text:
Rashaad Newsome. Photo courtesy of Wit López, edited by Morgan Nitz.
In this 27-minute episode of Artblog Radio, Wit has a conversation with multidisciplinary artist Rashaad Newsome about his creative experience "Black Magic," which is currently in residence in Philadelphia at the Crane Arts Building. Rashaad shares how he builds multidimensional collages and assemblage, and how these pieces connect to the experience of queerness and the African diaspora. The work explores the importance of vogue and ballroom in the Black and Latinx LGBTQ+ communities, while also weaving together cultural iconography from throughout Black American and West/Central African art and performance.
Thank you to Philadelphia Photo Arts Center for allowing Artblog to record this podcast in their gallery.
Wit López: Hello and welcome to another episode of Artblog radio. I'm your host for today Wit Lopez. I'm super excited to be sitting in the gallery at Philadelphia Photo Arts Center with Rashaad Newsome, who has a really amazing show that's here in the gallery, but it's also a three part, uh, art experience.
Um, this beautiful show is called To Be Real, and it includes really amazing collages as well as sculpture. So welcome to the show, Rashad,
Rashaad Newsome: Thanks for having me.
Wit López: Oh, thank you. This is really beautiful. Thank you for bringing your work to Philadelphia. So, can you tell us a little bit more about, uh what you put in this gallery?
Rashaad Newsome: So, um, to be real is the exhibition component of Black Magic. And in a lot of ways, it's sort of an amalgamation of a lot of ideas I've been thinking through over the past… Well, really- yeah, I would say decade. And, um, a lot of the works in the show are really centered around, uh, sort of the importance of…the imagination as a way for, um, marginal people to kind of, sort of free themselves from subjugation. You know, just kind of thinking a lot about, uh, how oftentimes we have these frames that are projected on us, um, particularly as black people and as queer people, and how we're always trying to sort of expand or escape that frame that's put on us. That's sort of why the frames are very prominent in the exhibition because there's sort of a visual representation of that.
And so every work in the show is engaged in its own form of resistance to either escape, um, or expand the frame. The one work that has made it out of the frame, um, would be "Ansister" the sculpture here on the floor.
Wit López: Which is absolutely gorgeous.
Rashaad Newsome: Thank you. Um, and so, and then sort of like the anchor of the exhibition is "Being" the first generation of my art, uh, LACMA art and technology prize project and "Being" for me represents, um. Really being free being has not only escaped the frame, but they, because they are an AI, they exist in completely in the realm of the imagination. And so they can be anywhere at any time and they can be anything. And so, uh,
Wit López: wow.
Rashaad Newsome: That's sort of what I was thinking about for this show.
Wit López: That is amazing. Mind is blown. I really love it. Like this is, it's gorgeous. So I also noticed that a couple of the frames have chains on them as well. Um, and I mean, from like a jewelry perspective, the chain shapes are also like jewelry chain shapes.
Um, they're very common chains that are used within like jewelry making. But do they represent anything else or do they represent anything at all?
Rashaad Newsome:Yeah, they do. Um, when I first started my collage work, it kind of came out of me looking at heraldry, um, which is, you know, essentially an image made of images that represent rank, position and status within popular culture.
And initially I was thinking about, so like, what would be the images that represent this distorted notion of power today? And I was looking at sort of like, you know, as being from New Orleans, like bling culture, you know, kind of looking at advertising and popular culture and pulling images that sort of participate in the culture of domination that teaches us that we need things to have value. And kind of using those images to construct pictures that, um, critique the culture of domination.
And so very early on, rather than drawing a line, I was using images to create a line. And so the chain became my kind of mark making tool, which eventually, you know. entered the frames and into the videos and everything else. So it's like a, an image that I go back to, but I think also it's an elaborate allegory about, um, sort of how sometimes we can be caught in a paradigm where we feel that we need, these things have value. But if you're in a position where in an inequitable society, you don't have the same position to acquire those things so you're kind of caught in this paradigm of constantly trying to get something that you can't have, which then means that you don't have value if your value is based on that. And so the chains also represent that kind of like bondage and as a representation of how we need to constantly, you know, do the work to decolonize our minds.
Wit López: That's real. That's real. Wow. Yeah. I feel that. I feel that. Um, and for me, like I'm from Brooklyn, New York originally. And so bling culture is definitely also a huge part of just existing as a black person or as a Latinx person, as a queer person, in New York city. So this resonates a lot, a lot with me too. So I appreciate you having that as part of your work and also connecting it to blackness, queerness, uh, together.
So I also noticed in your work, it's like this, iconography not just a bling, right? Like you have folks with fronts on their teeth, but then also you have African sculptures that look like West African or portions of West African sculptures collaged into your work as well. Um, are there reasons why you chose those specifically in your work?
Rashaad Newsome: In regards to the mouths with the grills? That's something that I've been doing for a while and there's several ways in which that came in. One is, um, I love the movie, uh, little shop of horrors.
Wit López: (laughter) Me too.
Rashaad Newsome: And so, you know, when I started to bring flowers in the work, (I'm so bummed I never got to see it when it was on Broadway). But like, um, so the mouth being in the bud of the flower honestly was inspired by Audrey. And so, but, um, so that's just kind of like a fun reference, but at the, at the same time, it really is in the context of these, um floral pieces. They're very much engaged in like the history of Dutch still life, which was a lot about, sort of the, um, about vanitas.
And you know, a lot of, you know, during that, when that kind of movement started, you know, there were a lot of painters, like the people who could get portraits painted where people who are very wealthy
Wit López: Who could afford it. Exactly.
Rashaad Newsome: And so what Dutch still life did is kind of like equalize, um. That whole idea because it was sort of about.. you know, the one thing that unifies poor people enrich people as the promise of death. And so a lot of that's why you're often depicting, um, flowers and fruits and like perishable things to kind of remind us of the promise of death. But for me, I'm kind of flipping that in this piece because the flowers in this work are not organic flowers. They're all jeweled flowers. So they will never die. They will exist forever. And so those mouths that are in the flowers are really the mouths of, um, black queer people.
And for me, that whole kind of re-imagining of, you know, the promise of death is sort of thinking about, um, the promise of, of immortality. The voice that will never end, that's always going to speak out against dehumanization.
Wit López: Wow. That's a lot. I appreciate that though. Like I really do appreciate that. And even just the mention of the promise of death, um, but also like this promise of immortality is, that's, that's beautiful. That's beautiful. Um, so you did mention a little shop of horrors, and so is there any commentary in this piece that we're looking at about consumption?
Rashaad Newsome: Well, yeah. I mean, I think that runs through all of the work, just through the use of the imagery that constructs the picture. You know, it's all images of, you know, consumable, um, things, which actually brings me back to your question about, you know, the use of the, um, the African sculptures that really came from me, you know, kind of thinking about, uh, how my work was always, uh, in conversation with surrealism and cubism and how we often understand that as being this kind of Western idea, when in fact, it really comes from-
Wit López: Yup…. it's not!
Rashaad Newsome: you know, European artists going to Africa and looking at the sculptural practices of African people and applying that to the painting surface.
It was, you know, I was thinking, what does it mean for me to kind of reclaim those images and try to make something contemporary and new? And so I see, you know, this work right here really as sort of a, um, Neo-cubist work where, you know, because when you're looking at a Cubist image, you're looking at it from several vantage points at once on several different planes.
And so I photograph, um, different, um, dancers that I've work with. In the round and then kind of collage those images together to create this kind of Neo-cubist form.
Wit López: It's amazing.
Rashaad Newsome:And then the face is cut from several different masks from Western central Africa
Wit López: No, It definitely is. I love it. I love it. It's gorgeous. It's absolutely amazing. And I also love how you added around the inside of the frame are these geometric 3D shapes around surrounding the image of the body and the masks. That's really, that is gorgeous. That's really amazing.
Rashaad Newsome: Those are references to Cubism. Like more formal references.
I've looked at, um, the painting Les Demoiselle D'Avignon and, um, mapped out the way those surfaces were treated. And then uh, rendered them in a 3D program and then had them printed and chromed. And so the whole mirrorized environment that the figure existence is also sort of a way to kind of, uh, implicate the viewer.
So like, you know, I was thinking a lot about how, like the problems of trying to make counter-hegemonic work in hegemonic spaces. And so the limitations of that, and so by, you know, sort of implicating the viewer, you know, this, this whole effort to try to make this work that is trying to free itself, right? But it's still existing within a certain paradigm being the gallery. Right? And so by having the viewer… be there.. You know, it kind of implicates the viewer on the ways in which they are participating in this figure… Um, not being able to be free.
You know, the, the piece is called "It Do Take Nerve" from the line in Paris is Burning when the guy says, um, "Give him a round of applause because, with y'all vicious motherfuckers, it do take nerve."
So it do take nerve to try to make transgressive work in hegemonic spaces.
Wit López: That's Real. That's real. No, I, I, I appreciate that so much and it's true. It does take nerve. It does take nerve.
Rashaad Newsome: And shoutout to Jack Mizrahi who was just here, hosted my ball here.. and um, he made a song called "It Do Take Nerve." So shout out to Jack. He was happy to see this piece.
Wit López: That's amazing. That's amazing. Um, so you mentioned like freedom and not being free as like two themes kind of that are embodied within this piece that we're sitting right next to.
And so with the piece that's on the floor, the sculpture that you said had the opportunity to escape, to actually escape from the work and just to be, right. You mentioned it was called "To Be," right?
Rashaad Newsome: Well, the sculpture is called "Ansister" and the AI is called "Being."
Wit López: Okay. Okay. Gotcha, gotcha. Okay, so sorry, I mixed that up. Apologies. Um, but that piece on the floor, can you talk a little bit more about the freedom that it's experiencing? And also I noticed that it's doing a dip (laughter) very amazingly, and I love that it's doing it, but also kind of frozen in time since it's a sculpture.
Rashaad Newsome: Yeah, I, with that piece, I was really thinking about how to kind of, you know, that whole idea of expanding or escaping the frame. And for me, I wanted the figures that exist in my work to actually escape the frame and be in the space and the three-dimensional, um, way. And so, uh. When I started to think about that, you know, like those figures in the work are usually a synthesis of, you know, African sculptures, but then also the bodies of, um, women who work in the urban model industry.
And so, um, I was thinking, how could I render that three-dimensionally and also have it be, uh, you know, a form of collage where I'm working with things that exist in the world.
Wit López: Amazing.
Rashaad Newsome: And so, um, you know, to kind of have, that wood veneer kind of hit against, you know, like a flesh-like material. And so I started with the bust and I, um, went to Ghana to do research for the show. And I had a master Carver carve that bust, and it's based on the female full mass of the, um, Chokwe people of the Congo. And that mass kind of represents, um-and we, it's, it's a matriarchal society. And so I was thinking about, you know, like, agency around marginal bodies and how that, you know, how could I incorporate that conversation into the figure, um, particularly within the diaspora- and so the top part kind of represents that conversation.
