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[Map] Chicago Bird's-eye View
1856. [Note: we grade conservatively and endeavor to identify any defects that might affect overall quality and price.].	More
HAND-COLORED LITHOGRAPH of the WESTERN HEMISPHERE of the Globe; [North & South America]
[Map] COLTON
New York: Colton, 1855. Folio's overall measurements c.14 1/2" W x 16 3/4" H; printed area measures c.13 1/2" x 14 1/4" H. Attractive and detailed, hand-colored, lithographed map of the globe's Western hemisphere. Very frameable with minor defects mainly confined to the margins.	More
A NEW MAP OF ILLINOIS; with its proposed Canals, Roads & Distances
[Map] MITCHELL, Augustus
Philadelphia: Augustus Mitchell, 1849. Lithographed. First Edition. Hand-colored Map. Folio overall measures 13 3/4" x 17 1/4" with the printed area being 12" W x 15 1/4" H. Hand-colored. Published soon after Illinois became a state. Noteworthy depiction of booming lead mining region centered on Galena.	More
SHERLOCK HOLMES; My Life And Crimes
[Sherlockiana] Hardwick, Michael
New York: Doubleday & Company, 1984. B&W photos. First Edition. Cloth. Tall 8vo, green cloth with gilt lettering on spine, Mylar-protected dust jacket illustrated by J. A. Grimshaw's "St. Paul's from Ludgate Circus," profusely illustrated with V&W photographs, 208 pages. Exceptional condition internally and externally of this important study of..... More
THERE AND BACK AGAIN: The MAP of THE HOBBIT plus A MAP of Tolkien's MIDDLE-EARTH
[Tolkien, J. R. R.] Sibley, Brian & John Howe
New York: Harper Prism, 1994. John Howe. Reimagining of Christopher Tolkien Map copyright 1982. Paperback. Small 8vos (7 3/4" x 5 1/4"), text by Brian Sibley, imaginative full-color Illustrations for both maps (T&BA: 28"W x ~29"H; T'sME: 28 1/4"W x 28 2/4"H) by John Howe, 22 + [1] & [21].....	More
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Barwon Health is Victoria's largest regional health service. We provide high quality, safe, people-focused care to more than 500,000 people in Geelong and South Western Victoria.
Health services available through Barwon Health cover the full spectrum from primary care, community services, aged care, rehabilitation, mental health, emergency and acute care. With the exception of neurosurgery and transplantation, virtually all other specialties are available through University Hospital Geelong.
Aged care through the McKellar Centre and its sites in North Geelong and Charelmont.
With more than 6,500 staff, we are one of Australia's largest regional employers and a major education provider through our relationships with Deakin University, Melbourne University, Monash University, the Gordon and a number of other educational centres and universities.


text:
Q: Toggle font awesome class on button click I have the code as here in this jsfiddle, I want the font awesome icon to change on button click using javascript, but it does'nt seem to work. I'm new to javascript so please forgive me if this was a dumb question.
HTML
<button id="favBtn" onclick="fav();">
     Favourite
</button>

Javascript
function fav() {
    document.getElementById("favIcon").toggleClass('fa-star-o fa-star');
}

A: .toggleClass() is a jQuery function and you're using it as JavaScript. Try this:
$("#favIcon").toggleClass('fa-star-o fa-star');

A: Difster's response is correct. Here is how you can accomplish the same thing using native JavaScript:
document.getElementById("favIcon").classList.toggle('fa-star-o');
document.getElementById("favIcon").classList.toggle('fa-star');

A: When using jQuery you never need to use an inline attribute eventHandler.
onclick=

*

*Demo 1 uses jQuery .toggleClass()

*Demo 2 uses JavaScript .classList.toggle()

*Demo 3 uses CSS :checked pseudo-class
Update v4 to v5: Go to Start | Font Awesome. There are some class changes as well. See Demo 4.
Demo 1 -- jQuery

$('button').on('click', fav);

function fav(e) {
  $(this).find('.fa').toggleClass('fa-star-o fa-star');
}
:root {
  font: 400 16px/1.5 Verdana;
}

button {
  display: inline-block;
  font: inherit;
  padding: 0px 5px;
  cursor: pointer;
}

button::after {
  content: ' Favorite'
}
<link href='https://cdn.jsdelivr.net/fontawesome/4.7.0/css/font-awesome.min.css' rel='stylesheet'>

<button>

</button>

Demo 2 -- Plain JavaScript

document.querySelector('button').addEventListener('click', fav);

function fav(e) {
  const tgt = e.target.firstElementChild;
  tgt.classList.toggle('fa-star');
  tgt.classList.toggle('fa-star-o');
}
:root {
  font: 400 16px/1.5 Verdana;
}

button {
  display: inline-block;
  font: inherit;
  padding: 0px 5px;
  cursor: pointer;
}

button::after {
  content: ' Favorite'
}
<link href='https://cdn.jsdelivr.net/fontawesome/4.7.0/css/font-awesome.min.css' rel='stylesheet'>

<button>

</button>

Demo 3 -- Pure CSS

:root {
  font: 400 16px/1.5 Verdana;
}

#fav {
  display: none
}

#fav+label {
  display: inline-block;
  border: 2px outset grey;
  padding: 0px 5px;
  cursor: pointer;
  -webkit-appearance: button;
  -moz-appearance: button;
  appearance: button;
}

#fav+label::after {
  content: ' Favorite'
}

#fav+label>.fa-star-o {
  display: inline-block
}

#fav+label>.fa-star {
  display: none;
}

#fav:checked+label>.fa-star-o {
  display: none;
}

#fav:checked+label>.fa-star {
  display: inline-block
}
<link href='https://cdn.jsdelivr.net/fontawesome/4.7.0/css/font-awesome.min.css' rel='stylesheet'>

<input id='fav' type='checkbox'>

Demo 4 -- Font Awesome 5
jQuery / JavaScript / CSS

/* #1 jQuery */
$('button.jq').on('click', jQFav);
function jQFav(e) {
  $(this).find('.fa-star').toggleClass('fas far');
}

/* #2 JavaScript */
document.querySelector('button.js').addEventListener('click', JSFav);
function JSFav(e) {
  const tgt = e.target.firstElementChild;
  tgt.classList.toggle('far');
  tgt.classList.toggle('fas');
}
/* #1 JS / #2 jQ */
:root {
  font: 400 16px/1.5 Verdana;
}

button {
  display: inline-block;
  font: inherit;
  padding: 0px 5px;
  cursor: pointer;
}

button::after {
  content: ' Favorite'
}

/* #3 CSS */

#fav {
  display: none
}

#fav+label {
  display:inline-block;
  border: 2px outset grey;
  padding: 0px 5px;
  cursor: pointer;
  -webkit-appearance: button;
  -moz-appearance: button;
  appearance: button;
}

#fav+label::after {
  content: ' Favorite'
}

#fav+label>.far {
  display: inline-block;
}

#fav+label>.fas {
  display: none;
}

#fav:checked+label>.far {
  display: none;
}

#fav:checked+label>.fas {
  display: inline-block
}
<link rel="stylesheet" href="https://use.fontawesome.com/releases/v5.8.2/css/all.css" crossorigin="anonymous">

<fieldset>
<legend>jQuery</legend>

<button class='jq'>

</button>

</fieldset>

<fieldset>
<legend>Plain JavaScript</legend>

<button class='js'>

</button>

</fieldset>

<fieldset>
<legend>Pure CSS</legend>

<input id='fav' type='checkbox'>

</fieldset>

A: Additionally with what Difster said, .toggleClass is a jQuery function.
Beyond that, I wouldn't use the DOM to define bindings to functions; Using jQuery's event listener system will allow for more maintainable and understandable code:

https://jsfiddle.net/0n1n9o9n/2/

$(document).ready(function() {
  $('#favBtn').on('click', function() {
    $("#favIcon").toggleClass('fa-star-o fa-star');
  });
});

A: I would split my comment into multiple remarks:
1/ As mentioned in the other comments: $("#favIcon").toggleClass('fa-star-o fa-star'); This is a mix of JS and JQuery calls.
If you want to use pure JS you would use:
document.getElementById("favIcon").classList.toggle('fa-star-o');

If you want to use JQuery you can use () As mentioned in Difster's comment:
$("#favIcon").toggleClass('fa-star-o');

2/ As mentioned already in the comments, it's better to attach an event listener.
Your Fiddle js would look like this:
document.getElementById("favBtn").addEventListener("click", fav);
function fav() {
    document.getElementById("favIcon").classList.toggle('fa-star-o');
    document.getElementById("favIcon").classList.toggle('fa-star');
}

And remove the "onClick" on the HTML since you would be attaching a js event listener.
Links to check:
JQuery toggleClass - js classList

A: Hope It Helps

$('.fa-star').click(function() {
  $(this).toggleClass('fas far');
})
 <link rel="stylesheet" href="https://use.fontawesome.com/releases/v5.4.1/css/all.css" integrity="sha384-5sAR7xN1Nv6T6+dT2mhtzEpVJvfS3NScPQTrOxhwjIuvcA67KV2R5Jz6kr4abQsz" crossorigin="anonymous">

