text:
Novel application of hydrotropic solubilization in the analysis of some NSAIDs and their solid dosage forms
R. K. Maheshwari*, S. C. Chaturvedi1, and N. K. Jain2
Department of Pharmacy, S. G. S. I. T. S., 23-Park Road, Indore-452 003
1School of Pharmacy, D. A. V. V., Indore452 003
2Department of Pharmaceutical Sciences, Dr. H. S. Gour University, Sagar-470 002, India.
R. K. Maheshwari
Date of Submission 10 August 2005
Date of Decision 13 July 2006
Date of Acceptance 6 February 2007
Quantitative analysis of poorly water-soluble drugs involves use of various organic solvents. Major drawbacks of organic solvents include high cost, volatility and toxicity. Safety of analyzer is affected by toxicity of the solvent used. Sodium benzoate is one of the widely used hydrotropic agents and has demonstrated the enhancement in aqueous solubilities of a large number of poorly water-soluble drugs. In the present investigation 2 M sodium benzoate solution has been used as hydrotropic solubilizing agent for three poorly water-soluble, non-steroidal antiinflammatory drugs ibuprofen, flurbiprofen and naproxen. There were more than 80, 110 and 120 fold enhancements in the solubilities of ibuprofen, flurbiprofen and naproxen, respectively in 2 M sodium benzoate solution as compared to solubilities in distilled water. Therefore, 2 M sodium benzoate solution was employed to solubilize these drugs to carryout their titrimetric analyses. These drugs have been analyzed successfully in basic drug samples and in solid dosage forms. Proposed method is new, simple, economic, safe, rapid, accurate and reproducible. The results of analysis obtained by the proposed methods compared well with those obtained by corresponding pharmacopoeial methods. Recovery studies and statistical data proved the accuracy, reproducibility and the precision of the proposed methods. Presence of sodium benzoate did not interfere in analysis.
Several methods have been reported in the literature to enhance the aqueous solubilities of poorly water-soluble drugs. Hydrotropic solubilization is one of them. Hydrotropy is a solubilization phenomenon whereby addition of large amounts of a second solute results in an increase in the aqueous solubility of another solute. Concentrated aqueous hydrotropic solutions of sodium benzoate, sodium salicylate, urea, nicotinamide, sodium citrate and sodium acetate have been observed to enhance the aqueous solubilities of many poorly water- soluble drugs [1-19]. Maheshwari has analyzed various poorly water-soluble drugs ketoprofen [1], salicylic acid [1], aceclofenac [2] and frusemide [3] by titrimetric analysis by use of sodium benzoate solution as solubilizing agent. Maheshwari et al. have used sodium benzoate as hydrotropic solubilizing agent to estimate various poorly water-soluble drugs ofloxacin [4], norfloxacin [5], nalidixic acid [5], metronidazole [5] and tinidazole [5] by spectrophotometric analysis and aspirin [6] by titrimetic analysis.
Various organic solvents used to solubilize the poorly water-soluble drugs to facilitate the acid-base titrations include methanol, ethanol, chloroform, dimethyl formamide and acetone. Most of the organic solvents are costly and toxic. Above account prompted us to investigate the use of sodium benzoate solution (2 M) in place of organic solvents for the purpose of solubilization to facilitate the titrimetric analysis of the poorly water- soluble NSAIDs, ibuprofen [(RS)2-(4 isobutylphenyl) propionic acid], flurbiprofen [(RS)2-(2flubrobiphenyl-4-yl) propionic acid] and naproxen [(RS)6-methoxy-a-methyl-2-naphthalene acetic acid] with sodium hydroxide solution.
A Shimadzu UV/Vis recording spectrophotometer (Model– UV 160 A) with 1 cm matched silica cells was employed for spectrophotometric analysis. The basic drug samples of ibuprofen, flurbiprofen and naproxen were generously supplied by M/s Alkem Laboratories Limited, Mumbai (India). Tablets of ibuprofen, Brufen (Knoll Pharmaceuticals Ltd.,) and Ibugesic (Cipla Ltd.), tablets of flurbiprofen, Froben and Froben–SR (RPG Life Sci. Ltd.) and naproxen, Naprosyn (RPG Life Sci. Ltd.) and Xenar-CR (Elder Health Care Ltd.) were procured from local drug stores. Other chemicals and solvents were of analytical grade.
Preliminary solubility studies of ibuprofen, flurbiprofen and naproxen
Solubilities of ibuprofen, flurbiprofen and naproxen were determined at 28±1°. An excess amount of drug was added to screw capped 30 ml glass vials containing different aqueous systems viz. distilled water, buffer (pH 8.2) and 2 M sodium benzoate solution. The vials were shaken mechanically for 12 h at 28±1° in orbital flask shaker (Khera Instrument Pvt. Ltd., India). These solutions were allowed to equilibrate for next 24 h and then centrifuged for 5 min at 2000 rpm (Remi, India).The supernatant of each vial was filtered through Whatman filter paper no. 41 and filtrates were analyzed for drug contents to determine the solubilities.
Analysis of ibuprofen drug sample by the proposed method
Accurately weighed (400 mg) ibuprofen drug sample was transferred to a conical flask. The flask was shaken for 5 min after adding 100 ml of 2 M sodium benzoate solution (to solubilize the drug). Titration was performed with 0.1 M sodium hydroxide solution using 0.2 ml of phenolphthalein solution as indicator. Blank determination was carried out and necessary correction was done to calculate the drug content (Table 1).
Amount of drug taken (mg)
Method of analysis
Amount estimateda (mg) (mean±SD)
% Coeff. of variation
Ibuprofen 400 PMb 398.9±0.63 0.63 0.36
400 IPc 398.3±0.70 0.7 0.4
Flurbiprofen 500 PMb 496.2±1.13 1.14 0.65
500 IPc 496.1±1.46 1.47 0.84
Naproxen 200 PMb 198.4±0.59 0.59 0.34
200 BPd 197.7±0.77 0.78 0.44
aMean (n=3), bProposed method, cMethod of IP (1996), dMethod of BP (2002)
Table 1: Analysis Data of Bulk Drug Samples of Ibuprofen, Flurbiprofenand Naproxen.
Analysis of ibuprofen drug sample by the method of Indian Pharmacopoeia (1996) [20]
Accurately weighed (400 mg) ibuprofen drug sample was dissolved in 100 ml of ethanol (95%) and titrated with 0.1 M sodium hydroxide solution using 0.2 ml of phenolphthalein solution as indicator. Blank determination was performed and necessary correction was made to calculate the drug content (Table 1).
Analysis of flurbiprofen drug sample by the proposed method
Accurately weighed (500 mg) flurbiprofen drug sample was transferred to a conical flask. The flask was shaken for 5 min after adding 50 ml of 2 M sodium benzoate solution (to solubilize the drug). Titration was performed with 0.1 M sodium hydroxide using phenolphthalein solution as indicator. Blank determination was carried out and necessary correction was made to calculate the drug content (Table 1).
Analysis of flurbiprofen drug sample by the method of Indian Pharmacopoeia (1996) [21]
Accurately weighed (500 mg) flurbiprofen drug sample was dissolved in 100 ml of ethanol (95%) previously neutralized to phenolphthalein solution as indicator and titrated with 0.1 M sodium hydroxide solution and drug content was calculated (Table 1).
Analysis of naproxen drug sample by the proposed method
Accurately weighed (200 mg) naproxen drug sample was transferred to a conical flask. After adding 50 ml of 2 M sodium benzoate solution, the flask was shaken for 5 min for complete solubilization of drug. Titration was performed with 0.1 M sodium hydroxide solution using 1 ml of phenolphthalein solution as indicator. Blank determination was carried out and necessary correction was made to calculate the drug content (Table 1)
Analysis of naproxen using the method of British Pharmacopoeia (2002) [22]
Accurately weighed (200 mg) naproxen drug sample was dissolved in a mixture of 25 ml of distilled water and 75 ml of methanol and titrated with 0.1 M sodium hydroxide solution using 1 ml of phenolphthalein solution as indicator. Blank determination was carried out and necessary correction was made to calculate the drug content (Table 1).
Analysis of ibuprofen tablets by the proposed method
Twenty tablets of ibuprofen were weighed and powdered. Powder equivalent to 500 mg of ibuprofen was accurately weighed and transferred to a conical flask. After adding 100 ml of 2 M sodium benzoate solution, the flask was shaken for 10 min (to solubilize the drug). Titration was performed with 0.1 M sodium hydroxide solution using phenolphthalein solution as indicator. Blank determination was carried out and necessary correction was made to calculate the drug content (Table 2). For recovery studies, same procedure was repeated using 40 mg and 60 mg of ibuprofen drug as the spiked drug together with the tablet powder equivalent to 500 mg of ibuprofen. The results of analysis are presented in Table 3.
T.F.a
Label claim (mg/tablet)
% Label claim estimatedb (mean±SD)
Ibuprofen I 400 PMc 99.52±1.25 1.26 0.72
400 IPd 98.37±1.47 1.49 0.85
II 400 PMc 99.22±0.62 0.63 0.36
400 IPd 99.06±0.79 0.8 0.46
Flurbiprofen III 100 PMc 99.03±0.76 0.77 0.44
IV 200 PMc 99.21±0.83 0.84 0.48
200 IPd 98.85 ±0.53 0.54 0.31
Naproxen V 250 PMc 99.34±1.14 1.15 0.66
250 BPe 99.45±1.54 1.55 0.89
VI 750 PMc 99.18±0.88 0.89 0.51
750 BPe 99.11±0 72 0.73 0.42
aTablet formulation, bMean (n=3),. cProposed method, dMethod of IP (1996), eMethod of BP (2002)
Table 2: Analysis Data of Tablet Formulations with Statistical Evaluation.
Drug in preana-lyzed tablet powder (mg)
Amount of Drug
% Recovery estimated b (mean±SD)
Z I 500 40 PMc 99.21±0.83 0.84 0.48
500 40 IPd 98.37±'1.47 0.49 0.85
500 60 PMc 99.09±0.92 0.93 0.53
500 60 IPd 98.83±1.35 1.36 0.78
II 500 40 PMc 99.11±0.72 0.73 0.42
500 40 IPd 98.93±0.67 0.7 0.39
Y III 400 30 PMc 99.03±0.76 0.77 0.44
IV 400 30 PMc 99.31±0.88 0.89 0.51
400 50 PMc 98.93±0.69 0.69 0.4
X V 400 30 PMc 98.96±0.73 0.74 0.42
50 10 BPe 99.18±0.88 0.89 0.51
VI 400 30 PMc 99.22±0.61 0.61 0.35
aTablet formulation, bMean (n=3),. cProposed method, dMethod of IP (1996), eMethod of BP (2002), X-ibuprofen, Y-flurbiprofen, Z-naproxen, I- Brufen (Knoll Pharmaceuticals Ltd.), II- Ibugesic (Cipla Ltd.), III-Froben, IV- Froben-SR, V-Naprosyn (RPG Life Sci. Ltd.), VI- Xenar-CR (Elder Health Care Ltd.)
Table 3: Results of Recovery Studies of Tablet Formulations with Statistical Evaluation.
Analysis of ibuprofen tablets by the method of Indian Pharmacopoeia (1996) [20]
Tablet powder equivalent to 500 mg of ibuprofen was accurately weighed and extracted with 60 ml of chloroform for 15 min and filtered. Residue was washed with three quantities each of 10 ml of chloroform. Chloroform was evaporated in a current of air. Residue was dissolved in 100 ml of ethanol (95%) previously neutralized to phenolphthalein solution and titrated with 0.1 M sodium hydroxide solution. Drug content was calculated (Table 2). For recovery studies, same procedure was repeated using 40 mg and 60 mg of ibuprofen drug as the spiked drug together with the tablet powder equivalent to 500 mg of ibuprofen and the results of analysis are presented in Table 3.
Analysis of flurbiprofen tablets by the proposed method
Twenty tablets of flurbiprofen were weighed and powdered. Powder equivalent to 400 mg flurbiprofen was accurately weighed and transferred to a conical flask. After adding 100 ml of 2 M sodium benzoate solution the flask was shaken for 5 min for solubilization of the drug. Titration was performed using 0.1 M sodium hydroxide solution using phenolphthalein solution as the indicator. Blank determination was carried out and necessary correction was made to calculate the drug content (Table 2). For recovery studies, same method was repeated using 30 mg and 50 mg flurbiprofen drug as the spiked drug together with the tablet powder equivalent to 400 mg of flurbiprofen. The results of analysis are presented in Table 3.
Analysis of flurbiprofen tablets by the method of Indian Pharmacopoeia (1996) [21]
Tablet powder equivalent to 100 mg drug was shaken with 60 ml of 0.1 M sodium hydroxide solution for 5 min and diluted to 100 ml with 0.1 M sodium hydroxide solution. After filtration, 10 ml of the filtrate was diluted to 100 ml with 0.1 M sodium hydroxide solution. Absorbance of this solution was noted at 247 nm by spectrophotometer (Model-UV 160 A). Drug content was calculated taking 802 as the value of A (1%, 1 cm) at 247 nm (Table 2). For recovery studies same method was repeated using 10 and 20 mg of flurbiprofen drug sample as the spiked drug together with the tablet powder equivalent to 100 mg of flurbiprofen. Results of analysis are presented in Table 3.
Analysis of naproxen tablets by the proposed method
Twenty tablets of naproxen were weighed and powdered. Powder equivalent to 400 mg naproxen was accurately weighed and transferred to a conical flask. After adding 100 ml of 2 M sodium benzoate solution, the flask was shaken for 5 min for solubilization of the drug. Titration was performed using 0.1 M sodium hydroxide solution with phenolphthalein solution as indicator. Blank determination was carried out and necessary correction was made to calculate the drug content (Table 2). Recovery studies were conducted repeating the operation using 30 mg and 50 mg naproxen drug sample as the spiked drug together with the tablet powder equivalent to 400 mg of naproxen. Results of analysis are shown in Table 3.
Analysis of naproxen tablets by the method of British Pharmacopoeia (2002) [23]
Tablet powder equivalent to 50 mg of naproxen was shaken with 70 ml of methanol for 30 min. Sufficient methanol was added to produce 100 ml. After filtration, 10 ml filtrate was diluted to 50 ml with methanol. Absorbance of this solution was measured at 331 nm using spectrophotometer. Drug content was calculated (Table 2) from the absorbance obtained by repeating the operation using a 0.01% w/v solution of naproxen drug sample in methanol. Same procedure was repeated for recovery studies using 10 mg and 20 mg naproxen as the spiked drug together with the tablet powder equivalent to 50 mg of naproxen. Results of analysis are presented in Table 3.
By performing the solubility studies, it was found that enhancements in aqueous solubilities of ibuprofen, flurbiprofen and naproxen in 2 M sodium benzoate solution were more than 80, 110 and 120 fold, respectively as compared to their solubilities in distilled water. There was negligible effect on solubilities of these drugs in buffer of pH 8.2 and such enhancements in solubilities of these drugs in 2 M sodium benzoate solution could therefore be attributed to hydrotropic solubilization phenomenon and not due to change in pH. Hence, it was thought worthwhile to solubilize these drugs in 2 M sodium benzoate solution to carryout titrimetric analysis precluding the use of organic solvents.
Table 1 shows that amounts of ibuprofen estimated in the drug sample were 398.9±0.63 and 398.3±0.70 mg by the proposed and pharmacopocial methods, respectively. Similarly, the amounts of flurbiprofen estimated in the bulk drug sample were 496.2±1.13 and 496.1±1.46 mg by the proposed and pharmacopoeial methods, respectively. In case of naproxen bulk drug sample, the amounts estimated by proposed and pharmacopoeial methods were 198.4±0.59 and 197.70±0.77 mg, respectively. The amounts of the drugs estimated by both the proposed and pharmacopoeial methods are very close to each other and comparable indicating the accuracy of the proposed methods of analysis. Validation of the proposed methods is further confirmed by the low values of standard deviation, percent coefficient of variation and standard error. Table 2 shows the results of analysis of tablet formulations. Percent label claims of ibuprofen tablets formulations estimated by the proposed and pharmacopoeial methods ranged between 98.37±0.47 and 99.52±0.25. Similarly percent label claims of flurbiprofen tablet formulations estimated by the proposed and pharmacopoeial methods ranged between 98.85±0.53 and 99.21±0.83. In case of naproxen tablet formulations, the values of percent label claims estimated by the proposed and pharmacopoeial methods ranged between 99.11±0.72 and 99.45±0.54. Thus, the percent label claims of ibuprofen, flurbiprofen and naproxen tablet formulations estimated by the proposed and pharmacopoeial methods are very comparable and close to 100 indicating the accuracy of the proposed methods. Validation of the proposed methods of analysis is confirmed statistically by low values of standard deviation, percent coefficient of variation and standard error.
Recovery studies (Table 3) were also carried out by spiking the previously analyzed fine powders of tablet formulations at two levels to further ascertain the accuracy and precision of the proposed methods. The values of percent recoveries estimated by the proposed methods compared very well with the values obtained by the corresponding pharmacopoeial methods. The percent recovery values are close to 100 and the values of statistical parameters viz. standard deviation, percent coefficient of variation and standard error are significantly low. Thus, the proposed methods of analysis are very well validated.
Indian Pharmacopoeial method for the analysis of ibuprofen drug sample involved the use of alcohol for dissolution of drug to carryout the titration with sodium hydroxide solution. Similarly Indian Pharmacopoeial method for the analysis of ibuprofen tablets requires extraction of ibuprofen by chloroform. Chloroform is removed by air-drying which is responsible for pollution and toxicity and it is a costlier solvent too. Residue is re-dissolved in alcohol to carryout titration. Official methods for the analysis of flurbiprofen and naproxen drug samples involve the use of alcohol and methanol, respectively. Methanol is also a toxic solvent. Method of British Pharmacopoeia for the analysis of naproxen tablets involves the use of methanol. However, in the proposed methods 2 M sodium benzoate solution has been used as hydrotropic solubilizing agent for solubilization of drugs to carryout titrations with sodium hydroxide solution. There is no involvement of organic solvents. The proposed methods are comparable to official methods and have been validated with statistical evaluation. Also a sophisticated instrument is not required in analysis of flurbiprofen and naproxen tablet by proposed methods. The commonly used excipients in the formulation of tablets and the hydrotropic agent, sodium benzoate did not interfere in the analysis of tablets.
Thus, it may be concluded that the proposed methods of analysis are new, simple, cost-effective, environmentally friendly, safe, accurate and reproducible. Decided advantage is that organic solvents are precluded but not at the expense of accuracy. Certainly there is further scope of 2 M sodium benzoate solution as solubilizing agent for the titrimetric analysis of other poorly water- soluble drugs. The proposed method is worth adopting in the respective pharmacopoeias.
The authors acknowledge M/s Alkem Laboratories Limited, Mumbai (India) for generous supply of the gift samples of ibuprofen, flurbiprofen and naproxen.
Maheshwari, R.K., Asian J. Chem., 2006, 18, 393. Back to cited text no. 1
Maheshwari, R.K., Asian J. Chem., 2006, 18, 1572. Back to cited text no. 2
Maheshwari, R.K., Indian Pharmacist, 2005, IV, 55. Back to cited text no. 3
Maheshwari, R.K. Chaturvedi, S.C. and Jain, N.K., Indian Drugs, 2005, 42, 760. Back to cited text no. 4
Maheshwari, R.K. Chaturvedi, S.C. and Jain, N.K., Indian J. Pharm. Sci., 2006, 68, 195. Back to cited text no. 5
Maheshwari, R.K., Chaturvedi, S.C. and Jain, N.K., Int. J. Pharm Excip., 2005, 4, 84. Back to cited text no. 6
Maheshwari, R.K., Indian Pharmacist , 2005, IV, 63. Back to cited text no. 8
Maheshwari, R.K., Chaturvedi, S.C. and Jain, N.K., Indian Drugs, 2005, 42, 541. Back to cited text no. 9
Maheshwari, R.K., Chaturvedi, S.C. and Jain, N.K., Indian Drugs, 2006, 43, 516. Back to cited text no. 10
Jain, N.K., Agrawal, R.K., and Singhai, A.K., Pharmazie, 1990, 45, 221. Back to cited text no. 11
Jain, N.K. and Patel, V.V., Eastern Pharmacist, 1986, 29, 51. Back to cited text no. 12
Agrawal, S., Pancholi, S.S., Jain, N.K. and Agrawal, G.P., Int. J. Pharm., 2004, 274, 149. Back to cited text no. 13
Ueda, S., Chem. Pharm. Bull., 1966, 14, 2. Back to cited text no. 14
Saleh, A.M. and Daabis, N.A., Pharmazie, 1974, 29, 525. Back to cited text no. 15
Poochikian, G.D. and Cradock, J.C., J. Pharm. Sci., 1979, 68, 728. Back to cited text no. 16
Miyahara, M. and Takahasi, T., Chem. Pharm. Bull., 1982, 30, 288. Back to cited text no. 17
Badwan, A.A., El-Khordagui, L.K. and Khalil, S.A., Int. J. Pharm., 1983, 13, 67. Back to cited text no. 18
Ibrahim, S.A., Ammar, H.O., Kasem, A.A. and Abu-zaid, S.S., Pharmazie, 1979, 34, 809. Back to cited text no. 19
Indian Pharmacopoeia Vol. I, Government of India, Ministry of Health and Family Welfare, the Controller of Publications, New Delhi, 1996, 387. Back to cited text no. 20
British Pharmacopoeia Vol II, Her Majesty's stationary office, London, 2002, 1200. Back to cited text no. 22


