text:
KUPR may refer to:

 KUPR-LP, a low-power radio station (99.9 FM) licensed to serve Placitas, New Mexico, United States
 KLAG, a radio station (91.7 FM) licensed to serve Alamogordo, New Mexico, which held the call sign KUPR from 1997 to 2013
 KSSX, a radio station (95.7 FM) licensed to serve Carlsbad, California, United States, which held the call sign KUPR from 1995 to 1997


Gucci's Alessandro Michele is taking his Resort 2017 collection on the road, showing today in Westminster Abbey in London. The show will be the first ever in the Gothic church, staged in its cloisters, just a stone's throw from the main church that is the burial site of Lewis Carroll, Geoffrey Chaucer, and Aphra Behn. The house's favorite celebrities—Soko has been posting up a storm on Gucci's Snapchat already—and a slew of editors and stylists have made the journey to central London, taking their needlepoint cushion seats in an area streaked with light from large glass windows. Keep your eyes on Vogue.com for up-to-the-minute coverage live from the Gucci presentation in Westminster Abbey.3:00 p.m.: Soko, the French-American chanteuse with the quirky style, has taken over Gucci's Snapchat for the day, sharing exclusive pics of the backstage area—and a cute selfie with Alessandro Michele.
3:05 p.m.: Needlepoint seat cushions with animal embroiderieswere placed over the pews in the Cloisters at Westminster Abbey. Among the creatures featured were Gucci favorites snakes, tigers, and cats.
3:10 p.m.: Instead of traditional paper invites, Gucci sent out virtual reality headsets with snake graphics on them—could a VR stream be planned?
3:15 p.m.: Elle Fanning and Bel Powley arrive, both in Pepto-pink Gucci ensembles with high necks.
3:17 p.m.: Today's soundtrack for the Gucci show includes the traditional British ballad "Scarborough Fair" sung by Schola Cantorum.
3:20 p.m.: You know Gucci's square, glitter glasses well. This season, Michele reimagined them with flip-up lenses.
3:25 p.m.: The Gucci Sylvie bag this season comes in bright azure with floral embroideries inspired by classic English gardens.
3:31 p.m.: Iconic British models Jacquetta Wheeler and Erin O'Connor both took turns on Gucci's runway today.
3:33 p.m.: Finally, an English rendition of Gucci's famous "L'aveugle par Amour"—read: Blind for Love—T-shirts.
3:41 p.m.: Meet the Union Jack intarsia sweater that will surely dominate next season's street style.
3:51 p.m.: Let's talk about the shoes: There were slide sandals for guys; multi-strap Mary-Janes for girls; and these sky-high, rainbow-soled creepers for who whoever is brave enough to rock them!
4:10 p.m.: Postshow, Michele was backstage applauding and cheering with his staff.


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Use the fields below to perform an advanced search of The Daily Tar Heel's archives. This will return articles, images, and multimedia relevant to your query. You can also try a Basic search
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'Vice City' Revives '80s, Gang Warfare
(11/21/02 5:00am)
Less than a year after releasing "Grand Theft Auto 3," arguably the best game of the year, Rockstar Games has done it again.
https://www.dailytarheel.com/article/2002/11/vice_city_revives_80s_gang_warfare
Students Aim to Hit Big Time at 'Showtime'
Six weeks ago he was one of 260 who auditioned to perform at the Apollo Theater Amateur Night, and tonight he will take the Carmichael Auditorium stage alongside 12 other performers.
https://www.dailytarheel.com/article/2002/10/students_aim_to_hit_big_time_at_showtime
Professor Blends Intimacy, Power in Performance
Music department officials here at UNC had an idea they were lucky.
https://www.dailytarheel.com/article/2002/10/professor_blends_intimacy_power_in_performance
How To Improvise A Punchline
From 10 p.m. Friday until 10 p.m. Saturday the Chapel Hill Players hosted the first annual 24 Live! -- a 24-hour marathon event of sketch comedy.
https://www.dailytarheel.com/article/2002/09/how_to_improvise_a_punchline
Wooten Jams Consistently Through 4-Hour Cradle Romp
There's no doubt about it -- when it comes to bass guitar, Victor Wooten is king of his world.
https://www.dailytarheel.com/article/2002/09/wooten_jams_consistently_through_4hour_cradle_romp
File-Sharing Giants Wrestle With Legal Issues
More accurately, the focus now rests on the limitations the University has placed upon downloading. While the University has written these new rules due to moral and legal issues, a representative from the popular program LimeWire insist that the enterprise is completely legal.
https://www.dailytarheel.com/article/2002/08/filesharing_giants_wrestle_with_legal_issues
Texans Take Cradle Crowd Into the Flatlands
Years ago, the Flatlanders were young, hip and at the top of their musical game. Tuesday night at Cats Cradle, they proved that they still have what it takes. From the first soulful twang of the acoustic guitar to the last hit on the drums, the band put on a show to remember.
https://www.dailytarheel.com/article/2002/08/texans_take_cradle_crowd_into_the_flatlands
State Officials: No Cuts Directed Toward Art Programs As of Now
Rebuking rumors that area school systems are thinking of cutting funding for the arts programs, Orange County Board of Education member Delores Simpson said the board had not discussed making cuts specific to the arts.
https://www.dailytarheel.com/article/2002/04/state_officials_no_cuts_directed_toward_art_programs_as_of_now
Chamber Music Society Defines Perfection
Although The Chamber Music Society of Lincoln Center sent only six of its members to Chapel Hill, the well-reputed group's performance outplayed even the biggest orchestra.
https://www.dailytarheel.com/article/2002/04/chamber_music_society_defines_perfection
Achieving Real Success in Stories
In the seventh grade, Dowd entered a writing contest with her class and won. The grand total of her earnings was $5. It wouldn't exactly pay for her college education, but Dowd had had her first big break as a writer.
https://www.dailytarheel.com/article/2002/04/achieving_real_success_in_stories
Triangle Photography Group Shows Off Artwork
But for the devoted black-and-white photographer, things aren't that easy, and the finished product is usually a work of art.
https://www.dailytarheel.com/article/2002/04/triangle_photography_group_shows_off_artwork
'Blade 2' Spouts More Gore, Better Effects Than Original
The only thing worse than a vampire is a vampire who preys on other vampires. At least, that is what Wesley Snipes is convinced of in his most recent film, "Blade II."
https://www.dailytarheel.com/article/2002/03/blade_2_spouts_more_gore_better_effects_than_original
Gottfried Brings Squint, Stand-Up Humor to Raleigh
Gottfried returns to stand-up comedy at Raleigh's Charlie Goodnights at 8 p.m. and 10:15 p.m. both today and Saturday.
https://www.dailytarheel.com/article/2002/03/gottfried_brings_squint_standup_humor_to_raleigh
Trailer Bride Marries Twangy Blues, Saw Blades
"I need to eat more bananas. They say they keep your muscles from cramping."
https://www.dailytarheel.com/article/2002/03/trailer_bride_marries_twangy_blues_saw_blades
Collection of Bluegrass Artists Revisits Folky Roots
Cool, Blue and Lonesome is a great collection of classic songs about heartbreak and loss from the best bluegrass artists of the past century.
https://www.dailytarheel.com/article/2002/02/collection_of_bluegrass_artists_revisits_folky_roots
Socially Conscious 'John Q' Takes Health Care Hostage
If your child were desperately ill and in need of a heart transplant, how far would you go to make sure he received the necessary treatment? This situation is what Denzel Washington finds himself dealing with in his most recent film, "John Q."
https://www.dailytarheel.com/article/2002/02/socially_conscious_john_q_takes_health_care_hostage
Singers Contend With Fan Culture
A typical show at Memorial Hall for two of the major a cappella groups at UNC is a sight to see. A sold-out house of screaming fans awaits the talented musicians, and when the singing starts, the screaming doesn't stop there.
https://www.dailytarheel.com/article/2002/02/singers_contend_with_fan_culture

redpajama_set_name: RedPajamaCommonCrawl


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Q: Database design for data items that only exist once Ok, so I want to create a database with all the data of the site. This is no problem however, for those items that exist only once, what should I do?
For instance, on the homepage, the intro text is changed by a user frequently, how to store this in the db? There are 6 additional items on the homepage that are change frequently by the user.
My thought was to create a table that has those 6 items as columns and the table would only have one row. Would this be ok from a database design point of view?

A: You could do it like that:
 table PageContent
 -----------------
 varchar(10) Key
 varchar(8000) Value
 varchar(30) PageName //use an index for this column

You could load all variables for a page like that:
select * from PageContent where PageName = 'StartPage'

And in your code you would retrieve some collection which you could use like that:
Show(pageContents["Title"])

A: Assuming the six items are all of the same type (in this case text that supplies content to web page) I prefer a design that has columns ItemName and ItemValue VARCHAR.  That allows you to easily extend the scheme to seven items (or more) in the future without altering the database schema.
You may also consider keeping this material outside the database.

A: Doesn't sound efficient, as you'd have to get that row for all items. If what you're holding is text, or a blob, have each item in it's own row. If, as you said, there are frequent changes to the items, you'll essentially be updating the same row over and over.
Another consideration: you now have 6 items. Maybe tomorrow you'll have 8, 19, etc. You will then have to constantly alter the table. I therefore recommend a 2 column table ('id' or 'type' column, and 'content' column).

A: Basically, what you are hearing is one of two solutions: an EAV solution or using a single row table. The single row solution has the following advantages:

*

*You can enforce data integrity rules on the values including referential integrity.

*Similarly, you can enforce that a given attribute have a value (via the nullable attribute).

*You are guaranteed when you query for the value that you will have one and only one row.

*It is harder for someone to willy-nilly change the key value (the column name) and break your code.