A: You can use only Javascript:
 function fav() {
    var icon = document.getElementById("favIcon");
      if (icon.classList.contains("fa-star-o")) {
        icon.classList.remove("fa-star-o");
        icon.classList.add("fa-star");
    } else {
       icon.classList.remove("fa-star");
       icon.classList.add("fa-star-o");
    }
 }

example

redpajama_set_name: RedPajamaStackExchange


What is 'Late Style'? It's a question that has preoccupied writers and thinkers, from Theodor Adorno, who coined the term in relation to Beethoven's late music, to Edward Said, whose book 'On Late Style' explores the output of artists, writers and composers whose late work is often intransigent and contradictory.
Although not always concerned with valedictory thoughts, late style is also associated with an aesthetic mastery and a distillation of what matters most, as if an awareness that the end may be near has the effect of really concentrating the artistic focus. Beethoven, for example, reveals in his late piano sonatas an intense otherworldliness and non-conformity. For Adorno, Beethoven's last works are an emphatic and triumphant assertion of his refusal to resolve life's exigencies peacefully, a view which Edward Said endorses, regarding it as a strength in its own right, rather than a negative factor in Beethoven's late music.
In a more long-lived composer such as Brahms, the combination of accumulated wisdom and the sense that time is limited produces music which is impeccably wrought and introspective, yet emotionally unleashed. Meanwhile, for Schubert and Schumann, who both died young (by today's standards), lateness is relative, almost a philosophical construct. The "late" works of these composers demonstrate that lateness is not just about physical maturity but also an attitude of mind. In their music there is the sense of a life lived with intensity, that time is finite, and this seems to have focused composers' imaginations in a very specific way.
In Gesänge der Frühe (Songs of Dawn), composed in November 1853, just a few months before Robert Schumann's irretrievable mental breakdown, we find a composer who has turned desperately inward, the "Eusebius" (sensitive, introverted) side of his personality very much to the fore. The music is poignantly pared down, starkly revealing the composer's devastating emotional state.
The late piano works which form Brahms' Opp 118 and 119 contain serenity and vulnerability, and an acceptance that the end is near, yet these works are not valedictory. In these late piano works, there is greater spaciousness, more freedom of expression, and the sense of a composer who no longer has anything to prove.
Schubert's last works, in contrast, suggest an "incompleteness", as if he still had much more to say. The final year of Schubert's life was one of extraordinary productivity, marked by increasing public acclaim and declining health, and the wealth of music produced in the final year of his life, including the two sets of Impromptus and the final three piano sonatas, displays a very high level of artistic maturity. Freed from the shadow of Beethoven, who died in 1827 and whom Schubert revered, the last three piano sonatas in particular reveal a remarkable assuredness in Schubert's writing, in their structural organization and expansiveness, and the use of cyclic motifs to create a sense of "belonging" between the individual movements and across the three sonatas as a whole.
If 'Winterreise' is heartbreak, a study in unrelieved sorrow, the final three sonatas reveal, and revel in all of life: while the C minor Sonata D958 is the most serious of the triptych, its companions are never unremittingly melancholy nor heavy, but rather intoxicatingly bittersweet, nostalgic, and life-affirming.
Posted in General and tagged as last sonatas, late piano music, Late Style, late works.
When the concert is perfect, does that make the reviewer redundant?
As regular readers of this blog will know, I enjoy writing about the concerts I attend but I also struggle with the purpose and value of concert reviews. At the most fundamental level, a review is a record of the event, setting it in context and as a moment in history. A review should also offer readers a flavour of the event and the thoughts and opinion of the reviewer about that event. When I left Milton Court last night I told my concert companion I could not write about the concert we'd just attended because it was so perfect that to write about it could not possibly do justice to the quality of the performance…..
Last night I attended American pianist Jeremy Denk's concert at Milton Court, one of London's newest concert venues and, in my opinion, the finest for piano music because of the clarity of its acoustic. Add a pianist whose musical insight and intellectual clarity, magical touch and sense of pacing bring the music to life so that you want to hear him "no matter what he performs" (NY Times), and we have the makings for an evening of exceptionally fine pianism.
It was a typically piquant programme, changed from the published version to include just three works – two magisterial, transcendent late sonatas by Beethoven and Schubert and Prokofiev's Vision Fugitives, twenty fleeting miniatures, by turns quirky, ethereal, rambunctious, grotesque, poetic, delicate, fragmentary….. Denk revealed their individual characters so carefully, so delightfully that each tiny gem felt like a stand alone piece in its own right.
Beethoven's piano sonata in E, op 109, the first of his triptych of last sonatas, also opens with a fragment – a tiny arabesque of just two notes in the right hand to which the left hand replies with a similar figure. It's not a melody, yet that opening is immediately memorable. In Denk's hands the music unfolded before us, its narrative flow so naturally paced. A muscular middle movement which dissolved into a theme and six variations, surely some of the most transcendent Beethoven ever wrote and handled with a delicacy and robustness, when required, by Denk which pulled one into this otherwordly soundworld so completely that one was transported, fully engaged and utterly overwhelmed. It was akin to meditating.
It felt almost wrong to leave the auditorium for the interval and face the noisy crush around the bar, but we knew the second half would take us to another special place, the unique world of late Schubert, his final sonata completed just a few months before his death.
Is the Sonata in B flat, D960 Schubert's "final word"? A valediction for his departure from this world? I've always been suspicious of this view of this great sonata, whose expansive opening movement is like a great river charting is final course before the ocean, and whose finale is a joyful outpouring of hope, a reminder perhaps that Schubert had more, much more to say, had he lived longer. This was certainly Denk's take on Schubert's last sonata. The opening movement's first theme had the serenity of a hymn, the second theme more unsettled, but the overall sense of repose remained, occasionally interrupted by dark, but never ominous, rumbling bass trills.
The meditative quality of the Beethoven variations was felt again in the slow movement of the D960. In some pianist's hands, this movement can sound funereal, but Denk gave it a mystical grace and a sense of forward movement, so that the warmth of the A major middle section when it came infused rather than surprised the ear. The Scherzo poured forth with the agile freshness of a sparkling mountain stream, but the Trio reminded us that melancholy is never fair away in Schubert's world, the bass accents (too often overlooked in other performances/recordings) here perfectly highlighting the change of mood….
The finale opens with a bare G, potentially as cold as the opening of the first Impromptu, but a dancing sprightly rondo quickly ensures, rising to a joyous conclusion, all masterfully and imaginatively presented by Denk. The overall pacing of this Sonata, like the Beethoven, was so elegantly managed: it is a long work (around 40 minutes) yet Denk's clear sense of a through narrative and overall architecture of the music ensured there were no longueurs, not a moment when the mind wandered to other realms.
The encore was Brahms' ever popular Intermezzo in A, from the Op 118. Tender and poignant, it was a lovely conclusion to an exceptionally fine evening of pianism.
Posted in Concert Review and tagged as American pianist, Barbican Centre, Beethoven, concert review, concerts in London, Jeremy Denk, last sonatas, Milton Court, piano music, Schubert.
Sir András Schiff is traversing the final three piano sonatas of Haydn, Mozart, Beethoven and Schubert in concerts across America and Europe. Twelve sonatas in total are spread across three concerts which celebrate the sonata form, "one of the greatest inventions in Western music" (Schiff), a structure central to the oeuvres of all four composers and a means by which we can observe their development at key stages in their creative lives.
The triptych of concerts also explores the notion of "late style". In considering Haydn, Mozart, Beethoven and Schubert, lateness is relative, almost a philosophical construct. Haydn and Beethoven were long-lived (by the standards of their day), while Mozart and Schubert died young. But it is the intensity of their lives and creativity that matters here: for example, in the last year of his life, Schubert's output was astonishing – the string quartets and Symphony in C major, the 'Schwanengesang' song cycle and many other works in addition to the three final piano sonatas.
A visit to the Austrian Cultural Forum last night for a short recital and presentation by pianist Alisdair Kitchen to mark the launch of a new interactive online project Haydn on Flipboard.
I first met Alisdair on Twitter last July when he launched his TwitterGoldbergs project, in which he released a single Goldberg Variation every day for a month. The project was supported by Norman Lebrecht via his Slipped Disc blog. Soon after, Alisdair and I met in Real Life, and we made a podcast in which Alisdair discusses his fascination with Bach's Goldbergs, the value of recording and sharing music in the 21st century and a general conversation about his musical influences and career to date. What I particularly liked about the TwitterGoldbergs project was its immediacy and accessibility: one could listen whenever one wanted to, and catch up on missed installments via Alisdair's Twitter feed or on YouTube (where the recordings were hosted). It also allowed one to really enjoy each individual variation and appreciate the artistry of Bach's writing.
Keen to explore the piano music of Haydn, which Alisdair feels is sadly underrated (and somewhat under-represented in concert programmes), and in an attempt to create an interactive project redolent of the Viennese coffee house culture, which Haydn would have known well, Alisdair's Haydn on Flipboard uses an application, Flipboard, which allows the user to create an online scrapbook of links which can be shared, and he is inviting readers to contribute items for future issues (you may see something from this blog amongst the pages of the first issue). While perusing the articles, one can enjoy Alisdair playing Haydn via SoundCloud. This aspect of the application works best on tablets and smart phones: if viewing the Flipboard on a PC or Mac, you can listen to Alisdair via his YouTube channel. Thus, Alisdair hopes to create a community of listeners, readers and contributors – a kind of "virtual coffee house", if you will. You can in fact enjoy a cup of coffee while reading Alisdair's Flipboard.
For his recital, Alisdair chose to play what is generally considered to be Haydn's last piano sonata, the great E flat, No. 52. This is well-known and widely performed, sometimes in a programme featuring the last piano sonatas of Beethoven and Schubert (as here). Before this, he played the Andante and Variations in F minor, Hob.XVII: 6, a work with an interesting "double variation" device, which Haydn pioneered, of two themes, in minor and major respectively. Played with commitment and a very obvious affection for this music, there were moments of great poignancy and melancholy which seemed to look forward, beyond Beethoven, to Schubert. The E-flat Sonata was performed with equal commitment, Alisdair enjoying the full range of sonorities available from the magnificent Bosendorfer piano which resides at the ACF.
Imogen Cooper concluded her own survey of Schubert's piano sonatas with a performance of the last three sonatas to a packed, attentive and highly appreciative Wigmore Hall audience.