So you must make every effort to hire the right lawyer from the outset. Examine your goals and desires before going to see a lawyer. Do you want an amicable or an adversarial divorce? Look to your future, and determine what you want for yourself, your kids, and your ex-spouse in six months, one year, and five years.
Don't share a lawyer with your spouse, and don't hire your spouse's best friend (even if he or she is a friend of yours, too), business partner, or any member of your spouse's family to represent you—even if you're on good terms with them. Aside from the obvious conflict of interest, you'll create enemies—and probably a whole new family feud—before your divorce settles.
Once you've chosen a lawyer, you'll need to provide information and direction to him or her. When your lawyer requests information, respond as quickly, completely, and concisely as you can—don't waste your own and your lawyer's time by writing a 24-page document when all that was required was a "yes" or "no" answer.
Why you are seeking a divorce. What caused your breakup? Are you sure you want to end the marriage, or is the visit to a lawyer meant to be a wake-up call to your spouse? If you're secretly hoping for a reconciliation, then you and your lawyer are working towards different goals.
Personal data about you, your spouse, and your children (if any). Write down your names (maiden name, too, if applicable); your home and work addresses and telephone numbers; your ages and places of birth; your states of health—both mental and physical; and your immigration papers (if applicable).
Facts about your marriage. When and where did you get married? Did you sign a marriage contract? If so, bring a copy of the agreement with you. Have either of you been married before? Provide details of your previous divorce(s).
Whether there will be issues involving your children—such as custody or access.
Financial information. What assets and debts did each of you bring into the marriage? What are your incomes and what are your expenses—jointly and individually? What are the names and addresses of your employers? How much money do both of you have invested: in the bank, the stock market, etc.? Have either of you invested in insurance, a pension plan, or a profit sharing plan? What property do you own (a house, car, boat, income property, etc.)? Was the property purchased before or after the marriage? Do you have a mortgage, and if so, how much is owing? Prior to seeing your lawyer, create a budget detailing how much you spend every month on items such as housing, food, clothing, personal grooming, gifts, vacations, etc. If you have children, and expect to be their primary caretaker, make sure you factor their expenses into your budget.
Legal documents. Bring copies of prior or pending lawsuits, judgments, and garnishments.
Your divorce goals. Be very specific about your goals in terms of realizing your future; make sure your short-term goals for property, other assets, custody, access, and support are consistent with that future.
Your lawyer is hoping you'll be the ideal client: calm, businesslike, competent, and well prepared. Ideal clients can control their emotions; are organized; are willing to work with their lawyers to attain their goals; and are willing to listen to their lawyer's advice—even if they don't follow it all the time.
Your lawyer will expect to be paid on-time and in-full. If your financial situation is bad and getting worse, talk to your lawyer immediately; he or she may be able to create some kind of payment plan that works for you. If you're broke because your ex-spouse cleaned out the bank account (or did something equally irresponsible), you should tell your lawyer about it right away. He or she can file motions asking the court to grant temporary orders for items such as child or spousal support, custody, control of assets, payment of your lawyer's fees, etc. Temporary orders are meant to ensure that certain things do or don't happen; if you suspect your divorce might get nasty, ask your lawyer about filing orders to protect you and/or your kids—financially and physically.
From the day you hire him or her, you and your lawyer should have a clear understanding of what you will need and expect from each other. Ask for a written agreement that details the terms and length of your lawyer-client relationship. If he or she won't provide one, find another lawyer.
After learning about your case, your lawyer should create a strategy for your divorce. Be aware that this plan may have to change along the way depending on what your ex-spouse and his or her lawyer does.
Your lawyer should clearly explain all your options (again, these may change as your divorce progresses), offer advice regarding the best paths to follow, but respect your wishes if you strongly disagree with a suggested course of action. If you find yourself in constant disagreement with your lawyer, either you've chosen the wrong person to represent you or you're being unreasonable.
Take a close look at your motivations and actions to see if you're refusing your lawyer's advice for purely emotional reasons: for instance, you might be very angry with your spouse, and your lawyer's suggestion doesn't satisfy your desire for vengeance.
Recognize that even a good lawyer will sometimes have bad news for you: that your spouse won't budge on an important issue; that you'll have to give him or her money or other assets; or simply that your expectations are unrealistic, illegal, or not financially feasible.
You should expect your lawyer to return phone calls promptly (24 hours is reasonable if he/she is not on vacation), and to consult with you before taking any major actions concerning your divorce.
You should also expect to feel frustrated or disappointed from time to time as your divorce progresses. Don't take it out on your lawyer! He or she isn't a magician and can't always pull a great solution out of his/her metaphorical hat.
Finally, if you want to ensure that your separation agreement reflects your goals—and doesn't cost you an arm and a leg—then stay involved with the process, answering your lawyer's requests promptly, honestly, and completely.


