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Brazil and Ukraine Talk Satellites ...
High Interest Rates Not Hurting ...
Brazil and Ukraine Talk Satellites and Rockets
by Gabriela Guerreiro April 26, 2005
Brazil and Ukraine gave a step forward to intensify their commercial relations and to speed up negotiations on their agreement about launching satellites through the Ukrainian rocket Cyclone-4, in the Alcântara Space Base, located in the Brazilian Northeastern state of Maranhão.
The Ministers of Foreign Relations of Ukraine, Borys Tarassiuk, and of Brazil, Celso Amorim, talked in Brasília about bilateral cooperation subjects, such as the creation of a binational company to adjust the infrastructure of the Alcântara Space Base for the Ukrainian launching vehicle.
Both governments expect the first satellite launching to happen in December of 2006. Negotiations for the creation of the joint venture company have not yet been concluded.
In an interview to Agência Brasil, Minister Borys Tarassiuk said that Ukraine has finished deliberations about the joint venture company.
"Agreements have been ratified by the Ukrainian parliament, therefore there are no problems on the part of Ukraine. At the same time, we are waiting for some steps on the Brazilian side," he stated.
For the effective establishment of the company, Brazil still needs to define the state-owned company who will participate on the common project set up by the two countries.
Chancellor Celso Amorim and Minister Borys Tarassiuk talked about the issue and, according to the Ukrainian Minister, they are getting closer to a solution.
"We need the confirmation of the agreements signed by the Executives, as well as the conclusion of bilateral treats for the creation of the joint venture company", the minister said.
Tarassiuk affirmed that both Brazil and Ukraine will benefit from the cooperation, which also foresees the exchange of technological knowledge between the two countries.
"Considering that the global satellite market demand is very high, I think that our countries can benefit from this market," he affirmed.
The company will operate under the joint coordination of the Brazilian Space Agency (AEB) and of the National Space Agency of Ukraine (NSAU).
Gabriela Guerreiro
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IMF Pats Brazil on the Back
"The International Monetary Fund has made it very clear that we were respecting and ...
Rodolfo Espinoza November 1, 2003
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Brazilian exports of concentrated orange juice to the United States are worth around US$ ...
Yara Aquino January 13, 2006
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It's been a year since the Brazilian Supreme Court awarded definitive ownership (homologação) of ...
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FIFA's president Sepp Blatter is not hiding his displeasure at the way Brazilian are ...
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Kris Jenner, Kendall Jenner, Kylie Jenner, and Kim Kardashian West attend a dinner hosted by The Business of Fashion.
The Kardashian-Jenner family has built its legacy on sharing personal details. But while social media posts and "Keeping Up With the Kardashians" can offer fans a closer look at each woman's personality, it's impossible to truly know the famous family's dynamic.
Luckily, astrology can offer some additional insight. Here are each of their zodiac signs — and some basic information on what it may mean for the Kardashian-Jenner women.
Kris Jenner is a powerful and ambitious Scorpio.
Kris Jenner was born on November 5.
As a Scorpio, wielding power comes naturally to Kris Jenner. Famously the matriarch and "momager" of the Kardashian-Jenner clan, she has her finger on the pulse in every family drama.
Because they are experts at controlling the narrative and spinning public perception, Scorpios can be manipulative and self-interested. But they are also determined and sensitive with a fighting spirit — and oftentimes an excellent instinct for business.
Caitlyn Jenner is also a Scorpio.
Caitlyn Jenner was born on October 28.
Like her ex-wife, Caitlyn Jenner has the ability to become a master manipulator. As a Scorpio, she finds it easy to command attention while still maintaining an aura of mystery and intrigue. Scorpios can keep a secret like no other sign in the zodiac; they tend to exert lots of energy in order to control how people perceive them.
Scorpios can also be extremely competitive. They want to be considered the best in their field and many are masterful in their chosen disciplines. This is a symptom of the sign's determination and ambition — but also feeds the classic Scorpio desire to be seen as powerful.
Kourtney Kardashian is an assertive and opinionated Aries.
Kourtney Kardashian was born on April 18.
As the current season of "KUWTK" has clearly revealed, Kourtney Kardashian isn't afraid to dig in her heels. Like a true Aries, she can be snarky and stubborn, adhering to her own self-defined moral compass.
Aries is a sign that commonly toes the line: between confidence and insecurity; maturity and childishness; independence and codependence; valuing freedom and desiring control.
As the first sign in the zodiac, it is commonly seen as the most fluid and changeable, susceptible to mood changes.
Kim Kardashian West is a diplomatic and charming Libra.
Kim Kardashian West is a Libra, many of whom are known as appealing and eloquent communicators. Represented by the scales, Libra values balance above all else. This makes Librans excellent mediators who see all sides of every issue and can be very persuasive.
Libra is ruled by Venus, the planet of femininity, art, and romance. Because of this influence, many Librans have a great appreciation for aesthetics and are dedicated to their appearances. While they often seem flirty, they are hopeless romantics at heart.
Khloe Kardashian is a sensitive and nurturing Cancer.
Khloe Kardashian was born on June 27.
Cancers like Khloe Kardashian are commonly known as the "mom" in the friend group. They have excellent maternal instincts and love to nurture people. They genuinely enjoy helping others and find it natural to be thoughtful, communicative, receptive, and understanding.
Cancer is a very forgiving sign. Although the crabs of the zodiac are sensitive and can feel easily hurt by others, they prefer to believe the best in people.
Rob Kardashian is a private and idealistic Pisces.
Rob Kardashian was born on March 17.
