ROME, Ga. (FOX 5 Atlanta) - Video released from a Georgia mall seems to be a blooper reel, but it shows a very serious crime. Two shoplifting suspects were trying to make a quick getaway from a Victoria's Secret store in Rome but then drop the stolen items.
The women ended up getting their act together and made off with thousands-of-dollars' worth of merchandise, but police are hoping they won't get away clean with the help of someone who may recognize them in the video.
The almost comical video was taken inside the Mount Berry Mall in Rome. Video taken from nearby Dunham Sports store show the video trying to leave. The pair stops and picks up the merchandise, but the other girl cannot walk straight because she has so much stuff and the bag is awkward.
Rome Police Detective Corey Bowers calls the women brazen. It all happened at around 5:30 in the evening last week with customers in the store and shopping in the mall.
Detective Bowers said the two suspects are seen sneaking into the store, trying to hide from cameras. Once inside, they mill around a few seconds and that's when the bags come out and they start stuffing items into bags. At one point, they realize someone has seen them but they seem completely unconcerned.
Police believe the merchandise has found its way onto internet selling websites or even flea markets.


text:
The Doe Lea Centre will be closed from Thursday 23rd December 2021 until Tuesday 4th January 2022
Holiday Wednesdays
In order that we can keep people safe and remain open we're following the goverment's Covid Secure guidance. As such we've been busy reviewing how we work and making the following changes.
1) We've completed an exhaustive risk assement of the Centre and are happy to make this available on request.
2) We've improved our cleaning routine and have started implementing hourly cleaning of high contact surfaces and areas as well as asking hirers and group leaders to increase their cleaning too. We've also installed hand sanitiser stations in key locations around the Centre.
3) We're asking that anyone attending the Centre wears a mask in line with current government guidance, don't worry if you forget to bring one though we have some disposable ones available so please just ask.
4) We're encouraging social distancing by reducing session sizes and during busier times we'll be operating a one way system throughout the Centre. We may also ask people to queue outside during session change overs, but there will be a member of staff helping guide people whilst we get used to this new way of working.
5) Windows and doors will be open in spaces being used so that we have increased ventilation. Don't worry if you get a little cold, our heating system has recently been serviced and we're happy to put it on for you.
6) Group leaders will be taking contact details so that should we need to we can pass these on to NHS Test and Trace. We'll be keeping a record of all names and a contact number for 21 days, after which they'll be securely destroyed.
7) We're asking that anyone with a persistent cough, a high temperature or has lost their sense of taste or smell (or someone in their household has these symtoms) stays away from the Centre. This includes our staff and volunteers.
Finally we're working towards getting a card reader so we can encourage contactless payments as well as looking into an online payment and booking sytem.
With all these measures in place we hope to see you back here soon!
Doe Lea Centre, Mansfield Road, Doe Lea, S44 5PD
info@doelea.org.uk
copyright © 2020 - 2022 Ault Hucknall Parish Management Committee – All rights reserved.

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We are proud that our Excel Player Development Programme is rated as Outstanding by the RFL. We work with both players and coaches to help all players reach their potential. Sessions are held at the fantastic facilities at York St John University Sports Park and include not only skill based field sessions but Strength and Conditioning as well as lifestyle and tactical sessions.
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Players need to bring a drink, moulded boots for use on the 3G pitch and trainers for sessions in the S&C suite.


text:
CONSERVING 'Titian's Mistress' from Apsley House
Significance of Apsley House
Apsley House is internationally famous as the home of the 1st Duke of Wellington and his descendants. As such it is also a memorial to Britain's triumph over the Napoleonic threat. It is also significant as a restored historic house, a celebration of Regency style, a museum commemorating the 1st Duke and the home of an outstanding collection of decorative and fine art.
The Battle of Waterloo, painted in 1843 by Sir William Allan and on display at Apsley House
APSLEY HOUSE AND THE 1ST DUKE OF WELLINGTON
The most important historical associations of the house are with the 1st Duke of Wellington, who acquired it in 1817. It remained his London house until his death in 1852. Besides associations with his domestic and political life, and with the commemoration of his military triumphs, Apsley House contains abundant evidence of the duke's interests as a collector and commissioner of works of art.
Robert Adam
The original house was one of only three London houses that Adam designed, decorated and furnished in their entirety. The other two were Shelburne (later known as Lansdowne) House for the Earl of Bute, and 20 St James's Square for Sir William Watkins-Wynn.
Regency Interiors
Apsley House is an important survival of a Regency interior, one of only a few such properties that can still be visited by the public.
The research and renovation programme undertaken by the Victoria and Albert Museum from 1970 saw the reintroduction of period features and the redisplay of furniture and objects in use during the 1st Duke of Wellington's occupation of the house.
The magnificent interiors, including the restored Waterloo Gallery, State Dining Room and Drawing Rooms, reveal the Regency taste for decorative effects such as white and gold panelling, scagliola (fake marble) finishes and grand, scrolling ironwork.
Regency London
As befits its informal name 'Number 1, London', Apsley House stands in an important location for the landscaping of Regency London.
Travellers coming into central London from Regent's Park first passed John Nash's Marble Arch. This was originally designed to stand outside Buckingham Palace as a commemoration of British victories in the Napoleonic Wars, but moved to its present location in 1850–51.
Visitors would then pass through Decimus Burton's Hyde Park screen abutting Apsley House and past the Wellington Arch at Hyde Park Corner. This was intended to form a grand entrance to Buckingham Palace gardens and Green Park from Piccadilly. Originally in line with the screen, it was moved eastwards in 1883.
The Wellington Arch, with Apsley House in the background
A Monumental Landscape
Apsley House and its surroundings form a national memorial to the Duke of Wellington's military victories. In addition to the Wellington Arch, a more personal tribute to the duke's martial prowess can be found in Hyde Park: the naked bronze statue of Achilles, cast from captured cannon. It was made by sculptor Richard Westmacott (1775–1856) and raised in 1822 by the women of Britain in honour of the victorious general.
Memorials to more recent conflicts have joined the Wellington Arch around Hyde Park Corner. The Royal Artillery Memorial and Machine Gun Corps Memorial were both erected in 1925 in memory of the First World War. Others include the Memorial Gates, erected in 2002 to honour troops from Africa, the Caribbean and the Indian sub-continent, the Australian war memorial of 2003 and the RAF Bomber Command Memorial, unveiled in 2012.
'Napoleon as Mars the Peacemaker', by Antonio Canova (1757–1822), presented to Wellington in 1816 and displayed at the foot of the principal staircase at Apsley House
Perhaps the most important aspect of the interiors at Apsley House is the magnificent collection of fine and decorative arts, formerly part of the collections of the 1st Duke of Wellington.
Over 3,000 fine paintings, sculptures, and works or art fashioned in silver, porcelain, porphyry, batons, swords and orders, given to Britain's greatest military hero by grateful emperors, tsars and kings, are on display. Most notable are:
Sculptures by Canova, including the statue of Napoleon originally commissioned from the Italian sculptor by Napoleon himself
Paintings acquired by the 1st Duke from the Spanish royal collection, including masterpieces by Velásquez, Murillo, Rubens, Goya, Correggio, Van Dyck and Brueghel
The Waterloo Shield and Standard Candelabra, presented to Wellington by the merchants and bankers of London in 1822.
Find out what was discovered when Titian's Mistress, a painting from the collection at Apsley House, went into the conservation studio for treatment in 2012.
Conserving Titian's Mistress
READ MORE ABOUT APSLEY HOUSE
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He told me Its Not You, Its Me! He was So Not The One! He said Lets Just Be Friends but I told him no. I know there are better Fish in the Sea. Maybe Hell look back and say that I was the one that Slipped Away - either way I Kept the Ring.


Central Signs Group – Design. Construct. Install. Maintain.
At Central Signs Group to create signage for all environments.
We turn your ideas into reality through our experienced team of designers.
Our state of the art manufacturing facility includes fabrication, painting and printing.
We have a national installation team that is highly skilled and experience in a range of different environments.
signCARE is our ongoing service division. We service signage throughout the country along with warehouse stock for clients.
I am writing to thank you for the prompt and professional manner in which you and your employees conducted yourselves during our recent fleet decal refit. Anthony understood our requirements and was extremely obliging and easy to work with. The standard of the workmanship and the quality of the materials used was first class and did not go unnoticed by our management team. AAT Kings Coach Company take great pride in their presentation in what is a very image related business and we thank you sincerely for assisting us in keeping a very high standard. Please feel free to use this letter as a recommendation to other prospective customers and don't hesitate to have them call me if they so desire.
Central Signs Pty Ltd was engaged by Sydney Harbour Foreshore Authority, under a contract resulting from a competitive tender process to manufacture and install way-finding signage on the promenade at the eastern and western ends of Circular Quay in Sydney. The value of the contract was in the range $100,000 to $150,000. The works were carried out on this high profile location and involved working in restricted hours and areas to minimise any inconvenience to tourists, commuters and nearby residents. Central Signs kept the Foreshore Authority informed during the project in accordance with the contract and completed the works ahead of the contracted completion date, to the quality specified.
Central Signs recently completed the manufacture and install of sign work to the Museum of contemporary Art, Sydney. A high profile project, situated on Sydney's iconic Harbour. Central Signs successfully tendered a hotly contested package, through a diligent approach by seeking clarifications prior to their submission. Due to the time constraints of the project, a pro-active approach was required from the outset and Central Signs delivered. The resultant signs both internal and external speak for themselves. We have an exceptionally 'Happy' client as a result and the public feedback has been nothing short of exceptional. I wish to take this opportunity to thank Central signs for the outstanding work produced. The signage package was professionally handled by John and his team of production and installation staff tailoring to every need of our client's desire. I have no hesitation in recommending Central signs for future projects.
Just a quick note to thank you and your team for a fantastic effort in manufacturing and installing all our new signage. All the works were within budget, and more importantly were all completed on time. The high quality of the fabrication and attention to detail is obvious and is greatly appreciated. I have had numerous positive comments from various stakeholders. It was a pleasure to work with you, and I have no hesitation in recommending Central Signs to prospective clients who want a trouble free complex job to go as smoothly as ours did.
Just a note of thanks for the manufacture and delivery the full scale sign age prototypes (pylon, flag and finger signs) that have been used to undertake user testing and consultation for the City's Legible Sydney wayfinding project. I was impressed by the quality of the workmanship of the signs particularly the clarity of the graphics and mapping on the signage which has allowed our trial to go very smoothly and get great feedback. Your diligence displayed in project inception, development of shop drawings and regular updates on project status and timing was very much appreciated for it made my project coordination role be hiccup free.
We would love to hear from you. Send us an email and let's chat.