Unless you are going to have many hundreds of columns, having dozens of columns makes no difference.
An EAV structure is definitely more dynamic. If this is going to support the site assembly it still the case that whenever an attribute is added somewhere code must be changed to use that new attribute. Further, with an EAV structure, you cannot guarantee that a value will exist nor that it will matching something coming from another table.
The big advantage an EAV system has as I mentioned before is that it far more dynamic. If your system is really to support many different types of sites and that the site designers of those sites might have unforeseen needs with respect to storage of data attributes, then the EAV structure would be better.

redpajama_set_name: RedPajamaStackExchange


Vacation is all about exploring new places, culture, food and most of all beaches. YES!! I love to go places with beaches. After planning for Months and months we decided to go to Bali, it was our dream destination.Bali is one of the hottest tourists destinations in current times. Bali attracts above 3 million tourists every year, where the major belong to Australia, Japan & China. We had to cover a very long journey as we were flying from Dubai and we had a group back in Mumbai waiting for us to fly together. So in total, we must have spent around good 20 hours including layover time. Yes, long traveling hours makes you tired but the excitement keeps you on your toes.
THAILAND, land of God, land of heavenly beaches, land of natural beauty, a dream beach destination. Back in 2015 when I and my husband wanted a break from this hosh posh life, the only place we could think of was Thailand & thank god we did. Yes, it's been more than a year since then and we still cannot stop talking about the trip. Being our first ever international travel destination we wanted to keep it luxurious and rejuvenating. Again we both are beach lovers so we decided to visit Phuket, Krabi first and then Pattaya & Bangkok.


I'm just back from Siena and Florence, so today is dedicated to laundry, financial matters, email, and spending time with the family. And I'm tired. Wendy and Alex waited up for my me even though my plane was delayed by the French air traffic controllers on strike, a towing truck that broke with our aircraft attached to it, and storms along the US East Coast. Katherine popped out of bed early to see what loot I'd returned with (a Ciao Bella pocketbook, three Smurfs, and some fish shaped chocolates). So far I've done little else besides catch up on what needs to be caught up, and eat spicy foods, since Italy has great cuisine but only the weather there will make you sweat.
Shakespeare Quarterly's special issue Shakespeare and New Media will be out soon. The essays for this issue were part of SQ's first-ever open-review process, where authors and respondents shared valuable comments and feedback before the articles were finalized. The review period is now closed, but you can read the transcripts at the link below.
In this issue, Kate Rumbold explores how the Globe Theatre, British Library, and other institutions are embracing new media outlets to promote themselves and how this changes their traditional roles. Jonathan Hope and Michael Witmore describe their "iterative criticism," identifying frequent word combinations and text-tagging programs to unpack Shakespeare's genres. Ayanna Thompson analyzes the role of youth culture and racial identity in YouTube appropriations and adaptations of Shakespeare by high-school students. And Alan Galey discusses the "virtual Shakespeare text," tracing its emergence from bibliographic studies, information theory, and computing.
In the review section, Christian Billing writes about Ivo van Hove's The Roman Tragedies, a London-based, Dutch-language production which uses new media and technologies to "manipulate historical political agendas." Andrew Murphy evaluates the online sites Open Source Shakespeare, the Moby text, and Shakespeare's Words for their efficacy in text searches, concordances, and content downloads. Finally, Whitney Trettien examines four Web sites—Staging Shakespeare, XMAS, Shakespeare Quartos Archive, and BardBox—studying how online Shakespeare is shaped, and restrained, by the digital humanities discipline.
The site hosting the issue (mediacommonspress) may be accessed here, and is well worth your time if you'd like to contemplate what the future contours of scholarly publishing. The online portion of the review attracted 41 participants and 350 comments. As Kathy Rowe writes in her introductory essay: "To refuse to reflect critically on, reformulate, and reaffirm the value of our discipline in an electronically networked world is to court irrelevance ... Whether we ourselves blog, vlog, tweet, or don't, our classrooms convene a generation of born-digital students." The general discussion is ongoing. Wouldn't it be great to try this for Exemplaria, postmedieval, SAC, JMEMS ... ?
More on Italy adventures soon.
This is extraordinary stuff, Jeffrey. Thanks for posting it. I've not quite understood yet the opposition to peer review, or blind review, or the various other traditional systems of review, although I'm beginning to understand the arguments that they tend towards the antidemocratic and the service of an old boys' network (whatever the age or gender of the boys). But I also think that the minimal comments from reviewers (who, after all, have only so much time to volunteer) are probably just not enough most of the time. An open review of this sort would provide the kind of mass expertise that could go a long way towards producing not only more democratic forms of scholarship but also BETTER scholarship.
I'm a BIT disappointed that the essays so considered are themselves concerned with material that's so 'of the now.' I suppose it's a natural fit, but I look forward to seeing this done with, say, paleography, numismatics, or whatever you believe hoary scholarship to be taking place.
Welcome back. We too encountered the East Coast storm in our flight. It was terrifying.
We're going to do something similar to this in the "Becoming-Media" issue of "postmedieval" being co-edited by Jen Boyle and Martin Foys in 2012. I can't say more about it yet except to say that this particular issue of the Shakespeare Quarterly *inspired* their idea. Stay tuned! Of course, I think what SQ did is simply brilliant [if at times, I assume, exhausting to read/take in all at once?].
Thanks so much for putting this up, Jeffrey; we're very excited about this issue and hope to get a lot of responses to it.
Jeff, thanks so much for the thoughtful digest. For folks (such as Eileen) interested in testing this ground in similar ways, I'd be happy to share the insights gleaned from our experience at SQ, if that's useful.
Kathy, we'd love to feature your reflections on the SQ open peer review process here at ITM. Would you consider doing a guest post?
Sure, Jeff -- chat offblog?
Something to add, after reading Jennifer Howard's article in the CHE today about this experiment: none of it could have happened without the expertise and support of MediaCommons and Kathleen Fitzpatrick. Her experiment with Planned Obsolescence was a model for us and Chapter One of that study (on the history and future of peer review) is essential reading for anyone considering undertaking such an experiment.