Rob Kardashian is a Pisces, which is widely considered the most private and reserved sign in the zodiac. True to form, Rob has shunned the spotlight more than anyone else in his family. Pisceans don't tend to be standoffish, but they do like their privacy; they are sensitive to energies around them and can easily become exhausted by sensory overload.
Pisces is a receptive and gentle sign. They make good listeners and generally give excellent advice. They can also, however, become observant to the point of feeling isolated or disconnected. Their idealistic and emotional natures can cause them to feel misunderstood or easily taken advantage of.
Like her parents, Kendall Jenner is an influential and magnetic Scorpio.
Kendall Jenner was born on November 3.
As a Scorpio like her mother, Kendall Jenner is naturally magnetic. Scorpios can often be seen as aloof and difficult to approach, but they are paradoxically impossible to ignore, often becoming an object of fascination.
Despite this intimidating exterior, Scorpios are known as deeply emotional. They can feel controlled by their feelings and compelled to seek approval from others. Scorpio has a tendency for obsessive or self-destructive actions, but these scorpions are constantly trying to self-improve.
Kylie Jenner is a proud and popular Leo.
Kylie Jenner was born on August 10.
Although she is the youngest in her famous family, Kylie Jenner has arguably managed to surpass her sisters in prominence — and certainly in the world of finance. Like a typical Leo, she has a knack for commanding attention and setting trends.
Leo is often seen as the natural leader of the zodiac. Leos can be demanding and set very high expectations for both themselves and for others, which makes them appear high-maintenance or dramatic.
They are commonly stereotyped as vain, self-important, and attention-seeking, but they are also generous and extremely protective of their loved ones. In reality, these lions are defined by their confidence, loyalty, and warmth.


Belarus has made a bold leap to encourage the use of cryptocurrencies. On December 21 2017, the President of Belarus signed into law "The Development of a Digital Economy" ("Law"). Since coming into effect on 22 March 2018, businesses based on blockchain technology have become legally regulated in the Republic of Belarus.
Ferrari is at a crossroads. The family-controlled supercar maker's conundrum is laid bare at the end of an exhibition at the Design Museum in London that celebrates the marque's 70th anniversary.


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. Review Archive: # | A-C | D-F | G-I | J-L | M-O | P-R | S-U | V-Z | Viewer Ratings | Main
COLUMBIA TRISTAR
Peter Fonda, Dennis Hopper, Antonio Mendoza, Phil Spector, Mac Mashourian, Warren Finnerty, Tita Colorado, Luke Askew, Luana Anders, Sabrina Scharf
Writing Credits:
Peter Fonda, Dennis Hopper, Terry Southern
A man went looking for America and couldn't find it anywhere!
Experience the real, uncensored '60s counterculture in this compelling mixture of drugs, sex and armchair politics. Academy Award®-winner Jack Nicholson stars with Peter Fonda and Dennis Hopper (who also directs) in this unconventional classic which Time magazine hails as "one of the ten most important pictures of the decade." Nominated for an Academy Award® (1969) for Best Screenplay (written by Peter Fonda, Dennis Hopper and Terry Southern), Easy Rider continues to touch a chord with audiences of all ages.
$340.000 thousand.
Domestic Gross
$30.000 million.
MPAA:
DVD DETAILS
English Dolby TrueHD 5.1
English Monaural
French Dolby TrueHD 5.1
Portuguese Dolby TrueHD 5.1
Supplements Subtitles:
• Audio Commentary by Dennis Hopper
• "Easy Rider: Shaking the Cage" Documentary
• Previews
• 36-Page Booklet
PURCHASE @ AMAZON.COM
Sony 36" WEGA KV-36FS12 Monitor; Sony DA333ES Processor/Receiver; Panasonic CV-50 DVD Player using component outputs; Michael Green Revolution Cinema 6i Speakers (all five); Sony SA-WM40 Subwoofer.
Easy Rider [Blu-Ray] (1969)
Reviewed by Colin Jacobson (October 30, 2009)
While I definitely acknowledge that Easy Rider is a classic film, that doesn't mean I think it's very good. Confusing? Perhaps, but it doesn't have to be.
To me, a "classic" is anything that stands the test of time and remains enjoyable after many years or that made a significant impact upon the genre. I'd argue that Rider doesn't qualify in the former category but that it certainly meets the latter criteria.
When I watched the original DVD, it was the third time I saw Easy Rider. I first viewed it on VHS about 15 years earlier and I absolutely loathed it. Since I didn't really experience the Sixties firsthand - I only lived through two and a half years of that decade, so for some strange reason, my memories of it remain few - I have to rely on the media's depictions to give me knowledge of it. Rider perfectly depicts the stereotypical view of the Sixties: drugs, hippies, and free love.
I have nothing against any of those, really. (Well, I'm not too fond of drugs, but hippies don't much bother me, and I'm all for the free love thing.) Nonetheless, there was always something about the thinly-veiled smugness and self-perceived superiority of the kind of semi-hippies depicted in Rider that irritated me. It's that whole "back to nature/down with materialism" deal, the way that the farmer and the commune dwellers are glorified but any interest in more modern ways seems condemned. I find it grating and obnoxious, and that's the effect Easy Rider initially had on me.
When I rewatched it, I still didn't much care for Rider, but I did find it to be more compelling. The first half of the film - in which the hippie lifestyle is most heartily glorified - remains uninteresting, but the second half's not bad, largely due to a strong performance from Jack Nicholson. The first part of the film simply seems pointless and self-indulgent - kind of a like a Grateful Dead show - whereas the second half actually appears to go somewhere.
