In the preface of A Contribution to the Critique of Political Economy, Marx gave a classic characterization of the materialist conception of history. He pointed out that in social production, people enter into specific relations of production, relations that do not depend upon their will and that correspond to a particular phase of development of the productive forces. "The totality of these relations of production constitutes the economic structure of society, the real foundation, upon which the legal and political superstructure is erected and to which correspond definite forms of social consciousness. … It is not the consciousness of men that determines their existence, but their social existence that determines their consciousness. At a certain stage of development of society, the material productive forces of society come into conflict with the existing relationships of production or— this merely expresses the same thing in legal terms—with the property relations within the framework of which they have operated hitherto. From forms of development of the productive forces these relations turn into their fetters. Then begins an era of social revolution" (ibid., vol. 13, pp. 6–). Bourgeois relations of production are the last antagonistic form of the social process of production. But at the same time, the productive forces developing in the womb of bourgeois society create the material conditions for resolving this antagonism. "The prehistory of human society accordingly closes with this social formation" (ibid., p. 8). Looking primarily at capitalism, Marx wrote that "no social order is ever destroyed before all the productive forces for which it is sufficient have been developed" (ibid., p. 7).
In a review of A Contribution to the Critique of Political Economy, Engels noted that "to the highest degree, revolutionary conclusions not only for theory, but for practice as well," follow from the materialist conception of history (ibid., p. 491). In this work by Marx, the foundations for the analysis of the capitalist mode of production were laid. Marx regarded the exploration of the commodity cell of capitalism and its further development in the form of money as a prerequisite for the analysis of capital and surplus value, the analysis of the relations of production of capitalism in their entirety.
The analysis of the two aspects of a commodity, use value and value, requires the examination of the dual nature of the labor that creates the commodity. Marx showed that one of the features of labor under the conditions of private property is that the social relations between people present themselves as relationships among things. Value emerges as a relationship among commodity owners, a relationship hidden under a material shell.
In the preface to the first volume of Das Kapital, Marx noted that he had summarized the content of A Contribution to theCritique of Political Economy in the first section of Das Kapital: "many points only hinted at in the earlier book are here worked out more fully, whilst, conversely, points worked out fully there are only touched upon in this volume" (ibid., vol. 23, p. 5). Thus, in A Contribution to the Critique of Political Economy, Marx did not yet trace the development of forms of value from simple value to cash value. Generally, he used the same term, "exchange value," to express both value and exchange value. The analysis of the two extremes of the expression of value—the comparative form of value and equivalent value—is also lacking here. On the other hand, the information contained in A Contribution to the Critique of Political Economy on the theory of money is more extensive than the corresponding sections of the first volume of Das Kapital. In the former, Marx shows that money is of necessity engendered by circulation itself. In the role that money plays, there begins to function a special commodity whose natural characteristics enable it to serve as an adequate entity of value and to act as the embodiment of social labor in the exchange process among private commodity producers. Gold and silver are used as money and have value not because they fulfill a particular function, but because they are products of labor. Money is the most developed expression of value, the result of the contradiction between concrete and abstract labor and between use value and value that is inherent in a commodity. In this form, private labor appears as social labor.
Having analyzed the various functions of money (as a measure of value, a means of circulation, a means of forming treasuries, a means of payment, and an international measure of value), Marx showed that all of them develop along with the development of the capitalist mode of production. Thus, the function of money as a means of payment expands with the development of bourgeois production, at the expense of its function as a means of purchase (means of circulation); and as the boundaries of domestic circulation are broken through, with the formation of the world market, money increasingly plays the role of an international measure of value, a universal means of exchange. Marx formulated the law that determines the quantity of money essential for normal circulation and established the dependence of a mass of circulating money on commodity prices, on the rates of circulation, and on the sum of reciprocally canceled payments.
In this work, Marx completed the critical analysis of the petit bourgeois, Utopian theories of "workers' money" developed by J. Gray, J. F. Bray, and other English socialists, as well as by P. J. Proudhon and his followers. Marx showed that the abstract possibility of crisis is contained in the very form of money. For this possibility to become a reality, a transition from simple commodity production to capitalist production is necessary. With this transition, the contradiction between private and social labor that is inherent in the commodity develops into a more developed form—the contradiction between the social nature of production and the private capitalist mode of appropriation. Only under the conditions of the capitalist mode of production does the abstract possibility of crises become a reality. The economic theories of Marx, published in their mature form for the first time in A Contribution to the Critique of Political Economy, ideologically armed and rallied the working class in its struggle against the bourgeoisie and against the foundations of the capitalist system.
Leont'ev, L. A. O rahote K. Marksa "K kritike politicheskoi ekonomii" (1859–1959). Moscow, 1959.
Malysh, A. I. Formirovanie marksistskoi politicheskoi ekonomii. Mos-cow, 1966. Pages 331–49.


The Atrium is phenomenal. Mosaic floor, the ceiling all glass, stops you in your tracks. Our room was a lovely suite with cozy antique furniture and fixtures, but they did have one of the tables fit with a strip of outlets for all of todays chargeable "conveniences". The shower had good pressure and plenty of hot water. We were only passing through this time, but will be back for a longer stay. There is a lovely formal garden, carriage rides, trolleys and a train.
Can we rate higher than Excellent?!
This is a stunning hotel with beautiful grounds, an awesome atrium, and luxurious rooms. Lured here by its listing in the Historic Hotels of America, West Baden Springs Hotel lives up to its description in every way. The history tour is very worthwhile, as is the tour at the sister hotel of French Lick. Our room was the best of any hotel we have visited. One caution: the on-site restaurant meals can be quite pricey. However, a wonderful advantage is that they offer free shuttle rides not only to the other hotel but to any destination in the town of French Lick, so don't hesitate to try town restaurants.
Baden Resort is place of luxury for rest, relaxation, romance and more. The suites and bathrooms are beautiful and well appointed. We had a couple massage, dinner at Sinclair, when you go ask for Mr. Peter. Their pancakes are "AWESOME!" Each time we ordered room service our food was hot and good when it arrived. Their is a lot to do on property or you just relax if you like. We rode the train, had dinner at French Lick.
Only issue had was waking up to cigarette smoking. Someone violated the resort policy on smoking. We stayed 3 days. Overall, we enjoyed ourselves. We purchased ourselves robes from one of the stores to remind us of a great romanced time we had. Planned to take pictures during our stay but forgot too!
If you have a opportunity it is a must see and stay space!
We decided to splurge on our 34th anniversary and chose West Baden Springs at French Lick. It turned out to be a GREAT choice! The extensive renovations brought this hotel back to its old glory to the extent we felt like stepping back in time. The atmosphere was luxurious and relaxing. The staff cheerful and helpful.
We took advantage of just a few of the many activities - like "foot golf", a combination of soccer and golf played on a regular par 72 course. We explored both the West Baden and French Lick hotels, enjoyed good food, strolled the gardens, and even sat on the veranda or in the library to read a "real" newspaper - no electronic devices. We hadn't relaxed like this is a very long time. Will certainly be returning.
Room was classic.....very nice. Grounds are beautiful. My wife and I stayed on a Friday night for a getaway. Overall it was a good stay, however the lunch sandwiches were poor in the big dome (even though the servers were very good).
Not a big deal. Still had a good time. Should have sent it back, but wanted to get on with a fun stay.
Then I received at least 2 auto emails about our stay (don't you love doing surveys?), one of which I responded to, and I addressed it to the Manager.
No response from the Manager. Sent a followup.
No response from the Manager. Not exactly what I would expect from even a 4 star hotel.
I appreciate your business and am honored that you chose The West Baden Springs Hotel as your home away from home. Thank you for taking the time to complete our guest satisfaction survey. I know that your time is valuable and I sincerely appreciate the feedback you provided. The West Baden Springs Hotel is striving to provide consistent excellence in service. I sincerely apologize that you did not get an immediate response.
Please contact me directly, 812-936-5559. I would like to get a little more information from you so we can work toward meeting all guest expectations.
Thank you, Mary Knapp, West Baden Front Office Manager.


As librarians we try to create a warm, welcoming safe environment for our libraries. We also want our students to become lifelong readers and learners. But often there is a disconnect between these desires and what our students perceive. Most of us are so busy we end up on auto-pilot, doing things without thinking, not realizing our actions are sending a very different message.
Years ago, I was hired to consult for a district hoping to improve its library program (Unfortunately, we don't see that anymore). I walked into one elementary library with the intention of seeing how its arrangement helped or hindered creating an inviting atmosphere. I didn't have to look far. On several walls, there were large posters proclaiming library rules. No loud voices – speak in whispers. Wash your hands before reading a book. Sit properly in your chair. Raise your hand before speaking. Only two books may be checked out.
I wanted to leave. The library was neat and orderly and completely cold. It was about rules, not about reading, not about discovering exciting new things. I am sure the librarian never intended students to feel what I was feeling. She probably had her hands full many days with students who found the environment so repressive they acted out. I hope she didn't punish them by not letting them take out a book.
At a high school I visited, I was also struck by how a beautifully designed facility could be a turn-off. The rules weren't posted in the same way, but there was no indication that this was a place for kids. The few posters were formal purchased ones. The walls had no added color. There was no student art. No bulletin board showcased student accomplishment. The message was, "This is a place run by adults and you are not to disrupt it." Not surprisingly there were almost no students working individually, and I discovered teachers rarely brought their classes in.
Numerous elementary librarians, intending to instill a sense of responsibility in students, have a strict overdue policy. If they don't return their books on time, they can't take out any. The message being is "returning books on time is more important that having something new to read." While overdues can problem since the books can go astray and parents are expected to pay for lost books, there are other ways to handle it. You can have slips ready to insert into a book pocket or even taped to the cover informing parents to please search for books not returned. If it's the school that has set the rule, make sure students is directed to some books to read while their classmates are selecting theirs and checking them out. Send home a note about the missing titles and allow the student to borrow books as soon as the overdue ones are returned even if it's not the class's day in the library. Make it about getting books to read in the hands of students.
Creating lifelong readers is being hampered in many places by the emphasis on Lexile scores. It's fine for instructional purposes but not for recreational reading. The idea is to make reading fun not challenging, hard work. Leisure reading levels are usually below instructional levels. This builds fluency and enjoyment which then allows students to take on more difficult texts in class. I dislike the "five finger" rule. If I had to look up five words on every page of a book, I wouldn't want to read it. I prefer a "no-finger" rule. This would mean there might be a few words in the book which would be new, but mostly the students could zip along and enjoy the story.
Some students want to read a book that's well above their Lexile level. Frequently it's on a subject they are interested in, such as a sport. Or it could be a popular title. Even now, you might get a third grader who wants to read a Harry Potter story and is really not up to the task. The tendency is to not let the child borrow the book. I would let it go out, suggest sharing the reading with a parent or older sibling, and recommend another easier book also be borrowed. The stretch in trying to read the harder text will only improve the student's reading skills. This is different from forcing a child to read a harder book to match a Lexile level. This is personal choice.
Do your policies and practices reinforce or conflict with the message you want to send? Rethink now and plan to make changes when you get back from the holiday break.