text:
Q: Inequivalent but cycle-similar group actions Given two group actions $\alpha:G\to\mathrm{Perm}(X)$ and $\beta:G\to\mathrm{Perm}(Y)$, say the $G$-sets $X$ and $Y$ are cycle-similar (let's denote $X\sim Y$, since it's an equivalence relation) if $\alpha(g)$ and $\beta(g)$ are the same cycle type for each group element $g\in G$. If $X\cong Y$ are isomorphic as $G$-sets then $X\sim Y$ are cycle-similar but it ought to be possible for $X\sim Y$ even while $X\not\cong Y$.
(It's noted here that $\mathrm{Out}(G)$ can have inequivalent actions on the sets $\mathrm{Class}(G)$ of conjugacy classes of $G$ and $\mathrm{Irr}(G)$ of irreducible representations of $G$, but the character table is invariant so Brauer's permutation lemma shows every $\alpha\in\mathrm{Out}(G)$ has the same cycle type on both sets.)
I am interested in examples where $X\not\cong Y$ but $X\sim Y$. Is there a way to produce examples of such pairs? Are there small, understandable examples? Can one classify "minimal" examples?
By Burnside's lemma, $|X/G|=|Y/G|$, so $X$ and $Y$ have the same number of orbits, and wlog they share no isomorphic orbits. Also, their cycle index polynomials $Z_{\alpha(G)}(t)$ and $Z_{\beta(G)}(t)$ must be the same, but in principle one could have $Z_{\alpha(G)}(t)=Z_{\beta(G)}(t)$ while $X\not\sim Y$, but finding examples of that is likely even more difficult.
If $G/H\sim G/K$ (so, one orbit each), then each $g$ must have the same index with respect to every conjugate $aHa^{-1}$. IOW, for $aH,gaH,\cdots,g^{k-1}aH$ to be a cycle, $k$ must be the smallest exponent for which $g^k\in aHa^{-1}$. Not sure how to turn this into an example.
Also, $X\sim Y$ implies $Z\times X\sim Z\times Y$ so the set $\{[X]-[Y]\mid X\sim Y\}$ of virtual differences ought to be an ideal in the Burnside ring $\mathrm{Burn}(G)$ of $G$. Does this ideal have a name?

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text:
Q: Setting an element of an array equal to an entire array c++ I am creating a deck of bingo cards. The deck knows the amount of cards in the deck, the size of the cards, and the max number to appear on the card.
I want to create n arrays (cards) of unique random integers and then add each of these arrays to each element of another array (the deck). So, an array of arrays.
Ex.
card1 = {1, 2, 5};
card2 = {3, 7, 2};
deck = {card1, card2};

Here is my code so far:
Deck::Deck(int cardSize, int cardCount, int numberMax){
    int randInt;
    int size = cardSize * cardSize;
    int deckArr[cardCount];
    for(int t = 0; t < cardCount; t++){
        int arr[size];
        for(int i = 0; i < size; i++){
            randInt = computeRandInt(numberMax, cardSize);
            if(arr[i] == 0) arr[i] = randInt;
            else if (randInt != arr[i-1]) arr[i] = randInt;
        }
        deckArr[t] = arr;
    }
}

I get the error invalid conversion from 'int*' to 'int'. How do I declare my deck array to store these card arrays?

A: In C++, you can deal with arrays of arrays by means of nested vectors, e.g. a vector<vector<int>> for your deckArr. Note that deckArr should actually be a member of Deck (and not a local variable); Just slightly adapted your code to show the idea of nested vectors:
Deck::Deck(int cardSize, int cardCount, int numberMax){
    int randInt;
    int size = cardSize * cardSize;
    vector<vector<int>> deckArr(cardCount);
    for(int t = 0; t < cardCount; t++){
        vector<int> arr(size);
        for(int i = 0; i < size; i++){
            randInt = computeRandInt(numberMax, cardSize);
            if(arr[i] == 0) arr[i] = randInt;
            else if (randInt != arr[i-1]) arr[i] = randInt;
        }
        deckArr.push_back(arr);
    }
}


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Q: How can I conditionally include large scripts in my ssdt post deployment script? In our SSDT project we have a script that is huge and contains a lot of INSERT statements for importing data from an old system. Using sqlcmd variables, I'd like to be able to conditionally include the file into the post deployment script.
We're currently using the :r syntax which includes the script inline:
IF '$(ImportData)' = 'true'
BEGIN
  :r .\Import\OldSystem.sql
END

This is a problem because the script is being included inline  regardless of whether $(ImportData) is true or false and the file is so big that it's slowing the build down by about 15 minutes.
Is there another way to conditionally include this script file so it doesn't slow down the build?

A: Rather than muddy up my prior answer with another.  There is a special case with a VERY simple option.
Create separate SQLCMD input files for each execution possibility.
The key here is to name the execution input files using the value of your control variable.
So, for example, your publish script defines variable 'Config' which may have one of these values: 'Dev','QA', or 'Prod'.
Create 3 post deployment scripts named 'DevPostDeploy.sql', 'QAPostDeploy.sql' and 'ProdPostDeploy.sql'.
Code your actual post deploy file like this:
:r ."\"$(Config)PostDeploy.sql
This is very much like the build event mechanism where you overwrite scripts with appropriate ones except you don't need a build event.  But you are dependent upon naming your scripts very specifically.

A: The scripts referenced using :r are always included. You have a couple of options but I would first verify that if you take the script out it improves the performance to where you want it to get to.
The simplest approach is to just keep it outside of the whole build process and change your deploy process so it becomes a two step thing (deploy DAC then deploy script). The positives of this are you can do things outside of the ssdt process but the negatives are you don't get things like auto disabling of constraints on tables changing in the deployment.
The second way is to not include the script in the deploy when you build but create an AfterBuild msbuild task that adds the script as a post deploy script in the dacpac. The dacpac is a zip file so you can use the .net packaging Api to add a part called postdeploy.sql which will then be included in the deployment process.
Both of these ways mean you lose verification so you might want to keep it in a separate ssdt project which has a "same database" reference to your main project, it will slow down the build when it changes but should be quick the rest of the time.

A: Here is the way I had to do it.
1) Create a dummy post-deploy script.
2) Create build configurations in your project for each deploy scenario.
3) Use a pre-build event to determine which post deploy configuration to use.
You can either create separate scripts for each configuration or dynamically build the post-deploy script in your pre-build event.  Either way you base what you do on the value of $(configuration) which always exists in a build event.
If you use separate static scripts, your build event only needs to copy the appropriate static file, overwriting the dummy post-deploy with whichever script is useful in that deploy scenario.
In my case I had to use dynamic generation because the decision about which scripts to include required knowing the current state of the database being deployed to.  So I used the configuration variable to tell me which environment was being deployed to and then used an SQLCMD script with :OUT set to my Post-Deploy script location. Thus my pre-build script would then write the post-deploy script dynamically.
Either way, once build completed and the normal deploy process started the Post-Deploy script contained exactly the :r commands that I wanted.
Here's an example of the SQLCMD script I invoke in pre-build.
:OUT .\Script.DynamicPostDeployment.sql

PRINT ' /*';
PRINT '     DO NOT MANUALLY MODIFY THIS SCRIPT.                                               ';
PRINT '                                                                                ';
PRINT '     It is overwritten during build.                                                   ';
PRINT '     Content IS based on the Configuration variable (Debug, Dev, Sit, UAT, Release...) ';
PRINT '                                                                                ';
PRINT '     Modify Script.PostDeployment.sql to effect changes in executable content.         ';
PRINT ' */';
PRINT 'PRINT ''PostDeployment script starting at''+CAST(GETDATE() AS nvarchar)+'' with Configuration = $(Configuration)'';';
PRINT 'GO';
IF '$(Configuration)' IN ('Debug','Dev','Sit')
BEGIN
    IF (SELECT IsNeeded FROM rESxStage.StageRebuildNeeded)=1
    BEGIN
        -- These get a GO statement after every file because most are really HUGE
        PRINT 'PRINT ''ETL data was needed and started at''+CAST(GETDATE() AS nvarchar);';
        PRINT '                                                  ';
        PRINT 'EXEC iESxETL.DeleteAllSchemaData ''pExternalETL'';';
        PRINT 'GO';
        PRINT ':r .\PopulateExternalData.sql         ';
....

A: I ended up using a mixture of our build tool (Jenkins) and SSDT to accomplish this. This is what I did:

*

*Added a build step to each environment-specific Jenkins job that writes to a text file. I either write a SQLCMD command that includes the import file or else I leave it blank depending on the build parameters the user chooses.

*Include the new text file in the Post Deployment script via :r.

That's it! I also use this same approach to choose which pre and post deploy scripts to include in the project based on the application version, except that I grab the version number from the code and write it to the file using a pre-build event in VS instead of in the build tool. (I also added the text file name to .gitignore so it doesn't get committed)


text:
El New Haven Open at Yale 2012 fue un Situs Togel Terpercaya torneo de tenis. Pertenece al WTA Tour 2012 en la categoría WTA Premier. El torneo tuvo lugar en la ciudad de New Haven, Estados Unidos, desde el 19 de agosto hasta el 25 de agosto de 2012 sobre canchas duras. El torneo, forma parte del US Open Series.