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/employmentandlabourmarket/peopleinwork/employmentandemployeetypes/bulletins/uklabourmarket/march2019
Labour market overview, UK
Labour market overview, UK: March 2019
Estimates of employment, unemployment, economic inactivity and other employment-related statistics for the UK.
Email Richard Clegg
Other pages in this release
Main points for November 2018 to January 2019
Measuring the data
Articles about the labour market
1. Other pages in this release
Commentary on topics covered in the previous Labour market statistics bulletin is now split into four separate bulletins. This is part of our ongoing work to improve bulletins. Other commentary from the latest labour market data can be found on the following pages:
Employment in the UK
Average weekly earnings in Great Britain
2. Main points for November 2018 to January 2019
The UK employment rate was estimated at 76.1%, higher than for a year earlier (75.3%) and the highest figure on record.
The UK unemployment rate was estimated at 3.9%; it has not been lower since November 1974 to January 1975.
The UK economic inactivity rate was estimated at 20.7%, lower than for a year earlier (21.2%) and the lowest figure on record.
Excluding bonuses, average weekly earnings for employees in Great Britain were estimated to have increased by 3.4%, before adjusting for inflation, and by 1.4%, after adjusting for inflation, compared with a year earlier.
Including bonuses, average weekly earnings for employees in Great Britain were estimated to have increased by 3.4%, before adjusting for inflation, and by 1.5%, after adjusting for inflation, compared with a year earlier.
The data in this bulletin come from surveys of households and businesses. It is not possible to survey every household and business each month, so these statistics are estimates based on samples.
Figure 1: Overall employment rate reaches new record high of 76.1%
UK employment rates (aged 16 to 64 years), seasonally adjusted, January to March 1971 to November 2018 to January 2019
Source: Office for National Statistics – Labour Force Survey
Employment measures the number of people aged 16 years and over in paid work. The employment rate is the proportion of people aged from 16 to 64 years who are in paid work.
Estimated employment rates for both men and women have been generally increasing since early 2012. For November 2018 to January 2019, the employment rate:
for all people was estimated at 76.1%, the highest since comparable records began in 1971
for men was estimated at 80.5%; it has not been higher since December 1990 to February 1991
for women was estimated at 71.8%, the highest since comparable records began in 1971
The increase in the employment rate for women over the last few years has been due partly to changes to the State Pension age for women, resulting in fewer women retiring between the ages of 60 and 65 years.
Estimates for November 2018 to January 2019 show 32.71 million people aged 16 years and over in employment, 473,000 more than for a year earlier. This estimated annual increase of 473,000 was due mainly to more people working full-time (up 424,000 on the year to reach 24.12 million). Part-time working also contributed with an increase of 49,000 on the year to reach 8.60 million.
Figure 2: Unemployment rates have been generally falling for the last five years
UK unemployment rates (aged 16 years and over), seasonally adjusted, January to March 1971 to November 2018 to January 2019
Unemployment measures people without a job who have been actively seeking work within the last four weeks and are available to start work within the next two weeks. The unemployment rate is the proportion of all employed and unemployed people (not the proportion of the total population) who are unemployed.
The unemployment rates for men and women aged 16 years and over have been generally falling since late 2013.
For November 2018 to January 2019, the unemployment rate:
for everyone aged 16 years and over was estimated at 3.9%; it has not been lower since November 1974 to January 1975
for men was estimated at 4.0%; it has not been lower since April to June 1975
for women was estimated at 3.8%, the lowest since comparable records began in 1971
For November 2018 to January 2019 an estimated 1.34 million people were unemployed, 112,000 fewer than for a year earlier. There have not been fewer unemployed people in the UK since October to December 1975.
Economic inactivity
Figure 3: Economic inactivity for women has been generally falling since records began in 1971
UK economic inactivity rates (aged 16 to 64 years), seasonally adjusted, January to March 1971 to November 2018 to January 2019
Economic inactivity measures people without a job but who are not classed as unemployed because they have not been actively seeking work within the last four weeks and/or they are unable to start work within the next two weeks. Our headline measure of economic inactivity is for those aged from 16 to 64 years.
Since comparable records began in 1971, the economic inactivity rate for all people aged from 16 to 64 years has been generally falling (although it increased during economic downturns), due to a gradual fall in the economic inactivity rate for women.
For people aged from 16 to 64 years, for November 2018 to January 2019:
the economic inactivity rate for all people was estimated at 20.7%, the lowest figure since comparable records began in 1971
the inactivity rate for men was estimated at 16.0%; it has not been lower since May to July 2003
the inactivity rate for women was estimated at 25.3%, the lowest figure since comparable records began in 1971
Estimates for November 2018 to January 2019 showed 8.55 million people aged from 16 to 64 years not in the labour force (economically inactive), 194,000 fewer than for a year earlier and the lowest since January to March 1993. Of these, 3.29 million were men (116,000 fewer than for a year earlier) and 5.26 million were women (78,000 fewer than for a year earlier).
Figure 4: Pay for employees (including bonuses) increased by 1.5% on the year when adjusted for inflation
Great Britain average weekly earnings annual growth rates, seasonally adjusted, January to March 2001 to November 2018 to January 2019
Source: Office for National Statistics – Monthly Wages and Salaries Survey
The earnings estimates are not just a measure of pay rises as they also reflect changes in the number of paid hours worked and changes in the structure of the workforce; for example, more high-paid jobs would have an upward effect on earnings growth rates.
Earnings in real terms (that is, adjusted for inflation) is calculated as nominal earnings (that is, not adjusted for inflation), deflated by the Consumer Prices Index including owner occupiers' housing costs (CPIH).
Between November 2017 to January 2018 and November 2018 to January 2019, for employees in Great Britain:
regular pay was estimated to have increased by 3.4% in nominal terms and by 1.4% in real terms
total pay was estimated to have increased by 3.4% in nominal terms and by 1.5% in real terms
Figure 5: The number of vacancies in the UK has been generally increasing since 2012
Number of vacancies in the UK, seasonally adjusted, April to June 2001 to December 2018 to February 2019
Source: Office for National Statistics – Vacancy Survey
The estimated number of vacancies in the UK fell sharply during the recession of 2008 to 2009 but has increased steadily since 2012. For December 2018 to February 2019 there were an estimated 854,000 vacancies in the UK, 39,000 more than a year earlier.
The Bank of England was granted exceptional pre-release access to the data in this bulletin at 9:30am on Monday 18 March 2019 so that it was available for the Monetary Policy Committee meeting held on that day. Correspondence between ourselves and the Bank of England is available.
Summary of labour market statistics
Dataset A01 | Released 19 March 2019
Estimates of employment, unemployment and other employment-related statistics for the UK.
Employment, unemployment and economic inactivity
Dataset A02 SA | Released 19 March 2019
Estimates of UK employment, unemployment and inactivity for people aged 16 years and over and people aged from 16 to 64 years based on the Labour Force Survey.
Dataset EARN01 | Released 19 March 2019
Estimates of Great Britain earnings growth based on the Monthly Wages and Salaries Survey.
Vacancies by industry
Dataset VACS02 | Released 19 March 2019
Monthly estimates on the number of UK job vacancies for each industry based on a survey of businesses.
Table 1: Summary of UK employment estimates for November 2018 to January 2019, seasonally adjusted
Estimate (seasonally adjusted)
Sampling variability of estimate¹
Change on quarter
Sampling variability of change on quarter¹
Change on year
Sampling variability of change on year¹
Employment (000s, aged 16 years and over ) 32,714 ± 175 222 ± 149 473 ± 234
Employment rate (aged 16 to 64 years) 76.1% ± 0.4 0.4 ± 0.3 0.8 ± 0.5
Unemployment (000s, aged 16 years and over) 1,338 ± 69 -35 ± 76 -112 ± 96
Unemployment rate (aged 16 years and over) 3.9% ± 0.2 -0.1 ± 0.2 -0.4 ± 0.3
Economically inactive (000s, aged 16 to 64 years) 8,549 ± 154 -117 ± 133 -194 ± 205
Economic inactivity rate (aged 16 to 64 years) 20.7% ± 0.4 -0.3 ± 0.3 -0.5 ± 0.5
Source: Office for National Statistics - Labour Force Survey
The sampling variability estimates are for 95% confidence intervals and are calculated on data that are not seasonally adjusted. Back to table
.xlsx .csv
Table 2: Summary of employee earnings, Great Britain, November 2018 to January 2019, seasonally adjusted
Annual growth rate (estimate)
Sampling variability
of growth rate¹
Total pay (nominal) 3.4 ± 0.5
Total pay (real) 1.5
Regular pay (nominal) 3.4 ± 0.5
Regular pay (real) 1.4
Source: Office for National Statistics - Monthly Wages and Salaries Survey
The sampling variability estimates are for 95% confidence intervals (where we are 95% certain the true value lies within the specified range) and are calculated on not seasonally adjusted data for single month growth rates. It is not possible to calculate confidence intervals for growth rates in real terms. Back to table
Employment measures the number of people in paid work and differs from the number of jobs because some people have more than one job. The employment rate is the proportion of people aged from 16 to 64 years who are in paid work.
Unemployment measures people without a job who have been actively seeking work within the last four weeks and are available to start work within the next two weeks. The unemployment rate is not the proportion of the total population who are unemployed. It is the proportion of the economically active population (those in work plus those seeking and available to work) who are unemployed.
People not in the labour force (also known as economically inactive) are not in employment but do not meet the internationally accepted definition of unemployment because they have not been seeking work within the last four weeks and/or they are unable to start work in the next two weeks. The economic inactivity rate is the proportion of people aged from 16 to 64 years who are not in the labour force.
Average weekly earnings measures money paid by employers to employees in Great Britain before tax and other deductions from pay. The estimates are not just a measure of pay rises as they also reflect, for example, changes in the overall structure of the workforce. More high-paid jobs in the economy would have an upward effect on the earnings growth rate.
Vacancies are defined as positions for which employers are actively seeking recruits from outside their business or organisation. The estimates are based on the Vacancy Survey – a survey of businesses designed to provide estimates of the stock of vacancies across the economy, excluding agriculture, forestry and fishing (a small sector for which the collection of estimates would not be practical).
A more detailed Glossary is available.
6. Measuring the data
The employment, unemployment and economic inactivity estimates rely on data collected from the Labour Force Survey (a survey run by field interviewers with people across the UK every month).
The Labour Force Survey performance and quality monitoring reports provide data on response rates and other quality-related issues for the Labour Force Survey (LFS), including breakdowns of response by LFS wave, region and by question-specific response issues.
The average weekly earnings and vacancies estimates rely on data collected from surveys of employers.
The following Quality and Methodology Information (QMI) reports pull together important qualitative information on the various dimensions of data quality, as well as providing a summary of the methods used to compile the output:
Labour Force Survey Quality and Methodology Information
Average weekly earnings (AWE) Quality and Methodology Information
Vacancy Survey Quality and Methodology Information
7. Strengths and limitations
Accuracy of the statistics: estimating and reporting uncertainty
The figures in this bulletin come from surveys, which gather information from a sample rather than from the whole population. The sample is designed to be as accurate as possible given practical limitations such as time and cost constraints. Results from sample surveys are always estimates, not precise figures. This can have an impact on how changes in the estimates should be interpreted, especially for short-term comparisons.
As the number of people available in the sample gets smaller, the variability of the estimates that we can make from that sample size gets larger. Estimates for small groups (for example, unemployed people aged from 16 to 17 years), which are based on quite small subsets of the Labour Force Survey sample, are less reliable and tend to be more volatile than for larger aggregated groups (for example, the total number of unemployed people).
In general, changes in the numbers (and especially the rates) reported in this bulletin between three-month periods are small, and are not usually greater than the level that can be explained by sampling variability. Short-term movements in reported rates should be considered alongside longer-term patterns in the series and corresponding movements in other sources to give a fuller picture.
Further information is available in A guide to labour market statistics.
Where to find data about uncertainty and reliability
Dataset A11 shows sampling variabilities for estimates derived from the Labour Force Survey.
Sampling variability information for average weekly earnings growth rates is available from the "Sampling Variability" worksheets within datasets EARN01 and EARN03.
The sampling variability of the three-month average vacancies level is around plus or minus 1.5% of that level.
Information on revisions is available in the labour market statistics revisions policy.
8. Articles about the labour market
International immigration and the labour market
Bulletin | Released 12 April 2017
Article | Released 7 February 2018
Sickness absence in the labour market
Article | Released 30 July 2018
The latest figures for 2017 show that the average number of sickness absence days that UK workers take has almost halved since 1993.
People who have never worked
Article | Released 28 February 2019
Analysis of the number of people who have never done paid work, their reasons for not working and some of their personal characteristics.
9. You might also be interested in
Labour market economic commentary
Article | Released 19 March 2019
Additional economic analysis of the latest UK labour market headline statistics and long-term trends.
Regional labour market statistics
Bulletin | Released 19 March 2019
Regional breakdowns of changes in UK employment, unemployment and economic inactivity.
Young people not in education, employment or training (NEET)
Bulletin | Released 28 February 2019
Estimates of people in the UK aged 16 to 24 years who are not in education, employment or training.
Working and workless households in the UK
Bulletin | Released 6 March 2019
The economic status of households in the UK and the people living in them, in households where at least one person is aged 16 to 64 years.
Richard Clegg
labour.market@ons.gov.uk