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Dual meet wrestling rules ncaa
Wrestling Rules of the Game | victoryawards.us - The Official Site of the NCAA
NCAA Wrestling Rules Committee proposing new rules. The committee also recommended when back-to-back dual meet competitions occur, all competitors . For a complete and current listing of the NCAA Wrestling Rules Committee, .. ready to wrestle in a dual meet or tournament and the referee. Dual Meets. Six team points shall be scored toward the team total for each contestant who wins by a fall, default, forfeit or disqualification. Five.
However, the wrestler may only return to that certified weight class according to the weight-loss plan of the National Wrestling Coaches Association. This weight loss plan takes into account potential dehydration during the wrestling season and minimum amounts of body fat.
All of this has been done in order to protect the wrestler's health and safety. Regular season competition begins in late October or early November and continues until February. Post-season competition usually continues from February to March depending on, if individual wrestlers or teams qualify for a conference, regional, or national championship. Normally, wrestling teams from two different colleges or universities would compete in what is known as a dual meet.
It is possible for there also to be a multiple dual, where more than two wrestling teams compete against each other at the same event on the same day. For example, one college wrestling team may face another wrestling team for the first dual, and then a third wrestling team for the second dual. Also, those two wrestling teams may compete against each other in a dual meet as well.
Colleges and universities often compete within their particular athletic conference; though competition outside a team's conference or even outside its division within the NCAA is not uncommon. Dual meets[ edit ] Dual meets usually take place on evenings during the school week Monday through Friday ; on Saturday mornings, afternoons, or evenings; or even on Sunday mornings or afternoons during the wrestling season and begin with weigh-ins at a maximum of one hour before the meet begins.
No weight allowances are made for dual meets and multiple-day dual meets. Wrestlers are also examined by a physician or a certified athletic trainer for any communicable skin diseases. If a student-wrestler does not make weight, he is ineligible for that weight class and a forfeit is scored. If there are any communicable skin diseases, it is a ground for disqualification.
Wrestling Rules of the Game
Overview of Wrestling Rules
The wrestler's coach or athletic trainer can provide written documentation from a physician that a skin infection of a wrestler would not be communicable. The final judgement for whether a wrestler would be allowed to compete lies with the meet physician or athletic trainer on site. One of the visiting captains will call a disk toss.
The colored disk will then fall to the floor and determine: The wrestler-captain who won the disk toss may choose the even or odd weight classes. That is, he may choose the weight classes, from lowest to highest, that are numbered evenly or oddly.
NCAA Approves New Rules For 2017-18 Season
There can also be junior varsity matches, such as in Iowawhich are rare, that would take place immediately before the varsity matches. Also, before both varsity and junior varsity competition, there can also be an exhibition match in one or more weight classes. The exhibition matches do not count towards the varsity or junior varsity team score, but such matches allow wrestlers, especially at the freshmen level, to gain more competitive experience. Wrestling matches usually proceed in each of the 10 weight classes.
The order the matches occur in is determined after the weigh-ins either by a mutual decision of the coaches or by a random draw choosing a particular weight class to be featured first. In either case, the succeeding wrestling matches will follow in sequence.
Often, many colleges and universities in the United States will compete with their teams in what is known as a tournament. This allows many schools to establish their rankings, not only for individual student-wrestlers, but also for college and university wrestling teams as a whole e. A tournament committee usually administers the event and after individual and team entries have been verified, the officials then determine the order of the matches called "drawing" by certain brackets e.
The tournament officials when doing this drawing take into account each wrestler's win-loss record, previous tournament placements, and other factors that indicate the wrestler's ability.
With that in mind, wrestlers who are noticed as having the most superior records are bracketed so that two top-ranked superior wrestlers in each weight class do not compete against each other in an early round. This is called seeding. Tournaments are often sponsored by a college or university and are usually held on Friday, Saturday, Sunday, or over any of two days within the weekend.
Admission is often charged to cover costs and make a small profit for the host.
NCAA Approves New Rules For Season
A tournament begins with weigh-ins starting two hours or less before competition begins on the first day or one hour or less before competitions begins on any subsequent day. An allowance of one pound is granted for each subsequent day of the tournament.
If there are not enough wrestlers to fill up the bracket in a weight class, a bye will be awarded to a wrestler who does not have to compete against another wrestler in his pairing. After taking account the number of byes, the first round in each weight class then begins. Most college wrestling tournaments are in double elimination format. The last two wrestlers in the upper championship bracket wrestle for first place in the finals, with the loser winning second place.
In other words, a wrestler cannot place higher than third if he is knocked down to the lower wrestle-back bracket by losing in the championship semi-finals. This is largely the result of time constraints: If the winner of the wrestle-back bracket were allowed to challenge the winner of the championship bracket in the championship, the tournament could continue well past midnight before finishing.
The winner of the wrestle-back finals would then win third place, with the loser winning fourth place. In tournaments where six places are awarded, the losers of the wrestle-back semi-finals would wrestle for fifth place, with the loser winning sixth place. If eight places are awarded, the losers of the wrestle-back quarterfinals would wrestle for seventh place, with the loser winning eighth place, and so on. After the championships finals, the awards ceremony usually takes place with plaques, medals, trophies, or other awards given to the individual and team winners with the highest placements.
Precise rules for tournaments may vary from one event to the next. These events are by invitation only. Hence, the commonly used name for them, Invitationals.
2016-17 NCAA wrestling rules
Tournament sponsors which are usually colleges and universities, but sometimes other organizations invite the best varsity wrestlers from their area to compete against each other.
Many elite tournaments last two or even three days. For this reason, elite tournaments are often scheduled during the college's or university's winter break. Between one season and the next, postseason tournaments and preseason tournaments are often held in collegiate wrestling and also in freestyle and Greco-Roman.
The most active wrestlers often take part in those to sharpen their skills and techniques. Also, clinics and camps are often held for both wrestlers and their coaches to help refresh old techniques and gain new strategies. College wrestlers often serve as referees, volunteer coaches, assistants, or as counselors during many of the camps, clinics, and tournaments held during the off-season. Layout of the mat[ edit ] The college wrestler in light blue is attempting a takedown to the mat, but not without a counter by the defensive wrestler in white.
The match takes place on a thick rubber mat that is shock-absorbing to ensure safety. A large outer circle between 32 and 42 feet in diameter that designates the wrestling area is marked on the mat. The circumference line of that circle is called the boundary line. The wrestling area is surrounded by a mat area or apron or protection area that is at least five inches in width that helps prevent serious injury. The wrestlers are within bounds when any part of either wrestler is on or inside this boundary line.
Wrestlers are encouraged to stay near the center of the mat within the inner circle, or else they risk being penalized for stalling that is, deliberately attempting to slow down the action of the match. Each wrestler begins action at one of two one-inch starting lines inside the inner circle that is three feet long. Two one-inch lines close the ends of the starting lines and are marked red for the wrestler from the visiting team and green for the wrestler from the home team.
This rectangle designates the starting positions for the three periods. Additional padding may be added under the mat to protect the wrestlers, especially if the wrestlers are competing on a concrete floor. All mats that are in sections are secured together. It is made from nylon or lycra and prevents an opponent from using anything on the wrestler as leverage.
The singlets are usually light or dark depending on whether the wrestlers are competing at home or abroad, and they are usually designed according to the institution's or club's team colors. Wrestlers also have the option of wearing leggings with their singlets. This also includes false starts in both situations.
Note, unlike technical violations, the first two offenses are "cautioned" The official will form a "C" with his hand. Furthermore, this violation is not on the "progressive penalty chart. Wrestler A places Wrestler B on his back in a high bridge for three seconds.
Wrestler B scoots on his feet and head out-of-bounds on purpose. Is this a technical violation? Wrestler B has not committed a technical violation because Wrestler A would have been awarded two match points for a near fall. They are as follows: Situation One -- If the wrestler is unsportsmanlike during the bout, his opponent would be awarded match point s in the following manner: Situation Two -- If an unsportsmanlike act occurs prior to the first period or after the third period or fallthe offending wrestler's squad would lose one team point.
On the second offense, he would be asked to leave the premises and his squad would lose another team point. Flagrant misconduct at any time would result in immediate disqualification from the dual meet or tournament and the deduction of ALL team points earned.
During the second period, Wrestler A showed overt displeasure over the referee's call. Is this unsportsmanlike behavior? If so, what is the penalty?
I would be unsportsmanlike behavior and the official would award Wrestler B one match point since it occurred during the bout. If such were the case, the official would deduct one point from the violator's team.
On the second offense, the perpetrator would be removed from the premises for the duration of the dual meet or tournament session. When a coach's initial action is "flagrant" in nature, he would be expelled immediately with the loss of two team points for the duration of the dual meet or the tournament. The Spectators -- No fan may react in an unsportsmanlike manner toward the referee or the opposing coach or wrestlers. This unbecoming response can result in removal from the gym, fieldhouse or arena on the official's comment.
Important point, neither team would be penalized for misconduct of an over-zealous spectator, and it is up to the home management to remove the offender. During the progress of a dual meet, the referee was constantly being harassed by a heckler in the front row of the home-school's bleachers.
Unable to put up with this behavior any longer, the official stopped the match and had the athletic director escort the perpetrator from the gym. The visiting coach immediately demanded that one team point be deducted from the home squad. Was he right or wrong? The visiting coach was wrong. Whenever a spectator is removed from the premises for unsportsmanship behavior, no point is deducted from his or her favorite team's score.
He is allowed the same mobility around the mat as the referee. Furthermore, the assistant referee can talk to the main official as the match is in progress and help in making calls.
He can also signal locked hands and the grasping of clothes technical violations. However, all other calls must be made by the main official. If there is a disagreement between the two, the main official has the final say in the matter. Note, coaches are not permitted to address the assistant referee while the match is being contested.
In the second period of the bout, the assistant referee warned Wrestler A for stalling. Immediately, Wrestler A's coach approached the scorer's table and argued that the assistant referee had no authority to make the call.
Was he right or out-of-order? The coach was correct. Only the main official of the match is allowed to designate stalling Item However, the coach can not question any judgment calls made by the official. When he does, the referee will first warn him for misconduct, the second offense will cost the coach a team point, and with the third offense, the coach will be asked to leave premises for the duration of the dual meet or tournament session and another team point would be deducted.
The referee indicated a takedown at the edge of the mat and then blew the whistle for out-of-bounds. The coach, whose wrestler was taken down, approached the score table to argue with the official over the call.
The referee indicated misconduct on the coach's part. The referee was right. A coach can not question the judgment of an official. The only time it would not be penalized is if the wrestler received permission from the official to do so. Should this infraction occur before wrestling has started or after the completion of wrestling, it would be a deduction of one team-point from the offender's squad.
However, if the offense takes place during the match, the violator's opponent would receive a match point. Note, there is a variation of the rule in West Virginia. The unauthorized lowering of shoulder straps anywhere in the gym during competition is considered unsportsmanlike.
Wrestler A lowers his shoulder straps between the second and third periods of a match. How would he or his team be penalized? Wrestler A's opponent would receive one match point.
There would be no team-point deduction since wrestling has not concluded yet. Instead, the overtime tie-breaker will be utilized to determine the winner. The new procedure, as revised for the season, is as follows. The the first three periods end up in a tie, 1 to 1, with Wrestling A scoring the first escape. Sudden Victory Overtime Period: During tournament and dual meet action, when the wrestlers are tied at the end of the three regular periods, they will then wrestle an overtime period which will be one minute in length with no rest between the regular match and the overtime.
The overtime period will begin with both matmen in the neutral position. The wrestler who scores the first point s will be declared the winner. If no winner is determined by the end of the one minute overtime period, second tie-breakers in the referee's position will be wrestled.
The disk is tossed to determine the wrestler who has choice. The wrestler who wins the toss may choose top, bottom, or defer Neutral cannot be chosen. Wrestler B wins the toss and selects down. As soon as the referee blows the whistle, Wrestler B scores an escape. At this point, the match continues to the conclusion of the of the thirty seconds. Before the end of the first tiebreaker, Wrestler B also scores a takedown.
The score at this time is Wrestler B: It is now Wrestler A's choice; he also selects down. During the second tiebreaker period, Wrestler A likewise scores an escape and a takedown.
The score is tied 4 to 4. At this point, Wrestler A is given the choice of position because he scored the first point an escape in the match. However, the wrestler whose opponent has received an unsportsmanlike conduct penalty at anytime during the match will have the choice of position.
The unsportsmanlike conduct penalty will supersede the first points scored in the regulation match. There is no neutral, but the wrestler may defer. The Ultimate Tiebreaker winner is determined the same as in the past. The wrestler who scores the first point s in this second tie-breaker will be declared the winner. However, if no scoring occurs during this time, the top wrestler will be declared the winner.
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Which Is God's Word? The Constitution or the Bible?
Many look to the courts for what governs them.
But soon, this whole government will fail them!
Many try to interpret this paper for their way of living.
It's the Bible, that their attention, they should be giving!
It's only in the Bible, where we can find a Godly direction.
It's his principles of life, that we need for correction!
It's the word of God, that we need to trust and depend on!
God's word should be the foundation for us to build on!
As America drifts farther into a wicked course.
It's being torn apart by a very ungodly and evil force!
We need to read God's word… And daily apply it!
We need HIS word in our hearts… And live by it!
The commandments of God were spoken by HIS voice.
We need to receive them! It's a God given choice!
God put his word into our hands for a purpose and goal!
They're designed for the nourishment of man's soul!
May you daily read God's word and let it touch you!
It may be hard to believe, that God wants to bless you!
The words of God give true life and are 100% pure!
It's only by his word, that our life can be secure!
God's word is powerful! And sharper than any sword!
Won't you accept it? And receive Jesus as lord?
Come one and all! And receive the word of God today!
of what HE has to say!


