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Marines Assault group r ready..hope.
5 Shuttle with 1 Company Each = 1 battalion in 1 volley assault.
Am try to assault some (if all going done) Ancients ACTIVE schips to stole 1 for our use..
Our Imperial Marines HQ r crazy..our tacticians confident on overhwlming speed to reach FASTEST nearest ship..
Am try to park some uncovered Shuttle into space,our ships retreat and at good point..Whamm..on Drive on..Assault go on.
If am succeed..am post..if not..Amen.
Our Imperial Marines are pay for Die.


text:
COP INFO PLEA
Gardai probing if man who claims he was shot in leg by masked gunman accidentally blasted himself
John Hand
Stephen Breen
7:30, 2 Dec 2019
Updated: 7:54, 2 Dec 2019
GARDAI were investigating last night after a man told them he was shot in the leg by a masked gunman early yesterday.
The alarm was raised at around 6.45am after the victim, in his 20s, suffered the wound at a flat on Dublin's North Strand Road.
The incident occurred on the North Strand Road in DublinCredit: Alamy
He was treated by members of Dublin Fire Brigade at the scene before being taken by ambulance to the Mater Hospital where he remained last night.
His injuries are not thought to be life threatening.
It is understood the man - originally from Bridewell area of the capital - told investigators that he was set upon by a gunman at the flat, who shot him.
However, detectives are also probing whether the victim might have injured himself accidentally.
Last night, the scene was preserved for a forensic and technical examination.
A local source said: "He has given his version of events and they are looking into it now.
NOT PART OF ONGOING FEUD
"He was shot in the leg once and Dublin Fire Brigade were very quick to respond.
"He's in hospital now and he's talked to the gardai."
Cops do not believe that it is part of the ongoing feud between the Kinahan and Hutch factions or any other ongoing gangland dispute.
The man is known to gardai but is not considered a major player.
Door-to-door enquiries were being carried out yesterday in an attempt to find witnesses to what happened.
A Garda spokesman said: "No arrests have been made to date and enquires are ongoing.
"Anyone with information is asked to contact Mountjoy Garda Station 01-6668600 or the Garda Confidential Line 1800 666 111."
DNA CLUES
Ashling Murphy cops close in on fresh suspect as DNA gathered in house searches
The incident took place not far from where hitman Jason 'Buda' Molyneux was murdered in January 2018.
The killing was initially viewed as being connected to the shooting dead of Antoinette Corbally and Clinton Shannon in a botched gangland attack in Ballymun in 2017.
However, gardai now believe Molyneux was executed as part of the Kinahan-Hutch feud because of his close links to the Hutch gang.
An Garda Siochana
feuds
Kinahan cartel