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text:
Q: How make border stroke of WPF Polygon solid? If you look at the below XAML, it creates two rectangles.
XAML
<Grid>
    <Rectangle Height="80" Width="300" Fill="Maroon"
        HorizontalAlignment="Center" VerticalAlignment="Bottom">
    </Rectangle>
    <Rectangle Height="300" Width="50" Fill="LightSteelBlue"
        HorizontalAlignment="Left" VerticalAlignment="Bottom" Margin="50,0">
    </Rectangle>
    <Polygon Fill="LightSteelBlue" Stroke="LightSteelBlue"
        HorizontalAlignment="Center" VerticalAlignment="Bottom">
        <Polygon.Points>
            <Point X="0" Y="300"/>
            <Point X="50" Y="300"/>
            <Point X="50" Y="0"/>
            <Point X="0" Y="0"/>
            <Point X="0" Y="300"/>
        </Polygon.Points>
    </Polygon>
</Grid>

The polygon is drawn with a border that is not solid, i.e. when you magnify the image you will see the anti-aliased edges. Interestingly when you draw a rectangle, you do not get these (rectangle on left, polygon on right):
Image http://www.barramsoft.com/pub/images/BarBorders2.png
Is there a way to draw the polygon with solid/clean edges?

A: This is an old question but if anybody happen to chance upon this from Google, here's the solution that worked for me:
Add RenderOptions.EdgeMode="Aliased" to your polygon:
<Polygon ...
         RenderOptions.EdgeMode="Aliased">
    <Polygon.Points>
        ...
    </Polygon.Points>
</Polygon>

Here's MSDN Documentation for it.

A: Set a thickness:
StrokeThickness="5"
Also you might need to snap to device pixels:
SnapsToDevicePixels="True"

A: The translucency you see is not caused by a non-solid border or a border that is not thick enough but by anti-aliasing.
Setting SnapsToDevicePixels="True" will not solve this as a rectangle is a Drawing object so you will have to use Guidelines
Another way is to 'fix' it is by putting the lines in the middle of the pixels:
     <Polygon.Points>
            <Point X="0.5"
                   Y="300.5" />
            <Point X="50.5"
                   Y="300.5" />
            <Point X="50.5"
                   Y="0.5" />
            <Point X="0.5"
                   Y="0.5" />
            <Point X="0.5"
                   Y="300.5" />
        </Polygon.Points>

When the coordinates are given like this it is easier to decide what pixels to turn on. If the coordinate is in between two (or more) pixels WPF will color all of them a bit.

redpajama_set_name: RedPajamaStackExchange


text:
Q: How to remove the parentheses from the category widget In the default category widget, when you check the "show posts count" checkbox, the number of posts appear surrounded by parentheses, how to remove them.

A: Add this code to your functions.php file and it will remove the parentheses and surround the post count with a span with a class to easily style it.
function categories_postcount_filter ($variable) {
   $variable = str_replace('(', '<span class="post_count"> ', $variable);
   $variable = str_replace(')', ' </span>', $variable);
   return $variable;
}
add_filter('wp_list_categories','categories_postcount_filter');

++Bonus
In the archive widget, if you checked "Show posts count" checkbox you'll see the same parentheses around posts count, here's another filter to remove them and add a class to easily style theme.

function archive_postcount_filter ($variable) {
   $variable = str_replace('(', ' ', $variable);
   $variable = str_replace(')', ' ', $variable);
   return $variable;
}
add_filter('get_archives_link', 'archive_postcount_filter');