But then when I was thinking originally like, Oh, I needed to have the like, flesh like legs, and how could I, you know get something in the world that already exists to do that. And so I thought, Oh, the sex doll, it was really kind of practical solution to have that kind of skin like material and neat wood. But the odd thing about it is that when I bought the sex doll, when I got it, the skin for the black sex doll looked a bit weird. It was kind of…
Wit López: Ashy? (laughter)
Rashaad Newsome: Ashy….. gray. (laughter) It wasn't really black, it wasn't really Brown.
Wit López: Always… always… (laughter)
Rashaad Newsome: So they hadn't really perfected that. So. Um, but the great thing about is that, you know, it's still allowed the work to kind of exist in like collage. So it's much more assemble assemblage, which is kind of analogous to collage. And so rather than show the flesh, I kind of put tights on it.But the great thing about it was it allowed me to kind of create that perfect dip form.
And, um, and then the, the dress that it's wearing was a a kente that I acquired in um, the… Bonyere region of Ghana, and it's a vintage kente that tells the story of colonialism So I had dress kind of made of that material and then stoned it as kind of like, to kind of make references to kind of like drag and like queer culture, which is also a part of the conversation.
So, yeah, it's, um, they represent the ability to actually escape the frame and the pose of them being in a dip. It's kind of like in this kind of pose where they kind of, it's kind of bringing the figure down to the ground and grounding themselves, right? And caught into like a certain, um, form of ecstasy.
Wit López: Yeah. I love that. That's amazing. So I also noticed that you have them in a pair of Red Bottoms or Louboutin, which is a type of shoe that looks like a, that people tend to really like and really enjoy, um, or kind of uphold amongst shoes. Like they're treasured amongst all heels. Is there a reason why you chose red bottoms?
Rashaad Newsome: Yeah, I mean, I, I thought, you know, like I was thinking, I had done a collaboration with Louboutin, um, for the Killer Heels exhibition at the Brooklyn museum? And so, you know, during the time I worked on that project, part of the reason I chose to collaborate with them- besides the fact that it was an exhibition around, you know, women's shoes and like that, uh, the effects, you know, and how that affects popular culture- I was thinking about, um, again, you know, like images that sort of participate in the culture of domination and how these shoes have become emerged as this object that, you know, you know, particularly black folk, really coveted. And they really had something that was like really important. It was like a status symbol.
Wit López: That's real, yeah.
Rashaad Newsome: And so, um, in the context of that video, I was kind of… it became so absurd the way in which they were used as a way to kind of comment on the whole notion that you need to have those have value. But I wanted to kind of bring that back into the work. You know, again, kind of. That conversation about the culture of domination and sort of how like the figure is grounded, but this shoe is sort of-
Wit López: Elevated.
Rashaad Newsome: Held up, yeah.
Wit López: (laughter) That's amazing. That's amazing. Um, I, I really love it. Like it's a, it's a brilliant, brilliant piece and I also love that you went directly to the continent to source these things for the imagery of the piece. Um, eve, I definitely recognize like the weave in the fabric and I was like, Oh, that's a real, that's a real one.
Because a lot of, a lot of kente fabric that we have here in the States, and that exists kind of within like Western, Westernized spaces, um, it's not woven anymore. Like a lot of times it's just printed directly onto the fabric. So to see like actual weave, like that's, that's really amazing, you, that's beautiful. Like I really love it.
Rashaad Newsome: Thank you. I would, for that, I was really thinking about too, like. Um, what does, you know, like luxury, look like within the diaspora because I had been playing with like consumer things and so often our ideas as African Americans around luxury come from things outside of ourselves.
Wit López: Yes.
Rashaad Newsome: I was really trying to speak to that in that work over there as well. Um, "Acosia" because, you know, she has this very like, elaborate hairstyle and I was thinking about, you know, um. The Bronner Brothers Hair Show and the legacy of that show and which is a synonymous with like really kind of, um, luxurious and elaborate hairstyles.
And then I was for "Ansister"when I was thinking about the dress like, well, when you think about couture or within a diasporic space, it's kente, it's artisinal, it's made by black folk and the continent. And so it was really important that the dress be made out of that material. I kind of wish it was used a lot more, and hopefully in modeling how this can be seen as a luxurious fabric for those who don't see it that way, hopefully it will. Inspire.
Wit López: No, that's real. That's real. Um, I mean, trying to acquire it, like trying to acquire authentic fabric from the continent, like here? Can definitely be very expensive. So it's like a lot of the prints that you see here tend to be on, like tend to not cost as much as the actual fabric does when you try to get it shipped here. So it's definitely a luxury item, but I don't think enough people..
Rashaad Newsome: You got to know folk, you know, cause everybody, somebody's always going home and then when they come back, you just tell them yo bring you a piece, yeah! (laughter) You know how we do, yeah.
Wit López: (laughter) Exactly. Bring me some Shea butter, too!
Rashaad Newsome: Yeah. You know, it's Shea… kente…. all of that. You just gotta put your order in. That's why black people be having all those bags when they come back. They're bringing stuff back for everybody. (laughter)
Wit López: You know what someone actually taught me once? They were like, no, what you gotta do is you have to mail it back home so that way it gets there by the time that you get there too.
Rashaad Newsome: Yeah. The mailing can be a little tricky too, so it's always good when you can, like if you know somebody who's going. And they can put them in, bring it back for you. Cause then you never know if you actually gunna…. get it..
Wit López: See it in the mail? Right.
Rashaad Newsome: Yeah. That's a whole other problem going on there.
Wit López: That's real. That's real. Um, so can you talk a little bit about the ball that was had here on Saturday, right?
Rashaad Newsome: Yeah. The ball. Um, it's again, kind of engaging in that whole conversation around the imagination as a form of, um. Resistance. And, um, in that, in that particular project, I was thinking about how oftentimes in ballroom, um, there is, the frame that's projected on, on folk participating is sort of- ironically- binary forms of gender, like Butch queen, femme queen and stuff like that.
And like, you know. It's kind of strange because we're in like this queer space, which should, which it, which- not even should- it does have room for all types of, you know, genders and gender presentations. Yet somehow there's still a mirroring of, um, heteronormative kind of like systems or ideas of gender.
But then there's also this kind of, um. Allegiance to capitalism too, with like labels, like, uh, categories like labels and stuff like that. And so much about what you can acquire. So like the culture of domination shows up again. And so with the ball, what I'm trying to do with that frame is completely obliterate it and put a premium on creativity.
So what does it mean for, um, someone to walk and re-imagine, you know a McLean painting on the ballroom floor, or a Marlon Riggs segment and a video on ballroom floor, or Bill T. Jones piece. So it's really kind of asking people to, you know, use their imagination as a way rather than what you can have.And hopefully that idea will kind of continue, um, outside of ballroom.
Wit López: That's real. That's real. Wow. I never thought about that, but the idea of like how can you recreate a painting or a photo or an object. On the floor. That's amazing. That sounds really great. I'm sad that I missed it. Next time, wherever there's another one, I'm going to be there.
Rashaad Newsome: In Miami, December 4th.
Wit López: Hey, listen, if I got to get on that plane, I'm gonna be on that plane. (laughter)
Rashaad Newsome: It's going to be the Titans ball.
Wit López: Oh my goodness.
Rashaad Newsome: Best of the best. It's the battles that you never get to see, that you want to see.
Wit López: It sounds amazing. Ugh, I can't wait. I can't wait. It's super exciting. Um, so what else do you have on the timeline besides this Titans ball that you mentioned in December 4th? Do you have any other shows that are accompanying this exhibition?
Rashaad Newsome: Well, coming up on Saturday, I'll be doing, um, the third part of this project, which is my performance FIVE. Um, and I'm working with, um. A group of New York based, um, performers and Philadelphia as well as New York and Philadelphia based musicians.
And, um, in that piece, uh, the frame kind of re-emerges again, um, a big part of that piece is about kind of like the diasporic tradition of improvisation. And so I, um, I have this, um. Custom made motion tracking technology that I use in the performance that's also a form of collage because it's creative coding and different, um, video game hardware.
And during the live performance, um, there's sort of a frame on the floor in which the dancer performs one of the five elements of Vogue family. And as they perform the dancer, I mean the musicians and the vocalists and I all imbue them with, you know, improvisational energy. We're all just kind of playing like sort of a jazz trio.
And as they are charged with this energy, um, I'm motion track their movements and you see this form being generated on the screen above them that has kind of escaped the frame as a way to kind of talk again about kind of escaping the frame.
Wit López: That is brilliant. And it, Oh my God. Oh, the way your mind works is like brilliant. That is amazing. To create something that's so multilayered, multidimensional, but like very representational of the collage of black culture, of queer culture, of ball culture. Thank you. Thank you. Like that… I am in the presence of greatness. (laughter) This is amazing. Oh my goodness. Wow. This is, and
Rashaad Newsome: I would say, I would say that's coming up is, um, you know, so that performance will complete the sort of East coast, uh, presentation. But then the whole project is going to travel to the Bay area, to Fort Mason. Center for art and culture. So we'll stage the exhibition again and um, there'll be a performance, but this time it will be my performance "Running," which is all about the kind of diasporic tradition of like vocal runs as well as, um, another ball.
Wit López: That's amazing. Oh, that is so exciting. (laughter) That's really cool. And it definitely is a diasporic, uh, vocal tradition. Yeah. And it takes so many different shapes throughout the diaspora, and so many different parts of it are valued depending on where you are and what you do. Like there's some things that are only valued in church that are not as valued outside of Black church.
Um, but yeah, that, that sounds amazing. I might have to hop on a plane to the Bay too,
Rashaad Newsome: Yes, come on!
Wit López: Oh my goodness. Well, thank you so much. This has really been, this has been an amazing, uh, interview. Thank you for your time. Thank you for your energy. Thank you for your talent and for sharing it with the Philadelphia community.
It's very, very appreciated. Um, for, you know, putting blackness and queerness on display in this really respectful and, uh, just kinda feels like a, it's an honor. Thank you. Like, I, as a black queer person, I appreciate this. I really, really do. Um.
Rashaad Newsome: That means a lot to me.
Wit López: It means a lot to me! Like, this is beautiful. This is beautiful. Um, and it's not a mockery, you know, which, which unfortunately happens way too much, I feel like. So thank you. Um, thank you for real. I really appreciate it. Um, but also, thank you for your time today. I'm deeply appreciative of this. Um, and I look forward to seeing more of your work in the future.
And I'm telling you, if I have to get on a plane to the Bay, I will! Come see your work. Oh, it's exciting. It's exciting. So thank you, and thank you to those of you who are listening.
If you want to listen to this, you can listen to it on Artblog's website, on Apple podcasts, or on Spotify.
Thanks so much for tuning in and have a wonderful day. Bye y'all.
You can listen to Artblog Radio on Apple Podcasts and Spotify. HUGE Shoutout to Kyle McKay for our original Artblog Radio intro and outro.
African Diaspora, AI, Artificial Intelligence, ball, Ballroom, Black Magic, Kente, lacma, Paris is Burning, philadelphia photo arts center, rashaad newsome
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January 4, 2020 by Susan Isaacs
A fruitful journey into encaustics, Deann Mills on her latest body of work
January 3, 2020 by Wit López