On Tuesday, the Massachusetts Appeals Court denied a regulatory takings claim brought by a plaintiff whose development plans for her property in Falmouth were denied by the Falmouth Conservation Commission. Plaintiff's evidence showed that the property was worth $700,000, if developable, and $60,000, if not.
Last week, the 4th Circuit Court of Appeals – not the most liberal court in the land – joined the 9th Circuit in ruling that discharges from a point source to groundwater can be subject to the Clean Water Act. The decisions follow a number of district court cases to the same effect. It's hard to deny the trend at this point.
Is this the Future of Adaptation? Who Pays to Avoid the Cost of Coastal Flooding?
New Rapanos Guidance: Is It Guidance Or Is It Really Legislation?
Industry groups and environmentalists continue to do battle over EPA's efforts to update its post-Rapanos guidance. Greenwire reports that 12 different groups have met with "the White House" in the past six weeks. As this process drags on, one cannot help but ask why this guidance is even being issued at all.
Be Careful What the EPA Administrator Wishes For: Is a Legislative Fix to Rapanos on the Horizon?


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text:
Carlo Raimondi, né le  dans les Bouches de Kotor et mort le  à Parme, est un peintre et graveur romantique italien du  actif principalement à Parme.

Biographie
Carlo Raimondi naît dans les Bouches de Kotor (qui appartenaient alors aux Provinces illyriennes et fait aujourd'hui partie du Monténégro) en 1809, alors que son père y avait emménagé pour y travailler pendant quelques mois. Raimondi part plus tard à Reggio d'Émilie, plus précisément à Albinea, et y reste jusqu'à l'âge de 27 ans. Il étudie les arts à Reggio auprès de Prospero Minghetti et perfectionne sa gravure à l'école de Giovanni Rocca.

Après avoir vécu à Reggio, Raimondi s'établit à Parme où il devient l'élève de Paolo Toschi entre 1822 et 1828. Il devient par la suite le principal collaborateur de Toschi. Il est nommé professeur de gravure à l'Académie des beaux-arts de Brera en 1848 avant d'être appelé en 1854 par Marie-Louise d'Autriche pour remplacer Toschi, qui vient de décéder, en tant que recteur de l'école de gravure de l'Académie des beaux-arts de Parme. Depuis ce moment, Raimondi décide de rester définitivement à Parme. On note que l'habilité dans l'exécution de portraits et la douceur au burin de Raimondi lui viennent probablement de son précédent maître, Toschi. Avec ce dernier, il réalise de nombreuses œuvres en collaboration, même s'il effectue par la suite des travaux de façon indépendante.

Il réussit par la suite à maintenir le prestige de l'école de gravure de Parme qui, lors du décret de l'union des académies de Reggio, Parme, Bologne et Modène par Luigi Carlo Farini, est reconnue comme la seule de son domaine à pouvoir perfectionner les aptitudes des graveurs. C'est aussi à la mort de Toschi que Raimondi va se consacrer entièrement à la création de gravures sur cuivre. À sa mort, il ne lui reste que deux des œuvres de la collection du Corrège à graver. Il était aussi connu comme un aquarelliste très compétent.

En 1870, il reçoit la médaille d'argent à l'exposition nationale des beaux-arts de Parme et son nom se voit gravé dans les bustes du Corrège et du Parmesan. Après sa mort, la ville de Parme nomme une des rues du quartier de Montanara en son mom.

Notes et références

Annexes

Bibliographie
  , Dizionario biografico dei Parmigiani, Edizione PPS, Parme, 1999.
  , Le strade di Parma, Tipografia Benedettina Editrice, Parme, 1988.

Article connexe
 Liste de peintres italiens

Liens externes

Graveur italien du XIXe siècle
Buriniste
Aquarelliste italien
Peintre romantique
Peintre italien du XIXe siècle
Naissance en décembre 1809
Décès en janvier 1883
Décès à 73 ans
Décès à Parme

redpajama_set_name: RedPajamaWikipedia


At Goal group Australia, our team of senior professionals are our best asset, as we put them to work filling in any gaps within your business. Working alongside your organisation, as an extension of your in-house team, Goal Group Australia focuses our attention on assisting your business as you work to realise your goals.
In our capacity as consultants to the different organisations we have worked with, Goal Group has also trained and accredited a number of individuals within these businesses in systems that elevate the capabilities of the organisation.
Goal Group Australia is committed to maintaining a customer-first philosophy. With this in mind, Goal offers a number of standard project management packages which can be tailored to meet the needs of businesses within the corporate sector. We also offer customisable project management packages so that you receive only the services that you need.
For more information about our project management services, contact us.


Agribusiness giant Bunge expects a bumper South American crop to boost its processing business this year.
Squeezed processing margins in its core South American segment were the fly in the ointment, in the latest set of company results.
But surging sugar prices, and better earnings from the group's food business, helped Bunge top analyst expectations, sending shares soaring.
"We enter 2017 with confidence and expect strong growth in earnings," said Bunge chief executive officer Soren Schroder said.
Bunge's agribusiness suffered in 2016 thanks to smaller than expected crops, which encouraged farmers to hold on to supplies.
"Results decreased from last year, primarily due to lower results in our soy processing operations, reflecting tight bean supplies in South America and softer global soymeal demand due to competition from lower cost feed products," Bunge said.
This pushed down processing margins in South America, leaving earnings from the agribusiness segment down some 12% year-on-year in the last three months of 2016.
But this picture is expected to change this year, Mr Schroder said, with bumper crops, including a record-large Brazilian crop.
"After disappointing crops in South America last year, the region is on track to produce record harvests this season, which aligns well with our footprint," he noted.
And Thomas Boehlert, Bunge's chief financial officer saw rising earnings from the agribusiness segment thanks to "large crops in South America, of which Brazilian farmers have a significant percentage remaining to price".
Mr Boehlert also noted "a return to more normal levels of soy meal inclusion in feed rations; and higher softseed crush margins due to the combination of greater seed supply and robust vegetable oil demand".
Earnings before interest and taxation from Bunges' agribusiness segment were expected to rise in 2017, to $895m-$1.05bn, compared to $782m last year.
And despite the weak performance in the company's agribusiness segment in the last three months of 2016, profits in smaller segment rallied.
Profits from the company's food business surged 52%, while profits from the sugar and bioenergy segment tripled.
For sugar, Bunge said "increased results in the quarter were primarily driven by our sugarcane milling operation, where higher sugar and ethanol prices more than offset lower crush volumes".
Overall, the company's net profits rose 39% year-on-year, to $262m in the last three months of 2016.
Adjusted profits were reported at $1.70 a share, beating analyst expectations of $1.57 a share, and ahead of $1.49 a year ago.
Net sales rose 8.6% year on year in the same period, to $12.06bn, beating analyst expectations of $11.41bn.
Bunge shares were up 7.9% in morning deals in New York, at $5.41.


Before the Diedrich Roaster, coffee was almost entirely roasted in fluid-bed or drum roasters utilizing atmospheric/blue flame burners. This combination of technologies roasted coffee using dirty effluent gasses created in the combustion process as it's roast air medium. Not only did this practice create a vast amount of noxious gasses, but it facilitated a crude production process whereby the operator had very little capability to manipulate the complex chemistry of the coffee throughout the roast process to create refined roast profiles. This was the old way of roasting coffee, and surprisingly, is still the way nearly all our competitors' machines are constructed.
Since its origin Diedrich Manufacturing has employed in its roasters a proprietary roasting technology that utilizes ceramic infrared burners and heat exchangers to not only dramatically reduce noxious gas emissions and provide for a cleaner roasting medium, but also to make possible entirely new vistas of roasting capabilities through the precise control of the roasting process from start to finish. Simply put, with a Deidrich roaster, not only are your operations cleaner, but you have the ability to create roast profiles unimaginable using other machines.
Dessa rostar är framtagna för att kunna stå inuti en butik eller liknande. Dels för att storleken gör att de inte värmer upp omgivningen så mycket och att ventilation tar inte lika mycet plats som våra "Commercial Rosters"
These roasters are built to be used "in store". Therefore they emit less heat to the sorroundings. Also the the footprint is smaller with much more simpel ducting than our commercial rosters.


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Q: GitHub For Windows Login to visualstudio.com I am using GitHub for Windows to mange a clone of 1 of my repositories on visualstudio.com (part of TFS hosting with GIT support). GitHub for Windows prompts me for login, but the OK button remains disabled even if I type in a username and password. Is there some sort of setting I need to change to allow logging in to my repo?

A: To clarify, this was not an issue with my GitHub credentials but with my credentials connecting to a clone of one of my tfs.visualstudio.com repositories. My username is my email address which contains a period and an @ which didn't play nicely with with the GitHub for Windows client. The fix was to enable alternate credentials in my tfs.visualstudio.com profile and to set a username without the invalid characters. Everything works fine using the alternate username to connect.

A: I've found solution for me, hope this helps someone else.
You could add Alternate authentication credentials on account's Security page of your Visual Studio Online. Then Github app would ask you to provide this credentials.
Secutiry settings page link is on your profile menu. Here is the source link:
http://mohamedradwan.com/2015/10/11/sync-between-my-github-and-visual-studio-online/

A: I downloaded the last version and is working fine, I just login with my github account, do you have one right?, maybe you are getting confused with the colors of the interface they are all kind of grey.
Make sure your github account is correct, try downloading the last version http://windows.github.com/release-notes.html


Explore ways to elevate your travel writing from straight reportage or a magazine article to something more complex: a travel memoir. Celebrated author Claire Scobie will teach you how to impress your reader with credible characters, dialogue and a compelling plot. She will also cover the popular genres of narrative and literary travel writing. By the end of the workshop, participants will have the creative tools to craft a story with believable dialogue, atmosphere, tension and revelation.