As rampant as illegal parking is in San Francisco, there's one group of drivers who are the champs when it comes to finding the most egregious places to leave their vehicles: police officers, mail truck drivers, and other public servants who use city vehicles.
Oversized vehicles would be banned from overnight parking on many streets in the Bayview, Sunset and South of Market districts and other neighborhoods under a proposal up for approval today.
Last year, the San Francisco Municipal Transportation Agency, which regulates parking in The City, approved a policy that would bar vehicles longer than 22 feet from staying overnight on city streets. Vehicles violating the ban are subject to a $65 fine.
According to ABC news, a man on a Muni bus was just shot at 25th and Wisconsin streets. The bus driver drove the injured party to General Hospital. More to come I am sure. This news doesn't make me want to take the bus.


We are looking for experienced Van driver on behalf of our Clients who deliver various items into Wholesale Companies Multi drop experience required Van Driver will be able ... to follow a set route and read the paperwork. We have all days available - Monday - Sunday so we can fit around you Various start times from 05am -09am start - job finish Van Driver ...JOBSWORTH: £16,191 P.A.?
Nationwide Long Distance Van Drivers Wanted Earn £500 Per Week We are looking for Long Distance Van Drivers to work alongside the biggest Delivery Companies in delivering around ...JOBSWORTH: £17,493 P.A.?
VAN DRIVERS WELCOME FULL TIME REGULAR WORK AVAILABLE Staffline is recruiting a temporary professional van drivers to cover seasonal work starting immediately for one of the UK ... . The pay rates for the role of van driver are as follows: DAYS & NIGHTS PAYE Monday to Sunday Pre 12 Weeks - £8.83 per hour DAYS & NIGHTS PAYE Monday to Sunday Post 12 Weeks - £9.78 per ...£8.83 - £14.67 PER HOUR + .
Companies presently offering Van Driver job vacancies in South West England include Yodel / Home Delivery Network, Connect Group, Sue Ryder Care..
9 new job listings for this search have been found in the last calendar day, compared with 29 in the last 72 hours and 66 in the last week.
The standard deviation of salaries for the results of this search is 7,242.


Christopher Alvarado taps into the mysteries and rituals of primitive cultures on his new release, Ancient Doors. While not a "tribal" release per se, these twelve tracks definitely delve into a primal space, pushing forward on varied percussion and atmospheres thick with incense smoke, but also weave in some new-world grooves for an original glide. The balance is the strength here, and Alvarado is clearly at ease working both sides of the equation, alone or together. "Dakini (Sky Goer)" is a great example of this mix, rising out of misty drifts before it starts pumping along, catching hold with its chugging rhythm. There's something pleasantly raw about the sounds forming that rhythm, and they way they counter the fluidity of the pads. "Jewel of the Jackal" is another, a Mediterranean fantasy where sharp raps of the tabla and flavorful strings like sitars melt into a hypnotic sway. Alvarado builds up to a frenzy, then just fades it away like a breath. Probably my favorite track here. On the more tribal/primal side, "The Lock of Past" is a great atmospheric track. Drums distantly hammer out a dance as Alvarado ramps up the drama. Static-washed hisses and chant samples blend into the sound. On the more ethereal and sometimes dark side of the equation is "Dunes," pairing long ambient pads with a keening vocal sample and more of the Middle Eastern flavor that runs through the disc. Later, that voice gets a different treatment in this tune's "Drifting Wave Mix." There, it's clipped and chopped and used as a rhythmic element for a glitchy feel. It plays nicely against a meaty bass line and cool strings for a silky overall flow. Meanwhile, back on the quiet side, "Andromeda at Dusk" is a slow-moving ambient piece with a calm-breath movement. It's a perfect closer that mixes its hush with just the right amount of shadow.
There's a lot of visual imagery at play on Ancient Doors, and several of the tracks have a soundtrack-ready sensibility to them. (Understandable, what with this release coming from Aural Films, whose motto is "Soundtracks for films that do not exist.") Alvarado's sounds run very deep, creating fully described spaces that evoke a lot of emotion. As I said before, it's the mix of modern feels with old-world sounds that works best for me here. It makes the music easy to get caught up in and a pleasure to come back to. Check it out for sure.