redpajama_set_name: RedPajamaCommonCrawl


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text:
Browse: Oakland - I'll Take Romance
Composer: Ben Oakland (1907-79)
2 Discs (1)
June Christy
Pete Rugolo
Catalogue No: 5762472
Penguin Guide to Jazz, Crowned
June Christy, Frank Rosolino (trombone), Bud Shank (flute), Joe Castro (piano), Conte Candoli (trumpet), Art Pepper (saxophone), Bob Cooper (tenor saxophone), Frank Rosilino (trombone), Art Pepper (alto saxophone)
Release Date: 9th Jun 2017
Clare Fischer (organ)
Release Date: 1st Feb 2015
Label: MPS Records
Swing, Swang, Swingin'
Jackie McLean
Release Date: 16th Mar 2018
Great Ladies Of Song / Spotlight On June Christy
June Christy, Stan Kenton (piano), Bob Cooper (tenor saxophone), Joe Castro Quartet
Pete Rugolo, Pete Rugulo
How Many Sisters
Catalogue No: PROCD064
Label: Prophone
Sounds by Socolow
Frank Socolow (saxophone)
Release Date: 1st Jan 2015
Catalogue No: BCP70
Label: Bethlehem Records
June Christy: The Best Of
June Christy, Stan Kenton, Harry Babasin (bass), Joe Mondragon (bass), Howard Roberts (guitar), Salli Terri (guitar), Benny Aronov (piano), Larry Bunker (drums), Larry Bunker (percussion), Alvin Stoller (percussion), Alvin Stoller (drums), Shelly Manne (drums), Shelly Manne (percussion), Claude Williamson...
Release Date: 18th Jun 2007
Catalogue No: 394 8525
Length: 2 hours 28 minutes
Carol Kidd (vocals), Bruce Adams (trumpet), Dave McLellan (trumpet), Frank Pantrini (tenor saxophone), Gordon Cruickshank (baritone saxophone), George Kidd (trombone)
Sandy Taylor Trio
Release Date: 1st Apr 2014
Catalogue No: BKD229
Label: Linn
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text:
Home > Objects In Space > The catch-up coffee: Monday, June 25, 2018
The catch-up coffee: Monday, June 25, 2018
News by Lindsay M. and Matt S.
Charming Canadian indie title brings papercraft to video games
By Lindsay M., News Editor
Origami and papercraft have inspired Canadian developer Lightning Rod Games to create A Fold Apart. The puzzle title tells the tale of a long distance relationship, and is set in a world created of folding paper. Take a look at the newest trailer:
The trailer has been released to celebrate the game's launch on Fig, the funding platform that allows you to invest or pledge in a title. Any money collected via that campaign will be put towards additional paper folding mechanics, animations, and cutscenes; it will also help bring the game to all contemporary platforms at launch. And before anyone asks, yes, that includes the Nintendo Switch!
The sweetest part about A Fold Apart is that it's based on the true story of Lightning Rod Games' co-founder and his wife. Career choices force the couple apart but they promise to make it work. They are able to keep in touch often but as with any couple, misunderstandings occur. This creates an emotional barrier that manifest as a physical one, blocking your path. You can play the 50+ puzzles as any gender combination, using the game's unique paper folding mechanic to help the characters navigate their worlds.
Ambitious, Aussie-made Objects in Space is now in early access
By Matt S., Editor-in-Chief
One of the most innovative Australian games ever in development, Objects in Space is finally in a release form and available for PC. In Objects In Space, you play as a spacefarer who needs to make their way through the massive Apollo cluster. Within this "open world" you need to make an endless series of decisions, and generally play around in a sandbox with little narrative pressure.
The game is also about tactical combat, careful planning, and a calmer pace than many of the modern space-based games. Most impressively of all, the game is built around the idea that you'll want to create your on "cockpit" to play in - with plenty of instructions out there to come up with an interface that looks and feels like you're at the helm of a spaceship. Of course, you can also play with standard keyboard controls if you want, too.
The game will set you back just $20 in its Early Access form on PC via Steam or GOG. As an Early Access game, people who buy into the game now can look forward to plenty of updates as the dev team starts to get feedback roll in.
Life is Strange's release date reveal hints we're going back to school
Life is Strange 2 is coming! Life is Strange 2 is coming! The below trailer is brief, but confirms the game's first episode launch date:
That's right, Life is Strange 2's first episode will launch worldwide on September 27. That's a mere two months plus a day following the (free!) release of The Awesome Adventures of Captain Spirit, the prequel revealed at E3 this year. Three years after the events in Life is Strange, and very much in that same world, Captain Spirit follows a ten-year old boy who imagines he has superpowers. While it appears cute and sweet, there are dark reasons for the boy's extensive imagination.
So how does that tie into Life is Strange 2 and its release date reveal video? I have no idea; however I do believe that the child from Captain Spirit, Chris, either is the protagonist or goes to school with the protagonist — I'm basing this on the tattered backpack in the video — and crosses paths with them in some way. It doesn't really matter though, as I am excited regardless. Life is Strange 2 will have five episodes and will release for PC, PlayStation 4, and Xbox One.
JRPG football action comes to American PlayStation 4's and Nintendo Switches in 2019
Level-5's Inazuma Eleven Ares is due for release soon in Japan, where it has been a runaway success. According to the developers it has sold over eight million games alone, with much of that coming out of Japan.
The series has has a patchier history in the west as far as sales go, and we were a little concerned that this one might not get a full western release. There had been an European release announced, but we were worried that our American friends would miss out. Happily that isn't the case, because as the below press release confirms, it will be coming to the US in 2019.
Building on the foundation laid by previous series, which number over 250 episodes, four movies and more than eight million Nintendo games sold to date, the reboot series has begun its broadcast premiere in Asia, is scheduled to launch in Europe Fall 2018, and is planned to debut in North America for the first time in 2019.