It remains a vague and meandering movie, though. Apparently it didn't have much of a script and much of the film was improvised. That shows, and it made me impatient for something to happen. No, I don't need slam-bang action every second to keep me involved, but I'd like to see something take place. Easy Rider involves way too many dull shots of Dennis Hopper and Peter Fonda tooling across America; it often looks more like a travelogue than a feature film.
Still, the second half seems more compelling as our two "heroes" - Wyatt/Captain America (Fonda) and Billy (Hopper) - venture into the South and don't get a very welcome reception. Other than a tremendously silly and pretentious scene involving an acid trip, the second half of the picture kept me involved and interested in the story.
Well, what story there was. Easy Rider isn't what you call a narrative-driven film, though it's not a character picture either. I don't know what the hell you'd call it, since it has virtually no plot and the characters are not very interesting or well drawn. Nonetheless, I believe it does offer a good look at that side of culture at that time. I can't base this impression on experience, obviously, but I think Rider provides a pretty accurate depiction of the counterculture at the end of the Sixties. Plus we get to see Toni Basil – best known as the one-hit wonder singer of 1982's "Mickey" - play a whore!
Anyway, Easy Rider is a film that I have to grudgingly admit is better than I used to think. Although I accept its status as a classic, I still won't count it as a great film, but it definitely is more compelling and thought provoking than I originally believed. Whether you like it or not, it is one of those movies that everyone should see at least once.
The Blu-ray Grades: Picture B+/ Audio B/ Bonus B
Easy Rider appears in an aspect ratio of approximately 1.85:1 on this Blu-ray Disc. Overall, the picture looked good, especially considering the age of Easy Rider and its small (roughly $400,000) budget.
When sharpness faltered, it did so due to issues with the film stocks. As I mentioned, this film wasn't exactly a glossy, high-budget production, so the mild softness that occurred was perfectly appropriate. The movie showed more than acceptable clarity and definition. No issues with jagged edges or shimmering occurred, and edge enhancement was absent.
To my surprise, source flaws never caused distractions. Grain could be heavy, but that was another artifact of the original photography, so I had no problem with that aspect of the presentation. Indeed, lessened levels of grain would've been bad, as that would've meant too much noise reduction; the film's grain looked natural. Otherwise, print flaws were virtually non-existent.
Except for the washed-out Mardi Gras/cemetery sequences, colors appeared strong and rich. The tones were nicely lively and dynamic for the most part. Blacks looked quite deep; check out Wyatt's leather outfit to see some good examples of that strength. Shadow detail seemed more than acceptable. Again, the nature of the original photography meant that some murkiness would occur, but the shots looked perfectly fine given those constraints.
Honestly, this presentation of Easy Rider was something of a revelation. In an objective sense, the film remained too flawed for me to give it "A"-grade consideration; from the grain to the softness to the iffy shadows, too many shots seemed a bit "off" for a top rating. Nonetheless, I considered an "A-" just because the Blu-ray looked so good despite all of the natural problems inherent with the footage. The flick has never looked better on home video, and it probably didn't look this good during its theatrical run either.
Though not quite as impressive, the sound also seemed positive for 40-year-old movie. Easy Rider offered a remixed Dolby TrueHD 5.1 soundtrack. While it remained monaural at heart, there was some use of effects in other channels. For example, at the start of the film, a plane entered from the rear channels and panned to the front, and later on, motorcycles popped up in other speakers. We also heard some gentle rear channel ambiance in scenes like nighttime forests. The film's famed musical track used stereo capabilities well, and the songs also cropped up with some added punch in the rears.
For the most part, audio quality seemed acceptable though unspectacular. Except when intentionally muddled, dialogue appeared clear and intelligible, but the lines also came across as a bit thin and flat. Effects sounded about the same, with decent general clarity and that was about it. Some loose bass occasionally accompanied louder elements like the plane or explosions. The music sounded better. Those aspects of the track depended on the source material, but they usually were pretty dynamic and lively. Despite some faults, this remained a mostly positive sound mix for a film of this vintage.
How did the picture and sound of this Blu-Ray compare with those of the 2004 Anniversary DVD? Both offered similar audio. Really, there's only so much improvement that could come here due to the dated nature of the original recordings. Both discs sounded fine, and the Blu-ray demonstrated no clear auditory upgrade.
However, the Blu-ray clearly presented vastly improved visuals over the DVD. It was significantly sharper and cleaner. I didn't expect to be quite so impressed, but the Blu-ray gave us a really fine presentation.
As we head to the extras, we open with an audio commentary from director/actor Dennis Hopper. He offers a running, screen-specific track. Hopper tells us about the project's genesis, its locations, the actors, editing, and elements of the shoot like the many improvised bits.
At times, Hopper presents good insight, but two problems befall the piece. For one, he often just tells us the names of locations and actors with little more detail than that. In addition, the commentary suffers from a ridiculous amount of dead air, as most of the movie passes without any information. Hopper presents just enough material to make this a sporadically useful but mostly frustrating track.
Next up is a nice 64-minute and 51-second documentary called Shaking the Cage. This features movie clips, archival materials, and modern interviews with Hopper, associate producer Bill Hayward, camera assistant Seymour Cassel, production manager Paul Lewis, cinematographer Laszlo Kovacs, and actors Peter Fonda, Karen Black, and Luke Askew. The show goes into the origins of Rider and its development, shooting at Mardi Gras, the general chaos of the production, casting, drugs in the movie and the atmosphere of the era, choosing the motorcycles, cinematography, improvisation, locations, music, the characters and various shooting notes, editing and the movie's reception.
The program follows the shooting schedule for the most part, which means we don't always hear about sequences in the order shown in the movie. For instance, the Mardi Gras info shows up first although those scenes come at the flick's end. Much of the show is essentially anecdotal, which lends it a lot of energy. We learn a ton about the production and hear many amusing and interesting stories in this fine documentary. Indeed, it's good enough that it essentially renders the commentary superfluous.