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ICG PR
ICG PR/
YORKSHIRE COPPER TUBE IS OFFICIALLY NUMBER ONE
Mon, Sep 26, 2011 11:10 CET
According to a survey of more than 10,000 contractors and merchants, Yorkshire Copper Tube is the most recognisable copper tube brand in the UK.
In addition over 93 per cent of contractors regularly use copper for their plumbing installations and 14.1 per cent of these will only use Yorkshire's products.
The survey, which was carried out in the late summer by an independent company, also revealed that Yorkshire Copper Tube means 'quality' to 79.1 per cent of merchants and 87.2 per cent of contractors questioned.
Another key finding was that both contractors and merchants rely on manufacturers for up to the minute information on products and knowledge of important industry issues.
Management at Yorkshire Copper Tube commissioned the survey to garner feedback from its current and potential customers and they were delighted with the results.
Neil Overton, Commercial Director at Yorkshire Copper Tube, said: "The results of this exercise have given us even more insight into our industry and the way it views our company, products and the ways in which we share information.
"It is fantastic to see that we are still viewed as the number one plumbing brand and this is testament to our on-going investment in, and commitment to, excellence in product quality and customer service.
"We are going to use the results to further improve the way we communicate with customers on every level and we are currently working on several new avenues for engaging with our audience.
"We operate from one of the most modern factories in the world and continually combine advanced manufacturing methods and sophisticated quality control techniques to ensure that only consistently high standard tubes are supplied, which has been recognised in the survey.
"I would like to personally thank everyone that took part for their very valued opinions."
Yorkshire Copper Tube is a member of the KME Group of companies, which together represent Europe's largest producer of copper and copper alloy materials.
All Yorkshire's copper tubes carry the British Kitemark and the company's Quality Management System is BS EN 9001 approved.
Picture shows: Neil Overton, Commercial Director at Yorkshire Copper Tube.
Paula Holden or Denise Dawson at ICG on 01772 679383, or e-mail: paula@icgonline.co.uk or denise@icgonline.co.uk
Plumbing Yorkshire Copper Tube contractors survey results Copper Tube Plumbing Products Merchants


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Black Lives Matter A message from Professor Graham Galbraith
The University stands in solidarity with our black students, staff and wider community
Vice Chancellor Race equality
What is sharing?
I have been watching with great shock and sadness the harrowing images of the death of George Floyd in the United States. I, of course, cannot possibly imagine how our BAME students and staff are feeling when seeing a different value being placed on life depending on race. I stand firm with our Students' Union and the wider University community in condemning what has happened, hoping that our voices of collective outrage will lead to major changes in society.
If even one black person anywhere is treated differently because of the colour of their skin, it is sickening and enraging. We are all obliged across all our communities, to stand firm with those so woefully treated.
As a University, I am painfully aware that we must also do much more to ensure that in all that we do we provide equality of opportunity and success for all our students and those we work with. I believe that education can change lives and open up opportunity and this makes it even more important that we do more to reduce the BAME attainment gap, while at the same time reflecting our diverse society among our staff community.
Professor Graham Galbraith, Vice-Chancellor of the University of Portsmouth
Support services and initiatives
Equality and Diversity - The University has signed up to the Race Equality Charter which aims to improve the representation, progression and success of minority ethnic staff and students within higher education.
UoP Staff Multicultural Network - A staff only network that helps shape University policies on equality and diversity and represents the concerns of the University's ethnically diverse staff.
Mental Health Foundation - Black, Asian and Minority Ethnic (BAME) communities - An online resource looking at the impact of issues such as racism and discrimination, and key mental health statistics for specific BAME communities.
University Student Wellbeing Service - Provides a wide range of advice, guidance and support for all University students and works in partnership with wellbeing organisations across the city.
University Employee Assistance Programme - Provided for staff through RehabWorks Ltd (Workplace Wellness), which offers a free, confidential helpline, which provides unlimited access to information, advice and support, and onward referral where appropriate.
University Chaplains - A safe and inclusive social space open to all students and staff for a confidential chat, somewhere to have lunch with friends, or just some quiet space.
Dignity and Respect Policy - This Policy sets out the University's commitment to delivering a working and learning environment of dignity and respect, free from harassment and bullying, ensuring we adhere to the Equality Act 2010.
Report and support - All staff, students, and visitors can report discrimination, misconduct, harassment or assault, or any form of unacceptable behaviour using this tool.


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Society and Identity
Niner Times
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TV REVIEW: 'The Walking Dead' – 'Twice as Far'
"You want to live, you take chances."
By Jeffrey Kopp -
Abraham Ford and Eugene Porter. (Photo courtesy of Gene Page/AMC.)
Spoiler Warning for this week's episode of "The Walking Dead"
Michael Cudlitz as Abraham Ford and Josh McDermitt as Eugene Porter. (Photo courtesy of Gene Page/AMC.)
Tragedy strikes the characters of "The Walking Dead" in a completely shocking and devastating, yet problematic episode. As the season finale nears, certain characters are put in the spotlight to develop the story. While it does have problems, this episode stands strong with the others of this half-season.
The opening sequence shows several days passing in Alexandria through the activities of several characters. Olivia opens the fully stocked pantry, while Eugene and Sasha stand guard at the gate. Morgan finishes building a jail cell, which Rick curiously inspects. Morgan explains to Rick that this jail cell provides the group a place to put enemies rather than killing them. Rosita and Spencer are shown to be having a romantic fling that Rosita appears to immediately regret. Carol asks Daryl about his newly returned motorcycle and his encounter with the mysterious couple that he met in "Always Accountable." Daryl tells Carol "I should've killed them." This opening sequence fully displays what life is like during times of peace; each character has their own task.
Morgan finished his jail cell! Who will be the first prisoner?!#TheWalkingDead
— The Walking Dead World (@TWalkingDWorld) March 21, 2016
The primary focus of this episode is on two separate groups that leave Alexandria on very specific missions. The first group consists of Abraham and Eugene, who head out in search of an industrial workshop. While walking to the workshop, Abraham humorously jokes about Eugene's mullet, which has been refashioned into a ponytail. Eugene then begins listing off his various contributions to the community before telling Abraham "I'm a survivor." They find the workshop and Eugene explains that he plans on using the machinery to produce bullets. This is an incredibly important development and task for Eugene's character as ammunition will surely be running low on supply soon. As the two talk, a walker coated in dried liquid metal approaches and Eugene decides to prove his survival skills by attempting to kill the walker himself. Unfortunately, the liquid metal on the walker makes it incredibly difficult for Eugene to kill. Abraham steps in and stabs the walker with a piece of rebar, prompting Eugene to lash out in anger. Eugene furiously tells Abraham that he can survive on his own and doesn't need Abraham's assistance anymore. Abraham tells Eugene to find his own way home and exits the building. This conflict is one of the problems with this episode. Eugene understandably wants to prove his strength as a survivor, but his anger towards Abraham feels very unusual coming his character. The relationship between these two has always been rocky, but they have recently been on very good terms. Regardless, the humorous dynamic between Michael Cudlitz and Josh McDermitt provides some of the greatest lines dialogue in the series.
The other group consists of Daryl, Denise and Rosita, who head out in search of medicine from a local apothecary that Denise believes may be fully stocked. Before leaving, Daryl and Rosita attempt to persuade Denise to stay in Alexandria for the simple fact that Denise is the community's only doctor. Denise refuses to stay behind and the three leave in an old pickup truck. These three characters have only interacted briefly, so this supply run creates another interesting dynamic. While driving, Daryl struggles with the gear shift as Denise provides some truly humorous commentary. They are forced to stop at a fallen tree blocking the road, which Rosita and Daryl decide to investigate and discover a few bottles of liquor. Rosita proposes that the group take a shortcut by walking down nearby railroad tracks, but Daryl refuses and leads Denise down a different path while Rosita heads down the tracks alone. This moment is incredibly poignant for Daryl's character due to the horrific circumstances surrounding his journey to Terminus on train tracks in Season 4.
Later, Rosita is shown waiting for Daryl and Denise after taking her shortcut. Denise asks Rosita about her weapons training and Rosita explains that a long list of people helped get her to where she is now. The group arrives at apothecary and begin searching for supplies. They discover a fully-stocked pharmacy that Daryl and Rosita immediately begin clearing out. Denise hears a noise from another room and walks over, armed with her machete, to inspect. She finds a trapped walker, as well as a child's shoe in a blood-filled sink. The scene absolutely horrifies Denise, who rushes out of the building in disgust. Her reaction is completely understandable as Denise has very limited experience being outside of Alexandria. They leave the apothecary and Daryl strikes up a conversation with Denise. They discuss Denise's twin brother, Dennis, who was both brave and angry. Daryl responds by telling Denise "sounds like we had the same brother." referring to his late brother, Merle. They take the railroad tracks back and Denise notices a cooler in a nearby car. She opens the car door and is quickly caught in an intense struggle with a hidden walker; she manages to kill the walker herself. She opens the cooler and discovers a can of orange soda, which she proudly keeps for Tara. This scene displays Denise's potential to become strong survivor. That is until, the next few moments dramatically change everything.
Dwight and the Saviors in a standoff with Rosita and Daryl. (Photo courtesy of Gene Page/AMC.)
Rosita and Daryl scold Denise for risking her life over something so unimportant. Denise explains that she wanted to go on the supply run to confront her fears. This greatly parallels Eugene and his reasoning for leaving Alexandria this episode. Denise tells Daryl that she asked him to come along because he makes her feel safe; she asked Rosita to join to help her get over the breakup with Abraham; Denise fully pours her heart out to Rosita and Daryl. Suddenly, in mid-sentence, a bolt from a crossbow passes through Denise's head and out her eye, killing her, but not before she is able to utter a few final words. Rosita watches in complete horror as Daryl catches Denise's falling body. The camera turns revealing a large group of Saviors, including Dwight (The man who stole Daryl's crossbow and motorcycle in "Always Accountable") and Eugene as a hostage. Half of Dwight's face has been burned; this will likely be explained later. Dwight orders Daryl and Rosita to turn over their weapons and lead him to Alexandria. Eugene spots Abraham hiding nearby and alerts Dwight. Eugene takes advantage of Dwight's momentary lack of attention and bites him on the crotch. Abraham begins shooting at the Saviors, allowing Rosita and Daryl to recollect their weapons and kill a handful of the aggressors. Eugene is hit by a stray bullet and Dwight flees with his men, leaving behind Daryl's crossbow. This entire fight sequence was frightening and fast-paced.
God…who is going to tell Tara? 😢#TheWalkingDead
The death of Denise is the major problem that I have with this episode. Denise is a character that was introduced at the beginning of this season, but has gone through an extensive arc in her short time. This episode proved her potential strength, not only physically, but also mentally. The death itself feels like its sole purpose was to shock the audience and further other characters rather than Denise herself. Tara, who is currently on an extended supply run with Heath, will feel the full brunt of this loss, however, we will likely not see Tara's reaction until next season, because Alanna Masterson was nine months pregnant during filming for the final episodes of this season. Daryl will also likely feel guilty as his crossbow was used to kill Denise. Yes, characters need to die in this series, but Denise's death feels like a waste one of the most promising characters. Death is sometimes handled extremely well as seen with Hershel and Deanna, but also poorly as seen with Andrea, Beth and now Denise. The show also loses Merritt Wever, who gave remarkable performances throughout her run on the show as Denise.
MASSIVE round of applause for Merritt Wever for her portrayal of Dr. Denise Cloyd from S6E2 to S6E14 #TheWalkingDead pic.twitter.com/utM5YwROMP
The episode continues in Alexandria as Rosita tends to Eugene in the infirmary. Abraham arrives as Eugene wakes up. Rosita explains that the bullet simply grazed Eugene and that he will be okay. Abraham apologizes for questioning Eugene's ability to survive and adapt. Abraham leaves and visits with Sasha, who invites him inside; this solidifies the fact that Abraham and Sasha will have a romantic relationship. Daryl and Carol bury Denise in Alexandria's cemetery and Carol affirms Daryl's regret about not killing Dwight the first chance he had. Tobin discovers a note from Carol, which is read to viewers by Carol as daily life is once again shown in Alexandria. Carol's letter reveals that she has left Alexandria, citing her fear of killing to protect the people that she loves. She also references the time that Rick banished her from the Prison. She ends the letter by telling everyone to not come after her. With the looming threat of Dwight and the Saviors, as well as Negan, Carol's departure from Alexandria comes at the worst time. Where did Carol go? Who will go looking for her?
Alexandria is crumbling….#TheWalkingDead
"Twice as Far" is far from a bad episode, however, the death of Denise brings to light the recurring problem that this show has of killing off characters at odd times. Now that Alexandria has lost their doctor, how will the community treat those that are injured and sick? This episode does positively develop several characters and further the plot. The perfect pacing of this half season is present in this episode. With Alexandria now vulnerable to an attack, will the survivors be able to join together once again to protect their home? Be sure to tune in to "The Walking Dead" next Sunday at 9 p.m. on AMC.
Jeffrey Kopp
Jeffrey Kopp is the Community Editor of the Niner Times. He is a senior double majoring in Communication and Political Science. His interests include writing and keeping up with an excessive amount of television shows. He is also the go-to expert on all things "The Walking Dead."
TV REVIEW: 'Fear the Walking Dead' – 'The Little Prince'
TV REVIEW: 'Fear the Walking Dead' – 'The End of Everything'
TV REVIEW: 'Fear the Walking Dead' – 'Skidmark'
TV REVIEW: 'Fear the Walking Dead' – 'Humbug's Gulch'
Concert Preview: Vampire Weekend
TV REVIEW: 'The Walking Dead' – 'Last Day on Earth' : Niner Times April 4, 2016 at 5:00 pm
[…] hands Rick instructions for manufacturing bullets (this was first explained by Eugene in "Twice as Far") in the event that he is killed. Abraham and Eugene share one of my favorite moments from […]
TV REVIEW: 'The Walking Dead' – 'Service' : Niner Times November 14, 2016 at 8:00 am
[…] with Rosita and the two arrive at the train tracks where Denise was killed by Dwight back in "Twice as Far." Daryl hid his motorcycle in a bush before heading out to search for Dwight with Glenn, […]
© NinerTimes
Jeffrey Kopp -