If you like fresh bread every day then, like me, you'll probably find that your life is changed by the owning of a good bread maker that churns out yummy loaves every day! I've tried a few in my time and come to the conclusion that they aren't all the same and I wish I'd looked in to it more before buying my first one – here's my tips for getting yourself the best bread maker on the market so that you'll be able to facilitate your bread addiction to the max! These are my top UK suggestions for 2018, but if you're coming from another place just click on the images to see if they are available where you are.
*not got time to read the whole article? Here's a sneak at my top choice.
Bread makers have one job don't they? To make a lovely loaf of bread that won't send you out to the shop or bakers! However not all makes and models are equal and it's not always easy to throw the ingredients in and get a good loaf out.
Size – does it do loaves that will be large or small enough for your household?
Dried fruit and nut dispenser – if you want to try fancier fruit loaves these can be essential to getting it to work.
Finished loaf – finally, is the finished loaf something that is edible? I wish I was joking but I have had electric bread makers in the past that couldn't do this! Check reviews to see what people make of the bread once baked.
Panasonic have quite a few bread makers on the market and I'll be the first to admit that they aren't the cheapest out there. It can be a bit of a leap of faith to invest in it when there are other cheaper models but believe me they really are worth it.
For 2017 the SD-ZB2502BXC model is a really good option and I love the look of this one which is incredibly modern with it's sleek stainless steel outer casing. It would look at home in any kitchen no matter your decor.
This bread maker does everything that you might possibly want it to do. It bakes bread, obviously, it can handle specialty loaves and gluten free recipes and it can also do jam!
One of the features that I specifically like in this one is that it not only has a nut and fruit dispenser, but it also has a yeast dispenser. If you've ever added yeast to mixes and found it got too close to the salt you'll know it can kill it and ruin your loaf. This is a good way round that happening, so great if you're setting it off to work on a timer. the control panel is easy to use too.
proven to make really great loaves that you'll want to make daily! Even wholemeal!
rapid bake option – which still makes a nice loaf!
Get this one if… you want to bake bread daily and never get fed up of it! My top bread maker choice!
The Morphy Richards Fastbake bread maker is one of the most popular and best selling bread makers at the moment. There's good reason for this – the price. It's probably one of the best cheap bread makers and budget enough that you can really take a chance on it and still know that it comes from a reputable company.
You get quite a good amount of options with this product too – there are 3 loaf size options, 1lb, 1.5lb and 2lb which will make it suitable for any size of household. You get a recipe book with lots of ideas too but some of them aren't so great (yes the fastbake loaf I'm looking at you). As always, a bit of experimenting with the recipes is worthwhile.
Another modern and stylish bread maker is this one from Andrew James with a lovely sleek and brushed stainless steel effect. It's really nice enough to be left out on the work surface constantly which means it will get used!
Lots of bread makers only have the fruit and nut dispensers on their more expensive options so it's nice to see that this one has it at a really inexpensive price point. It also comes with a 13 hour timer and a 60 minute keep warm feature which is good if you aren't going to be around when it finishes baking.
Unfortunately I don't think it really compares as well to the more expensive bread makers when it comes to the finished loaf, often requiring a bit of tweaking to get good results. For the price it's pretty good though and plenty of other people agree!
Am I cheating by adding in another Panasonic to my best bread machine guide? Possibly, but I do believe strongly that they are well worth the money and if you can stretch to even their most basic model, like this one, you won't be disappointed.
So what's different about this model to the one I mentioned previously?
First of all is the look – it looks much more basic and less stylish than the stainless steel. Now that might not mean much to you, but others will prefer the looks of the other.
You also don't get a dispenser for your nuts, seeds and fruit and you certainly don't get the yeast dispenser either. Again, these aren't big worries, especially if you don't think you'll be making fancier loaves.
You do get all lots of options for baking such as the crust colour and size as before and you still come out with a superior loaf that will rival the bakery! If cost is an issue but you're tempted then you'll not go wrong with the basic model (and if you want to upgrade you'll be able to recoup your costs by selling it on!).
This best bread maker guide is a work in progress – there will be more reviews added shortly, but I hope you find the included reviews helpful!
Just wanted to tell you I bought the Panasonic Bread Baker with the nut and yeast dispenser from eBay – used but in perfect condition. I absolutely love it and am working my way through most of the recipes. it would have been helpful to have a proper bound instruction/recipe book instead of having to download and print it from the Internet but that gripe aside it is a superb piece of kit. if it went wrong tomorrow I would go out and buy a new one I am that impressed with it. Fresh loaves whenever you want them and as there are only two of us we get through the medium size every two days which means we always have fresh bread.
Just wanted to point out that the Morphy Richards Fastbake has a flaw. It is a great machine at a good price, as long as you don't mind having to purchase new bowls. What happens is the bowl leaks under the paddle and eventually rusts away the connector underneath the bowl. At £22.00 including postage and only 6 months warranty at a time and two weeks for delivery, it makes it an expensive consumable. It seems that it is a very common issue. Why don't they upgrade this element and charge more for the machine?


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Former Apple exec accused of insider trading goes free on $500K bond
Posted: February 21, 2019 3:25PM
in AAPL Investors
Apple's former senior director of corporate law, Gene Levoff, has been temporarily released on a $500,000 bail bond while he awaits trial for insider trading.
Image Credit: Victor J. Blue/Bloomberg
The bond was imposed by a federal court in New Jersey due to flight risk, Bloomberg indicated. U.S. Magistrate Judge Steven Mannion remarked that Levoff has traveled considerably in the past, and has "extensive assets" that could help him flee.
The U.S. Securities and Exchange Commission filed charges against Levoff last week, saying that he "traded on material nonpublic information about Apple's earnings" three times between 2015 and 2016, and another three times in 2011 and 2012. The 2015 and 2016 incidents alone were supposedly worth $382,000.
Levoff took advantage of unreleased quarterly data as well as internal updates on iPhone sales, the SEC argued, even violating the company's own "blackout" windows for stock transactions. While at Apple, he was responsible for compliance with SEC regulations.
A spokesperson told AppleInsider that Levoff was forced to go on leave in July 2018 after the company was informed of the accusations. It then conducted a "thorough investigation with the help of outside legal experts," leading to his firing in September.
The executive's history with Apple includes helping to establish Apple Vietnam in 2015. At the time, he was also the director of Apple Operations International.
He can afford that ... for now.
gutengel Posts: 363member
He looks like he can afford that bond, he also look like he could rock that orange jumpsuit.
carnegie Posts: 1,016member
Has the DOJ filed criminal charges that weren't reported on? Or did I miss such reporting?
Because the SEC can't bring criminal charges and Mr. Levoff wouldn't have been in jail (or under threat of jail) in connection with the charges that the SEC brought.
EDIT: Yes. The DOJ brought criminal charges the same day that the SEC brought civil charges. I hadn't seen that reported anywhere.
edited February 2019
beowulfschmidt Posts: 1,727member
If the bond is 500K, how much is the actual bail?
arlor Posts: 529member
beowulfschmidt said:
In California, bond is almost always 10% of bail, so the bail should be $5 million. The $500k is a deadweight loss to Levoff, but it spares him putting up $5 million, though he probably will have had to put up collateral too.
arlor said:
That's what I thought too (the 10% figure seems fairly common). He's legally on the hook for the entire 5 million though, if he jumps. And the court can at least try to seize assets if he does, even if he later presents himself again.
cornchip Posts: 1,921member
Sheesh. Bad move, buddy.