Cabezas de serie

 Los cabezas de serie, están basados en el ranking WTA del 13 de agosto de 2012.

Campeones

Individual Femenino

 Petra Kvitova vence a  María Kirilenko por 7-6(9), 7-5.

Dobles Femenino

 Liezel Huber /  Lisa Raymond vencen a  Andrea Hlavackova /  Lucie Hradecka por 4-6, 6-0, 10-4.

Véase también
 Torneos WTA en 2012
 Torneo de New Haven

Enlaces externos
 Web oficial (en inglés)
 Perfil oficial de la WTA

Torneo de New Haven 2012

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Of the many inspiring Passover messages that I read this year, the one that most caught my eye was by Rabbi Jill Jacobs,"Where Slavery Ends and Freedom Starts.", March 30, 2015. Rabbi Jacobs, Executive Director of T'ruah: The Rabbinic Call for Human Rights, shares "it's not always so clear where slavery ends and freedom starts.
We work on capacity building for organizations seeking to align their organization with the revolution in modern communications. In fact, we think this is so important that it has become a central part of all of our consulting work and this work on capacity gives the best long-term ROI of any activities we can do.


text:
YourAccompanist Singing Blog
YourAccompanist.com
The repertoire
Behind the scenes: Meet Michael
2nd May 2007 16th June 2015
In a quiet part of rural England you'll find a small collaboration of passionate people who've set out to democratize access to good quality piano accompaniments through the World Wide Web.
Michael, Your Accompanist himself
Early in April 2007, we launched www.youraccompanist.com as a resource for the singers all over the world who wanted authentic piano accompaniments for learning and rehearsal. Our aim was to provide information-age tools for singers working with a broad range of historical repertoire and genres, and to promote everyday enjoyment of singing in settings where piano skills might not be readily available.
"I'm always amazed to think that right now I might be accompanying someone thousands of miles away!" says Your Accompanist himself, Michael Baron, a British pianist and organist, the man behind every single track.
"We get really great feedback from all over the world, and it gives us enormous satisfaction when we hear from people, especially if one of our accompaniments has helped solve a problem for someone" he says.
"We started the site in response to singers I knew not being able to find the songs on the web that they wanted to sing … You only have to listen to page recognised midi accompaniments for a couple of seconds to know that singers can't really work with them, because they're not musical or authentic. We knew we had the combination of skills to make piano accompaniments which would deliver a rich experience and be easy to listen to. We wanted to create something that could be worked with seriously."
Labour of love
Since we began the site in April 2007, Michael has recorded over 3500 pieces (and almost all of them have been produced in response to requests from our customers). Quite an achievement for one musician and he shows no sign of slowing in his endeavours. "I'm the one who plays the piano, but there are three other collaborators supplying website and customer experience skills." says Michael.
Also on the team, there's Christina who looks after the catalogue and deals with enquiries. She loves being in touch with other singers, finding the sheet music and organising Michael's recording schedule. Then there's Helen who looks after website content and communications, and Christian who built the website, and keeps it all running smoothly.
"You couldn't count the hours that have gone into it. We all always felt that we had a unique combination of talents and enthusiasms. It's a small independent family business, quite literally labour of love," he says "but it's an utterly irresistible project for all of us."
In service of singers
Michael at the piano
"The web allows us to respond to people's suggestions in quite a personal way. They provide us with a lot of detail about their preferences and we try to produce recordings that incorporate these but will still work for as many singers as possible. We're always interested in what people want to sing and how. We've also tried to concentrate on building the widest resource we can from public domain music as so much of it is now available on-line."
We try to get as close as we can to to the real rehearsal experience for the singer, but we're definitely not here to take the place of a live accompanist.
"I hope that we achieve 'neutral' recordings for singers so that they can carry out their initial preparation on a piece, before progressing on to working with their actual live accompanist on their own joint interpretation. If the singer already knows the song, and is familiar enough with the piano part, so much more value will be had from the time available for rehearsing together."
Michael often records additional keys or interpretations when people request them but tries as much as possible to keep to the keys the composer indicated.
"Interpreting a song is the same as interpreting poetry. There's no single way to do it. I just want to try to get to the composer's musical and often poetic intention."
A collection shared…
"I've got all this ancient sheet music. It's been piling up my whole life into an enormous library. I didn't want it to just gather dust with no one else benefitting from it. Some of it is very rare and won't be easily found again these days."
"It's got all sorts of hidden gems, so if you're ever looking for something unusual, drop us a line… I first realized that people were disposing of sheet music pretty unceremoniously when I was about 12. I saw it just discarded with the trash in the street and I couldn't bear to see that, so I rescued it, washed my hands and played it. I've been collecting ever since."
"I'm forever finding things that I'd forgotten about or didn't know I had, and it's been great for me to relive all those days when I found wonderful antique sheet music, brought it home and played from it the first time."
"I've played most of it before in some context or another. Some of it's very complex and I have to put in the time to get it right, but I suppose I've been rehearsing for this my whole life."
A lifelong accompanist
Michael thinks he was probably born to be an accompanist. Ever since he started to play the piano as a small child, he's been accompanying singers and instrumentalists across the whole spectrum of music making: starting with his family and then in professional classical circles, auditions, festivals and competitions at all levels, as well as in churches, schools and communities.
"I've learned something about accompanying from every performer I've ever worked with. I've played with some remarkable people and developed considerable knowledge of a wide variety of musical styles. As a young man in the 70s, I was probably a little old fashioned for my generation, interested mainly in the music of what you might call 'yesteryear'. It's meant that I had the very rare experience of accompanying some singers early in my own career who started out performing before the First World War, and still upheld their traditions." He feels it's time to share these experiences and perhaps preserve them in some way.
Although comfortable as a soloist, Michael recognizes that the role of an accompanist is undoubtedly collaborative but there's more to it…
"Accompaniment should be supportive but unobtrusive" he says. "It's the same role as the orchestra in a concerto. I like giving singers the confidence to relax and sing out, and to do that properly, you have to keep a relatively low profile in the collaboration… It's about providing a supportive, pressure-free basis for a performer to work with. It's a very delicate balance. "
You name it, Your Accompanist'll play it
"We really want to build the same sort of musical relationship with you as we would face-to-face. We like suggestions and special requests, and we can help to tailor a piece for a specific purpose. We hope to approach the task in the same way as you would expect from your usual accompanist, with the added advantage of being able to use the music in the bath or on the bus, or at 3am if that's what works for you.
I think there's definitely a parallel between what we're doing through the internet now and the work of pioneer broadcasting pianists of the 20s and 30s. I'm inspired by them: they had to play anything and everything that was put in front of them live…and that calls for a different type of musicianship than being a specialist in a particular genre or the work of a particular composer."
The Your Accompanist catalogue certainly reflects the tastes of this versatile musical magpie, one with very agile digits and no faint heart for a technical challenge.
"My job is not to be daunted by range" he says,"but to be practical and flexible enough to play what singers request and to respond to the composer's wishes.
Working on the site has enabled me to set the contents of my library free, as well as quite a few voices. We've made so many good friends all over the world now, but what we've done so far is just the beginning – there's a busy time ahead."
Michael loves to hear from the people using the Your Accompanist products, so don't hesitate to get in touch!
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Grieg's songs
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We make authentic piano rehearsal tracks for singers. Get off-the-peg access to more than 3500 titles from the lieder and art song repertoire, opera arias, choral works & voice methods at www.youraccompanist.com.
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Pavarotti sings La Danza by Rossini with James Levine at the piano
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Full HPPTS encryption is now live
Wantage Music Festival Singing Section – 24th June 2017
Male singers wanted for an immersive vocal performance
Oh La La! Baroque Opera @ French Fest, London
Choral director Aoife Hiney looks back at the 2016 ZêzereArts Festival
Zêzerearts Choral Festival 2017
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Hope I'll be able to do this one - such a lovely theme!
Oh so many sweet components in this creation, a true fairy garden .
Sounds fun, count me in. I checked my stash and have things to participate. Otherwise I have limited travel, and ordering online in winter is not the best. Have a wonderful Sunday. It is a -30 with wind chill here today. High winds just hoping to keep electricity.
Of course sign me up!!!!
Yes, PLEASE! Count me in, dear Kimberley. This time I can make it! I will start straight away! Oh how much fun again! Thank you for hosting this great swap!
Oh I would love to do some ATC's for this swap! Thank you for hosting so many fun themes!
Hey Kim. Can I join in on this one?
I'm a tad late for this one, but I cannot wait to see what everyone comes up with. I will be jumping on the next one for sure!