Some ads appear under Previews. We find clips for Close Encounters of the Third Kind, The Da Vinci Code, Ghostbusters, A River Runs Through It, Damages S1, Blood: The Last Vampire, Moon and Tyson. No trailer for Easy Rider shows up here.
Finally, the package includes a 36-page booklet. It includes info about the film's songs, career facts for Dennis Hopper, Peter Fonda, Jack Nicholson and Terry Southern, and an essay about the impact Easy Rider had on Hollywood. The booklet offers a nice compendium of material.
I don't believe I'll ever think of Easy Rider as a great film, but I now have a somewhat greater appreciation of it. The Blu-ray provides good audio and surprisingly terrific visuals. Despite a very spotty audio commentary, we get some nice supplements, mainly via a fine documentary. While I'm not much of a fan of the movie, I find myself impressed by the Blu-ray, especially in terms of the picture quality. This is a worthwhile upgrade for those who love Easy Rider.
To rate this film, visit the Special Edition review of EASY RIDER

redpajama_set_name: RedPajamaCommonCrawl


Collection: Absheron fruits. The intricate colorful pattern of our Fruits & Plants Collection resembles Absheron motifs. These fruits and plants are the essence of Azerbaijani soil that will bring feeling of the nature into your home. Some of them can even protect from the "evil-eye".


Educational Testing and Evaluation Agency ETEA takes both MCAT and ECAT entry tests in Khyber Pakhtunkhwa province for admission in medical and engineering colleges of KPK. Today we shall discuss KPK ETEA ECAT entry test for admission in Khyber Pakhtunkhwa engineering colleges. This KPK ETEA ECAT entry test is mandatory for those students who want to get admission in any public or private engineering college of KPK for BE and BSc engineering programs.
Only UHS Lahore provide entry test syllabus in Pakistan. Complete government syllabus books are syllabus for all other entrance test including KPK ETEA ECAT entry test 2018.
Although private tuition centers are working in KPK which claim to provide sure shot guess paper, but all these claims are 100% fake as we have never heard any news about KPK ETEA ECAT entry test paper out scandal.
You can get all the information abot KPK ETEA ECAT entry test syllabus & guess paper 2018 from this page. Both syllabus and guess paper getting techniquesETEA ECAT Entry Test Syllabus & Guess Paper 2018 are same.
1-Firstly you need to clear your basic concepts about English, Mathematics, Computer Science, Statistics and Biology. Without clearing your concepts of all these subjects you can not even think to clear KPK ETEA ECAT entry test.
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6-Sixthly, instead of joining test session of any academy buy solved model papers published by some reputed publisher. These sample papers are available on internet too. Check them yourself.
7-Lastly, you must view UET Lahore ECAT combined entry test past papers too, of-course syllabus is different but scientific realties and rules are universal. You can get idea about important MCQs from these past papers too. Ok now you can make your own guess paper through the tips given on this page. For more guidance read our article "How to Make Your Own Guess Paper". Continue to visit studysolutions.pk for more reading more updates about ETEA ECAT entry test syllabus & guess paper 2018.


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Katie Maloney Bio: Age, Height, Family, Husband and Net Worth
By Celebsline	 Last updated May 27, 2021
Katie Maloney is an American reality television star and actress from Park City, Utah. She is quite popular amongst the television audience and became a household name after she appeared on the hit reality series of Bravo's Vanderpump Rules.
She is a waitress at Beverly Hills' Sexy Unique Restaurant (SUR), owned by Real Housewives of Beverly Hills star Lisa Vanderpump. In addition to her work on the reality series, Katie has also featured in a host of TV shows like 2009: A True Story (2008), Harper's Globe (2009), and BlackBox (2010). She has amassed over 1.1 million followers on Instagram.
Katie Maloney Biography
Katie Maloney-Schwartz
Utah, United States
Reality TV Star, Actress, Lifestyle Blogger
Caucasian White
Father: Richard Maloney
Mother: Teri Noble Maloney
Siblings: Richard Maloney (Brother) (Photographer and Producer)
Katie Maloney Husband
When it comes to her personal life, Katie Maloney started romancing reality television personality, model, and actor Tom Schwartz in 2012. The duo knew each other even before they starred on Vanderpump Rules. They became engaged in 2015 and tied the knot in August 2016. They completed their paperwork officially on July 25, 2019.
Tom Schwartz and his wife Katie Maloney
5 feet 8 inches or 173 cm
Claim to Fame
Katie Maloney became a prominent name on television after being a part of Bravo's hit reality series Vanderpump Rules. Developed as a spin-off of The Real Housewives of Beverly Hills, the show documents the lives of servers at Los Angeles restaurant SUR which is owned by Lisa Vanderpump The show is a huge hit that has been successfully aired for eight seasons.
Wife of actor and television personality Tom Schwartz, who is also a cast of Bravo reality series Vanderpump Rules.
Katie Maloney Net Worth
Having been in the show business for more than a decade, it is safe to say that Katie Maloney has amassed a huge amount of wealth from her work as an actress and television personality. With the majority of her earnings coming from Vanderpump Rules, it is estimated that Katie has a net worth of $500 thousand.
Katie Maloney Facts
She was born and brought up in Park City, Utah.
Katie made her acting debut as Sara Ford in the television series, 2009: A True Story in 2008.
She owns the beauty, fashion, and lifestyle blog Pucker and Pout.
She served as a music supervisor and producer for the series BlackBoxTV.