text:
Q: Cropped image from the image picker I am trying to get a cropped image from the image picker. I can choose an image and see the cropped rectangle. But after cropping returned to my activity, my uri is always null... "onActivityResult" will not be called.
My code:
        iv.setOnClickListener(new View.OnClickListener(){
            @Override
            public void onClick(View view) {
                Intent pickImageIntent = new Intent(Intent.ACTION_PICK, MediaStore.Images.Media.EXTERNAL_CONTENT_URI);

                int imageX = iv.getMeasuredWidth();
                int imageY = iv.getMeasuredHeight();

                pickImageIntent.setType("image/*");
                pickImageIntent.putExtra("crop", "true");
                pickImageIntent.putExtra("outputX", imageX);
                pickImageIntent.putExtra("outputY", imageY);
                pickImageIntent.putExtra("aspectX", imageX);
                pickImageIntent.putExtra("aspectY", imageY);
                pickImageIntent.putExtra("scale", true);
                pickImageIntent.putExtra(MediaStore.EXTRA_OUTPUT, uri);
                startActivityForResult(pickImageIntent,REQ_CODE_PICK_GALLERY);
            }
        });

also calling
pickImageIntent.putExtra("return-data", true);

or
@Override
    protected void onResume(){
        super.onResume();
        iv.setImageURI(uri);
    }

does not work either...
These are my permissions:
<uses-permission android:name="android.permission.READ_EXTERNAL_STORAGE" />
<uses-permission android:name="android.permission.WRITE_EXTERNAL_STORAGE" />
<uses-permission android:name="android.permission.CAMERA" />

I also tried:
pickImageIntent.putExtra("outputFormat", Bitmap.CompressFormat.PNG.toString());
pickImageIntent.putExtra("return-data", true);

and get the bitmap in onActivityResult works, but the imagesize is too small. It feels like
pickImageIntent.putExtra("outputX", imageX);
pickImageIntent.putExtra("outputY", imageY);

is being ignored, what can I do?

A: You have to override the "onActivityResult", not the "onResume".
Here is a sample that may helps you
@Override
    protected void onActivityResult(int requestCode, int resultCode, Intent imageReturnedIntent) {
    super.onActivityResult(requestCode, resultCode, imageReturnedIntent);

    switch(requestCode) {
    case REQ_CODE_PICK_IMAGE:
        if(resultCode == RESULT_OK){
            Uri selectedImage = imageReturnedIntent.getData();
            String[] filePathColumn = {MediaStore.Images.Media.DATA};

            Cursor cursor = getContentResolver().query(selectedImage, filePathColumn, null, null, null);
            cursor.moveToFirst();

            int columnIndex = cursor.getColumnIndex(filePathColumn[0]);
            String filePath = cursor.getString(columnIndex);
            cursor.close();