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1964 Corporation Trustees
1979 Dedication Remarks by President Carter
1979 Dedication Remarks by Senator Kennedy
1985 Tribute by President Reagan
1993 Dedication Remarks by President Clinton
Dave Powers, First Museum Curator
I.M. Pei, Architect
Role of Jacqueline Kennedy Onassis
Role of Stephen E. Smith
Kennedy Library Fast Facts
The Presidential Library system formally began in 1939 when President Franklin Roosevelt donated his personal and presidential papers to the Federal Government. At the same time, President Roosevelt pledged part of his estate at Hyde Park to the United States, and friends of the President formed a private, non-profit corporation to raise funds for the construction of the library and museum building.
Following the example of the Roosevelt Library, all succeeding presidential libraries have been constructed with private funds. Private, non-profit organizations have been formed to coordinate these efforts and continue to provide support for presidential library programs. Once a presidential library has been constructed, the National Archives and Records Administration assumes responsibility for its operation and maintenance, in accordance with the Presidential Libraries™ Acts of 1955 and 1986.
On September 20, 1961, President John F. Kennedy wrote the Archivist of the United States to ask him to consult with White House staff and representatives of Harvard University concerning establishment of a Presidential library in Cambridge, Massachusetts. President Kennedy announced then that he would follow precedents set by Presidents Hoover, Roosevelt, Truman and Eisenhower, and give his papers and memorabilia to the National Archives for a Presidential Library.
A month before his death, President Kennedy visited Cambridge, Massachusetts, and chose a site next to Harvard University for the Library. It was to be the place where the records of his Presidency could be kept and where he would have his office when he retired from public life.
Plans for the Kennedy Library began to take shape in December 1963, when members of President Kennedy's family met with several of his closest associates to discuss a suitable memorial. While many suggestions were offered by people in all parts of the country, Mrs. Kennedy and the other members of President Kennedy's family decided that the John Fitzgerald Kennedy Presidential Library and Museum should be the only official national memorial to the President.
They also agreed that the project should have three parts: a Museum, an Archive, and an educational Institute that would carry forward President Kennedy's interest in bridging the gap between the academic world and the world of public affairs.
The John Fitzgerald Kennedy Library, Inc.—a private, non-profit corporation—was chartered in Massachusetts on December 5, 1963, to construct and equip a library in Massachusetts to house and preserve the papers and historical materials of John F. Kennedy and his associates, and to transfer title of these to the United States as elements of a Presidential archival depository.
Among the Corporation's many responsibilities were the raising and management of all building funds, the selection of the Library site, the appointment of the architect and exhibit designers, the selection of the general contractor, and the actual supervision of all construction.
Principals in the original Corporation were Robert F. Kennedy, Stephen Smith, Robert McNamara, Douglas Dillon, and Arthur M. Schlesinger. Jr. Major financial contributors to the Corporation were political associates, corporations and foundations, foreign governments, private citizens and interest groups who wished to honor President Kennedy. In the end, millions of people from around the world, including school children, contributed to the building fund.
The trustees of President Kennedy's estate, Jacqueline B. Kennedy, Robert F. Kennedy, and Edward M. Kennedy, formally deeded his papers and historical materials to the United States by a deed of gift accepted by the Administrator of General Services on February 25,1965.
The Kennedy Library Corporation, under the leadership of Stephen E. Smith, raised more than $20.8 million for both the construction of the John F. Kennedy Presidential Library and Museum, and for the creation and endowment of an Institute at Harvard for the study of politics and public affairs.
In 1966, the Kennedy Library Corporation presented Harvard University with an $8 million endowment for the creation of the Institute of Politics. A living memorial to President John F. Kennedy, the Institute was created to complement the work of the John F. Kennedy Presidential Library and Museum by helping to inspire the ideals of democracy and freedom in young people all over the world. Harvard University's Institute of Politics seeks to unite students, particularly undergraduates, with academics, politicians, activists, and policymakers on a non-partisan basis and to stimulate and nurture their interest in public service and leadership. The Institute also strives to promote greater understanding and cooperation between the academic world and the world of politics and public affairs.
The General Services Administration established the John F. Kennedy Presidential Library in temporary quarters in the Federal Archives and Records Center in Waltham, Massachusetts on October 1, 1969, and at that time announced the opening of the first portions of the Presidential papers for research use.
In 1975, the Kennedy Library Corporation abandoned plans to build the library on the site at Harvard University originally selected by President Kennedy due to prolonged delays in freeing the site for construction and opposition by some Cambridge residents who feared urban congestion caused by visitors and tourists.
The Library Corporation selected a new site for the library adjacent to the Harbor Campus of the University of Massachusetts Boston at Columbia Point in Dorchester. The 9.5 acre, waterfront site with panoramic views of Boston's skyline and Harbor Islands was donated to the Kennedy Library Corporation by the University of Massachusetts Boston with the consent of the state legislature.
From that point on, the Kennedy family involved a wide range of experts from different disciplines in Museum planning. Patricia Kennedy Lawford became overall Museum coordinator, working on a day-to-day basis with the architects, designers and Library staff.
A Museum advisory committee was appointed. Those involved in the planning visited the Hoover Library in West Branch, Iowa; the Franklin D. Roosevelt Library in Hyde Park, New York; the Harry S. Truman Library in Independence, Missouri; the Dwight Eisenhower Library in Abilene, Kansas; and the Lyndon Baines Johnson Library in Austin, Texas.
Each of the exhibits in the Kennedy Library Museum was developed in three steps: general guidelines and themes were developed; a search was made for the objects, pictures and documents which best illustrated those themes; and Kennedy family representatives met to approve the layouts.
In all, the family held 45 meetings on the Museum project between July 1976 and March 1979. The family's younger generation attended many of the meetings and contributed their opinions.
For advice on portraying Kennedy's presidential years, the advisory committee turned to those who had worked with President Kennedy in the White House—persons like Theodore Sorensen for domestic and foreign policy, Walter Heller for economic policy, Jerome Weisner for science policy, and Burke Marshall and John Seigenthaler for civil rights.
They were able to identify which, out of the millions of pages of Presidential documents, were the most significant items to display.
Members of the Kennedy family also made available for display a wide variety of items from their own homes: letters President Kennedy wrote to them, sailing trophies he won as a young man, pictures he painted for them, the family Bible on which he took the oath of office as President, personal effects from his desk in the Oval Office and his Navy flight jacket embossed with the Presidential seal.
The President's mother, Rose Fitzgerald Kennedy, recorded some observations on bringing up her children for the section on the President's formative years. Mrs. Jacqueline Kennedy Onassis, who selected the architect I.M. Pei to design the Library building, personally supervised the preparation of displays on family life and cultural activities in the White House during the Kennedy years.
Noting that most of the visitors to the Library after the first few years would not have any memories of President Kennedy, Patricia Kennedy Lawford stated:
What feeling do we want to give people who walk through the Library? People should leave the Library feeling that this was someone they would have liked to know, feeling sorry that they missed those years, and feeling that somewhere, somehow, the country will fulfill the promise that he strove for, and that they will try to help the country achieve that promise.
Ground breaking for the dramatic Kennedy Library building designed by I. M. Pei took place on June 12, 1977. The building was completed and dedicated in October 1979.
The Kennedy Library Corporation transferred title of the completed library to the United States National Archives and Records Administration on October 20, 1979 at a dedication ceremony attended by President Jimmy Carter.
In 1984, the work of the John Fitzgerald Kennedy Library Corporation was reorganized and incorporated under Massachusetts law as the John F. Kennedy Library Foundation, a 501(c)(3) non-profit organization.
The John F. Kennedy Library Foundation and the John F. Kennedy Presidential Library and Museum continue to be a model of a public/private partnership. While the Kennedy Library and Museum receives an annual federal appropriation for building maintenance and a portion of its personnel costs, the appropriation from Congress provides less than half of the Kennedy Presidential Library and Museum's annual budget. The balance is provided by fees generated by admission to the Museum, the Museum Store, and the use of the Library's meeting facilities; and through the generosity of thousands of private individuals, corporations and foundations who donate money and in-kind services to the John F. Kennedy Library Foundation.
The strong financial support and creative resources provided by the Kennedy Library Foundation enable the Kennedy Presidential Library and Museum to further advance the study and understanding of President Kennedy's life and career and the times in which he lived, and to promote a greater appreciation of America's political and cultural heritage, the process of governing and the importance of public service.
JFK Library Foundation
Privacy, Terms of Use, Accessibility


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Joe Wenderoth
If I Don't Breathe How Do I Sleep
By Joe Wenderoth
Whether it's addressing the grotesque in daily scenes or upsetting the norms of professional culture, Joe Wenderoth's fifth collection, If I Don't Breathe How Do I Sleep, resonates with his signature intellect and disturbing humor. He is at once an aesthete and an iconoclast who brings inventive force to American poetry.
***Audiobook recorded live in Los Angeles***
Alternating between dark comedy, fractured surrealism, and caustic satire, Wenderoth's fourth poetry collection (after No Real Light) succeeds in being both a self-conscious indictment and a perverse celebration of the capability of language itself.
Publishers Weekly (starred review)
... Wenderoth provocatively scrambles this traditional Muse-Poet complex and replaces the "daemonic" tutelary-Muse of the classical world with a more straightforwardly "demonic" rendering of the Poet/Poem as Devil, clown, doll, or living puppet.
Michael Joseph Walsh, Denver Quarterly
If I Don't Breathe How Do I Sleep is Wenderoth's fifth collection of poems, and I'm looking forward to having my brainbox knocked around by his caustic wit and confrontational humor.
Jim Ruland, The Outlet
In a body of work that builds off Sherwood Anderson's grotesque and moves with and through Whitman's ecstatic joy of the American poetic tongue, Wenderoth holds space with ritualistic power in brief encounters with everything from voice recordings to hummingbirds, from the living to the dead.
Marc T. Wise, Quarterly West
In Wenderoth's newest collection of poems, If I Don't Breathe How Do I Sleep, there is this strong sense – morbid, even – of illocality. Like a doorframe between waking and sleeping, between living and dying, between sincerity and absurdity, these illocal moments fill his fourth book of poems...
Eric Dean Wilson, The Rumpus
Wenderoth's speakers are not sideshow freaks for the reader to ridicule. No, they are honest and human.
Ezekiel Black, Heavy Feather Review
Wesleyan University Press published Joe Wenderoth's first two books of poetry, Disfortune and It Is If I Speak. Wave Books published his third book of poems, No Real Light (2007), and fourth, If I Don't Breathe How Do I Sleep (2014). Wave Books also published his novel, Letters To Wendy's (2000), and The Holy Spirit Of Life: Essays Written For John Ashcroft's Secret Self (2005).
Joe Wenderoth's films and artwork can be found on YouTube. His audio recordings (poems, public readings, and his podcast, About Brett Favre) can be found at Internet Archive. He is currently Professor of English at UC Davis, where he teaches in the creative writing graduate program. He is also the Blind Chaperone of the Seizure State. He has been to the Corn Palace, and has generally been thought of in a very positive way by people in the industry.
He is at work now on Agony: a proposal.
ISBN# 9781933517872 (6x8.75 96pp, paperback)
ISBN# 9781933517889 (6x8.75 96pp, limited edition hardcover)
ISBN# 9781950268368 (audiobook)
Paperback Limited Edition Hardcover Audiobook
Paperback - $18.00 Limited Edition Hardcover - $25.00 Audiobook - $5.00