Katie can also be seen in music videos for songs like By All Means by National Product, Run Boy by Taryn Manning, and I Feel Better by The Magnificent Ambersons.
She has got Beatles lyric tattoos on her forearm.
Katie is a very vocal supporter of the LGBT community.
She is a huge fan of Chrissy Teigen and Britney Spears.
Sadio Mané Bio: Height, Family, Age, Girlfriend, Net Worth
Emily Wickersham Bio: Age, Height, Family, Husband, Net Worth, Career
Kristin Cavallari Bio: Husband, Height, Age, Net Worth, Television Career
Hannah Berner Bio, Family, Age, Height, Boyfriend, Net Worth
Katie Thurston Biography: Age, Wiki, Family, Boyfriend, Height, Facts


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Q: If $B$ is a maximal linearly independent set in $V$ then $B$ is a basis for $V$ How can you show that if $B$ is a maximal linearly independent set of $V$, then this implies that $B$ is a basis of $V$?

A: You want to prove that an element $x \in V$ can be written as a linear combination of elements of $B$.
Take such an $x$, then $B \cup \{x\}$ is not linearly independant by maximality of $B$. So there exist $\alpha_1,...,\alpha_{n+1}$ (if $B = \{b_1,\ldots,b_n\}$ ) such that $\alpha_{n+1} x + \sum_i^{n} \alpha_i b_i = 0$. $\alpha_{n+1}$ can't be null, else it would implies that $B$ is not linearly independant. So you can write $x = \frac{1}{\alpha_{n+1}} \sum_i^{n} \alpha_i b_i$.

A: Suppose not. Then there is some vector $w$ which is not in the span of the vectors in $B$. But then the set $B \cup \{w\}$ is a linearly independent set in $V$ which contains $B$, which is a contradiction.

A: Let $v \in V$ be any vector.  Form the linear combination $c v + c_1 b_1 + \dots = 0$ where $b_i \in B$.  If there is no solution $C = (c, c_1, c_2, \dots)$ other than $C = 0$, then we've shown that $B$ can be expanded with $v$ and thus is not maxmimally linearly indep.  So there exists a solution $C$ such that not all of the $c$'s are zero.  Within any such solution we must have $c \neq 0$ (the coeff of $v$) or else we'd be left with a linear combin. strictly in $B$ and so all $c_i = 0$.  Thus there exists a solution $C$ with $c \neq 0$.  From here prove that $B$ spans $V$.

redpajama_set_name: RedPajamaStackExchange


Heard Amazon is expanding its white-collar headcount as well.
But one wonders what these transplants of jobs from Silicon Valley really mean besides some discretionary income and some added work experiences in the local talent pool. The local branch, after all, does not operate like an opportunistic receiver/responder to market feedback -- as a nimble native enterprise would do -- but rather like a non-self-determining soldier deployed in the Google or Amazon army, correct? Risk is managed from on high more than from touch signals close at hand... As such, it does relatively much less to actually develop the interfirm relationships and food webs that recycle capital through a local economy. It's more like industrial agribusiness -- dump capital on, scoop each monoculture off at the appointed time.
So I want to start to say, "Good for Austin," while I ponder if it is. The end result on economic fertility may be the same as monocropping.
Austin is favorable for tech companies because there is a lot of young talent willing to work for anything. Even at a Senior level like mine, salaries seem to average about 20k less than Houston (exceptions are the outliers like the Googles). Tech companies are able to find smart people from a large pool... and young tech workers find it more fun to work for those types of companies (or build the next "app"). Personally, I prefer Houston for the pay + cost of living, and health care industry.
I like that design. Its kinda retro 80's with updated treatment. Cool stuff.
Here's a few pics I took yesterday, Google is indeed a tenant for the office tower.
Urban economists say that the pay is priced into the region -- firms entering the labor market and recruiting nationally pay less when recruiting to desirable areas. Even if the costs of living are higher and the offers are lower (Austin) or the costs and salaries are both high (New York), the firms are bidding less than they would have to otherwise, because people are amenable to the location and its amenity package. The fact that the bump exists "even at a Senior level" says that the real explanation has to go deeper than a lot of youngsters willing to work for peanuts.
Having to pay higher wages to get talent to move here makes Houston region firms less nimble and competitive in the free market than if they could bid less and still get the same talent, no? More resources that could be going to innovation going instead to overhead.
Maybe we would have even more than 47,000,000 square feet of vacant office space to start 2019 if we had no medical industry here, but for all its press coverage the TMC knowledge industry niche has still failed so far to show signs that it will longterm do very much to diversify Southeast Texas' economy. If the new medical school in Austin writes a new playbook, I hope we use those lessons to our ultimate benefit here.
While I still think it's regrettable for Austin that FAANG are not making as many interfirm decisions *in* Texas as local owners would, there seems now to be a lot of potential for people that move to the state for FAANG jobs to soon begin to moonlight and form lively new firms that *are* exporting and importing based on specific opportunities sensed from being locally based.


Have you ever felt so confident about an essay and believed it deserved more recognition than a course itself can give? The Focus Media Journal at University of California, Santa Barbara gives writers the opportunity to publish their work and have it acknowledged at the prestigious academic level. The journal includes essays based on three main topics: new media, film, and television. It is published once a year during the end of spring quarter, around graduation time.
This scholarly journal was founded in the UCSB Film and Media Studies department in 1979. Founder Joe Palladino says, "It has existed in some form, from mimeograph, to magazine, to journal for 35 plus years." He continues, "It gives students a chance to get published on almost a graduate level," and explains how even though experienced writers and graduate students can normally see their work published at that level, as an undergrad the journal is able to provide students with a similar opportunity.