            Bitmap yourSelectedImage = BitmapFactory.decodeFile(filePath);
        }
    }
}

redpajama_set_name: RedPajamaStackExchange


text:
All Signs Point To Microtransactions In Red Dead Redemption 2
By NewsBot,
June 2, 2017 in Red Dead Redemption 2
NewsBot
While this isn't a confirmation since no specific games were named, it's become increasingly certain that Red Dead Redemption 2 will be getting its own multiplayer microtransactions when the game is released next year. Strauss Zelnick, CEO of Take-Two Interactive which is the parent company of Rockstar Games, recently spoke about a number of topics pertinent to AAA gaming, with microtransactions being a major focus.
Zelnick represented Take-Two Interactive at the Cowen and Company 45th Annual Technology, Media & Telecom Conference held on the 31st of May, two days ago. One of the key topics was monetization and Zelnick's take on the matter not only exemplifies why people complaining about GTA Online's business model should not be doing so, but also strongly indicates that Red Dead Online will have a similar system.
You can't give stuff away for free in perpetuity; there's no business model in that. But we're not trying to optimise the monetisiation of everything we do to the nth degree. My concern is, if you do that, the consumer knows. They might not even know that they know, but they feel it.
Gamespot reported Zelnick's comments from the conference and it's evident from what was said that he doesn't turn a deaf ear to the community, even if he's not a gamer himself, and at the same time acknowledged the criticisms of GTA Online's microtransaction model.
Many players accuse the game of having abnormally high in-game prices while money is relatively hard to earn through missions, thus "forcing" them to buy so-called Shark Cards. Fans who play GTA Online and are looking forward to Red Dead Redemption 2 have expressed hopes that the multiplayer mode of the upcoming Wild West title (likely called Red Dead Online) will omit these microtransactions.
Players, however, often fail to make the connection between the revenue gained from these microtransactions and the stream of free DLC that GTA Online has been getting. It's a pretty clear connection, since, as Zelnick put it, there is no business model in giving away that much free content.
Since Rockstar already has a timed exclusivity deal worked out with Sony, we know that Red Dead Online will be getting similar free updates after launch. If you ask us, three years worth of major DLC additions in exchange for microtransactions you don't have to buy is a great tradeoff.
Think about it anecdotally – when you paid a little too much for something, even if it was something really good, it really irks you. Paying too much for something bad is even worse. Paying too much for something really good, even if you can afford it, just leaves you with a bad feeling. We don't want our consumers to ever feel that way.
Zelnick also points out how other companies in the industry milk monetization vehemently and openly. While he didn't name any names, we sure can: any publisher, with Blizzard at the bow, which sells blind-box microtransactions for games that you need to buy in the first place.
Not only did you pay for the game itself, and then the microtransaction, but you don't even know what is in said microtransaction. You're gambling your money whether what you get is actually what you want. On the flipside, Take-Two's microtransactions are completely upfront about what you're going to get.
We are convinced that we are probably from an industry view undermonetising on a per-user basis. There is wood to chop because I think we can do more, and we can do more without interfering with our strategy of being the most creative and our ethical approach, which is delighting consumers. We're not going to grab the last nickel.
All this allows us to deduce some aspects of Red Dead Online.
The Sony deal is indication enough that RDO will feature post-launch DLC and Zelnick's comments add weight to there being a microtransaction model present similar to the one seen in GTA Online. In terms of purchasable content in Red Dead Online, Rockstar will be taking one of two roads.
Due to the setting of the game, the pool of historically accurate items to buy is significantly smaller than in GTA Online. There were fewer weapons and no cars, no yachts, no planes and no helicopters. Horses might be kept at a stable as stand-ins for cars, but there are only so many different species and type of horse. Clothing options are also more limited than in the modern era, though a greater measure of creative license is available here.
In order for in-game currency based microtransactions to make sense, that currency will need to be given value by virtue of the things it can buy. With a limited number of horses, weapons and clothes, it's very likely that property will be the main commodity. It's possible that players will tend to a ranch that will require constant expansion and upgrading, as well as consumable supplies.
Another route is to engineer the value of currency so that even the few items available would promote recurrent spending, however this is a tougher model to pull off. Things in this model would either be so extremely expensive, or money would be so hard to earn, that the lesser number of available items would still be difficult to acquire through gameplay alone.
Of course, the main driving force behind GTA Online's economy are the constant DLCs. If Rockstar "uses up" all the items from their limited pool on launch, the DLCs would need to focus on other kinds of content, mainly gameplay additions. However these do not present players with new goods to spend money on.
The previously mentioned homestead might be expanded on to such an extent that the DLCs keep adding to that particular mechanic, but the lasting appeal of it will need be accounted for and ensured.
Rockstar Games recently delayed Red Dead Redemption 2 until the Spring of 2018 in order to further polish the title, so we'll still have to wait a while until we learn just what to expect from the microtransactions in this game… Especially if it follows GTA V's suit and the multiplayer component is launched a month after the initial release.
The post All Signs Point To Microtransactions In Red Dead Redemption 2 appeared first on RDR2.
The Donald
I would be happy if they did this. The money system in GTA Online is fantastic. If you want a real grind, check out WOW. GTA Online is not too bad at all.
Glopez
9 hours ago, The Donald said:
Agreed. I feel like the only people who did complain about GTA V were the ones who didn't have the time to invest or the ones who were mad at the people who were using them glitches to gain money.
MajorPain
+1 to this model. I honestly can't think of any downsides to it... Sure it's a grind, but what fun would it be if you got everything over one weekend?