text:
The world was shocked when Hitler and Stalin signed the Nazi-Soviet non-aggression pact.
They hated each other! Stalin hated Nazism and Hitler hated Communism.
In the end, the countries turned on each other, but why did they sign the pact in the first place?
Stalin distrusted the West.
- He felt threatened by the capitalist countries of the West, fearing that they would form an alliance against the Soviet Union.
- He joined the League of Nations, but soon lost faith as they did not act on German rearmament or stop Mussolini's invasion of Abyssinia.
- Stalin had become disillusioned with Britain's policy of appeasement, believing that it encouraged German aggression.
- Stalin had begun to believe that Britain and France wanted to solve their problems by making the USSR and Germany destroy each other.
- However, Stalin realised that he needed to protect his country from invasion, so he tried to form an alliance with Britain.
Why did Britain and the USSR not form an anti-German alliance?
- The Soviet Union wished to negotiate a military alliance with Britain and France, which agreed that they would defend Eastern Europe together if the Germans attacked.
- However, it took Britain six weeks to reply to this offer from the Soviets, so Stalin began to believe that the countries were not serious about an alliance.
- One of the terms of the agreement was that the Soviets placed soldiers in Poland to better defend Eastern Europe. Poland and Britain were worried about this offer as they believed that after the troops had been stationed there, they would never leave.
- Overall, the British and Soviets thought each other were unreliable. The British did not believe that the Soviets were strong enough to fight the Germans and the Soviets thought that the British would not protect Poland and the USSR would be left to defend Eastern Europe on their own.
Why did Hitler and Stalin sign a non-aggression pact?
- Stalin knew that he would eventually need to fight Germany, but his Army was not yet ready. He wanted to use the pact to gain time to build up his armed forces.
- Stalin was interested in a secret protocol (or clause) in the agreement, which meant that Germany and the USSR, starting from Poland, would divide the territory of Eastern Europe.
- Hitler believed that as Britain and France did not have the USSR as an ally, they would not declare war on Germany if they invaded Poland. However, this gamble of Hitler's failed when they declared war on Germany.


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eXo wins Digital Transformation Award with French Law Enforcement Agency
Veronika Mazour
Written by Veronika Mazour On 15 March 2018 -
The third annual French Digital Transformation awards took place this week, and eXo won the award in the Collaboration category with one of its clients, the French Law Enforcement Agency (National Gendarmerie).
The awards are organized by Solution Numériques magazine to recognize innovative projects and companies championing digital transformation. After preselection by a jury, the winners were announced in a ceremony on 14 March in Paris.
The National Gendarmerie project connects more than 100,000 agents in 30 countries around the world via a collaboration platform.
The platform allows agents to share information and documents and create work groups and communities of interest. It brings together agents located in different time zones, allowing them to work together better.
Thus, the project aims at uniting the police force and reinforcing its engagement.
The platform represents one of the biggest professional social networks in Europe. It is part of a larger digital transformation initiative within the Gendarmerie aiming at modernizing one of the fundamental functions of the state and bringing it closer to the public.
In particular, the collaboration platform is available remotely through the tablets and smartphones agents use for their daily work in the field (driver's license control, etc).
Benjamin Mestrallet, our CEO, is thrilled by this collaboration award: 'We are proud that the Gendarmerie was chosen. The project allowed us to test our solution in challenging, demanding production conditions when it comes to the size of the network and security requirements.'
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I am eXo's chief operating officer, ultimately responsible for all operations ensuring client acquisition and success. In this blog, I write about modern workplaces and their benefits to organisations and their people. Occasionally, I also blog about my personal areas of interest, such as communication, personal development, work–life balance, sustainability and gender equality.


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Welcome to the Ariana Grande Wiki. The website is dedicated to the American singer, songwriter and actress Ariana Grande. The Ariana Grande Wiki is a 100% free website. Feel free to discover, share, and add your knowledge! We currently have 649 articles running.
Note that the creators of this wiki are not Ariana Grande, nor do we have any connections to her, we are only fans. If you want to enter Ariana Grande's official website, click here.
About Ariana
Ariana Grande-Butera (born June 26, 1993) is an American singer, songwriter and actress. She began her career in the role of Cat Valentine for the hit Nickelodeon show Victorious and later its spinoff Sam & Cat. In 2013, she released her debut album Yours Truly which debuted at number one on the Billboard 200. In the following year, Grande's single "Problem" was named song of the summer, and her second album, My Everything (released less than a year after her first) also reached number one on the charts.
In 2016, she released her third studio album, Dangerous Woman. In 2018, Grande released her fourth studio album, Sweetener, which topped various charts. Her fifth studio album Thank U, Next, released less than six months after Sweetener, produced two US Billboard Hot 100 number-one singles, "Thank U, Next" and "7 Rings", giving Grande her first number ones in the country.
She has collaborated with Nicki Minaj six times.
Ariana is a feminist, who is constantly vocal about sexism and women's rights. She often wears clothes from Feminist Apparel, which is a online clothing store that raises money for many different charities and groups that help minorities.
Her benefit concert One Love Manchester raised over $3 Million dollars.
She doesn't label her sexuality and has done various things in support of the LGBTQ+ community.
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K Bye For Now (SWT Live) (stylized in all lowercase) is Ariana Grande's first live album, released on December 23, 2019, through Republic Records.
Which of Ariana's songs on the Charlie's Angels soundtrack is your favorite?
The poll was created at 15:32 on November 1, 2019, and so far 119 people voted.
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Soap Detox - Soap Detox (EP)
I've no idea quite where Soap Detox have suddenly appeared from, or where they've been hiding, but their sudden arrival on Friday, armed with their debut self-titled EP has caused a little bit of a stir – 4 tracks of laid back, fuzzy, post punk from a band that look better than a Beetroot & Halloumi salad.
How they met is a strangely heartwarming tale of drunken excesses following gigs in other bands, with subsequent accidental 'meant to be' meetings in Stockholm months later. Oh and two of the band were recruited after they were the only people to respond to flyers posted around the city. Apparently.
Their debut EP was released on Thursday and I've had it pretty much on rotation. It opens with 'Like It', a song that hooks you in from the start, thanks to the catchy vocals, before it develops with atmospheric guitars reverberating in the background, and it seems to happily takes references from indie bands across a few decades.
'Lazy Eyes' is languid and easy going, I guess it's pretty simple in its construction, but it's all delivered with real self confidence and has another killer chorus that you won't forget in a hurry. It's actually my favourite track on the EP, even if 'Give Me Gore' steals the show in terms of swagger, with a hint of an attitude that seems to destine them for slots at the Nordic showcase festivals in 2021. 'Good Morning, I'm Mourning' concludes, a curious 8 minutes of slowed down anthemic vocals and instrumentals, with a pretty impressive climax.
The video to 'Give Me Gore' seems to back up the character of the band. For some reason I can't help but think that if Quentin Tarantino was to do a remake of Four Weddings and a Funeral, they would all fit in perfectly.
This is 'Give Me Gore'
Find them on Facebook.


We designed this package along with EJ and Jeff, The Ultimate Alpha Male Adventure Team to meet your excursion needs. We have set this Package up to fit your Adventure needs and offer an opportunity to hang with EJ and Jeff out in their Element…..The Wilderness, so you can learn from them, pick up some great Survival and Wilderness tips, and have complete One on One Access to them. Your package can be tailored to fit your "Cup Of Coffee" from Survival Outings, Camping, Back Packing, Hiking, Fishing, or Hunting. It will be tailored to meet your needs and quench your thirst for Adventure.
COST: $1,000.00 for each EJ & Jeff per day per Event! We can also do Individual Packages with each man! We Offer Packages from 2 to 5 Days depending on location, time of year, and event! Additional cost to the client is EJ & Jeff's Travel Cost, any Lodging and Per Diem Costs, and any Permits or Licensing Fees.
Individual Airfare or Travel costs are not included and Traveler's Insurance is recommended. Contact Us for details!


The Mission of Farmworkers Self-Help is to facilitate the self-development of the whole person, families and communities toward self-reliance and personal independence, through community organizing, education, advocacy, justice and empowerment, and health, among farmworkers and other poor.
Farmworkers Self-Help, Inc. (FSH), located in Dade City, Pasco County, Florida, was incorporated as a 501(c)(3) non-profit corporation in 1982. It was organized as a grassroots effort by immigrant Mexican and Mexican-American migrant farmworkers and former farmworkers to find solutions to the problems of the farmworker population. The original impetus for organizing was the abusive tactics of the U.S. Border Patrol toward the Hispanic population. The immediate area of organizing interest is Pasco County and parts of surrounding counties, and we also work in partnership with organizations in other areas of the state and country on common issues affecting farmworkers and other poor. FSH facilitates self-development, self-help, grassroots organizing, participation and leadership development, and seeks to bridge the gap between isolation and societal mainstreams, while preserving cultural heritage. It is committed to farmworkers and other poor taking charge of their own lives and destinies. Direct maintenance services such as emergency food and clothing, shelter assistance, medical assistance and immigration assistance are provided because of the tremendous local need, but the majority of our efforts and programs work toward facilitating the self-development of the whole person toward self-reliance and personal independence, through community organizing, education, advocacy, justice and empowerment.
Would you recommend FARMWORKERS SELF-HELP INC?