text:
Posts Tagged 'Moiré'
Chosen One: Moiré
Interview with Moiré.
"…or maybe it's going to be something totally different because it's meant to be about the new music; that for me is what techno has always meant."
— Moiré
Words: Mark Carry
London-based producer Moiré continues his remarkable output on his latest full-length 'No Future', recently released on the prestigious Ghostly label. The gifted producer has continually evolved with a string of captivating blissed-out techno and synth odysseys (beginning with 2013 debut EP 'Never Sleep' via Actress's Werkdiscs label) and 'No Future' sees Moiré exploring further and deeper into realms of deeply engaging and compelling techno explorations.
Of course, ceaseless lines are beautifully blurred amidst Moiré's masterful songcraft from the utterly transcendent ambient bliss of album closer 'Auteur (Outro)' (whose heavenly cosmic synth patterns feel could loop forever) to the hypnotic acid house of 'Jupiter' and deeply-affecting soulful hip-hop (DRS is the trusted MC for two sublime cuts 'No Future' and 'Bootleg'). Elements of dubstep and grime are dotted across the James Messiah guested opus 'Facade'. 'No Future' is a reflection on humanity wherein a dystopian vision burns through the embers of fear, pain and doubt. The mantra of "fallen angel" echoes powerfully across the thumpy bass and gauzing synths of 'Bootleg'.
"Techno music has always been about new music" reiterates Moiré. In many ways, revisiting 'No Future' serves a fitting parallel alongside the enigmatic UK artist Actress, who similarly crafts singular, shape-shifting works. The trippy 'Opium' and Afrobeat rhythms of 'Magma Dream' supply yet more neon-filled rapturous dance music. The perfect come-down arrives on the final two cuts: the introspective and multi-layered hazy ambient tour-de-force 'System 100' and the forever evolving musical patterns of 'Auteur' waltzes, mutates and dazzles.
'No Future' is out now on Ghostly.
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Congratulations on the new album 'No Future', which is really quite incredible. Please discuss the making of the new record? I mean you're very prolific with an array of wonderful releases under your belt, I wonder when did you begin working on 'No Future' and the ideas you had for this latest set?
Moiré: Making music is probably the starting point when I did my first album on my first record because I think once you start you want to continue. 'No Future' for me is just a continuation of something I wanted to do from the start. And when I finished my first album and then I did some gigs and I toured and then I did maybe another single or two and then there was time to do another album because suddenly there was so much material to work with that I decided it's time to make another record (in a technical way). I don't just go and make music like 'Today I'm going to make an album', it didn't happen that way it's a more organic and natural process of making something like that. So it was inspired by everything that was happening in my personal life during that time and then it coincided with what was happening in the country in the UK and the announcement of all sorts of political changes that will be happening and then of course the changes that were starting to happen in America. That combined with my life situation and my family situation and some other things created in my head the need to have to finish the record; now is the time because I have the reason to make it, I have the reason to express myself in that way. And so that's how it started and that's where it started.
And then I mean the process is I'm sure as you know it's quite a lengthy procedure. I like to take my time to make sure the tracks or whatever that is I release are the ones that I want. I mean there's millions of versions of each track probably and you're getting to the point where you're doing two hundred versions of the same track and then you're like 'OK, actually I think the first version was the best' and so the process is very long sometimes. But sometimes the tracks just happen, you know there's certain ideas, certain sketches, certain experimentations, certain emotional expression, or sometimes I feel bad and I'll go to the studio and make a track or sometimes I actually create a composition where there's little planning and sometimes there's a lot of planning into the making of music, I mean it really depends. As I say, I see this as an art form rather than like a session musician going in and doing a job. So, millions of hours in the studio; loads of nights and loads of days. My studio doesn't have any windows, it's quite a secluded environment and quite isolated in that sense so I was just on my own for a year with music basically and that's the effect of it.
As you describe perfectly that's exactly as a listener you feel as you hear the tracks, there's just that outpour of everything that you put into the work because it's fascinating the multitude of layers and moments within each song.
Moiré: That's always been my thing. I mean I understand what journalists and the industry are always trying to put certain sounds to a certain box so they can tick the box and this is that or this is this. And for me, the music which of course has elements of techno and house in it and ambient and all sorts of things but that's the thing it has everything because I think of just making music so I'm not going to limit myself to one particular sound or one particular concept. And also that was always for me the main idea behind techno – or any techno-related ideas – was that this was meant to be about new music, not the genre thing that established itself as this one particular type of dance music but actually for me that was never the point; the point was that it was maybe going to be dance or maybe it won't be, maybe it would be experimental music or maybe it's going to be something totally different because it's meant to be about the new music; that for me is what techno has always meant. Or any kind of electronic music for that matter was always like 'So what I'm going to make the next record and the next record' is meant to be some sort of evolution; I should be trying new things. That in a way is my obligation as an artist that is engaging with music and trying music and being allowed to make music, to actually give music something back in terms of giving music some justice and some time of the day that actually I feel very lucky that I am able to do and release records.
In a way I don't like it easy but also I feel like it's so important, maybe not now but in ten or twenty years someone is going to find this record will be like 'Oh this is a really interesting record' and that's how I discovered a lot of stuff that I've been inspired by that just now are getting the recognition after decades of being hidden. And I think that's my attitude; it's just basically art. I know it's a club music that maybe people are going to dance to it but I never think about it that much. Of course there are these elements that are driving the tracks forward and that there is this constant step and I am always trying to see what's underneath the classic conventions that we have or industry trends.
Someone earlier today asked me would I be willing to have tracks with no beats or something like that and I thought about it and basically it's like maybe why not but that shouldn't really be a conversation, that should be left to the artist to decide I feel like there is an industry push towards certain things to be like 'OK this season we're going to do ambient and next season we're going to do noise and next season we're going to do new wave' and it's pretty much all the same but we're just going in loops in terms of what's trendy or what should be done. So, I'm just trying to look in music and tracks and give them as much passion and artistic approach as I can and I guess that's what you're talking about and I hope this somehow comes out when you listen to it.
I love the flow to 'No Future' as well and the sequencing. For example the closing track 'Auteur (Outro)' and its construction and the different sub-sections within it brings everything to a fitting close.
Moiré: Thanks. Yeah, I think it's interesting how the sequence works on people differently. I don't know how many people are aware but it's really like the biggest headache; one thing is to make the track and the other thing is to sequence the tracks if you have several of them, so it makes sense. It's always the biggest problem like which track will be first and especially with this kind of abstract concept of vocals on techno beats and the trouble of course for everyone is who is Moire and what is the music and what are the beats and I think it's like unfortunately because the way things are it's really difficult sometimes to get it to people because you're going to be classified as experimental or leftfield dance or whatever.
But I remember when I was growing up in the 90's and when drum & bass happened in the UK and then in Europe, nobody knew how to dance to it; people leaving the floors, they didn't know what to do, they didn't know how to classify this at all. And then fast forward ten years later and it's like the biggest export from the UK after punk or actually the UK ever had. It's weird how long it takes for things to break but not in a pop sense but more in terms of having people react to the sounds and compositions and new ideas. It doesn't have to always be dance and it doesn't have to be always dancing, just being together in a space and listening to music to be the whole thing. But that's how the album happened and that's what my approach was to it.
And of course when I was finishing it everything that I thought would happen in terms of the political changes happened and it was funny because when I spoke with the guys from Ghostly about the current president in America, nobody really thought it would happen. I'm quite socially aware, I come from a standard working class family – even in some standards I would say lower than working class – and I think I understand the basic person and what drives them to make certain decisions and also looking on the politics, I'm quite into it because if affects my life and it affects everyone else's lif e so I decided that maybe I should engage with it a little bit more and try to understand what's happening. So this was weird because I called the album 'No Future' before any of these things were obvious and then it happened and it was like I didn't really mean it to be negative or pessimistic in any way. And that's why the music is not really dark or really depressing because that was never the reason for it to be depressing, it was more about being different and the hinting of something.
The guests who are on the album works so wonderfully and even in terms of where they come in on the album too, the two tracks by DRS are outstanding.
Moiré: Yeah, he did an excellent job and also James Messiah was a totally different thing (in terms of the style) but again he fit perfectly with his message. I just gave him hints – and with DRS as well – I didn't have to do any like crazy description of telling them what to do. These collaborations I am very happy about them, they just happened so naturally and it was a really good time just to work with them even over email it was just like 'click', they got the vibe and I think that's when you appreciate how professional people are. How some people basically have that amazing quality of being able to jump on any track and deliver something interesting, I'm really into that.
I'm very curious to know about your equipment and the musical set-up that you're using?
Moiré: Well the studio I had for this – and I'm still renting – is not my studio but it's someone else's who put a lot of work into it. It's a really amazing room with double walls and it's kind of a floating box, no windows and it sounds really good. So any imperfections or perfections can be heard and you could be really close to the sound. The room is great and the acoustic treatments is basically excellent and then the speakers actually came with the studio. I used to work in Adams before and on this record these are the speakers that I used. One thing is producing and I go quite often and listen in many different places so at home I have Adams and Dynaudio monitors and then in another place I have a bigger Adams system that I would go and ask my friends if I could use and listen to stuff and then in the studio the speakers that are there I think are Focal CMS65 and they were great. On the back of the room –it's really clever – other speakers like really bad ones like Mackies, you just listen on the really bad ones as well. So it's all very compact but perfect. For the vocals of course I made the beats and all the sketches and the MCs would do their thing on them, for example DRS did everything from the internet, I just sent him the beat and he sent me the vocals; it was as simple as that. DRS is based in Manchester so obviously there was a distance issue so email was the best thing. James Messiah is based in south London so he just came on his bike and he just recorded it live over the 'Facade' track and that was it. I think we actually did also vocal on 'Jupiter' as well but I never finished that, so basically they did their thing.
A lot of the tracks themselves are made live with samplers, a bunch of synths (Moog Nord and JD 800 and Octatrack sampler) and loads of other little synths and boxes that are placked together and I just jam on it until I'm happy with the stuff and then it's all getting recorded live to old Logic, I still like the old one and so for some reason I'm still using that. And then for production I use Universal Audio, I think their tools are really excellent. It's all very simple, I don't have any expensive gear in terms of like crazy compressers that you can see some famous people with and stuff like that, I cannot afford it, I do not have stuff like that [laughs]. I just learned to work with what I have, I mean that was always my concept because as much there is talk about analog versus digital and so on, everyone who makes music knows that even if they're going to use all the analog gear they're going to end up having a digital file delivered for mastering and a mastering engineer quite often will use a PC to master it. You can record stuff to tape but it will always go through digital, I mean you will need to have the tape machine and record the tape and then deliver the tape if that's the sound you're after. And that fact that we're dealing with the digital file in my head was always meaning that you can sculpt it the way you want.
