87 x 130 cm. Courtesy of the artist.


text:
Adelaide, Australia's Brazen Kids Of York
"like" to download the album
Release date: February 25th, 2010
Genre: alternative rock/pop, indie
"Sleepy Disco": From the start, you can tell it'll be a good one; Brazen Kids Of York are the real thing. The We Live Forever EP doesn't sound the slightest bit like a mediocre home production. The bassline of "Sleepy Disco" is glorious, coupled with controlled, upbeat percussion. Vocals are very British Sea Power-esque.
"Crybaby": Is that a woodblock at 0:04? I'm in love. The song makes me think of an impromptu setup at the end of a pier on a hot, sunny day. Clever lyrics state: "lighter than a feather, thicker than your leather" and "I televise my issues on a box of tissues, my little box of tissues". Apart from the lyrical theme that supresses such, "Crybaby" would make a great beach party tune.
"Thieves": A catchy opening, which I'm sure is present on every song. Cute; they've used Ben Lim's nothing-crazy-spectular vocals extremely well and in the right design, thank goodness. (There are so many groups where this is not the case- cough, Paramore.) The tradic cadence is a nice closing.
"We're Young": "... and we don't have a lot of time." I generally prefer when every line begins with something other than "and", but they break out of it after the first verse. I think this song is as much of a melodic ballad we'll receive from BKY at this time. It's at a slower tempo, featuring a confused computer-generated sound at 2:30. Nonetheless, it makes for variety and only seems out of place momentarily.
"In Cold, In Mould": I have to say, of the six tracks on We Live Forever, "In Cold, In Mould" is my personal least favourite. And I still find it fantastic. Specifically, this song is stripped down and serious (almost). I'm going to compliment the accompaniment. Again. They don't overpower, but they don't hold back in an unstylistic way. (The EP's title lyric was borrowed from this track.)
"We Don't Know Our Names": Immediate favourite. Beautiful keys on this devastatingly short outro.
We Live Forever is absolutely worth more than what it can be downloaded for- uh... nothing. But do the Kids a favour- spread the word. Now go check them out; you won't regret it! LIYL French Miami, Los Campesinos!, Born Ruffians.
Ben Lim (left), Andrew Begley. Not pictured: Jack Alexander (guitars).
Filed under album review, brazen kids of york, free, indie, music, pop, rock, track-by-track


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text:
import gruvi

class EchoProtocol(gruvi.Protocol):

    def connection_made(self, transport):
        self._transport = transport
        peer = transport.get_extra_info('peername')
        print('New connection from {0}'.format(gruvi.saddr(peer)))

    def data_received(self, data):
        self._transport.write(data)

    def eof_received(self):
        print('Connection lost')

server = gruvi.create_server(EchoProtocol, ('localhost', 0))
for addr in server.addresses:
    print('Listen on {0}'.format(gruvi.saddr(addr)))

server.run()