A large number of banks, credit unions and other financial institutions pushed customers onto new e-banking platforms that ask them to reset their account passwords by entering a username plus some other static identifier — such as the first six digits of their Social Security number (SSN), or a mix of partial SSN, date of birth and surname. Here's a closer look at what may be going on (spoiler: small, regional banks and credit unions have grown far too reliant on the whims of just a few major online banking platform providers).
While it may appear that banks are more afraid of calls from their customers than of fallout from identity thieves and hackers, remember that you the consumer can shop with your wallet, and should move your funds to another bank if you're unhappy with the security practices of your current institution.
Also, don't re-use passwords. In fact, wherever possible don't use passwords at all. Instead, choose passphrases over passwords (remember, length is key). Unfortunately, passphrases may not be possible because some banks have chosen to truncate passwords after a certain number of characters, and to disallow special symbols.
If you're the kind of person who likes to use the same password across multiple sites, then a password manager is definitely for you. That's because password managers pick strong, long and secure passwords for you and the only thing you have to remember is a single master password.
Please consider any two-step or two-factor authentication options your financial institution may offer, and be sure to take full advantage of that when it's available. Also, ask your bank to require a unique verbal password before discussing any of your account details over the phone; this prevents someone from calling in to your bank and convincing a customer service rep that he's you just because he can regurgitate your static personal details.
Finally, take steps to prevent your security from being backdoored by your mobile provider: Check out last week's tips on blocking mobile number port-out scams, which thieves sometimes use in cashing out hacked bank accounts.


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Tag Archives: New York Times copy desk
copyeditors, who needs 'em (The New York Times, that's who)
Mr. Donleavy lived in London and on the Isle of Man for most of the 1950s and '60s, then moved to Ireland in 1969 after it had abolished the income tax for creative artists, including writer [italics added].
— "J.P. Donleavy, Acclaimed Author of 'The Ginger Man,' Dies at 91," by Anita Gates, The New York Times, September 13, 2017
I worked as a proofreader and copyeditor during the 1970's and 1980's and made a living at it exclusively for about five years during which I was self employed. I greatly benefited from a professional course I took with a Doubleday editor and from on the job experience. My work improved over time, pretty fast. It had to. One has to be thoroughly knowledgeable and competent, diligent, and meticulous to do such work.
I saved, many times, very good writers from egregious errors. As a writer over the years, I know how essential to any writer copyeditors and proofreaders are. Check out the acknowledgments section of a scholarly book and more often than not you will find the author stating just that.
So why did The New York Times eliminate its stand-alone copy desks?
"Editing is vital to The Times. It separates us from the competition. It is one of the reasons readers trust our information. And it elevates our language," Times Executive Editor Dean Baquet recently stated. ("Dean Baquet Answers Readers' Questions on Editing in the Newsroom," The New York Times, July 6, 2017.) He was speaking about the Times's decision to eliminate its stand-alone copyediting desks and fire dozens of (mostly veteran) copyeditors.
I agree that editing is vital. Also, as a regular Times reader for some 50 years, I have noticed that it has always seemed to be more carefully edited than most daily newspapers, in addition to the fact that the stories are notably polished and well written.
Suddenly, wouldn't you just know it, despite assurances that quality would not suffer, frequent typos and the like are cropping up in Times articles. This despite Baquet's assurances that "we will be watching closely to make sure that our stories are still up to the standards our readers expect." When I read that statement three months ago, his words did not sound reassuring. Who will be watching closely?
As noted above, I once took an invaluable copyediting course. The instructor made a point about why attention to detail on the part of editors and copyeditors is essential: Sloppiness in editing and production tends to decrease the reader's overall confidence in a piece of writing (I am not thinking of fiction) and its accuracy. One starts to wonder, with careless errors here and there, if maybe there are not more serious errors, such as misspelled names, wrong dates, errors of fact, and other mistakes for which one will find the newspaper apologizing in its "Corrections" section. Or that can make the informed reader of a nonfiction book wonder whether he or she can trust its contents. If there are frequent mistakes of the kind a copyeditor should have caught in the published book (such as the time that I found W. E. B. Du Bois's name being misspelled throughout a book that was devoted to African American culture and writers), one may suspect that it was rushed into print and that one can't rely on it as a source.
There is a noticeable trend away from correctness in written and spoken language. Electronic communication is mostly responsible for this, it seems: the internet, texting, and email. The age of print, which began with Guttenberg almost six centuries ago, may be ending. This would be incredibly unfortunate — devastating, in my opinion.
This entry was posted in editorial work (both done personally by me and as practiced in journalism and publishing), grammar (thoughts of a grammar purist and ex-proofreader) and tagged Dean Baquet, New York Times copy desk, Roger Smith, Roger W. Smith copyeditors who needs 'em; The New York Times that's who on September 13, 2017 by Roger W. Smith.


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Q: Spring Boot project (Maven) with AXL - NetBeans cannot find generated AXL packages/classes A Spring Boot project (Maven) using AXL (Schema 12.5), I use NetBeans 12 as development environment.
I can build the project, it builds successful, the target-forder containts the generated AXL classes, etc., but NetBeans still shows errors in the editor, for example on all those import-statements on the AXL classes like
import com.cisco.axl.api._12.RLine;

The errors are, for example:
package com.cisco.alx.api._12 does not exist

All appearances of usage of AXL artifacts are marked as errors, like:
cannot find symbol
symbol: RLine

Why is that problem in the editor? How to configure?
Because of the errors I cannot use the auto-completion, there are no suggestions on what methods are available, etc.
The target-folder is structured like this:
- target
  ...
  - generated
    - cxf (below this start the packages: com.cisco.axl...)
  ...

A: Guessing you will need to add the AXL generated classes as a reference to your project, i.e. by adding the target folder to the classpath or by whatever mechanism Netbeans uses to reference external libraries.
This project contains several AXL samples and uses Maven, although with Visual Studio code - it may provide some clues and/or helpful best-practices: https://github.com/CiscoDevNet/axl-java-samples

A: The solution is, or at least a solution, to modify the pom.xml file, like so:
...
<build>
    <resources>
       ...
        <resource>
            <directory>target/generated/cxf</directory>
                <includes>
                    <include>**/*.java</include>
                </includes>
        </resource>
    </resources>
</build>
...

Now the import statements of the generated AXL Java classes work, no errors anymore!
Let's go NetBeans, let's go!


5.1. Deliveries of the subject matter will be made in the shortest possible time according to the availability of the products and the supplier's operational possibilities - the delivery time is always presented for the ordered product. The place of collection is determined based on the buyer's order. Delivery of the item is deemed to be the delivery to the address specified in the buyer's order. The installation of the item is not part of the delivery. The delivery to the buyer's address is provided by the supplier. The consignment of goods includes a delivery note, a product manual in the Czech language and a warranty card (if the manufacturer attaches it to the product). If the supplier does not attach a warranty card to the product, then the tax invoice - invoice is sufficient. We will then send you a tax invoice (invoice) to the e-mail address given in your order (so we recommend to you to state the e-mail) or in the envelope by mail to the delivery address of the buyer.
5.2. Transport of goods is ensured by the supplier to the address mentioned within the whole of the Czech Republic. The cost of transporting goods varies according to the mode of transport chosen and the real weight of the product, the goods. The cost of all transportation in Prague is at least CZK 300, excluding VAT.
5.3. When taking delivery of goods from the carrier, we recommend that you thoroughly inspect the goods immediately upon receipt. If the packaging is damaged or if there are other indications that the goods themselves may be damaged. We recommend that you do not collect the consignment or write a report of damage to the shipment with the carrier. If the buyer fails to discharge the defect without undue delay, the supplier may demand compensation for any damages incurred by him in connection with such a delay. A written record of damage will make it easier to resolve any claim.
5.4. By signing the transport note to the carrier, the customer agrees to take delivery of the goods and confirms that the shipment is not mechanically damaged. That's why, before signing it, you should check carefully the packaging of the products, the goods packed in the plastic foil as well as the goods themselves.


Marilyn R. Marquez, 76, of Fremont, OH passed away on Wednesday, January 09, 2013 in the Emergency Room at Memorial Hospital. She was born on February 13, 1936 in Fremont, the daughter of Chester A. and Vera V. (Hipkiss) Penn. Marilyn was a 1954 graduate of Fremont Ross High School and earned a Bachelor's Degree from St. Mary of The Springs.
Marilyn married Louis R. Marquez on May 26, 1972 and he survives. She worked at the Howard Zinc Company as an Office Manager for over twenty years until she retired. Marilyn was a member of St. Paul's Episcopal Church, Women of Moose, Eastern Star and V.F.W. Ladies Auxiliary.
Marilyn is survived by her husband of forty years, Louis R. Marquez, Fremont, OH; step children, Rita "Linda" Petrie, Louis F. Marquez both of Chicago, IL, Stephen Marquez of Florida; several step grandchildren and step great-grandchildren; several nieces and nephews.
She was preceded in death by her parents; sister, Nancy Frey and an infant brother.
Visitation: Friday from 2:00 p.m. to 3:00 p.m. at St. Paul's Episcopal Church, 206 N. Park Avenue, Fremont, OH.
Service: Friday, January 11, 2013, 3:00 p.m. at the Church with Fr. Daniel Orr officiating.


The unmistakable Gavia — a low-top with high-top sensibility. Crafted with the highest quality pebble-grain leather, the Gavia features metal mountaineering eyelets and a slightly raised heel tab. The Gavia in all white is perfect for all four seasons.