When it would have been easier to look the other way, Jill Stanek's commitment to Christ led her to risk her job, reputation, and friendships to stop the terrible practices of abortion and infanticide. Jill was a registered nurse in the Labor & Delivery Department at Christ Hospital in Oak Lawn, Illinois. She discovered not only were abortions being committed there, but babies were being aborted alive to die without medical care. When hospital leaders said that they would not stop, Jill went public and has become a national figure in the effort to protect both born and pre-born infants.
Jill has now testified twice before the Judiciary Constitution Subcommittee of the U.S. House of Representatives and in several state legislatures. Jill's written testimony has been read several times in key U.S. Congressional debates on the Partial Birth Abortion Ban and Born Alive Infants Protection Act.
Jill remained at the hospital fighting the fight from the inside, until she was terminated in 2001 for reasons related to her public outspokenness to its abortion practices.
On August 5, 2002, President George W. Bush invited Jill to his signing of the Born Alive Infants Protection Act, which will protect live aborted children from infanticide. Jill was honored to be publicly thanked for her help with the bill by the President during his speech.
In January 2009, Jill was recipient of the prestigious Life Prizes Award by the Gerard Foundation.
Jill is a member of Parkview Christian Church in Orland Park, Illinois. She is wife to Rich; mother of Michael, Timothy, and Daena; and grandmother to five grandsons. She has addressed many groups at the national, regional, and local levels sharing her testimony and giving an insider's view to the atrocity of abortion.


text:
Video and audio podcasts
Home » News and events » Events » » Upstreamers & downstreamers: Promoting investment in First Peoples through the creation of exclusive rights
Upstreamers & downstreamers: Promoting investment in First Peoples through the creation of exclusive rights
1.00pm–2.30pm
Australian Centre on China in the World, Fellows Lane, ANU
ANU Canberra
Virginia Marshall
regnet@anu.edu.au
Join Dr Virginia Marshall, the ANU inaugural Indigenous Post-Doctoral Fellow for the ANU Reconciliation Week Lecture, 'Upstreamers & downstreamers: Promoting investment in First Peoples through the creation of exclusive rights'.
Dr Marshall will discuss her journey of researching her doctorate in law, which commenced during the drought of the Millennium and where Aboriginal water needs were barely mentioned. In contrast, the interests of stakeholder groups, both upstream and downstream, captured the media's attention. She will discuss how Australian society has failed to recognise First Peoples water rights and interests which span thousands of generations of Aboriginal laws, habitation, scientific observations, adaption and resilience.
In a 'web' of relationships, where water is inseparable from land, and underpinned through traditional and revitalised Aboriginal knowledge systems, the question is: Are Australia's frameworks, laws and policies robust enough to ensure Aboriginal communities can exercise cultural and economic control in light of the principles of self-determination?
Dr Virginia Marshall is the Inaugural Indigenous Postdoctoral Fellow with the Australian National University's School of Regulation and Global Governance (RegNet) and the Fenner School of Environment and Society. She is a practising lawyer and duty solicitor, a former associate & researcher with the Federal Court of Australia in Sydney and professional member of the NSW Law Society and Women Lawyers Association of NSW. Former Senior Legal Officer of the Australian Law Reform Commission and inquiry into 'Family Violence & Commonwealth Laws: Improving Legal Frameworks' (ALRC 117), Executive Officer of the NSW Government's 'Aboriginal Water Trust' and criminal defence lawyer with NSW Legal Aid.