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early retirements Nov. 28, 2017
Daniel Day-Lewis Finally Explains Why He's Retiring, Sort Of
Photo: Sylvain Gaboury/PMC
Daniel Day-Lewis is an elusive figure. Even when you see him on screen, you're never really seeing the man, since he's so immersed in his roles that he's actually inhabiting the skin of a different human that just happens to be wearing a Daniel Day-Lewis suit. He also doesn't like having his photo taken and rarely grants interviews, but W managed to wrangle him for a cover shoot and a chat while he promotes the Paul Thomas Anderson–directed Phantom Thread, which he says is his last film role. For the first time, he discussed his impending retirement. "Before making the film, I didn't know I was going to stop acting," Day-Lewis told W. "I do know that Paul and I laughed a lot before we made the movie. And then we stopped laughing because we were both overwhelmed by a sense of sadness. That took us by surprise: We didn't realize what we had given birth to. It was hard to live with. And still is."
The three-time Best Actor Oscar winner famously takes long breaks between films, and prepares deeply for every role. To play English dressmaker Reynolds Woodcock for Phantom Thread, Day-Lewis studied footage of mid-century fashion shows, apprenticed for months under the head of the costume department at the New York City Ballet, "meticulously invented every aspect of Woodcock's personal wardrobe," as W put it, and fixated on art direction of the designer's home as well what pens and paper he would use to sketch dresses. Then upon delivering the performance and the film, Day-Lewis hit despair, and while he has toyed with leaving acting in the past, this time he put out a very uncharacteristic public statement to hold himself accountable. He says "the responsibility of a creative life" is both "a curse and a blessing. You can never separate them until the day you die. It's the thing that feeds you and eats away at you; gives you life and is killing you at the same time." If that's how you talk about your job, it makes sense that you'd want to quit.
The actor never gives a tidy reason for why he's walking away from his celebrated career. He seems to be sure in his bones that it's time to be done, and as part of his decision to retire he says he has no intention of watching his last performance. "I dread to use the overused word 'artist,' but there's something of the responsibility of the artist that hung over me," Day-Lewis explained. "I need to believe in the value of what I'm doing. The work can seem vital. Irresistible, even. And if an audience believes it, that should be good enough for me. But, lately, it isn't."
early retirements