Berti or Bertang Lhakhang is located 45 kms from Zhemgang main town, on the road to Tingtibi and Gelephu. The temple and the village can be seen from the Zhemgang-Gelephu highway that winds along the Mangdechu river, about 3 kilometers before Tingtibi town. A 5 km feeder road from Tingtibi town leads to Berti village. The village is on a gradual slope and the temple is constructed in the heart of the village and down below the village is the Mangdechu river.
Berti temple or Bertang lhakhang was constructed in 1990 by Guthuwa from Berti (he passed away in November, 2016). Shamba (a 63-year-old man), the caretaker since the initial construction of the temple, said that the owner wanted to a build a temple in Berti because the village had no temple to conduct religious and other social activities. Secondly, he wanted to build a temple in memory of his father-in-law who had passed away. Therefore, Guthuwa funded the construction and the community contributed their labour in the construction of the temple. Shamba said it took two years to complete.
Originally, the Berti community once lived at Chabang village, a one-day walk from the present village towards the north. Berti was used for cultivation and as a pasture land in the past. In the 1920s and 1930s, some villagers from Chabang started to settle at Berti because people could easily reach the dzongkhag administration for official work and other personal activities. It was also easier for them to interact with people from nearby villages. Gradually, the Chabang villagers relocated to Berti. At present Chabang village looks bare and desolate, except for the Chabang Temple.
Initially, the temple was constructed on a 10 decimal area, but the community started growing and the space became a challenge, especially during the rituals and gatherings. The founder made an additional donation of 30 decimal land to the community for the expansion and renovation of the temple. In the spring of 2017, the temple was being renovated with the help of the villagers and financial assistance from the government.
Berti temple is a one-storey building in traditional Bhutanese architecture with extensive woodwork, mud and stones. The community contributed the fund to install the statues and the wall paintings in the temple.
The main relic inside the temple is the Buddha Shakyamuni donated by RinzinWangdi (Shamba's younger brother). On the left side of the Buddha, statues include Rig Sum Gonpo (three Buddhist Protectors), Chenrezig (Avalokiteshvara), Chukchizhay (11-faced Avolokitesvara) (donated by Rakpa), Jampelyang (Manjushri, the god of wisdom) and Chagna Dorje (Vajrapani). On the right side of the Buddha is Guru Rinpoche. Namgyel from Berti donated the statue of Dorje Sempa (Vajrasattva) and the Berti community presented the statue of Zhabdrung Ngawang Namgyal.
The walls of the temple were decorated by the painter and carver Dorji Tshering who came from Kurtoe (Lhuntse). On the request of the Berti temple founder Guthuwa, Dorji Tshering made small "bas reliefs" of Avalokiteshvara, the bodhisattva of compassion with eleven faces (chugchizhay) on two walls of the temple. This is a really unique composition.
Berti Lhakhang does not organize big annual rituals or social events, only monthly rituals on auspicious days of the months are performed for the well-being of the community. From the Berti community, one or two households take the responsibility to conduct a one-day event on rotation. Lama Khando, a follower of Namkhai Ningpo Rinpoche of the Nyingma tradition and the gomchens (lay-practitioners) perform the rituals.
On the 10th day of the 2nd Bhutanese month, a one-day ritual offering to Guru Rinpoche is conducted, and the people of Kheng call the offering Preula Chodpa. Tshering Wangmo and Ap Dorji sponsor the one day Tshechu prayer in the temple.
On the10th day of the 3rd Bhutanese month, Pelzom and Nyontela coordinate the ritual on the Zhabdrung Kuchoe (the death anniversary of Zhabdrung Ngawang Namygal).
Damcho and Lekey Wangmo sponsor the ritual on Duechen Nga Zom (the Buddha's parinirvana) on the 15th day of the 4th Bhutanese month.
On the 10th day of the 5th Bhutanese month, Shamba and his family coordinate the Tshechu prayer on Guru's Thrungkar Duechen (the birth anniversary of Guru Rinpoche).
On the 4th day of the 6th Bhutanese month, Karchung and Wangzom organize the ritual on Drukpa Tshe Zhi (the first sermon of the Buddha).
On the10th or 15thday of the 8th Bhutanese month, Dorji Lhamo and Chungmo sponsor a one-day liturgy.
Rinzin Wangdi and Chungki sponsor a one-day ritual offerings on Lhabab Duechen (the descending day of Lord Buddha), which falls on the 22nd day of the 9th Bhutanese month.
And finally on the 10th day of the 10thBhutanese month, Pema Zangmo sponsors the Trelda Tshechu prayer.
Sangay Thinley, Lecturer, College of Language Culture Studies, Taktse, Trongsa, Royal University of Bhutan, 2017.