redpajama_set_name: RedPajamaCommonCrawl


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Gore Vidal: in his own words
Posted 19 May 2008, 10:53am By Patrick Corrigan
That brilliant American man of letters, Gore Vidal, was featured on the South Bank Show last night. Melvyn Bragg had secured an interview with the great man in his new LA home, after decades of self-imposed exile in Italy.
I have previously tried – and failed – to tempt him to Belfast to deliver our Amnesty International Annual Lecture. I don't suppose the physically ailing (but still mentally astute) octogenarian may ever again make it to Irish shores, although he will be in Britain shortly.
In any case, the South Bank Show was a timely reminder to me to get reading more of Vidal's books and essays (he has been pretty prolific in the 60 years-plus of his writing career).
Vidal is a great writer of fiction, essayist and a chronicler of America's political and social history, an ardent fan of the American republic and an outspoken critic of the American empire
Anyway, whether you agree or disagree with what Vidal has to say, his wit and wisdom are eminently quotable. So, for your reading pleasure, here are a few of his perceptive / acerbic / hilarious / outrageous / despicable (take your pick – I don't really care) lines from down through the years.
In this US Presidential election year, I thought it would be fun to include a few of his thoughts on that topic (sorry, I'm mostly of the cynical 'Coke vs Pepsi' school of thought on American politics).
On 9/11, rights and American foreign policy…
'It is fairly plain to many civil libertarians that 9/11 put paid not only to much of our fragile Bill of Rights but also to our once-envied system of government which had taken a mortal blow the previous year when the Supreme Court did a little dance in 5/4 time and replaced a popularly elected President with the oil and gas Bush-Cheney junta.'
'It is interesting how often in our history, when disaster strikes, incompetence is considered a better alibi than …. Well, yes, there are worse things.'
'Americans have no idea of the extent of their government's mischief … the number of military strikes we have made unprovoked, against other countries, since 1947 is more than 250.'
'Now you have people in Washington who have no interest in the country at all. They're interested in their companies, their corporations grabbing Caspian oil.'
'I don't see us winning the war. We have made enemies of one billion Muslims.'
On US Presidential elections…
'It makes no difference who you vote for – the two parties are really one party representing four percent of the people.'
'Any American who is prepared to run for president should automatically, by definition, be disqualified from ever doing so.'
'Apparently, a democracy is a place where numerous elections are held at great cost without issues and with interchangeable candidates.'
'By the time a man gets to be presidential material, he's been bought ten times over.'
'Half of the American people have never read a newspaper. Half never voted for President. One hopes it is the same half.'
'Democracy is supposed to give you the feeling of choice, like Painkiller X and Painkiller Y. But they're both just aspirin.'
Finally, some classic Gore Vidal bitchy fun…
'A narcissist is someone better looking than you are.'
'There is no human problem which could not be solved if people would simply do as I advise.'
'The four most beautiful words in our common language: I told you so.'
About Amnesty UK Blogs
Our blogs are written by Amnesty International staff, volunteers and other interested individuals, to encourage debate around human rights issues. They do not necessarily represent the views of Amnesty International.
Don't have an account? Create one now
Posted 19 May 2008, 10:53am
By Patrick Corrigan
...like many not-for-profit organisations, our fundraising has been affected by the coronavirus pandemic. Amnesty International UK depends on the generosity of our supporters to fund our ongoing fight for human rights. Our usual work must continue, and we must now also ensure governments around the world are doing enough to protect vulnerable people during this pandemic. Your donation, however big or small, is valuable.
If you are able to help, please chip in today and help the fight for humanity and human rights to continue.
Work for Amnesty
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© Amnesty International UK 2019. Amnesty International UK Section Charitable Trust. A company limited by guarantee registered in England and Wales (03139939) and a charity registered in England and Wales (1051681) and Scotland (SC039534). Amnesty International United Kingdom Section. A company limited by guarantee registered in England and Wales (01735872). Registered office 17-25 New Inn Yard London EC2A 3EA.
© Amnesty International UK 2017


Human existence would not be possible without such things as water and air purification, nutrient cycling and the maintenance of biodiversity – nature provides these "ecosystem services" at no cost to the consumer. These predominantly public goods typically have no markets and no prices, so their gradual disappearance is not reflected in our current economic system. Various factors including population growth, changing diets, urbanization, and climate change are causing biodiversity to decline and ecosystems to be degraded. The world's poor are most reliant on the degrading ecosystem services and thus are most at risk from the continuing loss of biodiversity.
In March 2007, the G8+5 environment ministers endorsed a study to look at the economic value of biodiversity and ecosystem services, as well as the long-term economic consequences of the continuing loss of biodiversity. The goal of the study, known as The Economics of Ecosystems and Biodiversity (TEEB), is to motivate actions to significantly reduce the loss of biodiversity by 2010. The German Federal Ministry for the Environment and the European Commission, with the support of an Advisory Board and under the leadership of Pavan Sukhdev, initiated work on this global study.
The TEEB project is being implemented in two phases. The preliminary findings from Phase I were launched by Germany's Minister for the Environment Sigmar Gabriel and Commissioner Stavros Dimas of the European Commission at the High-Level Segment of the Ninth Conference of the Parties to the Convention on Biological Diversity (CBD COP-9) in Germany in May 2008.
60% of coral reefs could be lost – even by 2030 – through fishing, pollution, diseases, invasive alien species and coral bleaching due to climate change.
As a key component of the UNEP Green Economy initiative, Phase II of TEEB will expand on the findings from the interim report and aims to demonstrate that economics can be a powerful instrument in biodiversity policy. Phase II seeks to make a credible economic and development case for conserving, sustainably using, and investing in biodiversity and ecosystems with equitable sharing of benefits. The ultimate goal of TEEB will be to provide policy makers with the tools they need to incorporate the true value of ecosystem services into their decisions. The study will run into 2009 and 2010 with the final results presented at CBD COP-10 in 2010.


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Kering and ITC form Madagascar Crocodile Conservation & Sustainable Use Programme (MCCSUP)
Kering and the International Trade Centre (ITC) announced today a new collaboration to develop a multi-year programme to support the monitoring and sustainable management of the trade in Nile crocodiles from Madagascar.
The formation of the Madagascar Crocodile Conservation and Sustainable Use Programme (MCCSUP) follows the recommendation by the Standing Committee of the Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES) to re-open the trade in Nile crocodiles from Madagascar. This decision follows the entry into Madagascan national law of specific legislation for managing the species.
The programme's goal is to support sustainable trade that contributes to economic opportunities, local livelihoods and the long-term conservation of crocodiles and their habitats.
Kering and the ITC will provide technical support and financial resources in collaboration with the Crocodile Specialist Group of the Species Survival Commission of the International Union for Conservation of Nature (CSG). The MCCSUP will facilitate targeted activities in Madagascar to improve sustainable trade in crocodiles and help support the country's obligations under CITES.
The MCCSUP will cover a range of projects that will deliver recommendations in a series of public reports that will drive the overall sustainability of the trade in Madagascar crocodile. This will include assessing the status of wild populations, monitoring wild egg collection for crocodile ranching operations, and examining options for enhancing benefits for local livelihoods from the trade.
The programme will be implemented through the CSG, which will work with the Madagascar Scientific and Management Authorities for CITES, the Ministry of Environment, Ecology and Forests, and the University of Antananarivo, as well as national and international experts. Two significant elements of the programme's implementation will be the support of the creation of a Crocodile Management Unit (CMU) that will act as a hub for all crocodile management-related issues and a programme of student research that will focus on crocodile biology, ecology, management and conservation.
"At Kering we are focused on supporting sustainable production systems across our global supply chain and ensuring sustainable sources of raw materials," said Marie-Claire Daveu, Chief Sustainability Officer and Head of international institutional affairs at Kering. "As this new market for sourcing is opening up, we are pleased to be able to support the capacity building that will underpin the implementation of best practices in management of crocodile conservation, sustainable use and trade in Nile crocodiles from Madagascar."
"This is the second Public-Private Partnership (PPP) between Kering and ITC in which our two organisations are designing solutions for sustainable sourcing of biodiversity-based products from developing countries," said ITC Executive Director Arancha González, "The PPP is an effective and innovative way to leverage both private and public investment and skills. It will help increase incomes and safeguard an important natural resource for marginalised rural communities in Madagascar," she said.
"We welcome this collaborative effort that will ensure compliance with CITES requirements for legality and sustainability, while also delivering tangible benefits for local communities" said John E. Scanlon, Secretary-General of CITES. "We are most encouraged by the depth of cooperation between Kering, ITC, IUCN Crocodile Specialist Group andMadagascar's CITES Authorities in supportinginitiativesthat will benefit the Nilecrocodileand its habitat and the people living close to them," added Scanlon.
Emmanuelle Picard-Deyme + 33 (0)1 45 64 61 87 emmanuelle.picard-deyme@kering.com
Mich Ahern +44 (0) 7984 684 454 mich.ahern@gmail.com
Jarle Hetland +41 22 730 0145 / +41 79 582 9180 hetland@intracen.org


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Natolewiczki – przysiółek w Polsce położony w województwie zachodniopomorskim, w powiecie gryfickim, w gminie Płoty.
Natolewiczki są przysiółkiem wsi Natolewice.

Pojawił się jak Kolonie, położony na początku lat 1930. w gminie Neu Natelfitz, należącej do powiatu Regenwalde Prowincji Pomorze.

W latach 1975–1998 miejscowość administracyjnie należała do województwa szczecińskiego.

Bibliografia
 PKW

Przypisy

Natolewice


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Q: android animate views inside a scroll view while scrolling Is there example android code or sample android app which demonstrate animation of the views while scrolling.
For example. In a scroll view some items are not visible when you scroll the items will start to come inside the screen that time i just want to animate that view.
any help would be greatly appreciated.
Thanks.

A: Download this app. Here you will find tons of libraries of your use. I also seen the library which your are asking in this app. You will find source code links in the app as well.
https://play.google.com/store/apps/details?id=com.desarrollodroide.repos&hl=en
Or You can do one more thing
Just add on scroll listener and some more listeners are there by which you can detect which portion of your scroll view is visible.
Then You can add animation to those views.

A: Try Listview animation library.
Modify it and use.
https://github.com/nhaarman/ListViewAnimations