The ways you record it are important for me and that's why having Universal Audio and analog plugins is quite cool and I wish I had some of the hardware but I think for me that's fine, I like the way it sounds and I like the quality of digital plugins as much as anything else. I may be quite unusual in terms of the way I use this, which is difficult to explain because my whole concept of making music is like obviously pretty much everyone has the same tools and studios are very similar because by default it's a pair of monitors and some gear but it's about how you wire stuff and how you plug things and what triggers what and how you play it and this is something that you cannot explain and that's something that takes time to develop and I think that for everyone is going to be a different process and some people care about certain things and some people don't like everything is super-tight whereas other people will leave a but of space for loose swing and maybe not accurately cut beats because that's the idea. Some people record everything live and I do a lot of stuff live, a lot of the tracks happened just as live jams and I would have parts played from a sampler and then parts played from live synth and other synths sequenced together and then everything going through some distortion box and then everything recorded. So that's pretty much the technical side of how this happened but I think the room is very important for me, the way it sounds for this particular one was important but who knows maybe on the next one I will do just on headphones.
For the live show – and live jams – there must always be new workings and new versions of the various tracks being formed?
Moiré: Yeah, this is true that is happening. I mean for the live aspect of course it allows you to be constantly doing versions and edits and all sorts of things and experiments. My live stage set-up which I'm building right now – but I've already played like this for a while – is that I'm trying to bring as much studio gear to the stage as possible. So I'm trying to do what I'm doing in the studio live basically to an extent because you cannot do everything. And there's certain things you cannot do because it won't work but that's the concept and I always loved that; bringing some machines, some toys to the stage and doing edits of the tracks tha have been released. And obviously when you play for the crowd you can also try new stuff and it's great to do that so you're not just stuck to doing DJ, you can actually do something else and every show can be different as well.
I was very interested to read on the Ghostly page that Philip K. Dick and his sci-fi stories and the inspiration this had on 'No Future'?
Moiré: I like this books and I like his dystopian visions. The phenomenal thing about Philip K. Dick is that if you read his books; they're portraying us moving to mars and all sorts of other things like 'The Man in the High Castle' and even if you look on the cover of this book and the American flag and the way it's portrayed and everything. And the ideas he had; he was predicting a lot of the things that are happening right now and potentially he was predicting a lot of the things that will happen in the future. I mean the 'Martian Time-Slip' is this little novel describing our life on mars but some of his books were crazy bonkers like really proper sc-fi but this stuff you read it now and you think we are not so far from it and it's possible that we are going to do that and there's actually nothing that futuristic about it anymore. It's quite funny, us setting up a place in mars, I think we are quite near to doing that and it's very political as well, they had NATO on mars and all sorts of other things and you're like, yeah NATO can be on mars, why not? All these kinds of things and issues and problems that actually he was at time writing it he was reflecting the current world problems in his books partly as well like whatever wars were happening on the planet and transforming this to another planet and the same happening, to be more interesting rather than just describing the reality. He's definitely incredible and I love his work.
As a producer and someone who has so much music in your life, I wonder growing up at what point did you realize you would go down the path of making music yourself?
Moiré: That's a difficult question. I don't know, I mean I can only remember when I was growing up when I was a kid I wanted to be in a band and I forced my parents to buy me a guitar and then after a while I was like well maybe the guitar isn't for me so I think I destroyed that guitar or I did something to it but whilst I was doing it I had a cassette tape deck and I was just recording all the noises of that guitar destruction and I was basically sampling myself doing all this banging as a kid on that tape and not because I had any concept of sampling – I don't know if sampling was something that was happening – but I was just doing it because I wanted to listen to it myself [laughs]. I was curious about how it's going to sound if I was going to do this or if I'm going to do that and obviously recording on the tape allowed you to listen to it back and I didn't loop or anything, I didn't understand any of these concepts, I was just always into making noise and making something with sound.
And I wanted to be in a band and I was in a band with my friends and we played some punk stuff and all sorts of things. I was always into music like I mean just as a fan buying all sorts of stuff and I was into all sorts of things and also feeling that I always wanted to be a performer because I started doing nights as a promoter with my friends during university and all this kind of stuff and booking bigger DJs to come and play at our parties and then I started opening and being a DJ as well a little bit at the beginning and then my other friends asked me to collaborate with them on some projects. It evolved in that way so in a way to answer your question I was always into it, I was always in it unconsciously, I was following the path and in my case some things happened that pushed me further in that direction and I still do not understand to be honest how some things happen that you do not have control over like OK I'm going to do this now.
There were some other opportunities or I had to do some other work or other directions in my life and suddenly something happened and they disappeared and it's like OK I think I should be doing music or I should be working with these people. In my case a few things happened like that in life that were really dramatic that in a way I was like OK this is what I am doing or more like I have to do this in a way that I wanted to do it but also life puzzled itself that way. And it's always been complicated but I guess that's why my music has a certain attitude and certain abstract concept behind it because it reflects some of the things I go through. So that's how it all evolved from my early days, it was not always that obvious and it's still maybe not that obvious even today, I mean I guess anyone can sit there and ask themselves a question 'Should I be making music?' I know that people today are growing up thinking like 'Fuck it, I'm going to be a DJ and I'm going to buy a bunch of techno tracks from Detroit and I'm going to be a DJ' and a lot of people do that – or electro or whatever that is in a shop – and some of them probably have bigger careers than many other people who are making music. But it's crazy because if you look at what happened with the digital social medium and how it changed everything.
Someone asked me 'Is it difficult for people today in the music industry to go forward?' and if I look on my profile – like some shitty Instagram account or something – every second person that follows me has got a soundcloud account, that says it all; that means that millions of people are doing the same thing and obviously it's just going to be affecting everyone else and everyone's going to be affecting each other basically. But that's the thing it's always been the path that has been in front of me, I was not planning or I did not have a business plan like I'm going to make millions of dollars making lots of crazy records or something. The thing for me was always like I am expressing myself and I'm going to try to do my best and be the best in the area that I want to be; that's my goal and I'm still on my way.
Have there been certain records that you've been listening to lately?
Moiré: It's always the most difficult question. There is just loads. Recently I really like these guys Worried About Satan, they're quite cool. Pye Corner Audio makes some interesting tracks; I heard some of those from a documentary which was cool. I mean there is so much stuff, I'm always going to be listening to any type of jazz stuff; any Coltrane…anything. I always love Moondog, Flying Lotus. The major inspiration was when Actress released his first record – that was great – and that showed that there is a possibility with the music in that kind of fashion. I just listen daily to so many things, loads of old hip-hop as well like Casual, Hieroglyphics, Wu Tang and Mobb Deep and sometimes I come back to these records because I think they're just so incredible; they had some magic in them like the fire of the new act where there was really no compromise but just really, really well done. And this kind of interesting movements or moments, there isn't much of it unfortunately at the moment, it's really difficult to find these kind of acts where they are interesting musically but there is also some movement behind it and I think everything is watered down based on hype, not much of content really. But there are loads of great records out there.
Posted in CHOSEN ONE
Tagged with Actress, DRS, Flying Lotus, Ghostly, James Messiah, Moiré, Werkdiscs
Fractured Air x Blogothèque – S02E03 | March mix
For March's mixtape we are excited to share two exclusive tracks, by Reykjavík-based composer Valgeir Sigurðsson (Iceland/Bedroom Community) and Berlin-based percussionist and drummer Andrea Belfi (Italy/Float).
Valgeir Sigurðsson releases his hugely anticipated new solo work "Dissonance" (the follow-up to 2013's mesmerising "Architecture Of Loss" LP) on April 21st via Icelandic independent label Bedroom Community (founded by Sigurðsson in 2006). Recorded and produced between September 2015 and November 2016 at his Reykjavík-based Greenhouse Studios, "Dissonance" confirms Sigurðsson as one of contemporary music's most gifted and innovative composers in the modern classical realm. "Dissonance" features collaborators Liam Byrne and Reykjavík Sinfonia and features the monumental side-long title-track alongside two separate suites: "No Nights Dark Enough" (in five parts) and the three-part "1875".
The Italian-born and Berlin-based artist Andrea Belfi releases his sublime full-length "Ore" – excitingly the first for Float – which comprises his finely-honed craft as a gifted drummer and percussionist, using his own trusted sound set-up (a Saari drum-kit from Finland and a Nord modular and sampler). In recent times, Belfi's name has reached a wider audience while collaborating and touring with the Nils Frahm-led, Berlin-based three-piece Nonkeen (R&S Records). "Ore" will be released on 26 May 2017 via Float.
Numero Group – the ever-indispensable archival and reissue specialists – this month issued the definitive double-album retrospective on The Creation, the short-lived but hugely influential 1960's mod-rock group. Entitled "Action Painting", the double-album set features the complete Creation studio recordings as well as tracks from The Creation's predecessors, The Mark Four (featuring future Kinks bassist John Dalton).
March's mix also features new releases from: Colin Stetson; Feist; Nathan Fake; Forest Swords; The Shins; Spoon; Demen and Kelly Lee Owens.
To listen on La Blogothèque:
http://www.blogotheque.net/2017/03/29/fractured-air-x-blogotheque-s02e03-march-mix/
01. Nick Cave & Warren Ellis – "Mars Theme" (Mars OST, Milan)
02. Andrea Belfi – "Lead" (Float)
03. Blanck Mass – "Rhesus Negative" (Sacred Bones)
04. Moiré – "Auteur (Outro)" (Ghostly International)
05. Lusine – "Witness" (feat. Benoît Pioulard) (Ghostly International)
06. Earthen Sea – "About That Time" (Kranky)
07. Demen – "Niorum" (Kranky)
08. Ben Frost – "Impossibilities" (Fortitude OST, SATV Publishing Limited/Sky, Mute)
09. Valgeir Sigurðsson – "No Nights Dark Enough II. infamy sings" (Bedroom Community)
10. Feist – "Pleasure" (Polydor)
11. The Creation – "Through My Eyes" (Numero Group)
12. Spoon – "Us" (Matador)
13. The Shins – "The Fear" (Columbia)
14. Ennio Morricone – "Un Uomo Da Rispettare" (Un Uomo Da Rispettare OST, Superior Viaduct)
15. High Plains – "Blood That Ran the Rapids" (Kranky)
16. Kelly Lee Owens – "Lucid" (Smalltown Supersound)
17. Forest Swords – "The Highest Flood" (Ninja Tune)
18. Nathan Fake – "HoursDaysMonthsSeasons" (Ninja Tune)
19. Colin Stetson – "In the clinches" (Constellation)
20. Actress – "X22RME" (Ninja Tune)
21. FKA Twigs – "Hide" (Young Turks)
22. Todd Terje – "Jungelknugen" (Four Tet Remix) (Olsen Norway)
23. Peaking Lights – "Little Flower" (Two Flowers)
24. Risco Connection – "Ain't No Stopping Us Now" (Soul Jazz)
25. Madlib – "Cue 4" (Stones Throw)
26. Little Simz – "No More Wonderland" (AGE 101)
27. Rusangano Family – "Eyedentity" (Self-Released)
Compiled by Fractured Air, March 2017. The copyright in these recordings is the property of the individual artists and/or record labels. If you like the music, please support the artist by buying their records.
http://www.blogotheque.net/
https://fracturedair.com/
Tagged with Actress, Andrea Belfi, Ben Frost, Blanck Mass, Colin Stetson, Demen, Earthen Sea, Ennio Morricone, Feist, FKA Twigs, Forest Swords, High Plains, Kelly Lee Owens, Little Simz, Lusine, Madlib, Moiré, Nathan Fake, Peaking Lights, Risco Connection, Rusangano Family, Spoon, The Creation, The Shins, Todd Terje, Valgeir Sigurðsson