1 Ph.D. Pharmaceutical and Food Science, Universidad de Antioquia, Pharmaceutical Chemistry Faculty, Food Department. GIAS Research Group. Medellin. Colombia.
2 Ph.D. Food Engineering, Universidad Nacional de Colombia, Faculty of Agricultural Sciences, Department of Agricultural and Food Engineering, Medellin-Colombia P.O. Box 568.
3 M. Sc. Chemical, Universidad de Antioquia, Pharmaceutical Chemistry Faculty, Food Department. GIAS Research Group. Medellín. Colombia.
Este trabajo evalúa el efecto de la adición de calcio sobre los atributos de calidad de un caramelo blando a base de fruto de uchuva sin sacarosa, comparándolo con uno similar sin calcio. Se emplea calcio lácteo como ingrediente funcional, el cual se incorpora a granel, con el objetivo de alcanzar un valor diario de referencia mayor del 20% en una porción de 15 g de producto, según la normativa colombiana. El calcio afecta principalmente la acidez del producto (<), el pH (>), la elasticidad (>), la cohesividad (<) y la luminosidad (>). El caramelo adicionado presentó contenidos de 292,5 ± 9 mg Ca/porción, correspondiente a un 20 % del valor diario de referencia, lo cual permite identificar al producto con el descriptor 'Excelente fuente de calcio'. Los caramelos blandos de uchuva sin azúcar adicionados con calcio, representan una alternativa económica para cubrir necesidades de calcio en la dieta de la población.
PALABRAS CLAVE: Physalis peruviana L., Alimentos Funcionales, Confitería, Componentes fisiológicamente activos.
The effect of added calcium on the quality attributes of a soft candy made of cape gooseberry fruits without sucrose is assessed by comparing it to a similar candy without calcium. Dairy calcium is used as functional ingredient; it is incorporated in bulk to reach a daily reference value higher than 20% of calcium in a 15 g portion of the product, according to the Colombian regulations. The calcium addition in the candy mainly affects the acidity of the product (<), the pH (>), elasticity (>), cohesiveness (<), and luminosity (>). The candy with added calcium presented contents of 292,5 ± 9 mg Ca/portion, corresponding to 20% of the daily reference value, which makes it possible to identify the product with the following descriptor: 'An excellent source of calcium.' Cape gooseberry soft candies with added calcium and without sugar represent an inexpensive food alternative to fulfill the calcium needs of the population's diet.
KEYWORDS: Physalis peruviana L., Functional food, Confectionery food, Physiologically active components.
Este estudo avalia o efeito da adição de cálcio sob os atributos da qualidade de um doce macio de fruto de camapú sem sacarose, em comparação com um similar sem cálcio. Empleou-se cálcio de origem lácteo como um ingrediente funcional, que é incorporado a granel, a fim de alcançar um valor de referência diária superior ao 20% numa porção de 15 g de produto, de acordo com a lei colombiana. O Cálcio afeta principalmente a acidez do produto (<), pH (>), elasticidade (>), coesão (<) e brilho (>). O conteúdo apresentado no caramelo 292,5 ± 9 mg Ca+2/porção, com 20% do valor de referência diária, que identifica o produto com o descritor 'Excelente fonte de cálcio.'Os doces macios livres de açúcar com adição de cálcio, representam uma alternativa econômica para atender às necessidades de cálcio na dieta da população.
PALAVRAS CHAVE: Physalis peruviana L., Alimentos Funcionais, Confeitaria, Componentes fisiologicamente ativos.
In Colombia, cape gooseberry (Physalis peruviana L.) is a fruit considered to be promissory, and over the past years its export volume and internal market consumption have increased . Such situation is an opportunity for the Colombian growers and industrialists to try to take advantage of the cape gooseberry fruits that do not make the export quality cut and, therefore, to give them added value through their transformation and incorporation with physiologically active components in the development of food products such as confectionery and dehydrated derivatives, beverages, among other products. With this practice, the current food product offering of the national and international markets will be considerably improved, thus, it will contribute to the strengthening of the fruit productive chain and its industry in Colombia .
Developing candy becomes a healthy alternative to adding gooseberry pulp and physiologically active components. Soft candies are amorphous gummy structures [3,4] and they can be chewable or not-chewable. Soft candies are the result of cooking a syrup composed by ingredients such as sugar, glucose (or mixes of both), fat, and edible oils; also, they can have added milk and emulsifiers, among other ingredients suitable for human consumption and allowed by the corresponding authorities . Sucrose is the main sweetener used in the production of candy, but its caloric contribution is quite high, which makes such candies unsuitable for diabetic people. By replacing sucrose in this type of food products, the functional qualities are affected; therefore, it must be substituted for compounds such as polydextrose, sorbitol, maltodextrins, artificial sweeteners, among other . Furthermore, it allows the addition of other ingredients fit for human consumption allowed by the competent authority.
Calcium has been widely used as an additive in food to achieve multiple purposes such as the following: interacting with pectins and other components of fruit and vegetable cell walls to obtain products with a higher firmness , reducing the browning induced by the polymerase enzyme , limiting the sporulation caused by pathogens , and improving cheese structure . The interactions that can occur between the added source of calcium and the other ingredients present in the food products (polymers: fibers, pectic acids or proteins) can affect the rheological properties of food and, at the same time, the availability of calcium [11, 12]. Insoluble calcium sources can precipitate in the container and in the equipment surface, causing its deterioration due to the incrustations that appear .
Calcium is currently used in the production of functional food [14,15,16,17] because it is a physiologically active component that improves osseous health [18, 19]. The source of calcium must have specific characteristics in terms of technological application methods and food processing; it must have a reasonable price, and it should not interfere in the metabolism of other nutrients, or produce undesirable sensorial effects. The addition of calcium to the food must be controlled by regulations specifying allowed levels in a defined portion . In the case of Colombia, products with added nutrients are regulated by the Ministry of Social Protection, through Resolution 333, which establishes the declaration of nutritional properties with the following descriptors: "High, Good source, Free, Low, Very low, Lean and Extra-lean", or synonyms such as: '-rich, Excellent source of, Good source of, Provides, Source of, Contains, or With' . Other criteria reported for the case of calcium as a good source of calcium is the fact that it provides at least 30 mg of absorbable calcium per standard portion, or for every 418 kJ (100 kcal) of food .
The bioavailability of the calcium source indicates how much of it is truly absorbed during the digestion process . Calcium sources used in food have different calcium content in mg/g of product, and it can range from 9% to 40% according to the size of the molecules. For example, calcium citrate and calcium carbonate have 50% and 40% of calcium respectively; but due to the fact that the size of the citrate molecule is considerably big, only 10,5% of the calcium is available, while 25% of calcium is available in the case of calcium carbonate . The following are some of the calcium sources used to enrich milk, beverages, and other food products: calcium carbonate, calcium chloride, calcium phosphate, tricalcium phosphate, calcium citrate malate, calcium lactate, calcium gluconate, calcium lactate gluconate, and dairy calcium [14,25].
The objective of this research project consists in assessing the quality attributes of a cape gooseberry soft candy with added calcium and without sucrose by comparing it to a similar candy without calcium.
Raw materials. For this research, fresh Colombia ecotype cape gooseberry fruits were used, which were grown in La Union, Antioquia. The selected cape gooseberry fruits were in the range of 3 - 4 in the color scale according to the commercial ripeness as it is established by the Colombian Technical Regulation NTC 4580 . Pulp extraction was performed according to the method established by Echeverri . Dairy calcium (with a purity percentage of 26,5) was bought in the local market, and used as the source of calcium.
Production Process of the Candy. Two formulations (each batch of 47 Kg) of soft candy were produced, both without sucrose but one without added calcium and the other with added calcium (treatment 1 and 2, respectively). Table 1 shows the studied formulations, and Figure 1 presents the candy production process flowchart.
A 200 L stainless steel cooking pot, a scratching agitator (60 RPM), and a direct transfer gas burner were used. The thermal treatment was performed until the ingredient mix reached 92°C; then, the mix was molded in plastic trays covered with transparent polyethylene bags, and stored in a room where they were left to stand at 28 ± 3°C for 24 hours. Later, the manual cutting process of 5,1 – 5,5 g portions was performed. The product was packaged in an automatic pillow-shaped KD-260 packaging machine, using plates metalized with three layers: biaxially oriented polypropylene (BOPP), aluminum foil, and low-density polyethylene (PEBD), for a total grammage of 55 g/m2. The secondary package consists of BOPP and polyethylene bags with a gauge of 60 µ, and a grammage of 71 g/m2. Eight units were packaged per bag, and then the bag was thermally sealed with a pedal sealing machine. The sealed bags were stored at room temperature (≈ 25°C) until the analyses were performed.
Physicochemical Analyses. The moisture content (% p/p) was determined by heating the product with a stove at 105°C for 5 hours until the constant weight was reached. The method used was the 966.02 gravimetric of the AOAC International ; soluble solids (°Brix) measuring the refraction index of the samples diluted at 1% with the HANNA HI 96801 refractometer set in a scale of 0 - 85 °Brix at 20°C. In order to obtain the total value of the sample's °Brix, equation 1 was used.
Where L = refractometer reading of the solution's soluble solids, and C = solution concentration (5%).
pH was measured in a HANNA HI 9025 pH-meter previously calibrated with buffer solutions 4 and 7 at 25°C. Total acidity by potentiometric titration at pH 8,1 , expressing the results as g of citric acid/100 mL. Calcium was determined by means of the AOAC 985.35 Ed 16 atomic absorption method ?38?, and the water activity (aw) with an AquaLab Decagon CX-3 AOAC 978.19Bc drew-point hygrometer .
Physical Properties. The texture profile analysis (TPA) was performed in the TA-XT2i texture analyzer (Stable Micro Systems), equipped with a 50 kg charge cell, and a 100 mm-diameter compression plate. Operation speeds for pre-assay, assay, and post-assay were 9, 10, 9 mm/s respectively; the candy relative deformation was set to 80%, and the time between compressions was 0,8 s. The contact area for the candies was a 30 mm2 square. TPA parameters (hardness, tackiness, elasticity, cohesiveness, compression, gumminess, chewiness, and spreadability) were determined from the strength vs. time graphic , which was provided by the Texture Expert Exceed software.
Color measurement was performed using the X-Rite SP-64 portable sphere spectrophotometer, D65 illuminator, and observator 2°, with a built-in specular and a 4 mm observation window. Color coordinates CIE-L*a*b* were determined from the reflection spectra.
Microstructural Analysis and Energy Dispersive Spectroscopy. The scanning electron microscopy technique (SEM) was used, performing it with a JEOL JSM 5950 LV microscope at a vacuum condition of 25 Pa, and 15 kv. Simultaneously, the Energy Dispersive Spectroscopy (EDS) technique was performed; this technique allows obtaining the compositional microanalysis and calcium relative quantities (among others) of the calcic raw material and treatments. This technique poses the advantage of allowing to analyze specific areas in the surface, and it comes pre-installed in the JEOL equipment .
Statistical Analysis. A factorial design was made with one factor (formulation), which had two levels: with and without calcium (treatment 1 and 2). Physicochemical and physical variables (rheology and color) were determined in two replicas with 3 and 8 repetitions/lot, respectively. Each replica was the result of a pool of 10 candy samples of 5 g/sample. Results were assessed according to the ANOVA, using the LSD (Least Significant Differences) procedure as a multiple comparison method, with a 95% confidence level (α=0,05) and an 85% power level. The analysis of variance was performed with the 5.1 Statgraphics Plus Statistical Software.
Physicochemical Analyses. Table 2 shows mean values, standard deviation and analysis of variance of the candies' physicochemical analyses for the candies without and with added calcium. Moisture, °Brix, and aw did not show significant differences (p>0,05) regarding the treatment factor due to the high variability coefficients that the samples presented; while in the case of acidity and pH, there were significant differences (p>0,05).
Acidity in treatment 1 was higher than in treatment 2, which is consistent with the lowest pH. These differences can be attributed to the hydrolysis and dissociation of the dairy calcium complex, where the calcium citrate predominates. Calcium citrate generates a strong base of calcium hydroxide, which has the shock-absorbing capacity of the acids supplied by the cape gooseberry pulp, reducing proton concentration . Some authors have reported the shock-absorbing effect of calcium over the acidity in the production process of different food products [12, 17].
Table 3 shows the mean values and standard deviation for the calcium concentration in the treatments. Treatment-2 candies presented a calcium content equivalent to the 400% of treatment 1, which corresponds to a DRV% of approximately 20% in a 15 g portion. Therefore, in the nutritional properties of this product, the following descriptors can be declared: 'excellent source of calcium' or 'good source of calcium' .
Texture Profile. Table 4 shows mean values, standard deviation and analysis of variance of the candies' TPA for the applied treatments. Hardness, gumminess and chewiness, did not present significant differences (p>0,05) regarding the treatment factor, while springeness and cohesiveness did present significant differences (p<0,05).
Treatment-2 candies presented higher elasticity, which can be attributed to the interactions of calcium as divalent cation with the other components of the candy (protein, fiber, carbohydrates, among others). These interactions have been exposed by several authors who have researched the linking capacity of casein with calcium through the residues of phosphoserine, with the formation of bridges that tend to cause growth and aggregation of the submicelles ?33?. Such situation is affected by factors like pH, temperature, ionic strength and concentration of calcium ions . The previously described facts could cause that treatment-2 candies have a higher recovery rate than treatment-1 candies after eliminating the distorting strength. The elastic characteristic of the treatments could also be conferred to the presence of sorbitol as plasticizing agent in the system, which is a fact that several authors have noted [35, 36].
Cohesiveness, defined as the texture attribute that refers to the food product deformation rate before it breaks , was higher in treatment-1 candies. Such adherence is probably provided to the system by the addition of sorbitol  because it is in a medium with a low water availability. In treatment 2, cohesiveness was affected possibly by the greater ionic strength that the system experiences due to the presence of the calcium salt ions. This characteristic causes that treatment-2 candies tend to fall apart easier than treatment-1 candies .
Color Analysis. Table 5 shows mean values, standard deviation and analysis of variance of the measurements of the CIE-L*a*b* color coordinates for the applied treatments to the candies. a* and b* color coordinates do not show significant differences (p>0,05) regarding the treatment factor, while L* color coordinate does show significant differences (p<0,05).
Treatment-2 candies presented lower values in the L* parameter than treatment-1 candies (samples with lighter color and creamy tone); this is attributed to the higher calcium content (white color) in the formulation . Such situation contrasts with the photographs shown in Figure 2.
In general, both candies showed a very similar creamy color tonality, which was contributed by the cape gooseberry pulp. According to the chromatic plane a*b* (Figure 3), such color is located near the limits of the yellow, grey and carrot zones, with tone values (hab*) for treatments 1 and 2 of 71,3 ± 1,8 and 69,9 ± 2,5; and chroma or saturation values (Cab*) of 38,4 ± 2,8 and 36,8 ± 3,2, respectively. Similar behaviors have been observed in powdered cape gooseberry obtained through atomization drying .
Figure 4 shows micrographs of the used calcium source at 500x and 1000x (Figures 7a and 7b), treatment-1 candies (Figures 7c and 7d), and treatment-2 candies (Figures 7e and 7f). The calcium source showed densely and irregularly packed agglomerates, formed by calcium and other components such as dairy protein, carbohydrates, fat, and phosphorus among others, with sizes ranging from 10 to 40µ. A microstructure with a homogeneous folding shaped surface was observed in the candies of both treatments 1 and 2, but the shape was slightly more regular in those of treatment 2. This microstructure can be due to the plasticizing effect of the sorbitol in the system , and a good dispersion of the components in the polymer matrix, in which fat particles suspended in the network stood out. These interactions could contribute to increasing the candy stability and protecting the fat particles against oxidation .
Table 6 shows the results of the EDS analysis obtained for the calcic raw material surface and both applied treatments. It can be observed that common elements that are present in a higher proportion are oxygen, carbon, and calcium representing almost 50% of the material content, as it was expected. Regarding the treatments, the highest calcium content was found in treatment-2 candies. Figures 5 and 6 illustrate the spectra for both treatments.
Calcium, as a functional ingredient in the production process of cape gooseberry candies, positively affects some product properties, mainly the acidity, pH, elasticity, cohesiveness, and color (L * parameter with the highest significance).
The production of cape gooseberry soft candies with added calcium and without sucrose represent a viable and healthy technological food alternative, which could contribute to the strengthening of the fruit productive chain and the confectionery industry sector, and at the same time, it could help to prevent health issues among its consumers.
The microstructure of the soft candies with added calcium and without sucrose evidenced the food matrix of plasticizing character, in which its components are dispersed and protected in the polymer network.
The authors of this paper would like to thank the Ministry of Agriculture and Rural Development; food product company KONFYT; Universidad de Antioquia; and the Universidad Nacional de Colombia, Medellín Campus for their support in the execution of this project.
	COLOMBIA. AGRONET. Cultivo y comercialización de uchuva. Colombia [online]. Available: http://www.agronet.gov.co/www/docs_si2/Cultivo%20de%20uchuva.pdf [Citado 5 de junio de 2011] [ Links ].
	YÉVENEZ, J., SILVA, E. y ESCOBAR, I. Formación y control del crecimiento de películas de óxido de aluminio crecidas sobre aluminio 6061 [Online]. Available: http://cabierta.uchile.cl/revista/28/articulos/pdf/paper7.pdf [citado 7 de junio de 2011] [ Links ].
	OSORIO, J., CIRO, F., VELÁSQUEZ, Y.H. y MEJÍA, L. Caracterización reológica y textural del queso Edam [Online]. Available: http://redalyc.uaemex.mx/redalyc/src/inicio/ArtPdfRed.jsp?iCve=49614705 ISSN 0012-7353, 2005. [citado 7 de julio de 2011] [ Links ].