"Students of all different majors submit. Sometimes it is papers from classes, and that's the easiest way you can just turn things in, and sometimes you get a group of students who are interested in what's going on in the emergence of media," says Palladino. "Sometimes it's an interview with alumni who come back and see what's going on." He also mentions that one issue included excerpts from an autobiography in screenplay format, written by a screenwriter and UCSB professor.
The journal also gives students the opportunity to gain experience in the production process of the journal by offering a number of roles one could take on, such as a writer, editor, copy editor, photographer, and layout. Focus Media is run mostly by students, and each year the journal gives out $1,000 to the best critical essay published.
You can find some journals online, at the Film and Media Studies offices, as well as in the Museum of Arts in New York. Joe Palladino says that they are still looking to build the crew and establishing an online journal, but they do like the idea of having it printed on paper and being able to hold the physical copy.
Essay submissions for the journal are taken up until the end of winter quarter. Students from all majors are highly encouraged to submit any essays on the subjects of television, new media, and film. All sorts of topics are admissible; last year, the issue featured an essay on the use of mathematical jokes throughout The Simpsons. With some creativity, almost anything can be written about. Film students are also encouraged to submit essays they have been working on throughout their film courses, including introduction to cinema, film and media criticism, and any other upper division film courses.


Editors Note:Front for Apartheid, appeared in Newsday, Sunday, July 16, 1995. The article was reported by Dele Olojede in South Africa and Timothy M. Phelps in Washington. The article concerns a Washington think-tank called the International Freedom Foundation that had branches in Johannesburg, South Africa and London, England. The International Freedom Foundation was actually a front for intelligence operators who worked on psycho-political operations to prolong apartheid. People involved included United States Department of State Officials, United States Congressmen, and US Intelligence agents. The article says "jobs" for South African intelligence provided at least half of the total IFF revenue, and South African military intelligence would send fees from the "jobs" directly to the IFF Washington office.
The article is a limited hangout that doesn't mention the South African Institute of International Affairs, The Royal Institute of International Affairs, or the Council on Foreign Relations. The article has a picture of Secretary of State George Shultz shaking hands with Oliver Tambo, the late exiled leader of ANC, at the State Department in 1987. The article mentions that people like Henry Kissinger were invited to International Freedom Foundation seminars to deliver keynote speeches. Among those in attendance was former CIA director William Colby. Shultz, Kissinger and Colby were members of the Council on Foreign Relations. The article talks about Americans who were on the board of Directors of the IFF, and who worked for the IFF in South Africa. Nearly every man mentioned was a United States Intelligence agent at one time or another. Do former United States intelligence agents, continuing working as agents even after they become elected government officials, or are appointed to the US Department of State?
Washington, DC 20002 Duncan Sellars, Chm.
Founded 1986. Staff:20 Nonmembership. Works to foster individual freedom throughout the world by engaging in activities which promote the development of free and open societies based on the principles of free enterprise, while recognizing and respecting the sovereignty and cultural heritage of nations. Believes that freedom of though and expression, and free association without government interference, is essential to human dignity and without protection from violent coercion, liberty and prosperity are impossible. Works to demonstrate the benefits of a "parliamentary" democracy" and expose the "failures" of a "people's democracy," which the group says, is often referred to as a system of "freedom" but is actually a guise for totalitarianism. Considers totalitarian systems to be the "enemies of freedom" and a threat to the security of the West. Encourages and mobilizes support of indigenous democratic movements. Organizes forums for dialogue and discussion on issues of human rights and free enterprise. Sponsors seminars, fellowships, and international exchanges; maintains speakers' bureau. Telecommunications Services: Fax (202) 546-5488."
"Publications Angola Peace Monitor, monthly Covers developments in the Angolan peace process · Price: $105/year. ISSN; 1045-0513 Circulation 2000. Advertising: not accepted. ·Freedom Bulletin, monthly. Newsletter, includes feature articles on major foreign policy issues. Price: $24/year in U.S. $30/year outside of U.S. ISSN: 0897-5086 Circulation: 221000. i Advertising: accepted. · Freedom Bulletin - UK Edition, 6/year. Newsletter including articles on foreign policy issues from British and European perspectives Price: $10/year; £8 /year in United Kingdom. Circulation 6000. · Freedom Bulletin - Republic of South Africa Edition, monthly, Newsletter including features on developments in South Africa. Price: $20/ year in U.S.; R45/year in South Africa. Circulation: 6000. Advertising: not accepted. · InterAmerican OPPORTUNITIES Briefing, bimonthly. Newsletter; includes business activity and economic reform in Latin America. Price: $105 /year. ISSN: 1055-9299. · Laissezfaire, quarterly Journal on European affairs and European-Third World relations; includes book reviews. Price: $30/year in U.S.; £l0/year in United Kingdom. Circulation: 6000. Advertising; accepted. · OPPORTUNITIES Briefing, bimonthly. Newsletter; includes free market trends and business opportunities in Eastern Europe. Price: $105/year. ISSN: 0960-5088. Advertising: not accepted. · Soviet Perspectives, monthly. Guide to economic reform and business opportunities in the Soviet Union. Price $225/year ISSN: 1055-1042. · Sub-Sahara Monitor, monthly. Newsletter ; includes political and economic issues, periodic country reports, aid and trade briefs, investment analysis, and book reviews. Price: $105/year. ISSN: 1018-1520. · terra nova, quarterly. Journal containing scholarly articles on foreign policy issues, as related to free market economic and political thought; includes book reviews. Price: $24/year. ISSN: 1056-8018. Circulation: 7000. · Also publishes monographs, posters, and reports produces videotapes."