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He-Man commercials in German and Italian
Posted on May 14, 2016 January 7, 2019 by Adam
I've got a lot of affection for the television commercials produced for Masters of the Universe toyline. From the 1982 to 1985, they all had the primordial chant in the background – "He-Man, He-Man!" The tone changed somewhat in 1986, when a futuristic synth score replaced the caveman chant, but even then they were great. The commercials always had great dioramas and were a blueprint for a thousand sandbox adventures.
Unfortunately, it's hard to know how many ads were produced. They pop up on YouTube as they are found, but there is no definitive list.
Recently I was delighted to find several commercials in German and Italian that I had never seen before. What excited me the most was seeing a commercial that features Battle Ram, Battle Cat and Wind Raider. This is the first time I've seen a MOTU commercial where those vehicles take center stage. I'm sure many of you have seen some of these before, but most of them are new to me.
For now I'm featuring only the foreign language commercials for which I have seen no English language equivalent:
Mark & Rebecca Taylor on the origins of He-Man
Posted on May 9, 2016 January 10, 2019 by Adam
Mark Taylor is the designer behind so many beloved icons in the He-Man universe: He-Man, Skeletor, Man-At-Arms, Teela, Stratos, Beast Man, Mer-Man, Zodac, Castle Grayskull, Battle Cat, Man-E-Faces, Ram Man, and even an early version of Prince Adam. Mark and his wife Rebecca were gracious enough to answer some of my questions about the origins of these characters, and the process of bringing them to life.
Battle Ram: Thank you both so much for agreeing to answer my questions. I recently interviewed Ted Mayer and Rudy Obrero. It's a thrill and an honor to also be able to interview you now!
Mark: Adam, thank you for your interest, both Ted and Rudy are my friends as well as excellent designers. It was a pleasure to work with them on He-Man. I do not call the brand MOTU because that was just a Mattel marketing and management concept. "Masters of the Universe" also helped them separate it from a potential lawsuit with the Conan property owners. It also was part of their effort to remove the concept from the original creator and inventor, me.
BR: You were originally hired by Mattel to work on packaging. How did you come to be the designer for He-Man?
Mark: At the age of eleven I was a compulsive reader and drawer, I love story telling and adventure, influenced by Hal Foster's beautiful strip and Burroughs and Howard's books. I started telling my own heroic story.
I went to Art Center, Cal State and worked for the US Navy (Combat Illustrator). Then through a friend I found out there was an opening at Mattel in Visual Development group. They were a very talented "bullpen" who were responsible for the appearance of the product which included packaging but also the products' labels, color, details and early engineering drawings. This was a perfect fit for me, and I was promptly assigned to work on Barbie product, which was a honor because Barbie has always been Mattel's cash cow.
Mark Taylor in his early Mattel days. Image courtesy of Ted Mayer
"Death of Mark Taylor From Night Visitation." Artwork by Colin Bailey, January 23, 1981. Given to Mark when he was working on his "dark project" (He-Man). Image courtesy of Rebecca Salari Taylor.
BR: He-Man and Skeletor seem very primordial and archetypal to me. He-Man is the embodiment of life and vitality; Skeletor is the embodiment of death and decay. When you were designing these characters, was any of that running through your head?
Mark: He-Man's original name was Torak, Hero of Prehistory. He was the defender of the weak and righteous and foe of bullies and villains. This powerful hero needed a worthy adversary who embodied evil and sorcery on every level.
Torak, by Mark Taylor. Image source: The Power and the Honor Foundation, via the Toy Masters documentary sneak preview.
Skeletor was influenced by many literary sources but visually by a carnival scare ride with a skeleton like figure that dropped down and rattled (turned out to be a real mummified outlaw); also a lot of Mexican Day of the Dead art and sculpting. Skeletor had to be powerful in his own right and believe completely in his cause as much as Torak (He-Man).
The battle was set, a righteous hero mounted on a giant Battle Cat verses a nefarious villain imbued with mystical evil powers. The clash of arms could be heard to the ends of the earth.
The Sunbird Legacy cover art by Earl Norem
BR: So He-Man originated with your Torak character, which I believe you had been working on since the 1950s. Did Skeletor originate from that same time?
Mark: Absolutely. Skeletor evolved simultaneously with Torak, it had to be this way. They were the yin and yang, the reason for being, opposites to battle forever.
BR: As far as I can tell, Stratos was originally supposed to be an evil warrior (correct me if I'm wrong!), but then he was released as a heroic warrior. Were there any other characters who ended up switching sides?
Mark: Yes many, the early figures that switched sides were, Beast Man, Teela, Stratos, Man-E-Faces and Ram Man. It was a money thing, we had to release the figures, vehicles, playsets and accessories in waves to pay for the tooling and advertising. Mattel did not really believe in the line until after Castle Grayskull was a big hit. Then it was just a matter of corporate greed as to how much we could jam down the public's throat. I left to work on TMNT.
BR: Can you talk about your working relationship with Ted Mayer on the Masters of the Universe toy line?
Mark: Ted is an industrial designer, I am a designer/illustrator. I sketched out the line but needed help with the vehicles. I requested Ted and he did a great job. It was important that the figure controlling the vehicle be very visual, we didn't have a movie to explain and promote our product like Star Wars did.
Battle Ram concept by Ted Mayer
BR: How did you come to hire Rudy Obrero to do paintings for the packaging artwork? Can you speak a little bit about your experience working with him?
Mark: He was the only guy who could paint like Frank Frazetta, he was great to work with. Always came back with more and better than I expected. He would do great stuff from very little reference material. We were turning out stuff like crazy fast. It was like we were joined at the imagination.
Battle Cat box art, by Rudy Obrero
BR: Mattel took quite a risk in producing your designs that were not based on any previous intellectual property. It was a risk that obviously paid off. Do you think toy companies today are more hesitant to take those kinds of risks?
Mark: Mattel took no chances at first. Ray Wagner, President of Mattel at that time, laid his reputation on the line and went against everyone else to give Masters a lift off. We were forced to do illegal child testing early on (another lame boys toy was supposed to be tested, but the Preliminary guys weren't ready). We snuck in thanks to Angie DiMicco. I was there with He-Man, Teela, Beast Man, Battle Cat and Skeletor. The kids tried to steal the prototypes after the testing. We had a hit.
BR: A lot of characters went through color changes as they went through development (either to themselves or their costumes or both). Examples include Beast Man, Mer-Man, Teela and Ram Man. What was driving those changes?
Mark: Sorry to admit it, but cost. Later when the brand was making billions no one cared but in the beginning engineering pinched every penny, especially in paint masks. Also there was a conscious effort to avoid anything that resembled Star Wars or Conan in any way.
BR: Mer-Man went through quite a few changes from B-sheet to final toy. What was behind the changes to his design, particularly the changes to his face?
Mark: Mer-Man tested the lowest. Tony Guerrero the great sculptor and I chased the negative child test comments until we finally realized the marketeers were just messing with us and then we went with what we had. Mer-Man was the weakest but people who like him really like him (I based him on Bernie Wrightson's Swamp Thing).
Swamp Thing, by Bernie Wrightson
BR: There is a character you designed who fans refer to now as Demo-Man. Do you see him as an early incarnation of Skeletor or Beast Man?
Mark: No, he was a separate concept that I was too busy to exploit, I was working until the sun came up and the Mattel building was empty. I was pretty much running on fumes. I would have loved to take him further but like so many concepts corporate profit came first.
Demo-Man, by Mark Taylor
BR: You designed the armor and helmet for Battle Cat as a way to reuse the Big Jim tiger. Can you talk a little bit about that design? The helmet design is quite striking, like some mythical beast.
Mark: I had used the Cat on the Tarzan line, I liked the sculpt but the 5.30″ He Man figures wouldn't ride on him and I wanted him to ride on a huge cat. Nobody messes with a guy riding a huge armored cat! I had seen a guy ride a regular tiger in the circus and wow!
The head armor came from my childhood sketches and had to be engineered for costs and molding ease or the marketeers would lose it (thanks Ted).
Battle Cat, by Mark Taylor
BR: The colors green and orange seem to be pretty prominent on those early toys (Battle Cat, Man-At-Arms, Wind Raider). Is there a story behind that color scheme?
Mark: Not just a story but a lot of work and fighting, those colors were not very common in action toys. They pop but looked somewhat alien. I definitely did not want Battle Cat to look like a real tiger, he was much more that but they sold out on him in the animation and later toys after I left. He or He-Man were NEVER supposed to be silly in my imagination.
He-Man and Battle Cat box art by Rudy Obrero
BR: Did you have an origin story in mind when you designed Man-E-Faces? How about Ram Man?
Mark: Yes, but no one was interested, they wanted to ship it out immediately to animators and movie producers, you know "professionals". I designed him to have a different and interesting feature besides a twist waist. All the answers to my original story are in clues in Castle Grayskull, where they should be like a puzzle.
BR: Teela and the Sorceress/Goddess (the one with the snake armor) were originally separate characters. Whose decision was it to combine them into a single action figure? How did you feel about that? Did you intend the sorceress character to be a hero or a villain?
Mark: She was actually supposed to be a changeling but the comic book guys had a hard time with that. Also, the head of girls toys wanted to rip her off for Princess of Power (because now the line was very hot!). She was intended to be like a spy and play both sides with some magic but the "professionals" felt that was too complex (I guess they don't get Game of Thrones either).
BR: In the first couple of years of the toyline, all of the vehicles seem to be geared toward the good guys. Why was that?
Mark: Don't forget Skeletor used MAGIC but He-Man never did. Skeletor could animate anything and go anywhere. In my mind that was one of the main differences between the main characters and their followers.
BR: The late Tony Guerrero sculpted a lot of the early He-Man figures. Can you talk a little bit about what it was like to work with him?
Mark: Tony was a great artist and a really nice man and it was my honor to work with him. I also worked on another project, TMNT with a nice and super talented guy named Scott Hensey. Working with both of these sculptors allowed me to break custom by adding a step to the development process. On the He-Man line we did a looks like beauty sculpt, non articulated from my "B" sheet (design sketch) for testing and sales and until we got the first shots from China. This was Tony's idea and without this extra step, the confidence in this "weird" concept wouldn't have happened. I repeated this process with the Turtles.
Early He-Man sculpture by Tony Guerrero. Image source: The Power and the Honor Foundation
BR: These toys were a surprise, runaway success. What is it about He-Man that made it so successful, do you think?
Mark: Everybody pushes us little guys around, we secretly want to strike back at all the bullies. We need to feel like we can make things better and are willing to fight to do it. With He-Man we have the power! We have a chance. I feel that the basic concept of courage cannot be taught, it can only be shown.
BR: What did you envision for Zodac when you designed him? What were his abilities and where did he fit in to the MOTU universe?
Mark: Zodac was all about flying. He was the air wing. I was influenced by Flash Gordon and the flying Vikings.
BR: Castle Grayskull is probably the greatest playset ever made, and I understand that you sculpted most of it yourself? What was that process like? What does Castle Grayskull mean to you?
Mark: Yes I did because Tony was busy with the figures and the other sculptors kept making it too architectural. I wanted it to the castle to be organic, coming to life to tell its story. I made a wood armature and sculpted it in green clay. Ted helped with the plaster mold and vacuum forming, Rebecca did the labels. Marketing (now everyone wants in on the game) wanted it to retail for twenty nine dollars. The imaginative user applied labels themselves to offset the lack of interior walls. Toys R Us sold all they could get fifty dollars which was quite a mark up.
BR: Rebecca, I understand you worked on the stickers and cardboard inserts used in Castle Grayskull. The style ranges from regal to almost psychedelic. What did you have in mind when you were working on that project?
Rebecca: The only chance Mark had to tell the story was with the castle. He always said, "all the answers are in Castle Grayskull", which is quite a different direction that it eventually went. Once the president of Mattel Ray Wagner chose to go with it, everything moved at such a high velocity because he wanted it and no one else understood it.
Mark asked me to combine classic icons along with futuristic ones because he was going against Star Wars and after all it was a " warrior-type" premise that had to somehow be more than Conan, Tarzan etc.
Mark had sketches in ancient sketchbooks which I took and redesigned stickers from. I did the designing, drawing, inking and coloring, that includes labels for vehicles as well as directed by and revised by Mark. Just like every label job, I was given areas that I had to fit. Because everything was going so fast, sometimes those areas would change shape and would have to be redrawn on the fly in those cases Mark was redrawing my stuff because he was hands on with the castle. Because we've worked together for decades, we speak in brain waves.
I think the reason they are perceived as "psychedelic" is because Mark said, "We're already going somewhere no one else has so don't render the labels in the normal hard edged graphic way. I used Dr. Martin's Dyes and let the colors run and wash into the line art. I think it went through because it was so fast and still no one really "got it".
It wasn't until after it looked like it might be "big" did people start making decisions to get connected to the project or shall I say get their "scent" on it if you know what I mean. The innovation on those labels happened because Mark was approving and controlling this project and I knew what he wanted. I've done many labels for other toy companies and no one has ever asked me for "something really different" and yet these were a big hit.
I was always disappointed that the Mylar printed moat that surrounded the castle was costed out.
Printed Mark Taylor moat reproduction from the Power & Honor Foundation
BR: Was Errol McCarthy responsible for creating the cross sell artwork on the back of the packaging (below)?
Mark: In the beginning it was someone else and then Errol came in.
BR: MOTU differs a bit from traditional sword and sorcery in that it includes laser guns and flying vehicles. What was behind the inclusion of science fiction with barbarian elements?
Mark: I never wanted it to be a traditional. If I was still working on it I probably would have added zombies, aliens and time travel. Why not?
BR: Often in the process from b-sheet to prototype to finished toy, there are a lot design changes. Which finished toy were you most pleased with? Which one do you feel didn't live up to its potential?
Mark: Castle Grayskull was the best and most innovative, Mer-Man left me a little unsatisfied.
BR: In a nutshell, what is your vision for Eternia? What kind of place is it?
Mark: Eternia is a stupid name to me (not my name). I imagined that world be like a nightmare that you can modify as you go. ALWAYS about hope.
BR: In public appearances you often talk about Joseph Campbell and the hero's journey. What has been your personal hero's journey?
Mark: My wife Rebecca epitomizes attaining a fulfilling goal, she is my Nirvana. My life is filled with beauty and love, I wish everyone could be as lucky as I.
BR: Are you both still actively involved in creating artwork? What kinds of projects are you passionate about now?
Mark: I am writing a the original prequel to He-Man based on the original Torak. Also an autobiography about my life in the toy biz. I am fascinated by computer 3D design but it is very non-intuitive for me. I still love to read and watch movies, I wish I had the resources to make one.
Rebecca: I work on digital art because it is so easy to create my style of graphic art which is strongly based on shapes and color. It is so exciting to me to be able to have such a magnificent palette and to be able to experiment with unlimited color combinations with a couple of keystrokes.
Many thanks to Mark and Rebecca for patiently answering all of my questions. Hopefully we can look forward to a book or two from Mark in the future!
Additional interviews and appearances by Mark and Rebecca:
https://www.youtube.com/watch?v=mYYnq_NfQGM
10 Things We Learned From Mark Taylor, the Designer of He-Man – The Robot's Voice
Q&A with Mark Taylor – Zetaboards
Point Dread & Talon Fighter (1983)
Posted on May 1, 2016 January 6, 2019 by Adam
Point Dread and the Talon Fighter somehow completely slipped off my radar as a kid. I probably saw it represented in cross sell art form at some point in my childhood, but I don't think it ever made an impression. And that's a shame because it's one of the coolest items ever produced for the Masters of the Universe toyline. It's certainly one of my favorites now.
Point Dread and the Talon fighter was a rather unique item, in that it combined a small playset with a vehicle as well as a story book with record.
The commercial (above) shows a prototype that seems to have less overspray on both the vehicle and the playset than the mass produced toys did. The cross sell art seems based on that prototype:
Point Dread & Talon Fighter cross sell art
From my interview with Mattel designer Ted Mayer, I learned that the idea for the Talon Fighter originated with a sketch for the Eternia playset. There are a couple of those in existence, and both seem to feature a flying vehicle that bears some resemblance to the final Talon Fighter design, although the aircraft in the second image also resembles the Blasterhawk. The second image is dated February 5, 1985, so it would not have been a source used for the Talon Fighter. I would guess that the first image (called Mount Eternia) dates from some time in 1982.
Mount Eternia, image courtesy of Ted Mayer
Another version of Eternia by Ted Mayer
Mount Eternia's flying vehicle – closer view
There is also some rough similarity to the 1983 Big Jim Space Spy Vehicle (hat tip to Jukka for pointing this out), which also featured the radar dish on the top, a handle in the back, stubby wings, and a similar (but not identical) overall profile:
Point Dread seems to have been conceived at one point as the home of Skeletor and his Evil Warriors. From the Filmation Series Guide:
Source: He-Man.org
"Point Dread is a craggy peak emerging from the Eternian Ocean. It is an extinct volcano with a tunnel leading down to a fantastic ruined, Atlantis-like city hidden beneath the ocean floor. Inside Point Dread, Skeletor keeps all the treasure he has plundered from a thousand worlds. There are also mines and construction sites waiting for the slaves Skeletor plans to take once he has seized control of Eternia.
"But the heart of Point Dread is the great council chamber where Skeletor summons the sinister Masters of the Universe. Here Skeletor sits on a raised platform above the round table where are gathered the likes of…"
Notice that at the evil warriors are referred to as the "sinister Masters of the Universe".
The same guide describes Talon Fighter as an agile air vehicle that only He-Man can control, and says that it is frequently perched atop Castle Grayskull. The top of what we would refer to as the Point Dread playset is also shown – perhaps at the time the rocky base for the Talon fighter was not yet named. It may have taken on the name of Point Dread after Skeletor's home base was identified as Snake Mountain.
Image courtesy of Jukka Issakainen
The 1985 UK Annual again describes Point Dread as the lair of Skeletor (images courtesy of Jukka Issakainen):
Production Toy
Let's take a look at the actual toy and its packaging and accessories:
Roomy cockpit holds two figures
Gizmo not normally included!
Perched majestically atop Castle Grayskull
The Talon Fighter seems to be based on something like a hawk or an eagle. It has a rather wide body, stubby, downturned wings, and curved talon feet. There is room for two figures inside the roomy cockpit, and it features a handle on the back for easy zooming around the house.
Point Dread (tag line: frontier outpost) is a simple two-piece shell with a window and rather small stairs leading upward on the top piece. The top piece can clip to the tallest turret on Castle Grayskull. Inside the lower half is a cardboard control panel.
The box art is rather magnificent, in my opinion. The artist is unknown, but they seem to have been trying to imitate the style of Rudy Obrero. The artwork features Skeletor, Tri-Klops and Mer-Man launching an assault on Point Dread. He-Man and Teela are inside the Talon Fighter, and Man-At-Arms seems ready to take on the villains from the ground while his friends attack them from the air.
The comic book included with the playset is one of my very favorites. It's two stories in one book – The Power of Point Dread and Danger at Castle Grayskull. The artwork is by the incomparable Alfredo Alcala, and features some fun and colorful stories that introduce us to not only PDTF, but new characters like Man-E-Faces, Trap Jaw and Tri-Klops. Zodac has a rather prominent role to play in the first story, which is a nice touch.
A record was included with the book, to help young readers read along with the story:
You can ready both stories in their entirety here and here.
Confusingly, there was a mini comic produced with essentially the same title – The Power of… Point Dread. The plot of the story is entirely different, however. It was penciled by Mark Texeira and includes some pretty exciting combat scenes:
While it's true Point Dread was at one point intended to be the home of Skeletor and his minions, the Masters of the Universe Bible, written at the end of 1982, portrayed Point Dread as it was in the mini comics released the next year:
TALON FIGHTER – this winged flying vehicle carries two passengers and is able to execute death-defying aerial acrobatics. Equipped with a special bombpack under its belly, He Man can call the fighter when it's needed. Its resting place is atop a far peak called PT. DREAD which materializes whenever the Talon Fighter comes to rest. Only He Man has the physical fortitude and strength of will to control it. The flying machine goes out of control unless He-Man's in command.
Point Dread never made an appearance in the Filmation cartoon, and the Talon Fighter was used quite rarely.
Image source: Wiki Grayskull
There was also a kit version of the Talon Fighter produced by Monogram (which was owned by Mattel at the time). It had a much more bird-like design than the toy, and a simpler yellow and red color scheme. It also has a canon mounted on top of the cockpit, rather than the radar design of the toy version. Monogram also produced versions of the Attak Trak and Roton. The Monogram Attak Trak is based off of a concept version of the Attak Trak, so I wonder if the same isn't true of the Monogram Talon Fighter.
Artwork by Larry Elmore
The above design, but with toy-accurate colors, shows up in Dangerous Games, published by Golden Books:
There was also an illustration of the Monogram Talon Fighter kit that was apparently created for advertising purposes (images via Plaid Stallions). In this version the vehicle has a gold-colored body and green cockpit windows:
R. L. Allen featured the Talon Fighter in a couple of his illustrations, which are some of my favorites:
Illustration by R.L.Allen
Illustration by R.L. Allen
Talon Fighter in Action
Øyvind Meisfjord has kindly shared some images and a video of the Talon Fighter in action:


text:
EPA union chief studies theology and prays for happier days
Hannah Northey, E&E News reporter
Greenwire: Friday, April 13, 2018
John O'Grady is the president of the American Federation of Government Employees National Council of EPA Locals 238. O'Grady
The head of EPA's largest employee union figures his boss, Administrator Scott Pruitt, has about six more months — max — at the agency's helm.
John O'Grady says Pruitt's ouster grows more likely as November midterm elections creep closer.
"Personally, I don't believe he has the support of the president," O'Grady said during a recent telephone interview from EPA's Region 5 office in Chicago. "Every time you hear something in Washington, it's usually they say the opposite of what they're thinking."
E&E SERIES
Energy and environmental newsmakers dish on politics, pet peeves and their TV addictions. Click here to read more stories in this series.
The Chicago native adds that Pruitt is "just a huge liability, and he's lost his credibility with Congress."
An EPA biochemist for 31 years, O'Grady, 65, is president of Council 238 of the American Federation of Government Employees and a familiar face on Capitol Hill and at rallies advocating for his union's 9,000 members.
He's the national spokesman for "Save the U.S. EPA," a campaign to protect workers and keep the agency intact. This week, the union joined ranks with a coalition of environmental organizations as part of the "Boot Pruitt" campaign seeking to have the EPA chief resign or be fired (E&E News PM, April 10).
O'Grady, who is married with two grown children, once mulled going to the seminary to become a Roman Catholic priest before studying biology. He's now taking classes in theology and considering what he'll do after he retires.
He recently talked with E&E News about studying with monks, the mood inside EPA and what comes next under Pruitt:
How are folks feeling in the agency?
It's not good. I think people that are getting close to retirement are considering it. The other ones are keeping their heads down and hoping it changes. ... I don't think that's a good idea.
Have you met Scott Pruitt?
I have not. In fact, he's not met with anyone in the union. I don't think this particular administration cares about unions other than they'd like to destroy them. I think it was Joe Biden who said unions are the only defense keeping barbarians at the gates. I think he's right.
If Pruitt leaves, who should replace him?
I'd love to bring back [EPA's first administrator, William] Ruckelshaus, but I just read where he indicated he's 85 now, so that's too old — his words, not mine. I'd love to see him come back.
I don't care what a person's party is, but when someone comes in with an animosity toward the agency and its mission, why are they brought in other than what was alluded to in January of 2016, to deconstruct the agency?
I really believe that's what they're going to do.
What's next for EPA?
If the elections go south for Republicans in November, we might be through the worst part of it. I think they're going to come back through the 2019 budget and justify through a workload workforce rebalance that certain savings can be made by consolidating regional facilities, laboratories, etc.
Where do you see the agency after the Trump era?
I'm hoping that by the end of this administration, there's enough of the EPA to rebuild it. I think the Trump administration is going to keep going after us and we're not going to get out of the woods until we get through the elections 2 ½ years from now.
Will we see more buyouts?
I'm [hoping] there will be no buyouts this year. In fact, I think they're specifically prohibited from doing a buyout because $79 million possibly would have put us at 2,200 people at the EPA, which would have pretty much gutted it. We're down to like 14,000, and we were at a high of 18,000 in 1999. We can't afford any more people leaving the agency.
How did you end up at EPA?
I went to [Purdue University] and studied biochemistry, stayed an extra year in grad school but didn't get a degree. I worked as a technical sales rep for environmental analytical sales and spent some time as a consultant for EPA.
I started at the EPA in '84, I must have been 32. I started as an environmental scientist in the water division working on pre-treatment programs.
And you grew up in Chicago?
I grew up on the South Side, in West Pullman, went to school in Roseland. My father, John, was an engineer. He worked for the city of Chicago water department, he worked on the drinking water. My mother, Beatrice, was a homemaker.
Did you have any nicknames growing up?
I don't know why, but yes, "Rosie," as in "Sweet Rosie O'Grady." It's a schmaltzy song from the 1930s. I got it when I played football. ... I was a walk-on at Purdue, which was an act of craziness. Those guys were big.
I would have been a great pro athlete except I lacked size, speed, agility — a couple of those things.
I decided five years ago to go back and study theology, of all things. I should be graduating this May with a degree in pastoral studies. It's kind of an extensive degree, and I think I'll have post-60 credit hours by the time I graduate from the Catholic Theological Union.
What are you going to do with your degree?
Some sort of adult ed slash ministry in a parish or university setting once I finish the degree and decide to retire.
Had you ever thought of becoming a priest?
At the age of 30, I went to the seminary thinking I had a calling to be a priest. That was Saint Meinrad Archabbey in southern Indiana. It was an excellent experience. I always had an interest in scripture, theology and religion. It was a great education.
Why didn't you stay with the seminary?
When you go through that experience, you discern whether or not you have a calling. I think my interest was more in theology and the study of theology than in being an ordained minister.
I was concerned, really, that I didn't have a vocation, so I checked with people I had met at EPA and just indicated, "I'm out and looking for work," and they hired me on to EPA, I think it was April 1, 1984.
Email: hnorthey@eenews.net
Battery expert on Murkowski, lithium and the EV 'arms race'
Energywire: Monday, July 15, 2019
John Hickenlooper on climate, fracking and beer
Former FERC chair on climate: 'We're probably too late'
Energywire: Monday, June 24, 2019
Lawyer on ACE: 'This administration is gambling big'
Greenwire: Friday, June 21, 2019
This Republican sees EV switch as life-or-death choice
Thursday, July 18, 2019 — 1:28 PM
Access to scientists shrinks. Congress may change that
Rob Bishop may not retire after all
Massive coal plant to shut down
EPA: Unhealthy days in cities increase despite other gains


Bye-bye cables, hello induction. With the Powerbank Pro wireless you recharge your smartphone without a cable. Simply place your device on the contact point and the inductive energy transfer will start. To really create sparks between you and your customer, the Pro wireless also has a true luxury package available: a stylish case with rounded corners in frosted aluminium, integrated charge indicator in blue light band, USB, micro USB and Type C connection, on / off button and 10000 mAh (!) capacity. All of it in a modern, anthracite-coloured felt case.
On desktop devices we provide more downloads.
Orders are only allowed for resellers.


text:
Wladislaw Wladislawowitsch Wojewodski (; *  in Petrograd; † 20. Februar 1967 in Nowosibirsk) war ein sowjetischer Chemiker und Hochschullehrer.