text:
IT park to be set up at provincial capital Quetta
Hasan Akhter July 12, 2019 IT park to be set up at provincial capital Quetta2019-07-12T14:17:37+05:00 News No Comment
For the first of its kind Information Technology (IT) Park to be establish at provincial capital 'Quetta'. The government of Balochistan aimed to expand IT enterprises with an estimated cost of Rs 500 million.
The Balochistan Government stated that the government is working to convert 100 secondary and high schools by introducing virtual technologies with the cost of Rs 45 million to educate the keen aspirants in the remote areas of the province through online learning system (e-system).
The provincial government had allocated Rs 200 million rupees in the current Public Sector Development Programme (PSDP) to set up Quetta Data Centre and moreover aimed to replace paper based data with mobile phone applications to smooth the authoritarian procedures to make sure efficiency and on-time delivery.
The Balochistan government had allocated Rs 1.867 billion for expanding economic contribution in the province whereas the initiative had been taken while considering the significance of China Pakistan Economic Corridor (CPEC).
interesting reading: Reto Foundation set to start e-literacy project
Furthermore, the Quetta provincial government had also released a grant of Rs 325 million for the annual expenditures of the information technology department.
The set up Information Technology park is a step forward towards the provincial capital Quetta a big urban centre that open doors for local and foreign investors to set up industries and do business in many other sectors in Balochistan.
https://www.technologytimes.pk/it-park-provincial-capital-quetta/https://www.technologytimes.pk/wp-content/uploads/2019/07/IT-park-to-be-set-up-at-provincial-capital-Quetta.jpghttps://www.technologytimes.pk/wp-content/uploads/2019/07/IT-park-to-be-set-up-at-provincial-capital-Quetta-150x69.jpg 2019-07-12T14:17:32+05:00 Hasan AkhterNewscapital,Park,provincial,Quetta,setFor the first of its kind Information Technology (IT) Park to be establish at provincial capital 'Quetta'. The government of Balochistan aimed to expand IT enterprises with an estimated cost of Rs 500 million. The Balochistan Government stated that the government is working to convert 100 secondary and high schools by introducing...Hasan AkhterHasan Akhterhasanakhter111@gmail.comContributorTechnology Times
capital, Park, provincial, Quetta, set
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