If the International Freedom Foundation is a front for Intelligence organizations do their publications contain information telling intelligence agents what to do?
NEWSDAY Sunday July 16, 1995 Front for Apartheid Washington-based think tank said to be part of ruse to prolong power This article was reported by Dele Olojede in South Africa and Timothy M. Phelps in Washington, and was written by Olojede.
Then Secretary of State [CFR member] George Shultz shakes hands with Oliver Tambo, the late exiled leader of ANC, at State Department in 1987.
Johannesburg, South Africa A respectable Washington foundation, which drew into its web prominent Republican and conservative figures like Sen.. Jesse Helms and other members of Congress, was actually a front organization bankrolled by South Africa's last white rulers to prolong apartheid, a Newsday investigation has shown.
The International Freedom Foundation, founded in 1986 seemingly as a conservative think tank, was in fact part of an elaborate intelligence gathering operation, and was designed to be against apartheid's an instrument for "political warfare" against apartheid's foes, according to former senior South African spy Craig Williamson. The South Africans spent up to $1.5 million a year through 1992 to underwrite "Operation Babushka," as the IFF project was known.
"The International Freedom Foundation was a former SA Defence Force project," Army Col. John Rolt, a military spokesman, said in a terse response to an inquiry. A member of the IFF"s international board of directors also conceded Friday that at least half of the foundation's funds came from projects undertaken on behalf of South Africa's military intelligence, although he refused to say what these projects were except that many of them were directed against Nelson Mandela's African National Congress.
A three-month Newsday investigation determined that one of the project's broad objectives was to try to reverse the apartheid regime's pariah status in Western political circles. More specifically, the IFF sought to portray the ANC as a tool of Soviet communism, thus undercutting the movement's growing international acceptance as the government-in-waiting of a future multiracial South Africa.
"We decided that, the only level we were going to be accepted was when it came to the Soviets and their surrogates, so our strategy was to paint the ANC as communist surrogates," said Williamson, formerly a senior operative in South Africa's military intelligence, who helped direct Babushka. "The more we could present ourselves as anti-communists, the more people looked at us with respect. People you could hardly believe cooperated with us politically when it came to the Soviets."
The South Africans found willing, though possibly unwitting, allies in influential Republican politicians, conservative intellectuals and activists. Sen. Jesse Helms, now chairman of the Senate Foreign Relations Committee, served as chairman of the editorial advisory board for the foundation's publications. Through a spokesman, Helms said that he did not know anything about the foundation.
"Helms has never heard of the International Freedom Foundation, was not chairman of their advisory board and never authorized his name to be used by IFF in any way shape or form. We never had any relationship with them," Mere Thiessen, a Helms spokesman, said.
Although there are strong indications that U.S. laws may have been broken some IFF officials have admitted in interviews that they knew that South African military intelligence money helped pay for the foundation's activities in Washington there is no clear evidence that the politicians associated with IFF either took campaign contributions or otherwise directly benefited financially from the foundation .
Under U.S. law, anyone who represents a foreign government or acts under its orders, direction or control, has to register with the Justice Department as a foreign agent. Asked if a "think-tank" sup up and supported by a foreign government has to register, a Justice official said, "If the foreign [government] has some say in what they are doing and, obviously, if they are funding it they probably do then they probably do have to register." Violation of the law carries a fine up to $10,000 and a prison term of up to five years.
Several key figures involved in the IFF and contacted by Newsday denied any knowledge that the foundation was a front for the political agenda of a foreign government. Duncan Sellers, now a Virginia businessman, said, "This is nothing I ever knew about. It's something that I would have resigned over or closed the foundation over. I would have put a stop to it."
"The Congressman didn't know anything about it," said a spokesman for Dornan, Paul Morrell. "This is all news to him if it is true." Morrell described Dornan's impression of the IFF as simply "pro-freedom, pro-democracy, pro-Reagan."
Phillip Crane, another U.S. representative listed as an IFF editorial adviser, joined the board in 1987 at the request of Abramoff, said an aide, and by 1990 had quit. "He never attended a board meeting that he can recall," said the aide, Bob Foster. "He had no idea that any such situation [intelligence connections] existed."
Williamson said that the operation was deliberately constructed so that many of the people would not know they were involved with a foreign government. "That was the beauty of the whole things guys pushing what they believed," he said. Helms for example, voted against virtually every punitive measure ever contemplated against South Africa's white minority government, however mild. And Burton was nearly hysterical in arguing against sanctions that a large bipartisan majority passed in 1986 over President Ronald Reagan's veto, at one point warning that "there will be blood running in the streets" as a result.
But in some cases, such as Abramoffs, the relationship with the South African security apparatus was more than merely coincidental, according to Williamson and others. A former chief of intelligence, now retired, said emphatically that the South African military helped finance Abramoffs 1988 movie "Red Scorpion." The movie was a sympathetic portrayal of an anti-communist African guerrilla commander loosely based on Jones Savimbi, the Angolan rebel leader allied to both Washington and Pretoria. Williamson also said the production of "Red Scorpion" was "funded by our guys," who in addition provided military trucks and equipment -as well as extras .
Abramoff reacted with anger when told of the allegations Friday, saying his movie was funded by private investors and had nothing to do with the South African government. "This is outrageous," he said.
Details of South Africa's intelligence operations in the last years of apartheid have begun to rapidly emerge with the imminent establishment of a Truth Commission by the Mandela government. The commission will elicit confessions of "dirty tricks" by apartheid's foot soldiers and their Commanders, in exchange for immunity from prosecution. Williamson, for instance, recently revealed that he was involved in the assassination of Ruth First, wife of the ANC and South African Communist Party leader Joe Slovo, and other anti-apartheid activists.