Leben
Wojewodskis Vater Wladislaw Stefanowitsch Wojewodski war Dozent am Institut für Finanzwirtschaft. Er wurde während der Stalinschen Säuberungen 1937 verhaftet und am 27. Januar 1938 erschossen. Wojewodskis Mutter Berta Aronowna Wojewodskaja war ausgebildete Juristin. Durch die Verhaftung des Vaters wurde Wojewodski Sohn eines Klassenfeindes, was seinen weiteren Weg stark behinderte.

Immerhin erreichte Wojewodski 1935 seinen Mittelschulabschluss und begann ein Studium an der Leningrader Polytechnischen Institut in der ingenieurtechnischen Fakultät. Versuche, ihn von der Hochschule zu entfernen, waren erfolglos, da er aufgrund seiner hervorragenden Leistungen zu den wenigen mit einem Stalinschen Sonderstipendium gehörte. Er fertigte bei N. N. Semjonow seine Diplomarbeit Die Rolle des Wasserstoffperoxids bei der Redoxreaktion von Wasserstoff an und beendete 1940 sein Studium mit Auszeichnung.

Wojewodski wollte nun in eine Panzerschule eintreten, um dann an die Front zu gehen, aber als Klassenfeind-Sohn wurde ihm der Militärdienst im Deutsch-Sowjetischen Krieg verboten. Darauf bewarb er sich erfolglos als Aspirant an den Moskauer Hochschulen. So wurde er von N. N. Semjonows 1941 nach Kasan evakuierten Institut für Chemische Physik schließlich als Aspirant aufgenommen. 1944 wurde er mit seiner Dissertation Detaillierte Untersuchung des Mechanismus der Redoxreaktion bei der Verbrennung von Wasserstoff zum Kandidaten der Chemischen Wissenschaften promoviert. Mit N. N. Semjonows Institut konnte Wojewodski nach Moskau zurückkehren.

1946 wurde Wojewodski Dozent am Lehrstuhl für Chemische Kinetik der Lomonossow-Universität Moskau. Bei der Untersuchung verzweigter Kettenreaktionen klärte er die diffusiven und katalytischen Prozesse bei Redoxreaktionen auf. Im Hinblick auf praktische Anwendungen entwickelte er eine Theorie des Crackens von Paraffin-Kohlenwasserstoffen. 1949 veröffentlichte er zusammen mit A. B. Nalbandjan die Monografie Mechanismus der Wasserstoffoxidation und -verbrennung, die 1952 mit dem Mendelejew-Preis ausgezeichnet wurde. 1952 wurde er wieder Opfer Stalinscher Repressionen wie viele andere Chemiker, indem er als anerkannter Bourgeois im Zusammenhang mit der Resonanztheorie von Linus Pauling entlassen wurde.

Wegen seiner großen Bedeutung für Wissenschaft und Industrie wurde Wojewodski während der Tauwetter-Periode nach dem Machtantritt Chruschtschows bald wieder eingestellt. 1953 wurde er Dekan der Fakultät für Molekülphysik und technische Physik des Moskauer Instituts für Physik und Technologie. 1954 wurde er mit seiner Dissertation Freie Radikale in Gas-Kettenreaktionen zum Doktor der Chemischen Wissenschaften promoviert. 1958 wendete er die Elektronenspinresonanz an. Im gleichen Jahr wurde er Korrespondierendes Mitglied der Akademie der Wissenschaften der UdSSR (AN-SSSR). Seine Untersuchungen führte er im Institut für Chemische Kinetik und Verbrennung (NXKG) der Sibirischen Abteilung der AN-SSSR im Akademgorodok von Nowosibirsk durch, zu dessen Gründern er gehörte. Ebenso gründete er den Lehrstuhl für Physikalische Chemie, Molekülphysik und Biophysik an der Universität Nowosibirsk (NGU). Wegen der Bedeutung seiner Untersuchungen konnte er am Verbrennungssymposium in Oxford und an der Diskussion über die Stabilisierung Freier Radikale in Sheffield teilnehmen. 1961 wurde er Wissenschaftlicher Direktor des NXKG und Dekan der Naturwissenschaftlichen Fakultät der NGU. 1963 wurde er Kandidat der Kommunistischen Partei der Sowjetunion und 1964 Vollmitglied der AN-SSSR. Zu seinen bekanntesten Schülern gehören J. N. Molin und R. S. Sagdejew.

1967 starb Wojewodski an Herzinsuffizienz und wurde auf dem Nowodewitschi-Friedhof begraben. 1968 wurde ihm postum der Staatspreis der UdSSR verliehen. Zu seinen Ehren wird alle fünf Jahre abwechselnd in Moskau und Nowosibirsk die internationale Fachtagung Physik und Chemie der chemischen Elementarprozesse durchgeführt. Seinen Namen tragen eine Straße im Akademgorodok, ein internationaler Wissenschaftspreis, ein Preis für junge Wissenschaftler der Sibirischen Abteilung der Russischen Akademie der Wissenschaften und ein Stipendium für Studenten und Studentinnen der NGU.

Einzelnachweise

Chemiker (20. Jahrhundert)
Mitglied der Russischen Akademie der Wissenschaften
Träger des Staatspreises der UdSSR
Opfer des Stalinismus (Sowjetunion)
Sowjetbürger
Russe
Geboren 1917
Gestorben 1967
Mann

redpajama_set_name: RedPajamaWikipedia


text:
Der Abitau River ist ein etwa 195 km langer Fluss in Kanada.

Als Beginn des Abitau River ist der Abitau Lake in den Nordwest-Territorien definiert. Von dort aus fließt er durch stets unbewohntes Gebiet in westliche oder südwestliche Richtung. Dabei bildet er mehrere kleinere Seen, wie den Kester Lake. In der Provinz Saskatchewan mündet der Abitau River schließlich in den Tazin Lake, der sich 15 km nördlich des Athabascasees befindet.

Weblinks
 Abitau River in: Geographical names of Canada

Einzelnachweise


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text:
Ground game carries Washington State over Oregon 51-33
Luke Falk threw for 371 yards and Washington State scored six rushing touchdowns as the Cougars beat Oregon 51-33 on Saturday.
Jamal Morrow, Gerard Wicks and James Williams each ran for two touchdowns for Washington State (2-2, 1-0 Pac-12), which was coming off a bye week. Washington State defeated Oregon in double overtime last year, a game that sparked the Cougars' run to a 9-4 record.
Oregon (2-3, 0-2) has lost three straight games and held a team meeting earlier in the week to seek a turnaround.
Royce Freeman, who missed the last game with a leg injury, ran for 138 yards and three touchdowns for Oregon.
Washington State piled up 651 yards of total offense, including 280 on the ground, to 416 total yards for Oregon.
Falk completed 36 of 48 passes with one touchdown.
Oregon's Dakota Prukop completed 14 of 22 passes for 132 yards.
Washington State came in averaging 121 rushing yards per game.
Oregon: The Ducks lead the all-time series 47-40-7, but are clearly not as formidable as in recent years. Their defense looks suspect.
Washington State: The Air Raid offense also has a ground attack this year. The Cougars appear to be rebounding from an 0-2 start, and have topped 50 points for two consecutive games. WSU, which beat the Ducks 45-38 in double overtime last season, notched consecutive wins over Oregon for the first time since 2002 and 2003.
Oregon hosts No. 10 Washington
Washington State plays at No. 7 Stanford, which lost big at Washington on Friday.
Posted by Andrew Tanner at 11:32 PM
Labels: College Football, Oregon, Washington State


text:
- Surnames starting with the letter E.
George Edward Eden
Rank: Guardsman Number: 15732
Ship/Rgn/Sqn No: 02nd Bn
Name of Rgt or Ship: Grenadier Guards
Died: 07/11/14 Age: 20
How Died: Died of Wounds
Country of burial: Belgium Grave Photo: Yes
Cemetery or Memorial: Bedford House Cemetery, Zillebeke
Town Memorial: Stockport
Born during the December quarter 1894 in the Altrincham R.D. - ref: 8a/157,
the son of George Wilkinson & Jane Eden (nee Hanmer).
Baptised at Mobberley on the 4th November 1894.
1901 Census - 250 St. Paul's Road, Smethwick, Staffordshire.    Son - aged:
6 - born: Mobberley.   Head of household - George W. Eden - Married - aged:
36 - occ: Mechanical Engineer - born: Mobberley.   Also - Jane Eden - Wife
- aged: 29 - born: Cheswardine, Cheshire.   Plus 5 siblings.
1911 Census - 26 Frewland Avenue, Stockport, Cheshire.    Son - aged: 16 -
occ: Apprentice Engineer's Turner - born: Mobberley.  Head of household -
George W. Eden - Married - aged: 46 - occ: Engineer's Representative -
born: Mobberley.   Also - Jane Eden - Wife - aged: 41 - born: Cheswardine,
Shropshire.   Plus 9 siblings.
George enlisted at Stockport c1912.
John Hartley the owner of the excellent Stockport War Dead website -
www.stockport1914-1918.co.uk/ - has very generously given me permission to
use any information that he has researched for that website.  George is
commemorated on it, I do so verbatim.
"George was no longer at home as he joined the army two years before. He
had become a crack shot and held the army's shooting efficiency badge. When
War was declared in August 1914, George and his comrades were in barracks
in Chelsea and they were one of the first units to be sent overseas. He
will have taken part in the early battles of the War - at Mons, the Aisne
and the Marne, before arriving in the Ypres sector in Belgium in October.
This was the first of the four major battles that would take place around
the town during the course of the War
George was not killed outright, but died of wounds he received in action.
It is not possible to know when he was injured but he is buried close to
where the Grenadiers were in action. This suggests that it was probably the
same or previous day (otherwise he would have been evacuated to a field
hospital).
The Battalion's War Diary provides a graphic account of the days leading to
his death. In late October, George and his comrades had been in trenches at
Klein Zillebeke, just on the outskirts of the town centre. At 3am on 1
November, they were relieved and marched back a couple of miles to rest.
This only lasted for two or three hours, before they were again ordered
forward as the Germans had broken through part of the front line. They
helped to throw the enemy out and dug-in again. The Diary notes "No food
till very late, very tired and short of sleep, 10 killed, 29 wounded, 8
missing".
The next morning, the Germans attacked but were driven off by machine gun
fire with heavy losses. Intermittent attacks continued all day and the
Grenadiers were shelled by enemy artillery. There was a strong attack at
dusk with the Germans getting to within 25 yards of the British trench
before being beaten back. Casualties: 4 killed; 12 wounded and 1 missing.
The next three were relatively quiet with no enemy attacks. However,
shelling and sniper fire continued and there were deaths and injuries on
each day.
On the 6th, the Diary records "French on right driven back and line broken.
Irish Guards on immediate right also driven back. We were hard pressed and
had to refuse our right, when Irish Guards retired, our left held firm.
Household Cavalry counter attacked with great loss, stopped German advance.
Lieut. Lord Congleton's platoon, which was our only reserve, filled up
gaps. A trying and critical day. Lieut. Tufnell killed, Lieut. Dowling
wounded. 7 NCOs & men killed, 68 wounded."
The next day, there were further attempts to counter attack but these were
only partially successful. The Grenadiers were regularly shelled throughout
the day and, later, there was another German attack which was driven off.
Casualties for the day included 10 killed, 46 wounded and 3 missing."
M.I. - "His sacrifice.  Our freedom".
CWGC - Son of George W. & Jane Eden of Oriion House, Frewland Avenue,
Davenport, Stockport.
Commemorated in The Mobberley Parish Council's Booklet - "1914-2014,
Remembering the Men from Mobberley who went to War for their Country" - per
Alistair MacLeod.
Private Eden, William