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            return JsonConvert.SerializeObject(this, Formatting.Indented);
        }

        ///
        /// Returns true if objects are equal
        ///
        /// <param name="obj">Object to be compared</param>
        /// <returns>Boolean</returns>
        public override bool Equals(object obj)
        {
            // credit: http://stackoverflow.com/a/10454552/677735
            return this.Equals(obj as RecipientOption);
        }

        ///
        /// Returns true if RecipientOption instances are equal
        ///
        /// <param name="other">Instance of RecipientOption to be compared</param>
        /// <returns>Boolean</returns>
        public bool Equals(RecipientOption other)
        {
            // credit: http://stackoverflow.com/a/10454552/677735
            if (other == null)
                return false;

            return
                (
                    this.Email == other.Email ||
                    this.Email != null &&
                    this.Email.Equals(other.Email)
                ) &&
                (
                    this.Name == other.Name ||
                    this.Name != null &&
                    this.Name.Equals(other.Name)
                ) &&
                (
                    this.RecipientLabel == other.RecipientLabel ||
                    this.RecipientLabel != null &&
                    this.RecipientLabel.Equals(other.RecipientLabel)
                ) &&
                (
                    this.RoleName == other.RoleName ||
                    this.RoleName != null &&
                    this.RoleName.Equals(other.RoleName)
                ) &&
                (
                    this.SigningGroupId == other.SigningGroupId ||
                    this.SigningGroupId != null &&
                    this.SigningGroupId.Equals(other.SigningGroupId)
                );
        }

        ///
        /// Gets the hash code
        ///
        /// <returns>Hash code</returns>
        public override int GetHashCode()
        {
            // credit: http://stackoverflow.com/a/263416/677735
            unchecked // Overflow is fine, just wrap
            {
                int hash = 41;
                // Suitable nullity checks etc, of course :)
                if (this.Email != null)
                    hash = hash * 59 + this.Email.GetHashCode();
                if (this.Name != null)
                    hash = hash * 59 + this.Name.GetHashCode();
                if (this.RecipientLabel != null)
                    hash = hash * 59 + this.RecipientLabel.GetHashCode();
                if (this.RoleName != null)
                    hash = hash * 59 + this.RoleName.GetHashCode();
                if (this.SigningGroupId != null)
                    hash = hash * 59 + this.SigningGroupId.GetHashCode();
                return hash;
            }
        }

        public IEnumerable<ValidationResult> Validate(ValidationContext validationContext)
        {
            yield break;
        }
    }
}

redpajama_set_name: RedPajamaGithub


Generally, family members are allowed to visit inmates upon producing the relevant documentary proofs of their relationship. For non-family members who wish to visit an inmate, their visitation requests are subject to approval by the Singapore Prison Service. To help us process the requests, the Main Card Holder (MCH) would need to complete a "Application Form for Request to Visit an Inmate" at the Prison Link Centre (Changi).
Community Based Programmes (CBP) allow suitable inmates to serve the tail-end of their sentences or Detention Orders in the community, under supervision. CBP may include Home Detention Scheme or Halfway House Scheme. During the period of CBP, inmates are generally required to engage in purposeful activities such as work or study. There is no need to apply for CBP as inmates who qualify for it will automatically be considered.
The medical team in prison, which comprises qualified doctors and medical staff ensures that all inmates are given adequate medical care during their incarceration. Referrals to specialist treatment/care will also be made depending on our doctor's assessment of inmates' medical conditions.
All inmates can receive letters. Standard correspondence materials including greeting cards and postcards are subject to screening and approval by the Singapore Prison Service. Non-standard correspondence materials such as musical, perfumed, pop-ups, irregular-shaped, unusually large, glossy surface, pasted with neo-prints/stickers, printed with personal photographs, etc. will not be allowed.