text:
Hunting For Words
If you didn't know, two weeks ago was the twenty-eighth anniversary of the first Predator movie. Amazing, isn't it. There are probably some of you reading this who have never known a Predator-free world...
I mentioned this fact on the fan page that day, which led to a bunch of responses, and some of those led to me saying (in the loud way you can do when you have a fan page) that I actually liked Predators, the sequel with Adrian Brody, Alicia Bragg, Topher Grace, Laurence Fishburne,
A few years back, while I was still writing for the magazine, I leaped at a chance to do an article about Predators. While many folks still love that original film, lot of people didn't like the sequels, or the AvP movies, or the short-lived Saturday morning cartoon. And I knew Robert Rodriguez was attached to this new project, so I figured there had to be at least a one-page article there, maybe even two.
There was no Saturday morning cartoon. I was just seeing if you were paying attention.
The idea flew and a few weeks later I ended up over at 20th Century Fox talking with the two screenwriters, Alex Litvak and Mike Finch. They'd pulled their dream job, writing a big-budget sequel to the 1987 action/ sci-fi classic, and they were more than willing to talk at length. It's worth noting that I was face-to-face with Alex for this interview while Mike joined us on speakerphone. Because of this, Alex tended to dominate a bit just because Mike, without any visual clues, was left unsure of when he could jump in.
A few of my standard points, but you'll probably figure it out as it goes. I'm in bold, asking the questions. Keep in mind a lot of these aren't the exact, word-for-word questions I asked (which tended to be a bit more organic and conversational), so if the answer seems a bit off, don't stress out over it. If you see a long line of dashes (----------) it means there was something there I didn't transcribe, probably because it was just casual discussion or something I knew I wasn't going to use in the final article for one reason or another (there are some off the record discussions now and then). Any links are entirely mine and aren't meant to imply Alex and Mike were specifically endorsing any of the ideas I've brought up here on the ranty blog—it's just me linking from something they've said to something similar that I've said.
By the very nature of this discussion, there will probably be some spoilers in here. Check out the movie if you haven't seen it yet. It's a fun sequel with some great Predator action. Plus you'll get a bit more out of this interview.
Material from this interview was originally used for an article that appeared in the July/August 2010 issue of Creative Screenwriting Magazine.
So, anyway, here's me going after Alex and Mike with questions about Predators
How did you guys start working together?
Alex: I started out in development, spent about ten years working on movies as a production/ development executive, including here at 20th Century Fox. That was my first big break. And then five years was spent at a company called Intermedia, working on a bunch of movies, helping the Germans piss away a lot of ... (laughter)
Mike: Yeah, I'd been working for about ten years before this. The very typical screenwriter story. I'd worked on a bunch of projects, sold some specs, several movies had been very close, had worked for most of the studios doing rewrites or assignments, but--that very typical story-- none had gotten made. I was definitely a working screenwriter, but somewhat of an unfulfilled working screenwriter. Adequately paying the bills and liking the lifestyle, but not enjoying the success of having a movie made.
A: Mike's actually a second generation screenwriter. For me this all kind of fresh and new. Mike's dad and his mom created Dirty Harry and Ice Station Zebra.
M: And I've been living off that ever since. (laughs)
How did you guys get on board Predators? Wasn't Robert Rodriguez just going to write it himself at one point? When was this?