M. Ward (Solo) at Bimbo's 365 Club. February 3, 2007 Got there in time for the last couple of songs by the opener: Victoria Williams. She sounded like Cindi Lauper's retarded cousin. Apparently she's pretty well known among musicians, and I've since found out she's got Multiple Sclerosis, so I feel kind of like a jackass for ripping on her, but the point is I did not enjoy her songs and I enjoyed her chatter between songs much less.
There was a long break before M. came out (aside: does anyone know M's full first name?). The long break was annoying – I mean it's a SOLO show – it can't take you that long to get ready. Well, he came out and was tearing it up on acoustic guitar – the guy is really a very talented guitar player, which I hadn't realized from listening to the albums. So he wraps up this long tasty solo and then gets going with the songs.
The songs were good, but not great. Problem 1) this was a sold-out show, so it was packed and we were standing on a crowded floor. It is tough to stand for that long to listen to really mellow songs. 2) I think he was excited to be playing to such a large enthusiastic crowd, so I think he put some extra energy into his guitar playing. The problem with that is that many of the songs thrive on the subtleties that exist in the songs. Those subtleties were gone (and I missed the band on a lot of the songs). Finally, I thought I knew a decent amount of his catalog, but he played a lot of songs I didn't recognize. He closed the set with "undertaker" and recorded 3 guitar loops that looped on top of each other as he left the stage – that was really cool and very pretty. We left during the encores. Bottom line – I would only see him again if it were in a venue where I knew I could sit down. It's not good standing up music.
Given that previous experience, I was worried about this show. I was afraid that he would again put too much energy into his mellow songs and spend too long rocking out on the guitar. Well, he opened the set with a few mellow numbers (including "post war" which is one of my favorites) and then he proceeded to turn it into a rock concert (he had a full band this time). Strange thing was, this time it worked for me. Maybe it was because I knew what to expect this time, but I really enjoyed it.
Show was extra special because he came out and did one encore. He really gave the vibe that he's a "one encore" type of guy. The house lights even came on for a few seconds, then they went off again and he came back out for a second encore. It felt like a true second encore – the way it's supposed to feel. Like M had no choice but to come back out and try to appease the roar of the crowd. His second encore was "Vincent O'Brien" and it was great.
I was bummed that Zooey didn't make an appearance (I heard she DID sing one song with him in NC the night before), but she wasn't on the bill so I hadn't gotten my hopes too high. I now wholeheartedly recommend M. Ward's live shows (as long as you know you're going to get a rocker and you won't hear too many of those mellow songs you love).
–One Hundred Million Years (?)—I didn't know the name of the song, but made a note that it was a new one. I think it was this one, but I can't say for sure.
This entry was posted on Tuesday, July 28th, 2009 at 1:05 pm and is filed under music.	You can follow any responses to this entry through the RSS 2.0 feed. Both comments and pings are currently closed.
It was an incredible show!
I thought you said you heard Transfiguration at the show last night? Why isn't it on the set list?
zooey deschanel was there, in the audience. a lot of folks saw her, and m. stipe was there too!
Carrie – I have no recollection of saying that. I can never remember most of the track names off that album, and the tracks that are titled "Transfiguration" are instrumental.
I'm very disappointed that I missed out on the celeb sightings.


Choices are made and some of them have deadly consequences. How extreme and how far is Kelvin willing to go in order to secure his heart's desire and is it worth it? Chanda, Kelvin's disputed girlfriend has a sad background marred by poverty streaks culminated by her father's accident which rendered him incapable of providing for his family. She struggles to raise the money for her air-ticket to the hard won scholarship program awarded her. Three is a crowd as Alfred fights to keep Chanda as one of his toys even if it means Kelvin has to die, there is no rest for the wicked as Alfred's plans land him into trouble. Will spending 4 years in prison yield results for the person who sacrifices his freedom for the sake of LOVE?


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L'any 1991 es va crear el Gran Premi d'Europa de motociclisme, el qual es disputà en la seva primera edició al Circuit del Jarama, i a partir de l'edició de 1992 ja es disputà al Circuit de Catalunya, essent a partir de 1996 que canvià la seva denominació per Gran Premi de Catalunya de motociclisme.

Guanyadors

Guanyadors múltiples

Pilots

Marques

Vegeu també

 Gran Premi d'Europa de motociclisme


A radiant pack of metallic silver and gold stars that strike all the right chords of delicate glamour. These incredibly versatile delights are perfect for everyday use, as well as festival and party wear. You can flaunt them on your neck, your wrist, back, shoulders-basically anywhere and everywhere.
4" x 1" sheet of gold and silver stars metallic temporary tattoo.


Our goal is to create the best version of your aircraft so that you can focus on the things you love about flying. We believe your aircraft should operate as an extension of you, this will create a more enjoyable experience and also a safer sky.
Ground up design of a highly personalized avionics panel using only the latest avionics available today.
From USB chargers to full avionics stacks we offer the full range of avionics upgrades with options from the industry's leading manufacturers.


It's no accident you just typed in a search term related to search engine optimization or SEM and and found us here in the Goodhue search results – we used specific strategies and technical maneuvers to increase our visibility here in search engines.
Over 80% of consumers use search engines to find local businesses, and 90% of searchers never go past Page 1 of Google. Also, 94% of people will click on Organic Results rather than paid advertisements, and trust organic results more than ads which increases avg conversion rate. Without good SEO you are losing over 90% of all Goodhue prospects searching online for the exact products and/or services your business provides.
SEO, or Search Engine Optimization, is basically the process which gets your business to show up as the #1 result on Google (or other search engines) when someone searches for the products or services your business provides in Goodhue. Our SEO agency knows the proper steps to get your website in the top Google results no matter the location or size of your business.
Look at SEO as a large banner that you view every day as you head into town in Goodhue. If the advertisement shows a major promotion in a clothing store, chances are a big number of people will go to check it out, and maybe buy some stuff. SEO works in a similar manner. People searching online for a specific topic or information will be interested in a company that keeps on getting displayed on their search page.
Search engines use crawlers to collect information from the internet and an index to rank the various webpages in their database. The optimization process includes editing titles and meta descriptions. There are millions of people using search engines on a daily basis to seek for information, and businesses are always tweaking their websites so that they can benefit from SEO. This is a list of reasons why a business should consider investing in SEO, regardless its size or area of activity.
Business owners should adjust their perception of SEO as being an investment, rather than an expense. Consider how an investment will produce some kind of profit. As making a website is extremely easy today, skeptics usually tend to consider SEO as a hoax. However, it is vital to keep in mind that the role of SEO is to drive traffic to your firm.
Consider how you search the internet, are you going to choose a restaurant in Goodhue that is located on the first page or the fifth page? Always remember that businesses can't be successful without investments.
Several web surfers today search for items with their mobile phone devices. Considering how convenient mobile devices are, it really should come as no surprise. Mobile users tend to rely more on organic search results than on paid ads. This happens because organic results are customized to suit their personal profile and preferences. Firms that appreciate the significance of cellular devices should give attention to SEO.
The use of smartphones and tablets is tightly connected to the rise of social media platforms. A lot of people discuss business on Twitter, Facebook or WhatsApp on a regular basis. When seeking for solutions to their problems, users could decide to perform an online search, so it's mandatory that they find your website before the ones of your competitors. By offering credible information, you can rest assured these people will share your content with friends.
Three's a lot to gain for small businesses in Goodhue, as this is an easy way to obtain recommendations and favorable ratings from their local customers. If you are afraid that SEO is a waste of time and money, consider how many people move into your city on a yearly basis, all looking for something.
In the past, it was hard for a small business in Goodhue to compete with the big guys. SEO is the number one way to compete with a much smaller budget. There are many big businesses who are not concerned with SEO and it is allowing smaller businesses to sneak in a get a much bigger piece of the pie. In the long run, trust is built, and prospects become seasoned clients.


text:
Home/Life Style/BTS Use New Album, 'BE,' to Reflect on 2020 | Grit Daily News
BTS Use New Album, 'BE,' to Reflect on 2020 | Grit Daily News
Wall Post TeamNovember 20, 2020
Nine months after releasing their album, Map of the Soul: 7, BTS came back last night with their newest album, BE. The album also comes three months after the release of the group's massive No.1 hit, "Dynamite."
The K-Pop septet originally teased BE during a livestream in late July, but there were very little details as to what was to come. All we knew was that BTS would 100 percent take over this project themselves; each member held a specific role in curating this album and they would take charge of everything from the tracklist to creating the album's visuals, as well directing the title track's music video.
BE takes a dive into what life has been like throughout 2020. When the Coronavirus pandemic hit the entire world, life paused for everyone, BTS included. Due to COVID-19, the group cancelled their Seoul tour dates for their Map of the Soul world tour and postponed their dates in North America, Europe and Japan. But with touring being put on pause, this allowed them time to really dive into making this album personal, for both themselves and ARMY.
The title track, "Life Goes On," highlights those feelings of frustration as the world practically hit the pause button, but time kept moving forward. On the other hand, BTS try to hold onto feelings of hope and positivity by saying that "light will rise again," because as they have zero control of what's going on right now, they know that things will get better soon.
The song's music video takes those lyrics and brings them to life, showing the members at home, spending time with each other and watching the news as this year began to unfold. In addition, we see V driving on the road as he passes by the Jamil Olympic Stadium, where BTS have performed several times.
The video's final shots transition from their home setting to them performing on a stage, with lights lighting up every seat to represent their fans and their hopes to see them in person soon.
Additionally, the group announced a special ARMY version of the music video, set to come out on December 30, and asked for ARMY to participate by sending in video clips of how they express "Life Goes On" in their own way.
Welcome to 'BE'
The rest of the album follows suit in being candid and honest about what BTS have felt throughout the year, and also expressed what others may have felt too.
BE's first unit song, "Fly to My Room," has Suga, J-Hope, Jimin and V reflecting on when they would travel, but now feel confined to their rooms and want nothing more than to leave and experience those free feelings again.
"Blue & Grey" makes its mark as the more melancholic track of the album, depicting feelings of loneliness and sadness and not feeling like themselves at the moment.
"Skit" is BTS's first non-music track since Love Yourself: Her's release in 2017; the purpose of the skits are to just have BTS talking amongst themselves about certain happenings or events. This skit in particular has the members talking after they found out that "Dynamite" reached No.1 on the Billboard Hot 100 chart on Jungkook's birthday.
"Telepathy" feels like a conversation between BTS and ARMY; the members check in to see how the listener is doing, and say that they will always be there for them no matter the distance.
"Dis-ease" brings a more hip-hop feel to the album, and while it is very upbeat, it discusses feelings of anxiety and uncertainty that they have felt throughout the year; at the same time, it acknowledges how the group managed to keep themselves working and busy.
The second unit song, "Stay," includes RM, Jin and Jungkook singing about that want to be around ARMY again and performing for them, but like "Telepathy," they express that even if they are far apart, BTS and ARMY will always be together.
BE concludes with "Dynamite," which RM said has the same roots as "Life Goes On," so it serves as the "firework finale" to the album.
I'm the resident BTS fan here, so of course I have a lot of love for this group because they mean so much to me. As I've stated in previous pieces, the work that BTS have put in made this release much more personal than those of theirs in the past. By taking on specific roles and curating this album to make it something that they knew that ARMY would love, it ultimately feels like a warm, comforting hug that everyone needs right now.
I also feel like this album has a bit of everything for everybody; the songs featured range from alternative hip-hop to having elements of EDM and colorful disco music, as well as those tracks with slower, more emotional melodies. If you aren't a fan of BTS [yet], I think BE would be a great place for you to start.
BTS will also be performing "Life Goes On" at this year's American Music Awards, taking place this Sunday, November 22 at 8PM EST/5PM PST on ABC.
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Tesla Fixes Common Complaints In Model Y | Grit Daily News
Influencer Marketing: 3 Ways to Avoid a Mishap | Grit Daily News
Twitter Stocks Drop After Banning Trump | Grit Daily News