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Top NBA players: Basketball's highest paid in 2019, ranked
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40 (tie). Giannis Antetokounmpo: $25.8 million
NBA contracts are growing increasingly valuable with every new season.
Thanks in part to a massive, $24 billion television contract, the NBA will continue to be one of the most watched, and most popular, leagues in the world.
But how much do basketball stars make? We've listed the biggest earners, based on their cap hit in the 2019-2020 NBA season.
Giannis Antetokounmpo, the reigning MVP, re-signed with the Milwaukee Bucks to a four-year, $100 million contract in 2017. The "Greek Freak" is easily one of the most talented players in the league.
Credit: Stacy Revere / Getty Images
40 (tie). Steven Adams: $25.8 million
The Oklahoma City Thunder big man is in the third season a four-year, $100 million extension that was signed in 2017.
Credit: Gene Sweeney Jr. / Getty Images
39. LaMarcus Aldridge: $26 million
The seven-time All-Star landed a two-year, $50 million extension with the San Antonio Spurs.
Credit: Christian Petersen / Getty Images
38. Jrue Holiday: $27 million
Holiday secured five-year, $131.8 million pact to stay with the New Orleans Pelicans in 2017. The UCLA guard has the right to opt out of his contract following the 2021 season.
34 (tie). Hassan Whiteside: $27.1 million
Whiteside is in the final season of a four-year, $98.4 million deal. He was dealt to the Portland Trail Blazers in the offseason.
Credit: Mike Ehrmann / Getty Images
34 (tie). Andre Drummond: $27.1 million
The two-time All-Star is in the fourth season of a five-year, $127.2 million contract that he signed with the Detroit Pistons in 2016.
Credit: Kevin C. Cox / Getty Images
34 (tie). Bradley Beal: $27.1 million
The Washington Wizards guard is in the fourth season of a five-year, $127.2 million contract that he signed in 2016. Beal is scheduled to hit the free-agent market in 2021.
Credit: Omar Rawlings / Getty Images
34 (tie). Anthony Davis: $27.1 million
Anthony Davis is in the fourth season of a five-year, $127.2 million deal, with a player opt-out clause for the 2020 campaign.
The six-time All-Star was acquired by the Los Angeles Lakers in the offseason.
Credit: Jonathan Bachman / Getty Images
33. Otto Porter Jr.: $27.2 million
The former Georgetown star inked a four-year, $106.5 million deal with the Washington Wizards last offseason.
In February, Porter Jr. was shipped off to the Chicago Bulls. He's able to opt out of his pact following the 2020 season.
Credit: Sarah Stier / Getty Images
29 (tie). D'Angelo Russell: $27.3 million
The former Nets guard scored a four-year, $117.4 million deal with the Golden State Warriors in the offseason.
Credit: Doug Pensinger / Getty Images
29 (tie). Devin Booker: $27.3 million
The 13th pick in the 2015 NBA Draft, Booker has emerged as one of the best scoring guards in the league. He was rewarded by the Suns with a five-year, $158.3 million pact.
29 (tie). Karl-Anthony Towns: $27.3 million
The Timberwolves' two-time All-Star is in the first season of a five-year, $158.3 million deal with Minnesota.
Credit: / Getty Images
29 (tie). Kristaps Porzingis: $27.3 million
Traded to the Mavericks during the 2018 season, Kristaps Porzingis inked a five-year, $158.3 million deal with Dallas.
Porzingis is currently recovering from a torn ACL.
Credit: Elsa / Getty Images
28. Nikola Jokić: $27.4 million
One of the best passers in the league, Jokić has been a revelation since he joined the Denver Nuggets as a second-round pick in 2015. "The Joker" is in the second season of a five-year, $147.7 million deal.
Credit: Matthew Stockman / Getty Images
26 (tie). Joel Embiid: $27.5 million
Embiid is in the second season of a five-year, $147.7 million pact with the Philadelphia 76ers.
The two-time All-Star is set to hit free agency following the 2022 campaign.
Credit: Mitchell Leff / Getty Images
26 (tie). Andrew Wiggins: $27.5 million
The No. 1 pick in 2014 scored a four-year, $147.7 million extension with the Minnesota Timberwolves in 2017. Wiggins won't be eligible for free agency until 2023.
25. C.J. McCollum: $27.6 million
A lottery pick in the 2013 NBA Draft, McCollum scored a four-year, $106.6 million deal in 2017. The Trail Blazers guard is scheduled to hit free agency following the 2021 season.
Credit: Sean M. Haffey / Getty Images
24. DeMar DeRozan: $27.7 million
DeRozan signed a five-year, $139 million deal with the Toronto Raptors in 2016. The former USC star was then traded to the San Antonio Spurs in the 2018 offseason as part of a package for Kawhi Leonard.
DeRozan can opt out of his contract following the 2020 season.
Credit: Harry How / Getty Images
23. Nikola Vucevic: $28.4 million
The Orlando Magic re-signed Nikola Vucevic to a four-year, $100 million extension in the offseason. He's under contract through 2022.
22. Kevin Love: $28.9 million
Last offseason, Kevin Love landed a four-year, $120.4 million deal with the Cleveland Cavaliers.
Credit: Jamie Sabau / Getty Images
21. Damian Lillard: $29.8 million
Lillard still has two seasons left on his five-year, $139.9 million extension with the Trail Blazers. But the Portland point guard recently secured a five-year, $196 million extension that starts in 2021.
20. Paul Millsap: $30.4 million
In the offseason, the Denver Nuggets elected to pick up Millsap's $30 million team option for the 2019 season.
19. Khris Middleton: $30.7 million
In free agency, Middleton landed a five-year, $178 million extension with the Milwaukee Bucks. He'll make more than Giannis Antetokounmpo in 2019.
Credit: Maddie Meyer / Getty Images
18. Tobias Harris: $31 million
The Philadelphia 76ers re-signed Tobias Harris to a five-year, $180 million extension in the offseason.
17. Kyrie Irving: $31.7 million
One of the biggest acquisitions in free agency, Irving inked a four-year, $136.5 million deal with the Brooklyn Nets.
16. Mike Conley: $32.5 million
Conley is in the fourth season of a five-year, $152.6 million contract. The former Grizzlies point guard was traded to the Utah Jazz in the offseason.
Credit: Wesley Hitt / Getty Images
15. Gordon Hayward: $32.7 million
Hayward enters 2019 in the third season of a four-year, $127.8 million deal with the Boston Celtics.
The former Jazz star — who is still trying to find his form after a brutal leg injury — has a player opt-out clause for 2020.
11 (tie). Kemba Walker: $32.74 million
With Kyrie Irving heading to Brooklyn, the Boston Celtics filled their hole at point guard by signing Kemba Walker to a four-year, $140.8 million pact.
Credit: Streeter Lecka / Getty Images
11 (tie). Jimmy Butler: $32.74 million
Jimmy Butler is taking his talents to South Beach in 2019 and beyond. The ex-Sixer scored a four-year, $140.8 million pact with the Miami Heat in the offseason.
Credit: Alex Menendez / Getty Images
11 (tie). Klay Thompson: $32.74 million
Kevin Durant might have left the Warriors, but Klay Thompson didn't. The Warriors shooting savant signed a five-year, $189.9 million extension with Golden State in the offseason.
Credit: Bob Levey / Getty Images
11 (tie). Kawhi Leonard: $32.74 million
After leading the Toronto Raptors to their first NBA championship in franchise history, Kawhi Leonard signed a three-year, $103 million deal with the Los Angeles Clippers.
Credit: RC / Getty Images
10. Paul George: $33 million
Dealt to the Thunder in 2018, George re-upped with Oklahoma City to a four-year, $136.9 million deal. He was then traded to the Los Angeles Clippers in 2019.
The six-time All-Star is in the second year of his contract, and he has a player option for the 2021 season.
9. Blake Griffin: $34.5 million
Griffin landed a five-year, $171.2 million deal with the Los Angeles Clippers in 2017. He was then traded to the Detroit Pistons.
The 2009 No. 1 pick is eligible to opt out of his current contract following the 2021 season.
Credit: Gregory Shamus / Getty Images
8. Kyle Lowry: $35 million
The Toronto Raptors point guard is in the final season of a three-year, $100 million contract.
Lowry is scheduled to be an unrestricted free agent following the 2019 season.
Credit: Andy Lyons / Getty Images
7. LeBron James: $37.4 million
The four-time MVP is currently in the second season of a four-year, $153.3 pact with the Los Angeles Lakers.
James can opt out of his deal with the Lakers following the 2021 season.
Credit: Ethan Miller / Getty Images
4 (tie). John Wall: $38.2 million
That's right: John Wall makes more than LeBron James in 2019. The Wizards point guard is in the first season of a four-year, $171.1 million pact with Washington.
Credit: Jason Miller / Getty Images
4 (tie). Kevin Durant: $38.2 million
After spending three seasons with Golden State, Durant departed the Warriors for the Brooklyn Nets in free agency.
He secured a four-year, $164.3 million pact that includes a $43.9 million player option for the 2022 season.
4 (tie). James Harden: $38.2 million
Harden's four-year, $169.3 million "supermax" extension with the Houston Rockets starts this season.
2 (tie). Russell Westbrook: $38.5 million
The 2017 NBA MVP is in the second season of a five-year, $206.79 million deal with the Oklahoma City Thunder.
Westbrook can opt out of his contract for the 2022 season that would pay him a whopping $47.1 million.
Credit: Brett Deering / Getty Images
2 (tie). Chris Paul: $38.5 million
The nine-time All-Star point guard inked a massive four-year, $159.7 million contract with the Houston Rockets in 2018.
Paul's pact includes a $44.2 million player option for the 2021 season.
Credit: Ronald Martinez / Getty Images
1. Stephen Curry: $40.2 million
The best shooter in the league also has the largest cap hit in the NBA. The two-time MVP is in the third season of a five-year, $201.2 million extension with the Golden State Warriors.
Credit: Ezra Shaw / Getty Images


text:
Die Vivoryon Therapeutics N.V., (Euronext Amsterdam: VVY) mit Sitz in Amsterdam ist ein biopharmazeutisches Unternehmen mit strategischem Schwerpunkt ausgerichtet auf die Entwicklung von Medikamenten zur Behandlung von Alzheimer.

Geschichte
Das Unternehmen wurde 1997 von Konrad Glund und Hans-Ulrich Demuth unter dem Namen ProBioTec GmbH zur Entwicklung von Antidiabetika, der damals neuartigen Wirkstoffklasse der DPP4-Inhibitoren, gegründet. Der Name wurde 2001 in Probiodrug AG und 2019 in Vivoryon Therapeutics AG geändert. Die gesamte Diabetesforschung mit allen Patentrechten wurde 2004 veräußert. Im Oktober 2014 ging das Unternehmen an die Börse und wurde an der Amsterdamer Börse Euronext verzeichnet. 2020 verlegte Vivoryon seinen Sitz nach Amsterdam.

Portfolio
Die Firma entwickelt ein Therapiekonzept, das in den Entstehungsprozess und das frühe Krankheitsgeschehen eingreift. Die Entwicklungsansätze zielen dabei auf das Pyroglutamat-Abeta (pGlu-Abeta) ab, einer Schlüsselkomponente der neuro- /synaptotoxischen Pathologie der Erkrankung. In diesem Prozess spielt das Enzym von Glutaminyl-Cyclase (QC) eine entscheidende Rolle.

Vivoryons Produktkandidat, Varoglutamstat (PQ912), hat eine Phase-2a-Studie erfolgreich abgeschlossen. Zu den Produkten des Unternehmens gehört PBD-C06, ein anti-pGlu-Abeta-spezifischer monoklonaler Antikörper, der sich in der präklinischen Entwicklung befindet. Vivoryon Therapeutics besitzt Patente, die die Inhibierung von QC als therapeutisches Prinzip und seine Produktkandidaten schützen.

2004 gelang der Nachweis, dass QC die Bildung bestimmter β-Amyloid-Spezies mit einem Pyroglutamylrest katalysiert. Diesen Substanzen, kurz "pGlu-Abeta", wird eine Rolle bei der Entstehung der Alzheimer-Krankheit zugesprochen. Seitdem konzentriert sich das Unternehmen auf die Entwicklung von Alzheimer-Therapien. Die Entwicklungsansätze zielen auf eine Senkung von pGlu-Abeta insbesondere durch Enzymhemmung der Glutaminyl-Cyclase. Vivoryon Therapeutics besitzt Patente, die die Nutzung von QC als therapeutisches Prinzip und seine Produktkandidaten sowie spezifische monoklonale Antikörper gegen pGlu-Abeta schützen.