"HR" redirects here. For other uses, see HR (disambiguation).
Human resources is a term used to describe the individuals who comprise the workforce of an organization, although it is also applied in labor economics to, for example, business sectors or even whole nations. Human resources is also the name of the function within an organization charged with the overall responsibility for implementing strategies and policies relating to the management of individuals (i.e. the human resources). This function title is often abbreviated to the initials 'HR'.
Human resources is a relatively modern management term having been coined in the 1960s. The origins of the function arose in those organisations which introduced 'welfare management' practices and also in those that adopted the principles of 'scientific management'. From these terms emerged a largely administrative management activity, co-ordinating a range of worker related processes and becoming known, in time as the 'personnel function'. Human resources progressively became the more usual name for this function, in the first instance in the United States as well as multinational corporations, reflecting the adoption of a more quantitative as well as strategic approach to workforce management, demanded by corporate management and the greater competitiveness for limited and highly skilled workers.
The early development of the function can be traced back to at least two distinct movements. One element has its origins in the late 19th century, where organisations such as Cadburys at its Bournville factory recognised the importance of looking after the welfare of the workforce, and their families. The employment of women in factories in the United Kingdom during the First World War lead to the introduction of "Welfare Officers". Meanwhile, in the United States the concept of human resources developed as a reaction to the efficiency focus of Taylorism or "scientific management" in the early 1900s which was developed as a response to the demand for ever more efficient working practices within highly mechanised factories, such as those of the Ford Motor Company. By 1920, psychologists and employment experts in the United States started the human relations movement, which viewed workers in terms of their psychology and fit with companies, rather than as interchangeable parts.
During the middle of the last century, larger corporations, typically those in the United States which had emerged after the Second World War recruited personnel from the US Military and were able to apply new selection, training, leadership and management development techniques, originally developed by the Armed Services working with for example, university-based occupational psychologists. Similarly, some leading European multinationals, such as Shell and Phillips had developed new approaches to personnel development and also drew on similar approaches already in use by Civil Service training establishments. Gradually, this resulted in the general spread of more sophisticated policies and processes requiring more centralised management via a Personnel Department comprising a range of both specialists and generalist teams.
The role of what would become more universally know as Human Resources grew throughout the middle of the 20th century. Tensions remained between academics placing emphasis either on what became known as 'Soft' or 'Hard' HR. Those professing so called 'soft HR' stressing the importance of such areas as leadership, cohesion, and loyalty which played important roles in organizational success. Meanwhile those promoting 'hard HR' continued to champion the advantage the more quantitatively rigorous and less "soft" management techniques of the 1960s.
In the later part of the last century, both the title and traditional role of the personnel function was progressively being superseded with the emergence, in larger organizations at least, of so called strategic human resources management and the development of sophisticated human resources departments. Initially this may have involved little more than a renaming of the function, but where a transformation has occurred it has become distinguished by the Human Resources function also having a much more significant influence on the strategic direction of the organisation and becoming positioned in the organization, with designated board level representation.
In the simplest terms, the objective of an organization's human resource management strategy is to maximize the return on investment from the organization's human capital and minimize financial risk. Human Resources seeks to achieve this by aligning the supply of skilled and qualified individuals, and the capabilities of the current workforce, with the ongoing and future business plans and requirements of the organization in order to maximise return on investment and seeks to secure the future survival and success of the entity. In ensuring such objectives are achieved, the human resource function purpose in this context is to implement the organisation's human resource requirements effectively but also pragmatically, taking account of legal, ethical and as far as is practical in a manner which retains the support and respect of the workforce.
The Human Resources function may set strategies and develop policies, standards, systems and processes to implement these strategies in a whole range of areas for which the following would be typical of a wide range of organizations.
Implementation of such policies, processes or standards may be directly managed by the HR function itself, or the function may indirectly supervise the implementation of such activities by managers, other business functions or via third-party external partner organizations.
In organizations, it is important to determine both current and future organizational requirements for both core employees and the contingent workforce in terms of their skills/technical abilities, competencies, flexibility etc. The analysis requires consideration of the internal and external factors that can have an effect on the resourcing, development, motivation and retention of employees and other workers. The external factors are those largely out-with the control of the organization and include issues such as the economic climate, current and future trends of the labor market e.g. skills, education level, government investment into industries etc. On the other hand internal influences are broadly within the control of the organization to predict determine and monitor, for example the organizational culture underpinned by management behaviours (or style), environmental climate and the approach to ethical and corporate social responsibilities.
the characteristics of a population/workforce, for example, age, gender or social class. This type of trend may have an effect in relation to pension offerings, insurance packages etc.
the variation within the population/workplace. Changes in society now mean that a larger proportion of organizations are made up of "baby-boomers" or older employees in comparison to thirty years ago. Advocates of "workplace diversity" simply advocate an employee base that is a mirror reflection of the make-up of society insofar as race, gender, sexual orientation, etc.
as industries move from manual to a more managerial professions so does the need for more highly skilled graduates. If the market is "tight" (i.e. not enough staff for the jobs), employers will have to compete for employees by offering financial rewards, community investment, etc..
how far is the job from the individual? The distance to travel to work should be in line with the pay offered by the organization and the transportation and infrastructure of the area will also be an influencing factor in deciding who will apply for a post.
the norms and values of the different careers within an organization. Mahoney 1989 developed 3 different types of occupational structure namely craft (loyalty to the profession), organization career (promotion through the firm) and unstructured (lower/unskilled workers who work when needed).
different age categories of employees have certain characteristics, for example their behaviour and their expectations of the organization.
Human Resources Development is a framework for the expansion of human capital within an organization or (in new approaches) a municipality, region, or nation. Human Resources Development is a combination of training and education, in a broad context of adequate health and employment policies, that ensures the continual improvement and growth of both the individual, the organization, and the national human resourcefulness. Adam Smith states, "The capacities of individuals depended on their access to education". Human Resources Development is the medium that drives the process between training and learning in a broadly fostering environment. Human Resources Development is not a defined object, but a series of organised processes, "with a specific learning objective" (Nadler,1984) Within a national context, it becomes a strategic approach to intersectoral linkages between health, education and employment.
At the organizational level, a successful Human Resources Development program will prepare the individual to undertake a higher level of work, "organized learning over a given period of time, to provide the possibility of performance change" (Nadler 1984). In these settings, Human Resources Development is the framework that focuses on the organizations competencies at the first stage, training, and then developing the employee, through education, to satisfy the organizations long-term needs and the individuals' career goals and employee value to their present and future employers. Human Resources Development can be defined simply as developing the most important section of any business its human resource by, "attaining or upgrading the skills and attitudes of employees at all levels in order to maximise the effectiveness of the enterprise" (Kelly 2001). The people within an organization are its human resource. Human Resources Development from a business perspective is not entirely focused on the individual's growth and development, "development occurs to enhance the organization's value, not solely for individual improvement. Individual education and development is a tool and a means to an end, not the end goal itself".(Elwood F. Holton II, James W. Trott Jr). The broader concept of national and more strategic attention to the development of human resources is beginning to emerge as newly independent countries face strong competition for their skilled professionals and the accompanying brain-drain they experience.
Employee recruitment forms a major part of an organization's overall resourcing strategies which seek to identify and secure the people needed for the organization to survive and succeed in the short to medium-term. Recruitment activities need to be responsive to the ever-increasingly competitive market to secure suitably qualified and capable recruits at all levels. To be effective these initiatives need to include how and when to source the best recruits internally or externally. Common to the success of either are; well-defined organizational structures with sound job design, robust task and person specification and versatile selection processes, reward, employment relations and human resource policies, underpinned by a commitment for strong employer branding and employee engagement strategies.
Increasingly, securing the best quality candidates for almost all organizations will rely, at least occasionally if not substantially, on external recruitment methods. Rapid changing business models demand skills of experiences which cannot be sourced or rapidly enough developed from the existing employee base. It would be unusual for an organization today to undertake all aspects of the recruitment process without support from third-party dedicated recruitment firms. This may involve a range of support services, such as; provision of CVs or resumes, identifying recruitment media, advertisement design and media placement for job vacancies, candidate response handling, shortlisting, conducting aptitude testing, preliminary interviews or reference and qualification verification. Typically, small organizations may not have in-house resources or, in common with larger organizations, may not possess the particular skill-set required to undertake a specific recruitment assignment. Where requirements arise these will be referred on an ad hoc basis to government job centres or commercially run employment agencies.
Except in sectors where high-volume recruitment is the norm, an organization faced with an unexpected requirement for an unusually large number of new recruits at short notice will often hand over the task to a specialist external recruiter to manage the end-to-end resourcing programme. Sourcing executive-level and senior management as well as the acquisition of scarce or 'high-potential' recruits has been a long-established market serviced by a wide range of 'search and selection' or 'headhunting' consultancies which typically form long-standing relationships with their client organizations. Finally, certain organizations with sophisticated HR practices have identified there is a strategic advantage in outsourcing complete responsibility for all workforce procurement to one or more third-party recruitment agencies or consultancies. In the most sophisticated of these arrangements the external recruitment services provider may not only physically locate, or 'embed', their resourcing team(s) within the client organization's offices but will work in tandem with the senior human resource management team in developing the longer-term HR resourcing strategy and plan.
Modern analysis emphasizes that human beings are not "commodities" or "resources", but are creative and social beings in a productive enterprise. The 2000 revision of ISO 9001 in contrast requires identifying the processes, their sequence and interaction, and to define and communicate responsibilities and authorities. In general, heavily unionised nations such as France and Germany have adopted and encouraged such approaches. The International Labour Organization also in 2001 decided to revisit, and revise its 1975 Recommendation 150 on Human Resources Development . One view of these trends is that a strong social consensus on political economy and a good social welfare system facilitates labor mobility and tends to make the entire economy more productive, as labor can develop skills and experience in various ways, and move from one enterprise to another with little controversy or difficulty in adapting. Another view is that governments should become more aware of their national role in facilitating human resources development across all sectors.
An important controversy regarding labor mobility illustrates the broader philosophical issue with usage of the phrase "human resources": governments of developing nations often regard developed nations that encourage immigration or "guest workers" as appropriating human capital that is more rightfully part of the developing nation and required to further its economic growth.
Over time the United Nations have come to more generally support the developing nations' point of view, and have requested significant offsetting "foreign aid" contributions so that a developing nation losing human capital does not lose the capacity to continue to train new people in trades, professions, and the arts..
In the very narrow context of corporate "human resources" management, there is a contrasting pull to reflect and require workplace diversity that echoes the diversity of a global customer base. Foreign language and culture skills, ingenuity, humour, and careful listening, are examples of traits that such programs typically require. It would appear that these evidence a general shift through the human capital point of view to an acknowledgment that human beings do contribute much more to a productive enterprise than "work": they bring their character, their ethics, their creativity, their social connections, and in some cases even their pets and children, and alter the character of a workplace. The term corporate culture is used to characterize such processes at the organizational level. Peace Yo!!! Cayley says peace!!
^ Advances in Developing Human Resources Vol 6 (#3) August 2004 and Vol 8, #3, 2006.
^ McLean G. N. National Human Resource Development: A Focused Study in Transitioning Societies in the Developing World. In Advances in Developing Human Resources; 8; 3, 2006.
^ Nadler L Ed., 1984, The Handbook of Human resources Development, John Wiley and Sons, New York.
^ McLean, G. N., Osman-Gani, A. M.,& Cho, E. (Eds.). Human resource development as national policy. Advances in Developing Human Resources, August (2004). 6 (3).