In South African government thinking, the IFF represented a far more subtle approach to defeating the anti-apartheid movement. Officials said the p!an was to get away from the traditional allies of Pretoria, the fringe right in the United States and Europe, "some of whom were to the right of Ghengis Khan," said one senior intelligence official. Instead, they settled for a front staffed with mainstream conservatives who did not necessarily know who was pulling the strings.
"They ran their own organization, but we steered them, that was the point," Williamson said.
"They were very good, those guys, eh?" said Vic McPheerson, a police colonel who ran security branch operations and participated in the 1982 bombing of the ANC office in London. "They were not just good in intelligence, but in political warfare."
Starting in 1986, when Reagan failed to override comprehensive U.S. economic sanctions, the South African government began casting about for ways to survive in an international environment more hostile to apartheid than ever. A very senior official in South African military intelligence, to whom IFF handlers reported at the time, said the operation cost his unit between $l million and $1.5 million a year. The retired general said the funds represented almost all of the IFF's annual operating budget, although the foundation gained such legitimacy that it began to attract funding from individuals and groups in the United States.
On at least one occasion, the IFF had trouble accounting for its money. It was unable to comply in 1989 with a New York State requirement that it provide an accountant's opinion confirming that its financial statements "present fairly the financial position of the organization." It was eventually barred, in January, 1991, from soliciting funds from New York. According to financial records provided by Jeff Pandin, the foundation's last executive director in Washington, IFF revenue in 1992 dropped by half of the preceding year's, to $1.6 million. It just so happened that President Frederik W. de Klerk ended secret South African funding for the foundation in 1992, in response to pressure from Mandela to demonstrate that he was not complicit in "Third Force" activities. Pandin expressed shock that much of the organization's money had been coming from clandestine South African sources. "I worked for the IFF from Day One to Day End," he said. "This is complete news to me." He said he once had met Williamson when he was in Mozambique, but was unaware of any official links.
On the surface, the IFF's headquarters was in north-east Washington, D.C., , at 200 G Street, next door to the Free Congress Foundation, another conservative institution. From that base, it launched campaigns against communist sympathizers and perceived enemies of the free market. It broadly supported Reaganism, and its principal officers ran with the Ollie North crowd. But it always paid special attention to ANC. When Mandela made his first visit to the United States in 1990, following his release from prison, the IFF placed advertisements in local papers designed to dampen public enthusiasm for Mandela. One ad in the Miami Herald portrayed Mandela as an ally and defender of Cuba's Fidel Castro. The city's large Cuban community was so agitated that a ceremony to present Mandela with keys to the city was scrapped.
The IFF published several journals and bulletins, in Washington and in its offices in Europe and Johannesburg. One of its contributors was Jay Parker, an African-American who was a paid public relations agent of successive apartheid regimes throughout the 1970s and 1980s. People like Henry Kissinger were invited to IFF seminars to deliver keynote speeches. The foundation brought together the together the world's top intelligence experts at a 1991 conference in Potsdam, Germany, to mull over the changing uses of intelligence in the post-Cold War world. Among those in attendance was former CIA director William Colby and a retired senior KGB general, Oleg Kalugin. The IFF also waged a major but not surprisingly futile campaign for U.S. retention of the Panama Canal. But its main purpose was always to serve the ultimate goals of the South African government, according to those who helped nudge it in that direction. The former senior South African military intelligence official said he traveled to the United States and Canada in 1988 as a guest of the IFF. But the real reason for his trip, he said, was to try to strengthen South African intelligence operations on the ground, at diplomatic posts and the North American offices of Satour, the country's tourism promotion agency.
Far from being a mere branch of the IFF, the Johannesburg office was in fact the nerve center of IFF operations worldwide. According to Martin Yuill, who served as administrator of the "branch," he began to realize that perhaps Johannesburg was not just a branch office after all, since it was always deciding how much money the other offices, Including the Washington headquarters, should have. "I guess one would have to conclude that that was the case," he said.
Although he insisted that the IFF was no clandestine operation, Russell Crystal who ran the Johannesburg office, said it was vital to the foundation. He said Friday in an interview that "jobs" for South African intelligence provided at least half of total IFF revenue, and that he sometimes asked military intelligence to send the fees from these "jobs" directly to the Washington office of the IFF.
"The military intelligence, there were certain things they wanted done -- tackling the ANC as a terrorist-communist organization," Crystal said. "The projects we did for them, they paid for. " He added that it was not impossible that South Africa accounted for far more than his estimated 50 percent, of IFF revenues.
As an example of this "tackling," Crystal cited the targeting of Oliver Tambo, whenever the late exiled leader of the ANC traveled around the world. Once, when Tambo visited with George Shultz, then-secretary of state, the IFF arranged for demonstrators to drape tires around their necks to protest the "necklace" killings of suspect ed government informers in black townships in South Africa.
"The advantage of the IFF was that it pilloried the ANC," said Williamson. "The sort of general western view of the ANC up until 1990 was a box of matches [violence] and Soviet-supporting -- slavishly was the word we latched on. That was backed up with writings, intellectual inputs. It was a matter of undercutting ANC credibility."
In January that year, the foundation financed a investigation into alleged human rights abuses during the 1980's at ANC guerrilla camps in Angola. Bob Douglas, a South African lawyer, concluded there was evidence of torture and other abuses, forcing the ANC to acknowledge some abuses. Douglas said Friday he did not believe that the IFF worked for military intelligence. "I did a professional job for which I charged professional fees," he said crossly. "I did my job of work, I finished my work, and had nothing to do with it since then."