We have created a 2019 ranking of the best colleges in Montana that offer Physics degrees to help you find a school that fits your needs. Each school's ranking is based on the compilation of our data from reliable government sources, student surveys, college graduate interviews, and editorial review. In addition, you can view our entire list of all 3 Physics schools located within Montana. We also provide reviews, facts, and questions and answers for schools on our site and offer you access to get valuable information from colleges and universities today.
Montana State University offers 4 Physics Degree programs. It's a large public university in a remote town. In 2015, 27 students graduated in the study area of Physics with students earning 12 Bachelor's degrees, 8 Master's degrees, 4 Doctoral degrees, and 3 Certificates degrees.
The University of Montana offers 1 Physics Degree program. It's a large public university in a small city. In 2015, 7 students graduated in the study area of Physics with students earning 7 Bachelor's degrees.
Carroll College offers 2 Physics Degree programs. It's a small private university in a remote town. In 2015, 1 students graduated in the study area of Physics with students earning 1 Bachelor's degree.
What Physics degree programs were earned in Montana?


Check out my girl Saweetie's new vertical video for her joint "B.A.N" above and make sure to grab your copy of her new EP 'High Maintenance' today. Enjoy!
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Fe - Name Meaning, What does Fe mean?
Fe as a name for girls has its root in Middle English, and the name Fe means "belief". Fe is an alternate spelling of Faith (Middle English).
Fe is pronounced similarly to Fee, Fei and Fey. Other suggested similar-sounding names are Ade, Ag, Al, Ame, Ase, Ave, Bea, Bee, Bep, Bev, Bo, Cee, Coe, Cy, De-, Dea, Dee▼, Del, Di, Doe, Ede, El, Em, Eve▲, Fan, Febe, Fern▼, Flo, Fred, GG, Gae, Gem, Hy, Ib, Io, Jae, Je-, Jen, Jey, Jo▼, KC, Lea▲, Lee▼, Mae▼, Mea, Meg, Mei, Mel, Mo, Nea, Nel, Noe, Peg, Pen, Pet, Rae▼, Rea, Ree, Rei, Rey, Rie, Rue, Rye, Su, Sue▼, Te-, Tea▼, To, Ute, Vi, Zea and Zoe▲. These names tend to be less frequently used than Fe.


Read Beyonce's touching letter to her mother, Tina Knowles.
Everything I am is Because of you! You are the first voice that ever sang to me. At every turn you push me to be better. You teach me to be true to myself and the ones I love. When I look into your eyes, I am sooo proud. Now that I'm a mother, I truly realize all the sacrifices you made for us. My love for you goes Beyond what I can say. Happy Happy Mama's Day!


text:
No. 10 UConn women's basketball team facing Xavier with renewed energy and willpower, especially on defense
Kimani Young, Overcoming Adversity, Tragedy, Offers Life Lessons For UConn Men
Review: Down-home BBQ gets upscale at Que Whiskey Kitchen in Southington
Woman in Mexican torture video in prison on weapons charge
When the bears wake up in March and April, they're lean and hungry: What you need to know
Review: At Staropolska in New Britain, huge portions of hearty authentic Polish fare, great for a cold winter night
George J. Synnott
Property Line
Greater Hartford Home Sales, Prices Rise In August
By Kenneth R. Gosselin
Home sales and prices in greater Hartford rose in August and may be a sign that the area will end up with year-over-year increases in 2018. (David Sacks / Getty Images)
Home sale prices in greater Hartford got a late summer bump in August and appear to be on a pace to register a modest year-over-year gain for the year, a new report Wednesday shows.
The median sale price for a single-family house in the area — in which half the sales are above, half below — rose 3.6 percent in August, to $240,000, from $231,700 for the same month a year ago, according to the monthly report from the Greater Hartford Association of Realtors. The trade group tracks a 57-town area from Enfield south to Middletown.
Sales of single-family houses rose 3.1 percent in August, compared with a year earlier, the report shows. The sales closed in August represent purchases that typically would have gone under deposit 45-60 days earlier.
Home Prices Across Connecticut Have Failed To Recover Since Peak In 2007
Home prices in Connecticut — hit hard in a housing downturn that gripped the state a decade ago — have yet to stage a broad-based recovery and are 15 percent below the peak in 2007.
By Kenneth R. Gosselin and Matthew Kauffman
New listings — an indicator of seller confidence in the market — rose a modest, 1.3 percent compared with August of 2017. Inventory slipped 1 percent in August, part of a recent string of declines, leaving buyers scant options for the most desirable properties.
[Real Estate] Look inside: Four newly renovated historic properties in Hartford's Asylum Hill neighborhood will welcome first tenants next week »
"The upward trend in closed sales is typical during the summer market," Holly Callanan, the association's chief executive, said, in a release. "An uptick in new listings is a good sign for those looking to buy."
The association's August report also gives an early indication of how the area's housing market could finish up the year.
Through the first eight months of this year, the median sale price rose 3.8 percent, to $232,500, from $224,000, for the same period a year ago. Sales are down .88 percent, or essentially flat.
An uptick in new listings is a good sign for those looking to buy.
Holly Callanan, CEO, Greater Hartford Association of Realtors
Share quote & link
Most greater Hartford towns and cities — and those across Connecticut — are still struggling to reverse declines in sale prices from the last recession a decade ago.
Latest Property Line
Look inside: Four newly renovated historic properties in Hartford's Asylum Hill neighborhood will welcome first tenants next week
What questions do you have about buying or selling a Connecticut home in this real estate market?
Sprawling, secluded Montevideo mountaintop estate in Avon comes back on market for $6 million as pandemic stirs up buyers for high-end 'recreational retreats'
Economists blame a couple of factors, including sluggish job growth. State budget woes, they say, also have thrown into uncertainty how much state aid will consistently come to municipalities to offset local property tax increases.
How the state approaches job growth and the state budget could shift dramatically after a new governor is elected in November. Republican gubernatorial candidate Bob Stefanowski has said the key to bringing back home prices is to cut the state income tax. Democrat Ned Lamont says job growth and stronger economy are critical to home price recovery.
In the smaller condominium market in greater Hartford, the median sale price rose .34 percent, to $153,000, in August from $152,475 a year earlier. Sales rose 4.2 percent.


Groupe URD - Aid delivery in Afghanistan – Are military forces really responsible for the deterioration of humanitarian space?
Aid delivery in Afghanistan – Are military forces really responsible for the deterioration of humanitarian space?
Much has been written about aid delivery in conflict-affected environments, with particular areas of concern being shrinking humanitarian space, civil-military interaction, and the blurring of lines between humanitarian and military interventions. In 2009 and 2010 I was the director of ACBAR, a coordinating body for NGOs in Afghanistan. At that critical time for the country, I was ideally placed to observe the behaviour of both humanitarian actors and armed forces and how they interacted. This opened my eyes to the modi operandi of aid organizations and how shifting donor interests can quickly transform the priorities of the humanitarian community working in a crisis.
My purpose here is to share my own observations after nearly nine years spent in one of the world's most militarized contexts in order to highlight some of the problematic behaviour of humanitarian aid actors. In the Afghan context, where the tough operating environment calls for extreme discipline and consistency, many organisations instead succumbed to short-sighted actions and behaviour, losing track of the longer-term implications for themselves and for the sector as a whole. When humanitarian principles are distorted to the point where they become meaningless, it is time for all actors to take a step back and critically examine the impact of their own behaviour on future humanitarian action.
The principles that are supposed to guide the work of humanitarian actors are understood in many different ways. Consequently, they are implemented in many different ways too. However, the ways in which I have seen these guiding principles applied and misapplied has sometimes made me question the intellectual honesty of certain actors and wonder whether they are understood or taken seriously at all.
An example that comes to mind is the fact that numerous aid organizations willingly accepted funding from Provincial Reconstruction Teams (PRTs) – funding which was distributed across Afghanistan to support politically and/or militarily motivated projects – while, at the same time, these same organizations were active in delivering relief assistance to victims of the conflict. The position of these organizations was therefore seen to be confusing and inconsistent by external actors, such as armed groups and even beneficiaries of assistance. As a consequence, they lost credibility.
This kind of extreme flexibility with principles is highly regrettable from an ethical point of view, as it constitutes a breach of the moral contract between victims and aid workers. But perhaps more seriously, and especially important in conflict-affected environments such as Afghanistan, it directly endangers the lives of both civilians and aid workers.
Without a doubt, we need to be realistic and accept the fact that differences of opinion and interpretation between different actors are unavoidable and can potentially even be a healthy sign in a community with diverse backgrounds. But nevertheless, the fact remains that the notable lack of consistency in this domain has concrete and serious effects on the delivery of aid and the possibilities for coordination. As a result, certain actors, such as the International Committee of the Red Cross (ICRC) and Médecins Sans Frontières (MSF) tend to feel that that it is necessary to distance themselves from other humanitarian actors by, for example, not being associated with any collective communication initiatives or only having observer roles in coordination forums.