A cool slogan sweatshirt for a cool kid. This sweatshirt celebrates the uniqueness of every single child.
This children's slogan sweatshirt inspired by all the amazing, brilliant kids in the world allows each one to celebrate their individuality and let them show it off. The sweatshirt is ethically produced and has been chosen for it's comfort and durability. It's been road tested by our families and washes and washes and washes so kids just need to go out and have fun.
A soft and comfortable unisex navy sweatshirt available in ages 3-4 all the way up to 12-13.


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Wi16 Education Recap: Managing Online Sales Growth
On Friday, February 19, Winter Institute attendees joined a session called "Managing Online Sales Growth."
The panel consisted of booksellers from small and large stores who are managing high-volume online sales on a variety of ecommerce-enabled platforms. It was moderated by ABA Senior Manager of IndieCommerce Geetha Nathan, and panelists included Jamie Thomas of Women & Children First (W&CF) in Chicago, Illinois; Luis Correa of Avid Bookshop in Athens, Georgia; Lexi Beach of Astoria Bookshop in Astoria, New York; Warren Lee of 44th and 3rd Bookseller in Norcross, Georgia; and Cheryl Lee of 44th and 3rd Bookseller in Norcross, Georgia.
Booksellers can view a recording of this session on the Education Resources page on BookWeb.org.
Here are some of the key points from the session:
Thomas shared three things that helped W&CF manage an increase of 32,000+ online orders: customizing their IndieCommerce site, creating a dedicated online order email, and utilizing the IndieCommerce pick list function.
Some changes made to W&CF's IndieCommerce site included altering shipping and inventory statuses to manage customer expectations, changing the warehouse where orders are shipping from, and discontinuing print-on-demand orders.
W&CF's dedicated online order email included a bounce-back with an FAQ, which helped direct customers to the information they were likely looking for.
W&CF also turned off their website between 9:00 p.m. and 9:00 a.m.
Beach said that once the pandemic caused her store to close, Astoria shifted to online orders only. All online orders required prepayment, which Astoria still requires. Her staff managed spreadsheets to track orders and follow up with customers about shipping delays and cancellations, encouraged customers to place pre-orders for books coming out months in advance, and directed customers to the store's Bookshop.org storefront.
For the six weeks the store was closed, Beach's staff communicated via Slack. She also had to make a trip back to Astoria to set up remote access to the store's desktop, which their point-of-sale (POS) system runs on, from her laptop at home. Their POS, Bookmanager, made helpful updates that allowed Beach to contact customers directly through the system with an order status.
Astoria used a website called Schedulicity to offer pickup appointments to customers. While some customers have resisted creating a new account for another website, it's been crucial for Astoria's operations.
Correa said that when the pandemic started, Avid had to rethink the tools the store was using to streamline processes. One of the main tools Avid uses is Basecamp, which is similar to Slack and Asana. It allows Avid's staff to chat, share internal documents, manage events, and assign projects.
One project assigned through Basecamp to staff at Avid is handling web orders, that way one person can work on customer service-related tasks, while booksellers in the store can focus on their own tasks. Using Basecamp for order fulfillment provides a record of all the interactions that have happened regarding a particular order, which is helpful in case something goes wrong.
Avid also prioritized the messaging on the store's website, and clearly communicated difficulties in operations, delays, and other important information on a regular basis.
Avid uses IndieCommerce, which allows them to tailor workflows to create email templates, which also streamlines order fulfillment.
Warren Lee said that 44th and Third Booksellers launched the IndieLite site just before the pandemic hit. Their first sale was on April 8, and they had less than a dozen for the month of May. But when George Floyd was murdered on May 25, interest in social justice and the rights of Black communities and businesses spiked, which increased the store's orders by 1,850 percent.
To manage the sharp uptick, Warren Lee said that they fulfilled some orders in store, and fulfilled others through Ingram. For shipping, they used Stamps.com and Uline.
Cheryl Lee added that staying connected with customers throughout the pandemic was crucial — they responded to all messages within 24 hours. Their community's response was strong. Additionally, the store increased its social media presence by mentioning their store in posts requesting recommendations for Black-owned businesses.

redpajama_set_name: RedPajamaCommonCrawl


Keaton McKinney's career in question after undergoing his second major surgery in the last year.
Ankeny native Keaton McKinney's 2018 season is already done — and so might be the remainder of his baseball career.
McKinney, a right-handed pitcher for Arkansas, said his career is in doubt after undergoing his second Tommy John surgery.
It's the second setback for McKinney, a redshirt junior, who first underwent Tommy John surgery on Feb. 10, 2017. After missing all of the 2017 season, McKinney rehabbed his way back to health and hoped to regain the form that made him a high school star and one of the best pitchers in the nation as a freshman at Arkansas.
McKinney appeared in one game for the Hogs and was shut down after he started feeling a "burning pain" when he threw. McKinney said doctors discovered a moderate tear in the UCL. He underwent his second Tommy John surgery on April 20.
McKinney was a star at Ankeny High School and then at Ankeny Centennial, where he was ranked the 37th-best recruit, nationally, and No. 1 recruit in the state of Iowa by Perfect Game. He was projected to be a high draft pick during his senior season but wasn't selected until the 28th round by the New York Mets due to his high asking price.
After turning down the Mets, McKinney went to Arkansas, where he went 6-2 and compiled a 3.21 ERA as a freshman, earning SEC All-Freshman Team honors by the coaches. He was also named to the Louisville Slugger Freshman All-American team.
Injuries hampered him the rest of the way, though. He dealt with a hip injury as a sophomore that required surgery after the season. The following season, McKinney underwent his first Tommy John surgery to fix a fully torn UCL and bone chip. McKinney believes he could have been pitching with that elbow injury for up to two years as scar tissue built up.
While things haven't gone like he'd hoped, McKinney said he has no regrets about coming to Arkansas instead of starting his professional career.
McKinney still hasn't given up on baseball quite yet, either.


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Haplochromis plagiodon is een straalvinnige vissensoort uit de familie van de cichliden (Cichlidae). De wetenschappelijke naam van de soort is voor het eerst geldig gepubliceerd in 1928 door Regan & Trewavas.

Cichliden

redpajama_set_name: RedPajamaWikipedia


Spain Yoga Trip, Valencia, September 2017 – Saturday 2nd to Tuesday 5th September 2017, Valencia, Spain.
The Orange Tree in Valencia, approximately 20 minutes from the airport (by car) for our Spain Yoga Trip. The accommodation is a modest bungalow set in a remote orange grove. The bungalow comprises of six bedrooms, four of which come with an en-suite. An open covered terrace overlooks the pool and orange grove, we also have access to a purpose built indoor Yoga studio. Though on the whole, we find the scenic decking area is ideal for Yoga outside!
A late summer break, combined with a mini-Yoga retreat / relaxing holiday time. There's time for building your Yoga practice, chilling by the pool, and on the last day popping into Valencia for some sightseeing and a meal out. There are no hard and fast rules on the retreat / Yoga trip, though bear in mind the Yoga is for everyone that attends. Expect an uplifting, easygoing, non-competitive Yoga time, which is suitable for mixed levels of ability.
The fee for the 3 night stay includes group Yoga tuition, Yoga equipment, home-made food, refreshments and accommodation.
Saturday evening / night Time to retreat, with some nourishing home cooked food and a mini meet and greet for everyone. A short soothing evening practice before bed time with Yoga and simple guided meditation to aid a restful sleep.
Sunday There's 3 soothing, strong, yet super relaxed Yoga sessions. Plus delicious homemade treats, from brunch to supper! There's time and (ample) space in the Orange Tree, to relax and unwind around the pool. You can sunbathe, read or sit sipping the freshly squeezed juice made from the oranges picked in the grove.
Monday – Morning Yoga session, followed by brunch and time by the pool, before you get ready for the day trip to Valencia. You'll have plenty of time to explore and sample the local cuisine. You can choose whether you'd like to explore Valencia City (and/) or the beach via Metro.
Tuesday Final Yoga session, tasty brunch, pool time, packing up and farewells.
Anyone who is up for deepening their Yoga practice and wants to spend time with like-minded people! Suits anyone in general good health, who wants to learn more about Yoga. We tailor the sessions to suit individual needs, and our pre-course questionnaire helps to ensure everyone gets something they are looking for out of the trip.
• Up to 6 Yoga classes, Plus guided meditation, pranayama and Yoga Nidra- and the use of all equipment Yoga mats, bolsters, belts and blankets.
How do I make the payment for the 3 night Yoga trip?
• You can pay directly via Bank Transfer. Details will be sent along once a place has been offered. Please note we cannot hold onto, or reserve any places.
• Arrangements for transfers to and from Valencia Airport – (if arranged via the Villa, expect to pay no more than 30 euros per trip, per car).
• Please don't delay your booking / payment – if there is a delay in your payment, we cannot guarantee a place will still be open for you. If all places are fully booked by the time you have transferred your money, you will receive a refund.
Jasmin has been teaching Yoga over 15 years. Drawing on her training and experience of classical Hatha Yoga, Ashtanga Vinyasa Flow and anatomically based Vinyasa Flow.
She has a knack of working with students of all levels and experience, and makes people feel at ease and confident in their practice and Yoga capability. She is a huge advocate of the deeper benefits of Yoga, beyond the physical, that can help to clear the cluttered mind. Her additional skills are in integrating her Psychology training into the meditation, relaxation and Yoga Nidra sessions.