Belege

Literatur

Weblinks
 Website der Vivoryon Therapeutics AG

Pharmazieunternehmen
Unternehmen (Halle (Saale))
Gegründet 1997

redpajama_set_name: RedPajamaWikipedia


text:
Sort by PositionName: A to ZCreated onName: Z to APrice: Low to HighPrice: High to Low
Cistercian abbey, Bronnbach, Wertheim: the gardens
RIBA114925
NOTES: The Cistercian abbey of Bronnbach was founded in 1151, although most of the buildings date from the 18th century.
Unexecuted designs for a cloister for monuments, Westminster Abbey, London: transverse section
Scott, Sir George Gilbert (1811-1878)
NOTES: Scott prepared designs for a building to house monuments removed from Westminster Abbey thus providing space for future monuments, but nothing came of this scheme.
Unexecuted designs for a cloister for monuments, Westminster Abbey, London: perspective from the north-east showing the cloister of 22 bays along Abingdon Street with a return of four bays linked to the chapter house
Westminster Abbey, London: the west front, floodlit at night with the Victoria Tower in the background
Hawksmoor, Nicholas (1661-1736)
NOTES: The west front dates from the 14th-16th centuries, with the refacing of the towers by Nicholas Hawksmoor from 1735-1745). The Victoria Tower (just seen) is 1860 by Sir Charles Barry and Augustus Northmore Welby Pugin.
Fountains Abbey, North Yorkshire, at night
NOTES: Construction on this Cistercian abbey began in 1132 and was only completed in 1526 shortly before its dissolution in 1539. The tower was added in 1494-1526.
Fountains Abbey, North Yorkshire: the undercroft
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text:
Benjamin Franklin Museum leaves bicentennial behind, reopens after two-year renovation
By Ashley Hahn
318 Market Street, Philadelphia PA
PROJECT FACTSHEET:
Budget: $23 million
Partners: National Park Service, City of Philadelphia, Commonwealth of Pennsylvania, Pew Charitable Trusts, Lenfest Foundation, William Penn Foundation, Knight Foundation
Guest Curators: Remer & Talbott
Exhibit Design: Casson Mann
Interactive Design: Memory Collective, Bluecadet
Exhibit Fabrication: Kubik Maltbie
Architect: Quinn Evans
Contractor: Daniel J Keating Company
Benjamin Franklin is a nearly mythic part of Philadelphia's creation story and his presence is embedded in the city's DNA, a storyline woven through our civic and cultural institutions. While he's scattered everywhere, Franklin has been sort of homeless.
Where Franklin's house used to stand off Market Street are "ghost houses," an interpretation designed by Robert Venturi, John Rauch, and Denise Scott Brown for the National Park Service in the 1970s. And for the last 40 years the underground Benjamin Franklin Museum below Franklin Court was a bicentennial-era experience that was as much a museum of dated technology as one telling Franklin's story.
Two years ago the National Park Service closed the Franklin Museum for a $23 million overhaul, financed through public and philanthropic sources, in an effort to ground Franklin's legacy in Philadelphia anew. The goal was to wholly revamp the museum as the definitive place to learn about Franklin – the "relevant revolutionary" – as a man of his time whose ideas and actions have lasting power.
Starting Saturday, August 24 visitors to Independence National Historical Park will be able to walk into Franklin Court and the Benjamin Franklin Museum to see it with fresh eyes.
Museum entry exterior
Looking through the fretted glass panels into Franklin Court.
The interior glass is glazed with a different pattern to lend a level of opacity.
Franklin Court & Museum Entry
Not much has changed aboveground at Franklin Court. The ghost houses have been refreshed with a new coat of paint and the courtyard walkways and landscape have been given a welcome facelift by National Park Service crews.
The major change to Franklin Court comes though a compact new entry building for the underground museum, designed by the Washington D.C.-based firm Quinn Evans.
There was no question that the award-winning Venturi & Rauch ghost houses would be respected in a new design scheme for the museum, but Quinn Evans' simultaneous challenge was to make a contemporary design statement in Franklin Court.
"In a lot of sites like this you will see the architects and landscape architects really trying to be invisible," said Carl Elefante, principal at Quinn Evans, in a recent phone interview. But a minimalist glass box was not the aim here. Robert Venturi and Denise Scott Brown blessed the introduction of a new architectural intervention to the site, Elefante said, and invited Quinn Evans to become part of the site's "entourage."
"They said to us…accept the fact that you're here and do something that reflects the fact that you appreciate the environment," Elefante said, noting his admiration for the ghost houses. "We were kind of freed and empowered by that legacy to have some fun and feel that we could do something of that significance that we didn't just have to get down on our knees and pray."
That was a call to architectural arms at an intimate scale.
"View Window" from the museum out to the ghost houses with interpretive materials.
Fretted glass from the exterior
Quinn Evans' programmatic charge was to connect Franklin Court to the underground museum through a new transitional space that clearly invites visitors into the museum; a place many visitors never realized was beneath their feet.
Quinn Evans worked through 13 design schemes over the course of several months, labored over mockups, and seeking a way to honor the intellectual honesty of Venturi Rauch's work 40 years earlier.
The old entry building was a utilitarian brick block with a canvas awning, and the new structure is a play on the building it replaced. Instead of a lightweight canvas awning the new building features a weighty copper canopy, intended to give a sense of permanence.
"We played with making the brick building transparent and penetrable and inviting," Elefante said.
The new structure swaps heavy brick walls for a ground-floor façade of "fritted glass" (glass with a pattern in glaze fired onto its surface) that remixes aspects of the former building. The designers derived the pattern on the glass from enlarged photographs of original brick pavilion's brick wall. Taking it a step further, the glass panes are arranged in a Flemish bond pattern, which was the pattern of the bricks in the old wall.
The glass wall both creates a luminous transition space into the museum and will allow people in Franklin Court to see action inside the museum, hopefully drawing more visitors.
The exterior glass's rust-toned glaze helps the wall recede a bit into the brick wall set back from the glass entranceway.
From afar the brick-textured glass is an eye-catching wash of russet ripples that reads as a nod to the traditional material, particularly if you notice the Flemish bond. Up close the abstract pattern is bold but indecipherable and a bit disorienting.
The interior glass has a different abstract pattern fired onto it that lends the windows a soft opacity that gives some heft to the thick glass walls.
The most deliberate gesture the Quinn Evans design makes to engage with Franklin Court is a large "view window" at the top of the museum's interior stairs. Here the ghost houses are framed as visitors ascend from the museum below. Walk up to the large window and there is an interpretive panel and interactive display that tell the story of the ghost houses - a 21st century interpretation of the 20th century site interpretation.
"You will know my house… you will be most heartily welcome," is the quote from Franklin's autobiography at the bottom of the museum stairs, but it's hardly a recognizable sight.
In lieu of the burnt orange-tiled passageways leading into the museum's depths, visitors now enter through a bright space with slate floors, past an admission desk (5 or $2 for kids 4-16, but school group will stay free) and descend into the new museum built in the footprint of the original one.
Nostalgics be warned: You are not in 1976 anymore.
Gone are the trippy mirrors, neon, and bicentennial funk. The beloved bank of slimline telephones to call Founding Fathers is nowhere in sight. (I sincerely hope it has been carefully preserved in a National Park Service time capsule somewhere for future generations.) This will doubtless be a disappointment for folks who loved the former museum's time warp.
But if you can get past missing the museum's former self, what might you see?
The new museum, while more staid, retains a sense of play and curiosity through new interactive exhibits, and there is far more substantive stuff to be learned about Ben Franklin.
"Man is a sociable being"
Looking through exhibits
Where the old museum was a throwback, the new one is decidedly of this time, featuring modern amenities (like a multi-purpose room and gift shop) as well as interactive exhibit design.
"That former museum was cutting edge when it was installed and I'd like to think that this is cutting edge now," said curator Page Talbott of Remer & Talbott. "One of our charges was that this needed to stand the test of time with budgets as they are. [NPS] can't afford to turn over permanent installations."
While permanent is sort of a relative term, Talbott stressed that it's very likely that the museum that opens this weekend will be the same in 10 years. Though not necessarily 40.
The new exhibits are designed around a series of several "rooms" focused on a different aspect of Franklin's personality - duty, curiosity, strategy, ambition, and motivation to improve – in a move to get visitors to see Franklin as more human than mythic legend.
There is no right or wrong way to walk through the open "rooms" and in each space there is a layered approach that is likely to appeal to different kinds of visitors, from families to foreign tourists to Franklinophiles.
The new museum features more artifacts than the old one. Many of those on display, such as the beautiful family bible, either belonged to Franklin or are similar to things he created or owned.
"In the old museum there were very few original artifacts," said Talbott. "[Now] there are about 20 or 30 loans from individuals and institutions that will join the objects owned by Independence [National Historical Park]." Some are on loan from local institutions like the Franklin Institute or the Library Company.
Seven videos animate artist Katherine Streeter's collage-like depictions of scenes from Franklin's life with cheeky dialogue, five of which were originally created for a traveling exhibit celebrating Franklin's 300th birthday.
Kinetic panels cheer Huzzah! when visitors correctly match pieces of Franklin trivia, and touch screens also bring a host of sounds like whistles and pops into the room. They're a lively and playful touch that could encourage engagement, but it remains to be seen just how much noise will be generated when the museum is at maximum capacity.
Franklin played with words and these displays invite you to play with them too by matching up Franklin's witty aphorisms.
"The Gout and Mr. Franklin"
Interactive and video displays about Franklin's background as a printer.
Franklin himself might appreciate is the way tech tools have been deployed to tell his story and create a deeper, interactive visitor experience.
Memory Collective created interactive tabletop touchscreens that allow visitors to explore elements of Franklin's life and work, from the reach his work had on the city of Philadelphia to his complicated views on slavery (which remain unresolved among scholars). These experiences invite visitors to draw their own conclusions about Franklin the man and his enduring imprint on American and Philadelphian civic life.
Interactive armonica
Interactive armonica and a vintage glass armonica
Interactive elements are designed to enrich visitor experience by adding a way to engage with an object or idea presented. Next to the Franklin-invented glass armonica, for example, there is a touch-screen panel where visitors can "play" an armonica, created by Philly-based interactive design firm Bluecadet.
"We were really careful about creating interactive experiences that extend the content," Bluecadet creative director and founding principal Josh Goldblum said.
Given the previous museum's dated technology, there was a consciousness that the tech tools here had to be enduring. "The technology is really in service of the content," Goldblum said.
Bluecadet also created animated videos that are shown throughout the museum, starting with a 19-by-9 foot animation at the base of the entry stairs - in graphic black and white that introduces visitors to the museum's themes. This stylized animation, and others in the museum, are based on a Charles Turzak's 1930s biography of Franklin's life, told through beautiful, graphic woodcut illustrations.
The woodcuts lend a timeless feel to a very contemporary and fresh expression of familiar stories from Franklin's life.
"[Franklin] has been depicted by so many illustrators and artists we didn't want to throw another one into the pile," said Goldblum. So they ended up getting the rights from Turzak's family to use his fabulous woodcuts.
The final museum experience is the "Library" which features shadow 3D bookshelves and a projected video created by Bluecadet showing a seated Franklin writing his autobiography. After presenting a version of his life story, the curators let Franklin have the last word.
Franklin writing his autobiography
Ashley Hahn, Contributor
Ashley Hahn is an independent writer with a background in historic preservation and city planning. She started Eyes on the Street for PlanPhilly in 2011 and was PlanPhilly's managing editor from 2015-2017. Ashley has lived in 12 zip codes that she can think of, including neighborhoods in Los Angeles, Chicago, Boston, and New York. She is a Philadelphian by choice.
Contact Ashley via email or find her on twitter: @ashleyjhahn.
Issues: History & Archaeology
Neighborhoods: Old City
Organizations: National Park Service
Photo Credit: EOTS on Flickr
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text:
Tag - extended
Extended electricity load-shedding to continue
PRISCILLA MWILA and STEVEN MVULA, Lusaka
THE power outage period which Zesco increased from 12 hours to 15 hours two weeks ago will continue indefinitely.
Loadshedding hours extended, again
PRISCILLA MWILA, Lusaka
LOAD-SHEDDING will be extended even further as Zesco today increases the power outage period from 12 hours to 15 hours for the next 12...
Livestock movement ban extended
NANCY MWAPE, Lusaka
GOVERNMENT has banned the movement of livestock and sale of raw milk following the spread of Foot and Mouth Disease (FMD) to Chilanga...
Travel ban extended to parastatals
NANCY SIAME, Lusaka
THE circular which bans trips of permanent secretaries and directors for 90 days includes state-owned and grant-aided institutions.
€4 million energy project extended
TRYNESS TEMBO, Lusaka
THE €4 million Energy for Agriculture (E4A) project, which came to an end last December, has been extended for nine months to help...
TPIN deadline extended
MONICA KAYOMBO, Lusaka
THE Zambia Revenue Authority (ZRA) has again extended the deadline for Tax Payer Identification Number (TPIN) registration to a date to...
Sven's contract extended
ROBINSON KUNDA, Lusaka
BARELY 43 days after failing to qualify Zambia for the 2019 Africa Cup of Nations, the Football Association of Zambia (FAZ) executive...
TPIN registration extended again
DOREEN NAWA, Lusaka
ZAMBIA Revenue Authority (ZRA) has extended the Tax Payer Identification Number (TPIN) registration deadline to December 31, 2018.