redpajama_set_name: RedPajamaCommonCrawl


Ulster-born movie star Liam Neeson has once again given his backing to the Northern Ireland Children's Hospice Jingle All the Way Christmas campaign for a second year.
Northern Ireland actor Liam Neeson shows off his singing talents in his latest role by belting out a drunken rendition of The Sash.
We have teamed up with Eason, Northern Ireland's leading retailer of books, stationery, magazines and much more to give you the chance to win a fabulous bundle of their top summer reads.


We call upon you to halt the bidding process for the integrated older people's services with immediate effect.
A complex set of services, partly designed by the bidders to maximise profit, and fragmented between suppliers and subcontracts, is inappropriate and risks the care and safety of some of the most vulnerable people in our region.
As reported in the national press, Cambs and Peterborough CCG is pressing ahead with possibly the largest single privatisation of NHS services to date: the competitive commercial tender for a new "pathway" for older people. This complex set of service includes not just community services, but hospital care.
This tender is estimated at £800M over five years; a significant proportion of which will be lost in profit to successful private bidders. At present the list of bidders includes Serco (alleged to have reported false service data on another NHS contract), Care UK (whose chairman donated £21,000 to the private office of Andrew Lansley), Circle, and United Health UK (part of the US based UnitedHealth).
The Coalition has repeatedly claimed that their reorganisation of the NHS would not lead to privatisation, and would put GPs at the heart of commissioning. It's clear from this tender that CCGs are acting as procurers from private companies. This tender is clear evidence that the NHS in England is being reduced to a shell, no longer providing healthcare but merely providing profit opportunities to private companies under orders from the Government and Monitor to ensure competition.
Only six months into its role, Cambs and Peterborough CCG has decided to use the care and support of older people for its largest sell-off. Older people are perhaps the last to complain about the service they receive, and make up the vulnerable group which became the subject of the Francis Report into alleged care failings at Mid Staffs Trust. This tender puts the quality and safety of their care at risk, as private companies will be protected from transparency by "Commercial in Confidence" agreements.
This tender must be halted. We must take our NHS back.
NHS is the most life-changing aspect of the welfare state. There was NO MANIFESTO COMMITMENT to privatise it, so this move is anti-democratic.


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Тине Станге (; род. 14 мая 1986 года, Тёнсберг) — норвежская гандболистка, крайняя норвежского клуба «Ларвик», бывший игрок сборной Норвегии. Восьмикратная чемпионка Норвегии, двукратная победительница Кубка Норвегии (2005 и 2008), победительница Лиги чемпионов 2011 года. Чемпионка Европы 2010 года, бронзовый призёр чемпионата мира 2009 года.

Ссылки
 Профиль на сайте Норвежского гандбольного союза

Гандболисты Норвегии
Чемпионы Европы по гандболу

redpajama_set_name: RedPajamaWikipedia


text:
Al Capone's Miami Villa Death Home!
Home Photos
An historic Miami Beach compound that Al Capone bought in 1928, the home he used as an alibi for the Saint Valentine's Day Massacre, and the place where he died in 1947 may, or may not, have recently sold for $9 million.
Top 10 Florida Condos For Sale
In 1928, Miami Beach was reeling from the the collapse of the Florida land boom and the Great Miami Hurricane that had destroyed much of the resort city. Never one to miss an opportunity, Chicago crime-boss Al Capone bought one of Miami Beach's best estates on Biscayne Bay at the bargain price of $40,000 (about $550,000 in 2016 dollars). Capone spent another $70,000 in fortifying the property against intruders adding a guest/guard house at the entry gate and using rooms above the pool house at the bay's edge to house his guards who were on 24/7 lookout. Safe and secure from his Chicago crime rivals, it was the home where Capone was vacationing when his gang pulled off the 1929 Saint Valentine's Day Massacre, lived full time after his release from prison in 1939 and where he died in 1947 surrounded by family and a few friends.
According to the granddaughter of Clarence M. Busch, who was a real estate developer of Miami Beach's Palm Island, Busch sold the Spanish-style, waterfront home across the street from his own in 1928. Unbeknownst to Busch, the deal was being brokered through a middleman for the notorious Capone. It wasn't long before the actual buyer was revealed, sending a shock wave of horror throughout Miami and Miami Beach. City fathers were afraid that having the kingpin of organized crime in residence would muddy South Florida's Chamber of Commerce image of clean family fun. However, Capone saw it another way. He believed the Prohibition rum running from the Bahama's, gambling and the element of crime drawn by these activities would keep officials too busy to pay much attention to him.
Many of Miami's community leaders came after Capone, especially the Miami News and the Miami Women's Club, to rid the city of the crime boss. Clarence Busch wrote a letter to Florida Governor Doyle Carlton complaining about the noise, gunshots, unapproved additional construction added to the property and the fact that Capone's presence had disrupted land sales on the island and was damaging Miami Beach's reputation. Although many crimes were likely orchestrated from Capone's residence, he was seen as a hero and philanthropist by much of the American public, funding one of Chicago's largest soup kitchens during the Great Depression and free milk for Chicago school children. Lawmakers were never able to pin gangland events directly to Capone and he continued to live in his Palm Island residence in relative peace until the feds convicted and imprisoned him in 1931 for tax evasion. Capone returned to the residence in 1939 when his prison sentence was reduced due to his deteriorating physical and mental condition. He died peacefully at his Palm Island estate on January 25, 1947 surrounded by family and a few friends.
Since Capone's death, the storied estate has changed hands many times. Although several U.S. and U.K media sources recently reported that the home had sold to Mino Raiola, the Dutch super-agent who represents many of Manchester United's soccer stars, the company that maintains the property has denied any sale of the property.
Whether newly sold or not, the Capone mansion is an iconic piece of modern American history, old world glamour and an ideal location. With each change in ownership, there have been improvements to the property with the most current owner completing a full restoration. At 36,000 square feet, it includes the seven-bedroom, seven-bath main home that is gated and walled, the two-story gatehouse and two-story pool house overlooking 100 feet of frontage on Biscayne Bay and a view of Hibiscus Island. Original features include an Art Deco black and gold tiled bathroom and a living room fireplace.
Capone's mansion is now renamed as 93 Palm Island and available for rent for photo and video productions. According to its website, the home is "one of the oldest and most notorious estates in Miami" with "7-foot walls" and "secured 24 hours a day...surrounded by the Biscayne Bay on all sides."
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text:
Q: setImageUri() is not showing image after getting Uri string from SharedPreferences using Gson I have ArrayList of a custom object that is image object that will store the image Uri in form of a string. When I display image by using setImageUri() from ArrayList Uri it is displaying the image correctly but after saving ArrayList to SharedPreferences by using Gson and when I get back this ArrayList from SharedPreferences in onCreate() it is not displaying image in imageview.
I debug my code it gets the Uri properly from SharedPreferences but why it is not displaying image.
This is my GridViewActivity code:
public class GridViewActivity extends AppCompatActivity {
    @Override
    protected void onCreate(Bundle savedInstanceState) {
        super.onCreate(savedInstanceState);
        setContentView(R.layout.activity_grid_view);
        recyclerView=findViewById(R.id.recycler_view);
        recyclerView.setHasFixedSize(true);
        autoFitGridLayoutManager=new AutoFitGridLayoutManager(context,250);
        recyclerView.setItemAnimator(new DefaultItemAnimator());
        recyclerView.setLayoutManager(autoFitGridLayoutManager);
        arrayList=new ArrayList<>();
        sharedPref=new SharedPref(context);
        if (sharedPref.getCount()==0) {
            Toast.makeText(context, "No images...", Toast.LENGTH_SHORT).show();
        }
        else {
            Gson gson=new Gson();
            String response=sharedPref.getImages();
            arrayList=gson.fromJson(response,new TypeToken<ArrayList<Images>>(){}.getType()); //getting arraylist back
            Log.d("ROHIT", String.valueOf(arrayList.size())); //it displays the arraylist size correctly
            Images images=arrayList.get(0);
            Log.d("ROHIT","aya: "+images.getImage()); //Uri is also correct

            Intent intent=new Intent(context,Temp.class);
            intent.putExtra("image",images.getImage()); //passing it to the Temp activity
            startActivity(intent);
        }
    }
    @Override
    public boolean onOptionsItemSelected(MenuItem item) {
        if(item.getItemId()==R.id.add_imges_cam) {
            //open camera
        }
        else if(item.getItemId()==R.id.add_imges_gallery) {
            //open gallery to select images
            Intent intent = new Intent();
            intent.setType("image/*");
            intent.putExtra(Intent.EXTRA_ALLOW_MULTIPLE, true);
            intent.setAction(Intent.ACTION_GET_CONTENT);
            startActivityForResult(Intent.createChooser(intent,"Select Picture"), PICK_IMAGE_MULTIPLE);
        }
        return super.onOptionsItemSelected(item);
    }

    @Override
    protected void onActivityResult(int requestCode, int resultCode, Intent data) {
        super.onActivityResult(requestCode, resultCode, data);
        int count=0;
        if(requestCode==PICK_IMAGE_MULTIPLE && resultCode==RESULT_OK) {
            String[] filePath = {MediaStore.Images.Media.DATA};

            if (data.getData() != null) {
                //if single image is selected
                Uri imageUri = data.getData();
                Cursor cursor = getContentResolver().query(imageUri, filePath, null, null, null);
                cursor.moveToFirst();
                arrayList.add(new Images(imageUri.toString()));
                cursor.close();
            } else {
                if (data.getClipData() != null) {
                    ClipData mClipData = data.getClipData();
                    for (int i = 0; i < mClipData.getItemCount(); i++) {
                        ClipData.Item item = mClipData.getItemAt(i);
                        Uri uri = item.getUri();
                        // Get the cursor
                        Cursor cursor = getContentResolver().query(uri, filePath, null, null, null);
                        // Move to first row
                        cursor.moveToFirst();
                        arrayList.add(new Images(uri.toString()));
                        count++;
                        cursor.close();
                    }
                }
            }
            imagesAdapter=new ImagesAdapter(context,arrayList);
            Images images=arrayList.get(0);

            Intent intent=new Intent(context,Temp.class); //when i called Temp activity before saving arraylist to sharedPref it displays image correctly in Temp activity
            intent.putExtra("image",images.getImage());
            startActivity(intent);

            sharedPref.save(arrayList); //saving arraylist to sharedPref
            sharedPref.updateCount(count);
            setRecyclerView();
        }
    }