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sales@dscallards.com
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About Codestone
Leading Power BI Expert, DSCallards Awarded Gold for Innovation at Oxfordshire County Council
Oxfordshire County Council's Children's Social Care department end of year celebration saw awards being given for outstanding contributions to service delivery, reporting and innovation. DSCallards, part of the Codestone Group and leading Power BI specialist won the Gold award for Creativity and Innovation, alongside Oxfordshire staff members, for their work on a project codenamed OHANA (it means 'family', if you've ever seen Lilo and Stitch!).
Completing the project within the tight deadlines set meant not only were penalties avoided, but £1.7 million of additional funds were made accessible through the Supporting Families central fund. Oxfordshire staff worked evening and weekends, and DSCallards staff worked alongside them at short notice to ensure that the effort was successful.
The project created complex reporting and analysis of Oxfordshire's data, focusing on children and families who use the council's services. DSCallards consultants Keith Fisher and Mike Hobson contributed with sophisticated Power Query transformations in Microsoft Power BI to ensure accurate output was provided.
The project was designed to show improvements that children and families experienced in their interactions with social care provision, uniting data from their main care system with Police and NHS data as well as education and other involvements.
Tan Lea, the Early Intervention Manager at Oxfordshire County Council said: "DSCallards did an amazing job in developing the OHANA Power BI platform and worked brilliantly as a team – so well deserved that you should have been awarded Gold in our Children's staff celebration tonight for your creativity and innovation. I know how incredibly hard you all worked and the obstacles you overcame, and that you worked over and above what any of us might expect. Great partnership working, and we could not have done it without your team at DSCallards. Many thanks!"
The project relied on data from multiple sources, which was routed through SAP BusinessObjects, Microsoft SharePoint and Microsoft Power BI. Power Automate and Power Query were key to the manipulation and transmission of the data through the steps to achieve the final outcome – a series of reports and dashboards in Microsoft Power BI.
Oxfordshire County Council have worked with DSCallards as their analytics partner for over 4 years. DSCallards maintain their SAP BusinessObjects estate and have delivered dashboard-style reporting, training, and system upgrades in that time. As the Council moves towards using Microsoft Power BI as its strategic reporting platform DSCallards has been key in advising the path to take for a successful transition.
In addition to this work, there is an ongoing project to deliver a data warehouse to feed Adults' Social Care data to Microsoft Power BI reports and dashboards, and also a data governance stream where Council staff are being guided in analysing, cataloguing and stewarding their data. The continued and repeated involvement of DSCallards in the Council's analytics projects shows the high level of trust between the two, as well as the confidence the Council has in DSCallards to deliver.
Adrian Handley, Business Intelligence and Analytics Director, DSCallards (A Codestone Company) commented, "We are delighted to have played an integral role in the first stage of this valuable project. By working hand-in-hand with the team at Oxfordshire County Council we helped to provide true transparency through visualisations to enable service delivery managers to quickly see the effects of their teams' work and take action to improve people's lives around the county. DSCallards supports Codestone's cloud-first approach in helping customers gain rapid results today and future-proofing their tomorrow by running better with cloud solutions and adopting innovative technology."
Microsoft Power BI is both a desktop tool and a cloud service that enable users to get the most out of their data. Microsoft Power BI Desktop is a report and data-model authoring tool that uses an in-memory database to quickly and intuitively connect to data, manipulate and transform it, create relationships and then visualise the output. The reports created and the datasets they are based on can be published to the Power BI Service where security and functionality combine to provide a seamless experience for report consumers. Filtering, drill-down, AI analysis and more are achievable easily and smoothly.
The reports and the service combine well with other Microsoft tools such as Teams, SharePoint and SQL Server. Even more commonality and cross-functionality is available with Azure services such as Data Lake and Synapse.
Power Query is a data transformation tool which is found in both Power BI and Excel. It empowers end-users with data-modelling capabilities that might otherwise only be accessible to IT and DBAs. As part of Microsoft Power BI it allows for the automation of data manipulation that is then applied to data models that feed into reports and dashboards in the Power BI service.
DSCallards' staff are skilled in a broad range of analytics tools, concepts and deliverables. The consultants install software, train users, deliver content, support systems, design solutions, architect data models and create governance frameworks. Companies and organisations trust DSCallards to look after their data needs in so many different ways.
Posted by Adriane Gillies-Read, Marketing Manager, 10th January 2023
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What should Americans be worried about? Fragile finances, not Vladimir Putin
By Harlan Ullman, Arnaud deBorchgrave Distinguished Columnist
A board on the floor of the NYSE shows the Dow Jones Industrial Average up almost 80 points after the opening bell at the New York Stock Exchange on Wall Street in New York City on August 26. File Photo by John Angelillo/UPI | License Photo
WASHINGTON, Oct. 24 (UPI) -- From Nigeria on the west coast of Africa to the Pacific Ocean, dire is a fair description of events.
Boko Haram, the Islamic State and radical Islam have infected several continents. Iraqi forces are attempting to retake Mosul from IS insurgents. If or when they do, installing some measure of governance, stability and the rule of law will be as testing as driving IS from Iraq.
Syria and Libya are in flames. The war in Yemen persists. Afghanistan is far from settled. Kashmir remains a potential flashpoint for India and Pakistan. North Korea's Kim Jong Un is aggressively increasing his nuclear weapons capacity. And China persists in fortifying tiny specks in the various seas named after it.
Meanwhile, Russian President Vladimir Putin appears to be riding a wave of (temporary) success. His popularity with his country mates is above 80 percent, admittedly down a bit. But, if accurate, American politicians would be tempted to rent their souls for that approval rating.
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Putin's incursion into Ukraine and his annexation of Crimea have led Western powers to fear a new cold war may be underway. Putin's support of Syrian President Bashar al-Assad has saved that regime and certainly has shifted the balance of the war against the opposition. His aggressive actions toward NATO with Russian aircraft buzzing alliance war ships and reconnaissance aircraft and the deployment of nuclear capable Iskander missiles to Kaliningrad can only be regarded as provocative and dangerous.
Yet, while many regard Putin as a growing or even THE principal threat that may prove to be an exaggeration. First, Putin has no intention of invading the Baltics or Black Sea members of NATO as he did in Ukraine. It makes no sense to risk a war that could go nuclear. Second, Putin has other means to intimidate and achieve his aims of expanding Russian influence and prestige through propaganda, cyber and deployment and exercising of his military forces.
Interestingly, if the American public were polled as to whether it viewed Congress or Putin as the greater threat, one suspects the result would be a close-run thing. What then should worry Americans? I argue that our financial structure is fragile.
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The financial collapse of 2008-09, the worst since the Great Depression and stock market crash of 1929, was largely caused by an orgy of excessive leverage of debt in the mortgage and housing sectors. In essence, bets were made without any collateral. When it turned out housing prices were not guaranteed to rise forever, the market collapsed. Today, another potential vulnerability looms.
This can be categorized as the P/E or price-to-earnings ratio that has become hugely inflated. Price refers to the price of the stock. Earnings refer to the profit companies make. Historically, the major stock exchanges operated on P/E's ranging between 12 and 16 to 1 meaning that shares sold at that multiple of earnings. Today, the Dow Jones Industrial Average currently fluctuating north of 18,000 has P/E of about 20 to 1. The NASDAQ exchange now about 2500 consisting of higher technology stocks, has a current P/E of about 25 to 1.
With interest rates set at record low levels and some negatively, meaning that banks that keep excess cash on hand must pay a fee, stock markets offer the best returns. Interest rates cannot remain at these levels forever. And the World Bank calculates the total global debt has soared to between $150 trillion to $200 trillion.
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It is difficult if not impossible to calculate global total net worth or value. Assuming the United States' total net worth is around $100 trillion and that is about 1/3 of the rest of the world, $300 trillion total value against $200 trillion of debt seems sustainable. The reality is however that this debt is uneven. So what happens when interest rates go up? How that debt will be serviced is critical.
When this happens, the chances that P/E's will revert to historical averages is high, meaning that the value of equities markets could decline by 15, 20 or 25 percent. For most investors, that would be extremely damaging. Of course, markets recover. After the 1987 and 2008 meltdowns, markets rebounded. That was not entirely true during the Great Depression.
The conclusion is that while Putin is seen as a threat, beware P/E. A market meltdown is not inevitable. But it would be exceedingly painful.
Harlan Ullman is UPI's Arnaud de Borchgrave Distinguished Columnist and serves as senior adviser for Supreme Allied Commander Europe, the Atlantic Council and Business Executives for National Security and chairs two private companies. His last book is "A Handful of Bullets: How the Murder of Archduke Franz Ferdinand Still Menaces the Peace." His next book, due out next year, is "Anatomy of Failure: Why America Loses Wars It Starts."
Voices // 6 months ago
COVID-19, culture wars, gun violence show America's irrationality
Russia and China, as well as some of America's closest allies, are not only questioning the rationality of this country's politics. In Moscow and Beijing, the United States is seen as a nation in decline.
Controversy over communion in Catholic Church goes back 2,000 years
June 29 (UPI) -- The United States Conference of Catholic Bishops recently approved drafting a document on receiving communion in the Catholic Church.
Nuclear blackmail: Biden seems desperate to resume Iran deal
June 28 (UPI) -- The Biden administration appears desperate to resume talks in Vienna aimed at re-establishing the deeply flawed and now wholly redundant Iran nuclear deal.
Kim Jong Un's COVID-19 policy may be starving North Koreans
June 25 (UPI) -- North Korea's Kim Jong Un has stated publicly that the country is facing a food shortage, a rare admission for the country's leader, who blamed the pandemic and a recent typhoon.
FDA's weak drug manufacturing oversight is a potentially deadly problem
June 24 (UPI) -- The latest setback for Johnson & Johnson's COVID-19 vaccine was the U.S. Food and Drug Administration's order on June 11 to discard 60 million doses that failed to meet quality and safety guidelines.
U.S. can win battles, but needs better strategy to win wars
Here is a chastening contradiction: Since the early days of the Korean War, the U.S. military has won virtually every battle it fought. But what is the last war the United States really won? The answer is World War II.
As urban life resumes, U.S. cities have chance to avoid return to gridlock
June 22 (UPI) -- Traffic is so ubiquitous in U.S. cities that until recently, imagining urban life without it meant looking to other nations for examples. Then, in 2020, COVID-19 closures and lockdowns took drivers off the roads.
Iran in furtive race to develop a nuclear weapon
June 21 (UPI) -- It seems clear Iran's regime is intent on buying time by keeping negotiations on the nuclear deal at arms length in Vienna, obstructing the IAEA, while at the same time accelerating its sprint to build a nuclear bomb.
Post-pandemic return to work is perfect opportunity to move to 4-day week
June 18 (UPI) -- As the gradual easing of lockdowns and social restrictions opens the possibility of a welcome return to pre-pandemic habits, there is growing support for the idea of a four-day work week.
Israel's lack of a constitution deepens divisions between Jews, Arabs
June 17 (UPI) -- The conflict in Gaza is an early test of Israel's new coalition government. It's chronic instability traces back to its lack of a constitution.