LLANO, Texas, Sept 8 (AP). -- The tower of the courthouse burned early Thursday, but firemen prevented the blaze from spreading to other parts of the building. The loss was estimated at approximately $4000. The cause of the fire has not been determined.
The Llano County Courthouse, located in the middle of Llano's historic square, was built in 1893. It was designed in a Romanesque Revival style by A.O. Watson and Jacob Larmour, with an exterior made of sandstone, marble, and granite. The interior of the courthouse was damaged by fire in 1932 and again in 1951.


text:
Shame's Charlie Steen – Growing up in a band
This month's guest columnist on learning to understand yourself at the same as playing hundreds of punk shows
Words by Loud And Quiet Illustrations by Kate Prior
We formed Shame in June 2014 and played our first show that July. Since then I estimate we've played 400-500 shows. It feels like counting pieces of hay now, we've lost count.
The relationship between all of us in the band when we started was a lot more loose. We all got a lot more fucked. Well, I certainly did. It was more like a party and an occasion. A lot of bands or people who I know who hold exhibitions, things like that, their friends would come down to their events. We kind of did the opposite. We did it, and then if people turned up that we knew then it was nice of them. We didn't care in the beginning because we knew we were shit. We just took the piss. It was quite liberating.
It's a bit similar to now, apart from now egos have definitely been inflated. At the beginning we were still so new. We didn't have certain pressures that we do now. It was a laugh. It's important that it's a laugh. If it ever stopped being funny then the band would cease.
It's weird because we did grow up with each other. I feel like we're closer than we ever have been. We've been back in London for a day and I'm going around to Sean's [Coyle-Smith, guitarist] house. We still really rely on each other.
It's like a marriage or a long-term relationship. I can't speak with much advice because every long-term relationship I've had has ended, but you get to know when you're pissing people off and you get to know when they're pissing you off. You learn to deal with it. The saving grace is that we have something that's productive – writing songs and playing shows – to do together.
Everyone has their core unique identity within the band. We're all quite different individuals. Sean is the eternal optimist and he's always listening to music. I'm sort of… I don't know. I don't like to label myself anything. Eddie is quite organised. Josh is very unorganised in his life but is very talented at organising music.
The hardest thing is probably learning to understand yourself. We're all still 21 so there's a lot we have to learn. At the beginning of the band I probably didn't understand a lot of things to do with my own psychology. As soon as you start to understand and address your emotions, that's when you become a lot more engaged and aware of those you're surrounded by. If you know what you need to do if you're feeling slightly melancholic, adventurous or whatever… then it makes it a hell of a lot easier to relate to other people when they're in those moods.
We vocalise stuff a lot. If someone is pissed off you say it to their face. That's what we do. We don't hide thoughts. We don't shelter emotions. We discuss it and try and move on. It's grown easier over time because we've all realised the necessity of communication.
And then keeping other relationships going is hard. When we think back to January [2018] time I had a girlfriend and I think that was the only thing pressing on my mind. That's a person you want to be there for, and that's a person you want to be with. You understand that your job is getting in the way. It's quite a grown-up thing to be dealing with for the first time, especially when you have to go away for a three-month tour which is quite a unique job to have in terms of when you can speak and things like that.
I've learned to cope better. I have a fear of being on my own, which I think a lot of people have, which is why people go out, why they get fucked, take drugs, drink and things like that in this age group. I've definitely learned to be with my own thoughts this past year. It feels like everything has changed.
Before a show, we have seen some bands backstage who get together like a merry group of Disney cartoon characters, joining hands and throwing them up in the air. We've never done that once. Sometimes if you've had a shit day and you've had shit news it's the best fucking thing in the world to go on stage. I don't know how everyone else feels, but I don't think about anything else when I'm on stage which is practically impossible at all other times in my life. It's almost like a form of meditation.
I was in the bath earlier and I was thinking; by the age of 21 I've probably been to 170 festivals in my lifetime, which is insanity. You've just got to appreciate how unique this position is and how fortunate we all are because it might not last. I mean, it won't last. Nothing lasts. We'll enjoy it while we can. My biggest lesson from it all so far is never trust a happy band.
As told to: Greg Cochrane
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Buying and selling your home might seem like daunting propositions. But if you're thinking about doing either, this is a good time to make that move. Mortgage rates are still low and prices are going up, slowly but seemingly steadily. This should create a spirit of motivation for those on either side of that check book. But sometimes you need more than motivation. Here are some tips that will make your path as a buyer or seller much easier to navigate.
Remember that word. Make it your mantra. You can always make improvements to a house with good bones but you can't pick up that house and move it to a more desirable street or neighbourhood. Well, perhaps you could but it would be terribly expensive. Buying in a good neighbourhood, even if the home is not as showy as one on a less desirable street will help you get a higher price when you do end up selling. And for you investors out there, if you are considering buying a condo property getting one that's near public transit or a university is your best bet.
First time buyers especially are encouraged to consider the condo market. At the moment condo units are more plentiful than single family homes and a realtor will most likely be able to negotiate a favorable deal. Investors should also consider condos, as the rental market is currently doing quite well.
Get in contact with one of the credit rating services and check on your credit rating. The two major ones are Equifax Credit Information Services Canada, 1 800 465 7166 and Trans Union Canada at 1 800 663 9980. Doing this early on will give you a chance to correct any discrepancies.
By getting pre-approved for a mortgage you will one, let prospective buyers know you are serious, and two, have a pre-determined budget set for your new home. It makes no sense to view a home, fall in love with it and then discover you can't afford it. Save yourself the heartache and headache.
The further you head out of major cities the more likely you'll get more house for your money. Most of the time moving out of the city also means more backyard space, which is nice if you have a family or are planning to start one soon. Downtown living has its advantages but you usually end up with less personal space.
Pretend your home is going to the prom and you want to make a good impression. When a potential buyer pulls up in front of your home chances are the interest level increases if the front yard is nicely kept, the paint is fresh and everything is clean and polished. The same goes for the inside of your property. If the carpets or floors are a disaster, get them professionally cleaned or replaced. A coat of neutral colored paint on the walls does wonders.
Upgrades do help sell a property particularly if they're in a kitchen or bathroom. Replacing an old countertop with a top end granite slab will do wonders for the eye-appeal. Take a good look at the cabinets and see if they can be improved with new hardware or a coat of paint. Likewise, give your floors the once-over. If you already have hardwood floors have them professionally refinished. If not, consider installing hardwood in a couple of rooms. It helps with that first impression.
Don't put yourself out of the market by putting too high of a price tag on your home. At the same time, don't sell yourself short with a lowball figure. At one time overpricing a home was considered the norm, with the thought that buyers would negotiate down from that figure. With the advent of computer marketing buyers may not even give your property a second look because it's out of their price range.
Many people buy a new property before their original home is sold. Knowing that there is a closing date deadline some sellers may feel forced to take less than a fair offer in order to meet that deadline. Ask your lender about bridge financing which gives you an extra 30 days of breathing room as long as you have a firm sale in the making.
For most people a home is the largest investment ever made. Be sure you are dealing with a qualified real estate professional for this most important and potentially challenging purchasing experience. You need someone that has a proven track record, knows the areas you are interested in and that really listens to you. Good communication is of the utmost importance.