text:
package org.estatio.dom.budget;

import java.math.BigDecimal;
import java.util.ArrayList;
import java.util.Iterator;
import java.util.List;

import javax.inject.Inject;
import javax.jdo.annotations.IdGeneratorStrategy;
import javax.jdo.annotations.IdentityType;
import javax.jdo.annotations.Query;
import javax.jdo.annotations.VersionStrategy;

import org.apache.isis.applib.annotation.ActionLayout;
import org.apache.isis.applib.annotation.DomainObject;
import org.apache.isis.applib.annotation.Editing;
import org.apache.isis.applib.annotation.MemberOrder;
import org.apache.isis.applib.annotation.ParameterLayout;
import org.apache.isis.applib.annotation.PropertyLayout;
import org.apache.isis.applib.annotation.Where;
import org.apache.isis.applib.services.i18n.TranslatableString;

import org.isisaddons.module.security.dom.tenancy.ApplicationTenancy;

import org.estatio.app.budget.BudgetCalculationServices;
import org.estatio.app.budget.DistributionService;
import org.estatio.dom.EstatioDomainObject;
import org.estatio.dom.apptenancy.WithApplicationTenancyProperty;
import org.estatio.dom.charge.Charge;
import org.estatio.dom.currency.Currency;
import org.estatio.dom.lease.Leases;
import org.estatio.dom.lease.OccupancyContributions;

@javax.jdo.annotations.PersistenceCapable(identityType = IdentityType.DATASTORE)
@javax.jdo.annotations.DatastoreIdentity(strategy = IdGeneratorStrategy.NATIVE, column = "id")
@javax.jdo.annotations.Version(
        strategy = VersionStrategy.VERSION_NUMBER,
        column = "version")
@javax.jdo.annotations.Queries({
        @Query(
                name = "findBudgetItemByBudget", language = "JDOQL",
                value = "SELECT " +
                        "FROM org.estatio.dom.budget.BudgetItem " +
                        "WHERE budget == :budget ")
})
@DomainObject(editing = Editing.DISABLED)
public class BudgetItem extends EstatioDomainObject<BudgetItem> implements WithApplicationTenancyProperty {

    public BudgetItem() {
        super("budget, budgetKeyTable, value, charge, budgetCostGroup");
    }

    //region > identificatiom
    public TranslatableString title() {
        return TranslatableString.tr("{name}", "name", "Budget item for ".concat(getBudget().getProperty().getName()));
    }
    //endregion

    private Budget budget;

    @javax.jdo.annotations.Column(name="budgetId", allowsNull = "false")
    @MemberOrder(sequence = "1")
    @PropertyLayout(hidden = Where.PARENTED_TABLES)
    public Budget getBudget() {
        return budget;
    }

    public void setBudget(Budget budget) {
        this.budget = budget;
    }

    // //////////////////////////////////////

    private BudgetKeyTable budgetKeyTable;

    @javax.jdo.annotations.Column(name="budgetKeyTableId", allowsNull = "false")
    @MemberOrder(sequence = "2")
    public BudgetKeyTable getBudgetKeyTable() {
        return budgetKeyTable;
    }

    public void setBudgetKeyTable(BudgetKeyTable budgetKeyTable) {
        this.budgetKeyTable = budgetKeyTable;
    }

    public BudgetItem changeBudgetKeyTable(final @ParameterLayout(named = "BudgetKeyTable") BudgetKeyTable budgetKeyTable) {
        setBudgetKeyTable(budgetKeyTable);
        return this;
    }

    public BudgetKeyTable default0ChangeBudgetKeyTable(final BudgetKeyTable budgetKeyTable) {
        return getBudgetKeyTable();
    }

    public String validateChangeBudgetKeyTable(final BudgetKeyTable budgetKeyTable) {
        if (budgetKeyTable.equals(null)) {
            return "BudgetKeyTable can't be empty";
        }
        return null;
    }

    // //////////////////////////////////////

    private BigDecimal value;

    @javax.jdo.annotations.Column(allowsNull = "false")
    @MemberOrder(sequence = "3")
    public BigDecimal getValue() {
        return value;
    }

    public void setValue(BigDecimal value) {
        this.value = value;
    }

    public BudgetItem changeValue(final @ParameterLayout(named = "Value") BigDecimal value) {
        setValue(value);
        return this;
    }

    public BigDecimal default0ChangeValue(final BigDecimal value) {
        return getValue();
    }

    public String validateChangeValue(final BigDecimal value) {
        if (value.equals(new BigDecimal(0))) {
            return "Value can't be zero";
        }
        return null;
    }

    // //////////////////////////////////////

    private Currency currency;

    @javax.jdo.annotations.Column(name="currencyId", allowsNull = "false")
    @MemberOrder(sequence = "4")
    @PropertyLayout(hidden = Where.EVERYWHERE)
    public Currency getCurrency() {
        return currency;
    }

    public void setCurrency(Currency currency) {
        this.currency = currency;
    }

    @ActionLayout(hidden = Where.EVERYWHERE)
    public BudgetItem changeCurrency(final @ParameterLayout(named = "Currency") Currency currency) {
        setCurrency(currency);
        return this;
    }

    public Currency default0ChangeCurrency(final Currency currency) {
        return getCurrency();
    }

    public String validateChangeCurrency(final Currency currency) {
        if (currency.equals(null)) {
            return "Currency can't be empty";
        }
        return null;
    }

    // //////////////////////////////////////

    private Charge charge;

    @javax.jdo.annotations.Column(name="chargeId", allowsNull = "false")
    @MemberOrder(sequence = "5")
    public Charge getCharge() {
        return charge;
    }

    public void setCharge(Charge charge) {
        this.charge = charge;
    }

    public BudgetItem changeCharge(final @ParameterLayout(named = "Charge") Charge charge) {
        setCharge(charge);
        return this;
    }

    public Charge default0ChangeCharge(final Charge charge) {
        return getCharge();
    }

    public String validateChangeCharge(final Charge charge) {
        if (charge.equals(null)) {
            return "Charge can't be empty";
        }
        return null;
    }

    // //////////////////////////////////////

    private BudgetCostGroup budgetCostGroup;

    @javax.jdo.annotations.Column(name="budgetCostGroupId", allowsNull = "false")
    @MemberOrder(sequence = "6")
    public BudgetCostGroup getBudgetCostGroup() {
        return budgetCostGroup;
    }

    public void setBudgetCostGroup(final BudgetCostGroup budgetCostGroup) {
        this.budgetCostGroup = budgetCostGroup;
    }

    public BudgetItem changeBudgetCostGroup(final @ParameterLayout(named = "BudgetCostGroup") BudgetCostGroup budgetCostGroup) {
        setBudgetCostGroup(budgetCostGroup);
        return this;
    }

    public BudgetCostGroup default0ChangeBudgetCostGroup(final BudgetCostGroup budgetCostGroup) {
        return getBudgetCostGroup();
    }

    public String validateChangeBudgetCostGroup(final BudgetCostGroup budgetCostGroup) {
        if (budgetCostGroup.equals(null)) {
            return "BudgetCostGroup can't be empty";
        }
        return null;
    }

    // //////////////////////////////////////

    public BudgetItem generateBudgetLines(@ParameterLayout(named = "Are you sure? All existing lines will be deleted.") final boolean confirmDelete) {

        for (BudgetLine budgetLine : budgetLines.findByBudgetItem(this)) {
            budgetLine.deleteBudgetLine();
        }

        List<Distributable> budgetLineList = new ArrayList<>();

        BudgetKeyItem budgetKeyItem = new BudgetKeyItem();
        for (Iterator<BudgetKeyItem> it = this.getBudgetKeyTable().getBudgetKeyItems().iterator(); it.hasNext();){

            budgetKeyItem = it.next();

            BigDecimal calculatedValue = BigDecimal.ZERO;
            calculatedValue = calculatedValue.add(budgetCalculationServices.calculatedValuePerBudgetKeyItem(this,budgetKeyItem));
            BudgetLine newBudgetLine = new BudgetLine(calculatedValue, this,budgetKeyItem);
            budgetLineList.add(newBudgetLine);

        }

        //distribute budget lines
        DistributionService distributionService = new DistributionService();
        budgetLineList = distributionService.distribute(budgetLineList, this.getValue(), 2);

        for (Distributable budgetLine : budgetLineList) {

            persistIfNotAlready((BudgetLine) budgetLine);

        }

        return this;
    }

    public String validateGenerateBudgetLines(final boolean confirmDelete) {

        return confirmDelete? null:"Please confirm";

    }

    @Override
    @MemberOrder(sequence = "7")
    @PropertyLayout(hidden = Where.EVERYWHERE)
    public ApplicationTenancy getApplicationTenancy() {
        return getBudget().getApplicationTenancy();
    }

    @Inject
    private Leases leases;

    @Inject
    private BudgetCalculationServices budgetCalculationServices;

    @Inject
    BudgetLines budgetLines;

    @Inject
    OccupancyContributions occupancies;

}

redpajama_set_name: RedPajamaGithub


This is a recreation of a collector's dream. The rarest of jukebox wonders was the elegant wartime machine, of which only a few hundred were made.
The Gazelle features art deco fawns playing the Pipes of Pan above and two leaping gazelles etched in mirrored glass panels below. The Gazelles are brilliantly illuminated with ever changing colors.
With all the craftsmanship of a classic, the front door is finished in satinwood and burled elm. The top crown, shoulders, pilaster supports and even the base are carved out of hardwoods, walnut and alder.


text:
Damal District is a district of Ardahan Province of Turkey. Its seat is the town Damal. Its area is 165 km2, and its population is 5,127 (2021).