text:
"Hello, I'm Principal Roberts and you must be Cassie's mom." He grinned at Cassie. "I'm glad you could make it."
She gazed up at him like a deer caught in headlights. "You are?"
His heart melted. She was so earnest; a tiny girl with an ancient soul. He ignored her mother for the moment to crouch down to Cassie's eye level, though he was tangibly aware of the watchful woman hovering nearby.
"Can I tell you a secret?" he asked.
She looked up at her mom before hesitantly nodding, curiosity creasing her brow. "O… kay."
"Well, the truth is, I don't know very much about dogs and cats. I've never had one and they make me nervous. Do you think you could help my daughter, Avery, take care of the puppy pen?" He rose and gestured to the temporary white picket fenced enclosure that had been constructed in the center of the floor. Puppies yelped and jumped, grabbing ears and tumbling over each other in enthusiastic play.
Her eyes grew wide with excitement. She tugged on her mom's hand. "Can I, Mom? Please?"
Just as his idea was about to get shot down, Avery came to the rescue. She danced across the room and under his arm. "Hi, Cassie, isn't this the coolest?" She glanced up at Kyle. "Daddy, I'm thirsty."
"Code for 'I need some money'," he said, pulling out his wallet. He handed over five dollars but didn't let go when she made a grab for it. "Milk, not juice, and you can get one for Cassie, too, if she's allowed?"
Cassie's mom's lips quirked, her gaze knowing as it rested briefly on his face, creating a spark in his chest like a lick of lightning.
"We weren't planning on staying for long," she murmured, but her daughter's crestfallen expression changed her mind. "You can go, as long as you stick with Avery. Is that all right, Avery?"
She nodded and grasped Cassie's hand; a mini-mom. "Yes, ma'am. C'mon, Cassie, the puppies are soooo cute!"
The girls raced away without a backward look, leaving Kyle feeling strangely awkward with the enigmatic Mrs. Donovan. He dealt with parents daily. Some were loving and had their child's best interests at heart, while others—his gaze went to Ms. Bigalow chatting with a few of the other parents—were more concerned with his pension plan.
"Are you needed elsewhere?" Mrs. Donovan asked, following his gaze, her chin unconsciously rising as though she was used to being left behind.
He shook his head, dislodging a curl that flopped over his forehead. He needed a haircut, if he could ever get a spare minute to call his own. "Nope, I'm all yours." His neck got hot at her raised brow. "Not literally, of course," he hurried to clarify. Great, she was probably ready to yank her kid out of his school now. "I mean, I was just supposed to drop in to check on things but got roped into helping out for a few hours. And you?"
She looked confused for a moment, and who could blame her, then broke into a light laugh that captivated him. "Well, I had a strenuous day of housework planned, but I think it can wait." She watched Cassie and Avery skip to the puppy pen with containers of milk in hand. "Thank you," she said. "Cassie is withdrawn. This will be good for her."
He stared at her. There was a story behind those words, but he didn't want to pry. Instead, he directed her to a table laden with mini cakes, cookies, squares, and a couple of hardworking coffee urns. "Join me?"
She hesitated, much as her daughter had done earlier, then nodded. "I could use a coffee, our machine broke this morning."
Instant sympathy welled up. He'd be a wreck without his morning cuppa.
He led the way, conscious of her presence behind him as he greeted one parent and nodded to another. When they reached the table, he pulled a mug from the tray and poured her a cup. "I hope you like it strong," he said, handing it over and getting a zing from her fingertips as his reward. "I'm almost sure the cook worked on a chuckwagon in another life."
She took a careful sip and made an appreciative hum that shot straight to his gut. "Any chance he delivers?"
No, but Kyle would be happy to. "He's a she and that's not all she's good at. Wait until you try the chili, it's, shall we say, memorable."
She smiled, her shoulders relaxing for the first time since they'd met. "I'll keep that in mind."
"Well, we've made it to the first date," he teased, raising his mug. "Is it time for a name exchange?" He held out his hand, again. "Kyle Roberts, very nice to meet you." Truer words had never been said.
She eyed his hand, then slid her fingers—no rings—into his. "Hello, Kyle Roberts. I'm Grace."
Because the true power is love!
My heroes are tough, alpha males who know what they want. That is until they get gob-smacked by heroines who are strong, contemporary women willing to show them what they really need is love.
I've been blessed with a long, happy marriage and enjoy writing romance novels that end with happy-ever-afters.
Jacquie Biggar has a wonderful gift for writing hot and extremely likable military men!
Jacqui Nelson
From the time Jacquie was twelve years old, she knew she wanted to be a writer. That year she wrote a short story called Count Daffodil after spending countless hours searching for ideas. The story garnered Jacquie an A and was read aloud through the school's loudspeaker system. Needless to say, after that she was hooked.
Jacquie grew up, married her best friend, raised a family and left her writing urges to simmer in the background unattended.
She owned and operated a successful diner in her hometown for a number of wonderful years before deciding to live her dream of becoming an author.
Jacquie's first book, Tidal Falls, a romantic suspense novel about second chances, released September of 2014.
Connect with Jacquie here: jbiggar@jacqbiggar.com
http://jacqbiggar.com
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USA Today bestselling author Jacquie Biggar loves to write Romantic Suspense novels brimming w/Attitude.
Jacquie Biggar is a USA Today bestselling author of romance who loves to write about tough, alpha males and strong, contemporary women willing to show their men that true power comes from love. She lives on Vancouver Island with her husband and loves to hear from readers all over the world!
In her own words: "My name is Jacquie Biggar. When I'm not acting like a total klutz I am a wife, mother of one, grandmother, and a butler to my calico cat. My guilty pleasure are reality tv shows like Amazing Race and The Voice. I can be found every Monday night in my armchair plastered to the television laughing at Blake and Adam's shenanigans. I love to hang at the beach with DH (darling hubby) taking pictures or reading romance novels (what else?). I have a slight Tim Hortons obsession, enjoy gardening, everything pink and talking to my friends."
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I thought I'd share with you the beginning of my love affair with writing.
Normally, procrastination is my enemy. I like to get done whatever it is, as soon as I can, so that I don't have to worry about it any more.
In school I worked hard to stay in the top ten every year. So when I came down sick with the measles and missed two weeks of grade nine, I was devastated. How was I ever going to catch up? I had less than a week to write a compelling story for Language Arts or get a failing mark.
Angry and frustrated, I sat in our living room, pen and paper in hand, staring at a bright yellow bouquet of cheerful looking daffodils. I wanted to hurl them across the room. It wasn't fair. Why was I being punished for getting sick?
But then an idea popped into my head. A silly, farcical story. If the teacher wanted an essay, fine, I'd give him one. And so, Count Daffodil, was born. After the first paragraph the words flowed quicker, I could see the scene in my head and needed to get it down on paper. (Sound familiar?) I spent the rest of the day writing, and by the end of the night I had my story.
The next day I turned it in and immediately felt ill all over again. It was dumb. The teacher was going to hate it. I'd be a laughing stock. Funny how easy you can build something up to catastrophic proportions when you lack self-confidence.
We had to wait two weeks for the results. I was on tenterhooks the entire time. Sure that my mom would blow a gasket because I'd goofed instead of giving it my best shot.
Then came the big day.
I was scared to look. Finally, I couldn't take it anymore and turned to the last page. These were my teacher's words:
I'm glad I didn't read this at night. It's been a while since I was so enthralled with a story. Very professionally done. The suspense, the ending, the style was excellent. I think I'll read it to the other classes. Very impressive.
Not only did he read it to the other grade nines, he read it over the intercom to the entire school!
Because of Mr. Thomas and a hapless bouquet of sunny daffodils, a writer was born.
For a limited time, you can get My Baby Wrote Me A Letter for #FREE!
A family's brush with the past will threaten the fabric of their lives.
Eight months pregnant and her Navy husband away on a mission, Grace Freeman craves the security of her childhood home in Canada.
When a letter written by her long-lost mother is found in an old writing desk it creates a tear in the fabric of her family.
Can Grace find a way to bring peace to those she loves, or will a message from the past destroy their future?
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Finding Me
I found a wonderful cover created by Teagan Geneviene and it gave me the idea for a YA novel about two sisters estranged over their father's suicide.
Here's a short excerpt:
Our house looks just the same; a two-bedroom craftsman Daddy converted into four by finishing the basement for his girls. That's what he'd called Izzy and me, his beautiful baby girls. We'd grown up poor, but it never felt that way. Our parents always made sure we had new outfits for school, birthday parties all the neighborhood kids clamored to attend, and Christmases where we could hardly find the floor for all the gifts. We were spoiled, but in a good way. We understood the value of money and knew we had to take care of our stuff or face severe punishment—usually a week of doing dishes by ourselves, washing and drying. Dad worked long hours at the tire shop and Mom took in mending and did baking for the local market. My job was to babysit my brother and sister and keep them out of Dad's hair until he had a chance to relax after work, which meant chugging back a beer or three.