}

This is my SharedPref code
public class SharedPref {
    SharedPreferences sharedPreferences;
    SharedPreferences.Editor editor;
    Context context;

    public SharedPref(Context context) {
        this.context=context;
        sharedPreferences=context.getSharedPreferences("Grid_images",Context.MODE_PRIVATE);
        editor=sharedPreferences.edit();
    }

    public void save(ArrayList<Images> arrayList) {
        Gson gson=new Gson();
        Object src;
        String json=gson.toJson(arrayList);
        editor.putString("grid_images",json);
        editor.apply();
        editor.commit();
    }

    public void updateCount(int i) {
        editor.putInt("images_count",i);
        editor.apply();
        editor.commit();
    }

    public int getCount() {
        return sharedPreferences.getInt("images_count",0);
    }

    public String getImages() {
        return sharedPreferences.getString("grid_images",null);
    }

    public void clearData() {
        editor.clear();
        editor.commit();
    }
}

This is Temp.class code
public class Temp extends AppCompatActivity {
    ImageView imageView;
    @Override
    protected void onCreate(Bundle savedInstanceState) {
        super.onCreate(savedInstanceState);
        setContentView(R.layout.activity_temp);
        imageView=findViewById(R.id.im_temp);
        Log.d("ROHIT","inside tmep: "+getIntent().getStringExtra("image"));
        imageView.setImageURI(Uri.parse(getIntent().getStringExtra("image")));
    }
}

A: Do you add permisstion READ_EXTERNAL_STORAGE in Manifest file?


text:
Home » What You Can Do » Make a Gift » Evaluation Information
Evaluation Information
Your donation restores hope and rebuilds lives of torture survivors around the world. In 2010, 91 percent of every dollar was spent on programs and services to heal survivors. Our annual report and financial statements are available online for your review.
Healing Services for Torture Survivors
Goal: Extend care and rehabilitative services to 250 torture survivors in the Twin Cities and more than 2,500 in the Democratic Republic of Congo, Kenya and Jordan.
Strategy and capacity of the client care program: Read more about our Healing Services
Strengthen the Capacity of Colleague Organizations in the United States and Abroad
Goal: Strengthen the capacity of 38 colleague groups in the United States and 12 in other countries through technical assistance and training.
Strategy and capacity of our outreach and training: Read more about the National Capacity-Building Project
Create new resources for healing torture survivors
Goal: Advocate for expanded federal resources to support the work of torture survivor rehabilitation centers in the US and abroad.
Strategy and capacity of our advocacy work: Read more about our Advocacy work
Work for an end to torture-regardless of who is committing it.
Goal: Establish an independent non-partisan commission to investigate the use of torture and cruelty in counter terrorism efforts post-9/11.
Strategy and capacity our our work post-9/11: Read more about our Advocacy work
Progress toward goals: All CVT programs are evaluated against organizational goals and objectives, as developed in the 2011-2013 Strategic Plan, as well as annual operating plans. All departments measure progress on goals and objectives and most prepare monthly reports that are distributed organization-wide and evaluated by executive staff leadership. The Board of Directors reviews programmatic progress three times annually, and reviews financial performance at its bi-monthly meetings (with the Finance Committee reviewing financial statements on a monthly basis). CVT employs a formative evaluation process for all its program areas. Results are shared with local, national and international colleagues, as well as with funders through publications, reports, technical assistance programs and training.
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The name of the Club is "Fowey Gallants Sailing Club". The insignia adopted by the Club is a blue galleon in full sail heading to the left, on a yellow background, together with either the initials F, G, S, and C, or the words Fowey Gallants Sailing Club.
The objects of the Club are to facilitate and encourage yacht and dinghy sailing, racing, and cruising, and to provide amenities and social facilities for all members.
Tadpole members, for those persons under 12 years old and solely for Junior evenings organised by the Committee. Membership to be half of the Junior fee.
(viii) Members of Reciprocating Bodies.
B. (i) Any application for Ordinary or Junior membership must be proposed and seconded by two Ordinary members of at least 12 months' standing completing the official application form of the Club.
The completed form under (i) and (ii) must be prominently displayed on the Club board for at least fourteen days before being considered at a meeting of the Committee of Management, in whom is vested the power to approve, delay or refuse any application, the decision being taken by majority vote. Candidates for membership shall have no privileges whatsoever in relation to the use of the club or premises.
Application for Temporary membership may be proposed by any Ordinary member in respect of any person who lives outside a radius of fifteen miles from the Club premises, without the need of a seconder. The official application form must be completed and marked clearly "TEMPORARY"; this form will be displayed on the Club notice board for at least two open days of the Club premises before the requested date of membership. Such applications will be considered by a quorum of two members of the Committee of Management, one at least of whom must be an Officer, and if approved, so endorsed.
A similar quorum of the Committee may terminate any Temporary membership at any time, and without giving reason.
No person may be a Temporary member for more than six weeks in any calendar year.
the discretion of the Senior Instructor and on payment of an appropriate fee be made Temporary members for the duration of their course. Such Temporary members who on completion of their course apply for, and are elected to full membership under 3 A (i), (ii), (iii) or (iv) will receive a refund of their Temporary membership fee.
Application for Associate membership may be made by any Ordinary member who takes up residence abroad; on approval by the Committee of such written application, membership will continue whilst abroad by an annual subscription being paid at one half of the current rate.
Honorary membership may be bestowed only by the Committee of Management, but the total number of such members will not exceed fifteen. Honorary membership shall be reviewed annually.
The Committee may agree with any other clubs, associations, or organisations that membership will be on a reciprocal basis; the Committee must be satisfied that any such reciprocal body includes in its rules similar provision and officially extends the same facility to members of this Club.
The names of such reciprocal bodies will be entered by the Club Secretary on the frontispiece of a "Reciprocal Members' Book", to be signed on each visit by the Reciprocal Member, who then ranks as an Ordinary Member, but has no right to attend or vote at any General Meeting, or to hold office.
C. Every member will be furnished with a copy of the Constitution and Rules, and each member will be deemed to have accepted and agreed to be bound by the Rules and Bye-Laws of the Club, and any subsequent additions or alterations thereto.
Membership of the club and acceptance of these rules by the member will be deemed to constitute consent to the holding of relevant personal data for the purposes of the Data Protection Act 1984.
An official list of such fees and subscriptions for the current year will be prominently displayed in the Club premises.
Entrance Fees and Subscriptions are payable on election; thereafter, annual subscriptions become due and payable on the 1st January each year. Provided that a member elected after the first day of April in any year shall pay three –quarters of the Annual Subscription applicable for that year and that a member elected after the first day of July in any year shall pay one half of the Annual Subscription applicable for that year and that a member elected after the first day of October in any year shall pay one quarter of the Annual Subscription applicable for that year.
A list of unpaid subscriptions will be posted on the 1st February each year in the Club premises, and remain there updated until the Annual General Meeting. If payment has not been made by the start of the Annual General Meeting, the member concerned will not be entitled to attend and vote at that Meeting, and at the discretion of the Committee such member may be removed from membership. The Committee may, at its discretion, re-instate such member upon payment of arrears.
may request the right to attend personally the next meeting of the Committee at which the final decision will be taken.
That the club will not accept any liability for any damage to or loss of property belonging to members, their guests or visitors to the club.
That the club will not accept any liability for personal injury arising out of the use of the club premises, and any other facilities of the club either sustained by members, their guests or visitors or caused by the said members, guests or visitors whether or not such damage or injury could have been attributed to or was occasioned by the neglect, default or negligence on any of them, the Officers, Committee or servants of the club.
Members over 18 years of age are entitled to attend any General Meeting of the members, and to participate in any voting thereat.
A General Meeting may be called at any time by order of the Committee, or on written request sent to the Secretary by two Flag Officers, or not less than five members entitled to attend such a meeting. Such written request must state the purpose of the requested meeting.
C. The Secretary will, at least 14 clear days before the date of any General Meeting, post or deliver to each member entitled to attend advice thereof and of the business to be conducted thereat. A copy of such advice or notice will be exhibited in the Club premises for 14 days prior to such meeting.
D. At any General Meeting, a quorum is formed by the presence of twenty- five members entitled to attend, or one fifth of the total number entitled to attend, whichever is the lower.
E. At any General Meeting, the Senior Flag Officer present will take the Chair; should no Flag Officer be present, the meeting will elect a Chairman. In any equality of voting, the Chairman will be entitled to a second or casting vote.
F. At any General Meeting, the members may reserve the management of such affairs as they think fit to a General Meeting, or to one or more special committees appointed by a General Meeting.
G. No business may be transacted at a General Meeting unless all members entitled to attend had such fourteen days notice of the business to come under discussion.
The Annual General Meeting will be held in the Club premises as soon as possible after the 1st January each year as may be convenient, and not more than 15 months after the previous Annual General Meeting.
Members of the Committee of Management, where vacancies arise by rotation, or casually.
A list calling for nominations to such offices and vacancies will be posted in the Club premises not less than 14 days before the meeting. Such nominations must be properly proposed and seconded by members entitled to vote, and the nominee must signify his acceptance of the nomination. The list will be closed 4 days before the meeting and the completed list will remain on display until the meeting. Where the number of nominations for any appointments exceeds the number of vacancies to be filled, election will be by ballot.
In the event of casual vacancies Occurring during the year in any of the appointments listed under B, the Committee of Management will make temporary appointments, to stand until the next Annual General Meeting only.
The Meeting may bestow on any Member Honorary Admiral rank for life, in appreciation of services rendered to the Club, with a maximum of three such members at any time. Such rank is non-executive, and does not carry appointment to the Committee of Management.
All Officers on election are members of the Committee of Management of the Club.
The Committee of Management shall appoint three Trustees who shall hold in trust for the Club the Club premises, the money standing to the credit of the Club's banking account, and any other property of the Club.
B The Trustees are empowered to sign all legal documents, mandates, cheques, promissory notes on behalf of the Club, on specific authority to be given by the Committee.
C The liability of the Trustees for the performance of any contractual or other obligation undertaken by them on behalf of the Club shall be limited to the assets of the Club. The Trustees shall not be bound to act in any manner which would expose all or any of the Trustees to personal liability.
D In the event of the number of Trustees being brought below three, the Committee shall appoint such additional Trustees necessary to restore the number to three.
E Any or all of the Trustees in office may be removed from such office by the Committee, by a majority vote at a Committee meeting of which all Trustees have been given notice.
The general management of the Club is vested in the Committee of Management, hereinafter referred to as the Committee.
A maximum of ten Ordinary members.
Half of those elected under B(iii) shall retire in rotation at each Annual General Meeting, but are eligible for re-election at the same meeting.
The Committee is required to meet once in each calendar month: additional meetings may be requisitioned by a Flag Officer, the Secretary, or any three members of the Committee.
At any Committee Meeting, five members present form a quorum. The Senior Flag Officer present is Chairman; if no Flag Officer is present, those present elect a Chairman. The Chairman is entitled to a second or casting vote, in the event of equality of voting.
The Committee has the power to make, rescind or vary bye-laws for the regulation of the Club, providing that no bye-law may be inconsistent with these Rules. .
G. The Committee has the power to appoint from time to time any sub-committees, providing that at least one member of such sub-committees is a member of the Committee.
H . The Committee is required to lay before Club members each year in Annual General Meeting a report of the general state of the Club, together with a financial statement Consisting of an Income and Expenditure Account for the year ended on the previous 31st December, and a Balance Sheet as at that date, audited by the Auditors of the Club.
Members, other than Temporary Members, may bring with them to the Club guests who are in no way ineligible for membership. The names and addresses of all guests must be entered in the "Guest Book", together with the name of the host member. Members bringing guests to the Club must remain in their company while the guests are on Club premises, but such guests are permitted to use the Club facilities. No member may introduce more than four guests on any one occasion and the same guest may not be introduced on more than three occasions in any one calendar month, and only one of these occasions may be a Saturday.
A member of any Club which is recognised by the Royal Yachting Association or any other national yachting authority which is a member of the International Yacht Racing Union mooring temporarily within the precincts of the Fowey River, or any member of the crew, is permitted to use the Club premises and facilities, providing that details of the vessel are entered in the "Visiting Yachtsmen's Book".
Those competing or assisting in any race Sponsored or organised by this Club are Permitted to use the Club premises and facilities, providing that competitors sign the "Visiting Yachtsmen's Book" and race assistants sign the "Guest Book", as Club guests.
Where the Committee of Management has given prior approval to the holding of a games or social occasion, and for this purpose the Committee permits an invitation to any body or club to participate in such occasion, then the members of such body or club become guests of the Committee, required to sign the Club "Guest Book", such signatures to be countersigned en bloc by a member of the Committee of Management.
The purchase for the Club of excisable goods and the supply of the same upon Club premises shall be exclusively and solely under the control of the Committee, or of a special sub-committee appointed by the Committee.
The permitted hours for the supply of intoxicating liquors on the premises shall be within the limits of and in accordance with the provisions of the Licensing Acts from time to time in force (or any order made by the Licensing Justices for the District thereunder) and shall be as determined or varied from time to time within these limits by the Committee. A notice of such hours shall be prominently displayed in the Club premises.
No person shall purchase intoxicating liquor for consumption on the Club premises by any person under the age of 18 years, nor shall any person under the age of 18 years purchase, attempt to purchase, or consume intoxicating liquor on the Club premises. The penalty for infringement of this rule shall be expulsion from the Club premises and where the offender is a member of the Club, suspension or termination of the offender's membership, in the discretion of the Committee of Management.
No person shall take a commission, percentage or such payment in connection with the purchase of excisable goods for the club. Any profit deriving from the sale of such goods shall (after deduction of the costs of providing such goods) be applied to the benefit of the Club.
The regulations governing the use of the Club premises are laid down in the Bye-Laws by the Committee and permanently displayed on the Club notice board.
All Club sailing activities are managed and conducted by the Sailing Sub – Committee, one member of which shall be a Flag Officer of the Club.
POFROC Annual Notice of Race and Sailing Instructions.
POFROC annual Fowey Royal Regatta Notice of Race and Sailing Instructions.
All Club shore-based facilities, such as Yards, Stores, Moorings, Frapes are controlled by the Boats and Yards Sub-Committee. Attention is drawn to the Bye-Laws displayed on the Club notice board.
No money or property of the Club, nor any gain arising from the carrying on of the Club will be applied otherwise than to the benefit of the Club or for a benevolent or charitable purpose. If the Club ceases to function, the assets will be sold and any surplus funds after payment of all liabilities will be given to a charitable organisation with purpose similar to the Club. If after such sale there remains a deficiency, such a deficiency must be made good by such Ordinary member paid up as 31st December prior to the date of the Club ceasing to function.
The rules of the Club may be rescinded, altered or new rules added only by the authority of the members in General Meeting, on a majority vote, or ballot if requested, of those members entitled to be present and to vote.
Meeting, to enable 14 days clear notice to be given to all members.
The Committee is the sole authority for the interpretation of the Rules and Bye-Laws, and the decision of the Committee on any question of interpretation is final and binding on all members.
In these Rules, where the sense requires the masculine shall include the feminine and the singular shall include the plural.