Composition
There is one municipality in Damal District:
 Damal

There are 7 villages in Damal District:

 Burmadere
 Dereköy
 Eskikılıç
 İkizdere
 Otağlı
 Seyitören
 Tepeköy

References

Districts of Ardahan Province


text:
Photocopies proliferate as textbook prices soar
Herald Reporters
Soaring prices of academic text books have made them unreachable to many parents, forcing them to go for pirate copies that are far much cheaper, usually a tenth the cost of original legal copies.
Photocopies are sold on the streets by illegal traders who display covers of the popular text books on most street corners, sometimes right in front of bookshops.
The price gaps are so wide that there have been calls for publishers to print cheaper editions to fill the needs and still ensure authors receive royalties.
Generally, on long print runs, as will school text books, printing should be significantly cheaper than photocopying and even with royalties added to the legal editions, they could be produced at prices not that much higher than illegal copies.
Although it is an offence to reprint or make photocopies of original books for sale in terms of the copyright laws, the practice has been welcomed as overburdened parents struggle to pay fees for their children and the gap between legal and illegal copies is so vast.
A survey carried out by The Herald showed that a set of seven textbooks for primary school pupils is ranging between $1 400 and $1 800 at most bookshops, while the same set of photocopies cost between $229 and $344 on the streets.
At INNOV 8 Bookshop along George Silundika Avenue, Harare, a set of seven Grade Three (Ventures) textbooks was selling at $1 760, while illegal traders operating from Roselyn Building along Nelson Mandela Avenue are selling the same as photocopies for US$14, which translates to ZWL$229,60 using the interbank rate of US$1: $16,40 or around $310 if the parent has to buy US dollars on the black market using mobile money.
Copies of each textbook for primary school grades are selling at between US$2 and US$3 on the streets.
Photocopies of most secondary school textbooks (Step Ahead) are going for US$5 each on the streets, while they cost between $350 and $700 each in city bookshops.
Some parents are going for original, but second-hand books that cost between US$5 and US$8 ($82 and $131,20) each on the streets.
Zimbabwe Writers Association chairperson and Zimbabwe Book Fair Association board member Ms Monica Cheru-Mupambawashe blamed publishing companies for failing to produce cheaper study material for the huge market.
She said the authors were the ones losing out and urged the relevant authorities to come up with a national book policy to curb the illegal practice.
"One cannot really blame people for finding the most affordable option," she said.
"After all, if you are buying textbooks as an individual you do not need strong expensive editions because your child only needs it for a year or less, then you have to get a new set.
"There is a clear market for cheaper books. What is puzzling is why publishing houses seem not to care about this big market. Unfortunately, the author is the one who loses out.
"We need a national book policy that takes all things into consideration.
"Current laws and policies are antiquated and not designed to look at cheap reproduction of books as an opportunity if done under licence."
Deputy national police spokesperson Chief Superintendent Blessmore Chishaka said piracy was an offence.
"In terms of the Copyright Act, it is an offence to photocopy and sell somebody's material," he said.
"As police, we continuously conduct raids and arrest all those involved in such practices."
Piracy, though it came as a relief to parents and school children, has affected business for bookshops in the city, if not around the country.
Innov8 Bookshop's managing director Mr Peace Muwani cried foul over piracy, with some unscrupulous traders selling the pirated books right in front of the registered bookshops.
"Due to the economic hardships affecting our nation, people will always look for alternatives and in this case, they are opting for pirate copies which are cheaper," he said.
"However, this has affected our business.
"For the past decade, we have been facing this challenge and there seems to be no solution to it."
One of the vendors who refused to be named said they were making a good profit from pirate copies.
"We take advantage of the desperate parents and offer cheaper copies of the much-needed textbooks," he said.
"I even deliver copies to my clients' homes whenever they place an order. Our prices are affordable and these days we are enjoying brisk business.
"I started this business five years ago and I am enjoying it. I am managing to send my children to school and cater for all their needs."
Parents who spoke to The Herald said they had no choice but to buy from vendors, who are charging less for the books.
"I have since stopped buying from these shops," said one parent only identified as Mr Musariri.
"They are charging high prices for a set of books which my daughter will only use for a year and discard. The $1 700 charge is too much for me, that is why I am buying all my books from the streets. After all, the content is just the same,"
Another parent said it was pointless buying expensive books from a shop, yet there were cheaper ones on the streets.
"I have two children, one in Grade Three and the other one in Grade Six," she said.
"I cannot raise over $3 000 to buy books for the two children from bookshops. I cannot afford to be that extravagant at a time schools are charging thousands of dollars in school fees."
Some parents experienced challenges in buying photocopies.
Some photocopies are of extremely poor quality, while others have missing pages.
Most of them are printed in black and white, making it difficult for infants who learn about colours.
Tags: National, Top Stories


If you would like to return an item purchased from us please read the following and if you have any questions please email us at cs@beergardenfurniture.net.
1. If for any reason you would like to return a unused, undamaged product you have 14 days from the day you received your order/shipment. Please email us first at cs@beergardenfurniture.net before shipping any items back to us.
2. All returned items will be subject to a 15% re-stocking fee.
3. All returned item(s) must be returned unused and undamaged in it's original packaging. We will not accept any responsibility for any goods damaged in transit when shipped back to us.
4. You are responsible for all shipping costs if you decide to return any items.
5. Before we issue a credit or refund for a returned item(s) we reserve the right to inspect the item(s) returned.
1. If you have received damaged goods please contact us right away at cs@beergardenfurniture.net. We must made aware of any damages within 24 hours of receipt.
2. Your package/shipment must be inspected when it arrives. If any goods are damaged upon arrival you must tell the driver and what was damaged must be noted on the signed delivery receipt.
3. If damaged goods are received please provide pictures of original packaging.
4. If you receive damaged goods We reserve the right to do one or all of the following. Issue a credit or refund for a determined amount. Ship replacement parts. Have the damaged pieces or parts returned to us.


The Forest Stewardship Council® (FSC®) is an international organization that brings people together to find solutions which promote responsible stewardship of the world's forests.
Being FSC® certified, Priority Press can print your job on paper that has followed a chain of custody from the forest floor to our shop floor. All sources that bear the FSC® trademark are from responsibly maintained forests which have been certified in accordance with the rules of the Forest Stewardship Council®. The FSC® product label allows consumers worldwide to recognize products and companies that support the growth of responsible forest management worldwide.
Soy and vegetable based printing inks.
Priority Press offers soy and vegetable based inks as an alternative to traditional petroleum based inks. These inks are more environmentally friendly than petroleum based inks and are naturally low in volatile organic compounds (VOCs). Additionally, the use of soy and vegetable based inks makes it easier to recycle paper.
The process inks we use have been certified by the EcoSmart™ certification program. This means our inks are environmentally friendly inks which have low VOCs and high renewable resource content.
Waste ink and chemical disposal.
Waste ink and chemical solvents are by-products of the printing industry. Responsible, environmentally conscious disposal of these by-products is important to maintaining a healthy environment. Priority Press contracts with an outside firm to insure all waste ink and other chemicals are disposed of in compliance with the Resource Conservation and Recovery Act (RCRA).
The Printer's 3 P's of Recycling—Paper, Plates, Palettes. Priority Press vigorously recycles all scrap paper created in the printing process including paper trim from our presses, cutters and folders. We also recycle all other paper waste and cardboard. These recycling efforts help reduce the environmental impact on raw materials, as well as, the environmental impact on waste disposal.
Additionally, Priority Press recycles all metal press plates used in the printing process. The recycling of these plates reduces the amount of waste sent to landfills and the demand on natural resources, while also reducing our production costs.
Lastly, Priority Press reuses and recycles all wooden palettes used in the transportation of paper to and from our plant. This again significantly reduces the environmental impact on raw materials and the amount of waste sent to landfills.
If you are not currently a Priority Press customer, please contact us or call us at 888.955.PRINT.


If you're serious about transforming your writing into vibrant, engaging, and marketable fiction, you've found the right book. The Breakout Novelist gives you the craft and business know-how you need to make your stories stand out.
Veteran literary agent Donald Maass brings together the best innovative and practical information from his previous books and workshops to help you set your novel apart from the competition. Maass shares examples from successful and contemporary writers across all genres to equip you with strategies for crafting compelling fiction--from core elements like character, setting, description, and plot, to more advanced techniques including theme, tension, and suspense. Plus, you'll find over 70 practical exercises to help you evaluate your writing to the breakout level.
You'll also learn from Maass's experiences from more than three decades in the publishing industry. Get straight talk from an insider about agents, contracts, industry changes, and how to be the kind of author who builds a successful career book after book.
If your goal is to craft powerful stories that capture your audience's attention from the first page to the last, then The Breakout Novelist is an indispensable reference.