I can't make myself pull into the driveway, it feels too much like getting sucked into a void, so I parallel park in front of the house and shut down the engine. Over the click of the cooling motor I hear the birds chattering in our giant pine tree that shades most of the yard and part of the road. We used to take turns seeing how high we could climb as kids, even though Mom said if we broke our necks we were on our own. Izzy, the little tomboy, had scurried from branch to branch like there were suction cups attached to her feet and hands. Ben was only five or six maybe and scared of heights. I could get him to hang onto the bottom branches, but that was as far as he would go. But, his smile. It made the fact I was stuck on the ground watching him worthwhile.
We'd tried to talk Mom into moving after Dad… but she wouldn't hear of it. She said this house held the key to every happy memory she could recall; from arriving as a young, naïve bride, to pregnancy, babies, and holidays. She refused to throw it all away because of our father's last, selfish act. And that was that. We all pretended the backyard didn't exist, and carried on as though our lives were normal, when they were anything but.
The gate creaks open with a lisp, the hinges old and rusty and barely holding onto the whitewashed fence. Grass grows better between the sidewalk blocks than in the rest of the yard, littered with pine needles and the cones Mom used to send us out to collect for craft night. My heel catches in one of the hairline cracks in the cement and I nearly fall on my face. It's the final straw; I turn to leave, tomorrow is another day, but the door opens and I stop in my tracks.
Izzy.
She looks older. A nervous laugh bubbles. I wasn't expecting it to be this hard. "Hi." That's me, Miss Eloquent.
"What are you doing here?" She leans a slim shoulder against the door frame, her red hair glinting in the sun, her gaze flat and hooded. The dark circles underneath her blue eyes tug on my heartstrings. Well, that and the sorrow engulfing me the moment she opened the door. There's no more denying it—Mom is gone.
I ignore her antagonism and hurry forward, dropping my overnight bag at our feet—so different, me in my heels, her barefoot—and draw her resisting body into my arms. I close my eyes, the better to breath in the essence of my baby sister. Every bit as strong and lean as I remember, her arms are stiff and unyielding at her sides. Heaven forbid she'd give in to a moment of sentimental emotion.
Forgiveness isn't big on the Thomas's list of strong points.
Reluctant, I let her go and take a step back to assess how she's holding up. Not good, if the too pale skin and deep lines across her forehead are anything to go by. Well, I'm here now. It's past time I take on some of the family responsibilities.
"Where's Ben?" I ask, glancing over her shoulder into the dim hallway beyond. "Is he…?" What could I say? Doing okay? Upset? Sad? Mad? No doubt, all of those and more. Benjamin was closest to Mom, her baby. It wouldn't be easy for him to accept her death. An ugly shiver sweeps down my back.
"He's in his room. He doesn't come out. I can't get thr… what does it matter?" Izzy snarls, tossing her head. "You didn't care before. You can't just show up, especially now, and expect everything to be how it was when we were kids. There's no going back." She straightens and heads inside, trying to slam the door in my face.
Good to know her temper is the same, anyway. I stop the door with my palm, wincing as the pressure explodes up my arm. Much as I want to leave, the time for running is over.
I'm home.
I'm also working on the third in the Men of WarHawks series, which follows the lives of a NHL hockey team. This is a romantic suspense series with plenty of pulse-pounding action!
I love the romantic suspense genre and Navy SEALs (who doesn't? :)) and wanted to combine the two with another favorite, motorcycle clubs.
The premise of this story is that a woman disappears and her shy, geeky sister seeks help from the only man she thinks will be invested in her case- Reed McLaughlin.
Emma Stone knew the moment she entered the Twisted Sister it was a mistake. The biker bar was as rough on the inside as it was intimidating on the outside. If she weren't so desperate she would've turned around and gone home the moment she saw the long line of bikes parked in front of the dilapidated building.
The noise from cheap speakers pumped way higher than their tweeters could take competed with rowdy laughter, the slap of pool cues striking balls, and the stench of unwashed bodies blending with spilled beer.
Em stood just inside the doorway, blinking like a lost owl. The scene in front of her bemused eyes was like something out of one of those thriller novels her sister enjoyed. She prayed Rose hadn't ended up like one of those victims.
A burly guy in a leather vest covered in badges bumped into her, almost knocking her out with his breath. Hope he didn't plan on driving.
"Well, looky here," he slurred. "Aren't you in the wrong church, sister?" He stuck his head back and roared, thoroughly amused at his obvious wit. Emma ducked her head and wished herself back home curled up on the sofa with her tortoiseshell cat, Thomas. He slung a beefy arm around her neck and tugged her under his armpit. "Sugar, what's a girl like you doing in a place like this?"
Emma's heart beat frantically as she pushed ineffectually against his chest. "Let me go. I need to find a man." The words barely left her lips before she cringed.
He grinned down at her with teeth stained from tobacco and Lord knows what else. "Lucky you, you found one." His moist lips puckered and his head lowered and Emma did the only thing she could—lifted her knee and caught him square between the legs.
His arms loosened, his face turned an alarming shade of green, and he dropped like a sack of potatoes.
Emma was feeling a little woozy herself. She'd seen it done on TV, but the women there stood over their fallen assailants with satisfied expressions and handcuffs. She had no cuffs and was terrified. What if his friends noticed? They'd probably shoot her on the spot.
A quick glance around showed her no one was paying them any attention. Relieved, she edged around the groaning mound and inched her way through the crowd up to the bar. A busty brunette in a too-short jean skirt and a black t-shirt with the words, I Really Feel Like Going for A Ride, emblazoned across her chest gave Emma the onceover before grabbing a couple of longneck bottles of beer dripping condensation from the counter.
"You're in the wrong bar, honey," she muttered, slipping off the high stool. "You better leave—while you can." She sauntered over to a table in the corner. Emma could just make out a set of masculine jean clad legs stretched out and crossed at the ankle. The moment the woman got within range, arms, one covered in a sleeve of tattoos, reached out and tugged her onto his lap. She shrieked, but not in fear as Emma had done. This was more of a hello, baby, proven when she buried her lips against the stranger's neck.
Embarrassed, Em turned away. It wasn't that she was a prude, it's just that there was a time and a place and public displays were neither. In her opinion romantic encounters belonged behind closed doors. Some people—her ex-boyfriend for one—would say it was an antiquated ideal, and maybe they were right. But, there weren't half as many divorces in the days of courtship as there was now with the modern generation's loose morals.
It took forever before the bartender noticed her. He made sure everyone was happy then worked his way down, laughing and chatting with the locals. He wiped his hands on a surprisingly white apron tied around a lean waist and leaned an elbow on the counter, arm bunching with impressive muscle. His bald head and a gold hoop dangling from his ear gleamed under the fluorescents. A tattoo of an eagle's talons peeked out from the arm of his shirt.
Emma gulped.
"What'll ya have?" he asked, eyeing her like she was an anomaly. Which she probably was, around here anyway.
"I'm, ah… looking for someone. Reed McLaughlin." Emma caught the quick glance over her shoulder. She turned, but no one was there. "Do you know him?" she asked, not sure why the name would elicit that suspicious look she was now receiving from the previously friendly bartender.
"Maybe. What do you want him for?" He straightened and crossed his arms over a rock hard chest.
This was such a bad idea.
"I have a proposition," she whispered.
He cocked his head. The earring flashed, mocking her. "Speak up, missy. This is a bar, and I can't hear on the best of days."
Emma twisted her hands, then grabbed deep for some courage. "I said, I have a proposition for Mr. McLaughlin." The words rang loud and clear into the silence between one song and the next ear-splitting tune.
Someone laughed, and then the catcalls and wolf whistles began. Emma groaned, her face flaming as only a redhead's could. She looked to the barkeeper for help, but his face was stoic. Despair brought a tear that she wiped viciously away. These people didn't need to see her misery. No one cared.
She swung around to blindly head for the door, and practically rammed her nose into a man's chest. Her distraught gaze climbed to an uncompromising jaw, firm, yet supple lips—her heart fluttered—a nose with a slight bump on the side like it had been broken at one time, and eyes that glittered almost black in this lighting.
Her knees gave out, but before she could slide to the ground in an ignominious heap a firm male hand gripped her arm and held her upright.
"My place or yours?" A voice like a cat's contented purr rumbled in her ear.
So there really was a devil, and he was in Cincinnati.