text:
Home » Lifestyle » PMC Acquires Art Publication Artforum
PMC Acquires Art Publication Artforum
Penske Media Corp., parent company of Variety, has acquired Artforum International Magazine, a leading voice in the contemporary art world. Since its founding in 1962, Artforum has been at the vanguard of contemporary art criticism, and throughout its history has remained a voice of record for the art world.
Publisher Danielle McConnell and associate publisher Kate Koza will continue to lead Artforum operations, with editor David Velasco overseeing editorial initiatives. Longtime publisher and Artforum shareholder, Anthony Korner, will remain engaged with the publication in an ambassadorial role. Artforum will remain editorially independent of other PMC brands, including existing outlets ARTnews and Art in America. Terms of the transaction were not disclosed.
"Artforum's quality and authority in the art world is unparalleled," said PMC chairman and CEO Jay Penske. "Over the last 60 years, they have built a culture- and genre-defining brand known around the world, with one of the few insightful global perspectives on art. I have great admiration for the hard work Tony, Danielle, Kate, and David have done to make Artforum such a success. I look forward to a bright future with this very talented team."
"Our highest priority is to maintain the continued legacy of our print publication while ensuring a vigorous digital expansion," said McConnell. We are thrilled to work alongside Jay Penske, who has understood these objectives from the outset. PMC's media infrastructure will provide dynamic, amplified opportunities for Artforum's international community of artists, galleries, museums, and other valued partners."
Artforum delivers a highest level of critical discourse about contemporary visual culture to a diverse international audience and is often the first to identify artists whose work comes to define eras. Launched in California in 1962, the publication moved to New York in 1967, where it is still based.
"I'm proud to have been part of Artforum's impressive evolution as the leading voice and record of contemporary art during my time as publisher," said Korner. "As Artforum looks to its next chapter, we have found a strong steward in Jay Penske and PMC. PMC is committed to Artforum's mission and invested in ensuring the magazine continues to uphold the highest editorial standards in the industry."
"I look forward to continuing our work with the brilliant writers, artists, and editors who have made this magazine a touchstone for generations," said Velasco. "I'm confident that PMC is the right partner for Artforum as we deepen our commitment to our community and build new ways to communicate our mission across a variety of media."
"The unparalleled talents of our staff and writers have solidified Artforum's reputation as the standard-bearer of contemporary art criticism over the years," said Koza. "Since 2020, we have expanded Artforum's digital footprint in ways that complement and enliven the mission of the print magazine, and we are excited to foster further growth across our platforms. We have found a strong partner in PMC, whose resources will support our team's creativity and vision and help us carry Artforum's legacy into the future."
My siblings won't talk to me after my father left them out of his will | The Sun
Prince Harry is 'keen to get away from heckling' claims expert


The American Portrait: What Did We Learn?
"End of an era. Randy Jones was put on waivers as the first step to getting his 2.75-million cap hit off the books. But it begs the question, who is going to attempt to cripple Patrice Bergeron and have Flyers fans falling all over themselves to defend it come Winter Classic time?"
For those who don't know, Randy Jones was probably one of the mildest tempered Flyers on the entire team last year. While he did perform an illegal hit on a Bruins forward, it was hardly of the vicious variety. If you had read the Two-Line Pass, you would probably think him something along the lines of a Marty McSorley or a Tie Domi. So at the very least, you could critize this blog for being grossly misinformed, and at the worst, the author being an enormous a**hole for perputrating the bias against Philadelphia fans. But then again, he's just being another "national" writer, and we do seem to collect them these days, don't we?


text:
Edvin Dobeic, slovenski ekonomist, * 10. julij 1919, Ljubljana, † 2013.

Življenje in delo
Diplomiral je leta 1943 na zagrebški Visoki ekonomsko-komercialni šoli. Po osvoboditvi je bil profesor na Srednji ekonomski šoli v Ljubljani (1945-1960), nato predavatelj in od 1983 docent za predmet računovodstvo na ljubljanski Ekonomski fakulteti. Napisal je več skript in učbenikov za potrebe srednje ekonomske šole in delavske univerze.

Glej tudi
seznam slovenskih ekonomistov

Viri

Slovenski ekonomisti
Predavatelji na Ekonomski fakulteti v Ljubljani
Slovenski univerzitetni učitelji


text:
Virginia: Car Accidents – a Lawyer's Misnomer
30 Jan Virginia: Car Accidents – a Lawyer's Misnomer
On January 28, 2016, the Virginia Supreme Court issued Richmond v. Volk, No. 150192, which reconciled a pleading misnomer in a car crash lawsuit that was not corrected by amendment under Va. Code § 8.01-6, but which was remedied by nonsuit and correct refiling pursuant to Va. Code § 8.01-380 and § 8.01-229(E). Per the dissent, this pro-plaintiff opinion "involves an expansive exercise in statutory construction" and "judicial enhancement to further extend [nonsuit] range" as a "powerful tactical weapon". Id. at 12.
The upshot of Richmond is that nonsuit will rescue a plaintiff who has sued using a patently incorrect name if simply the complaint "when considered as a whole clearly identifies…the proper party" by factual allegations of time, conduct, and other circumstance. Id. at 4-5 (emphasis added). Despite being named as "Katherine E. Cornett" – a name by which she never was known – "[Katherine E.] Volt is the only person that fits this description, it is readily apparent that she was the person against whom the action was intended to be brought." Id.


i'm up to day 6 of the Ellen Hutson's 12 Tags of Christmas with a Feminine Twist 2017 Challenge and it's a very pretty colour challenge.
daniela's fun and funky tag inspired me and i had a lot of fun with this one; like playing with paper dolls. i painted the sky, penguin and clothes with twinkling H2Os, fussy cut the hat and sweater and added stickles.
That is a very pretty colour combo, and you made such a cute and pretty tag with it! Sweet penguin!
Trop mignon ! How cute !!! Love , love, love the colours !!! Bravo !!!
Your coloring really brings those little critters to life … love it.