A: This actually, for me, goes back aways. When I worked here, at the time I was just obsessed with the idea of doing another Predator movie. The original is so iconic ad the second one was kind of a misstep. I felt there was another great tale to be told. At the time we {studio) were doing Alien: Resurrection, which didn't quite work. They're both kind of in the same wheelhouse, and the idea of doing another Predator movie without Arnold was kind of "ehhhh." So that never materialized. Just as I was making the transition to screenwriting.... You come up with these ideas just as a fanboy. 'Wouldn't it be cool to do a Bond movie where Bond does X?' It was a moment like that with a Predator movie. 'Wouldn't it be cool to see a Predator movie where Y happens?' At the time I hadn't written or sold anything, so I just filed it away.
Cut to present day, 2009, right after Medieval, we walk into a room at Fox and sat down with Drew Crevello, who was a huge fan of the script. We started talking about what's next, we were completely available, and he says 'Predators. We're reviving this movie.' It was an old script by Robert Rodriguez who I think wrote it in '94, fresh off Desperado. At the time it was wildly expensive and taking the franchise to a cool other level, but not sort of do-able at the time. So Alex Young found the script and wanted to revive it with Robert, but they were looking for other screenwriters to come in and polish it off. Reinvent the reinvention. So it was around the same time last year, May of 2009, that we got the job.
As fans you'll always kind of go 'Wouldn't it be cool to do this?' Isn't that the reason why we are in this business—to tell the stories in the mythology, in the genre, with the characters we love? It's every fanboys dream and we got a chance to live it. Only to discover, of course, that once you get the prize there's all this hard work and blood and tears and sweat.
M: And Fox and Drew Crevello and Alex Young and Robert Rodriguez and later on Nimrod Anatal, the director, were very supportive. They wanted not to make a retread of the original, nor did they want a reboot. They wanted a reinvent the franchise. They wanted to take something that was incredibly fresh at the time that had become somewhat stale over the last fifteen years. Essentially give it a fresh start in the world. To their credit they were very supportive of letting us take Robert's original document and poach those elements that were workable and good, especially with the specific budget constraints that they had, and make it into something new and fresh. We were told to write a sequel that feels like an original.
What was that original thought you came up with? The 'wouldn't it be cool...'
A: There was a bunch of things. One is the idea that up until now you've only seen one variety of Predator. One of the big ideas was it's Predator vs. Predator. What was interesting to us is you've met this one variety of intergalactic hunters, but what if there are others? Other tribes, other clans. If those guys are like samurai-- very traditional, for centuries they've been hunting with the same weapons, the same tactics, the same code--there's another clan which are more like, say, ninjas. They're more technologically evolved. They have falcons, they have dogs, they have all this crazy equipment and toys that are going to make the original Predator look like an 8-Track competing with an iPod. And those two clans are at war. So the idea of two clans, of clan warfare, was one of the things we came up with.
M: A second one was the idea of putting a group if human beings in a no-win situation, a true crucible, was very intriguing to us. We also liked this conceit that in the original you had a well-oiled machine, a crack team, going up against one of these. In this version we wanted to put a group of very disparate individuals. All highly skilled, all tactically proficient, all killers in their own right. Really... all predators in their own right. Human predators. And we wanted to see what would happen to those characters when they were put under true duress. These were people who were dominant and dangerous in a human environment. Taken out of that environment and put somewhere else, in a sense being turned from Apex predator to prey, what would happen to them? How would they break down? Would they experience cowardice? Fear? Would they curl up in a ball and die? Surrender? Stand and fight? It really let us explore seven different ways into true fear.
A: And there's the third piece which is the setting, which is---not giving anything away--not only an alien planet but an alien hunting preserve. Prior to us getting the job I had a conversation about it independently with one of the other producers on the franchise and pitched the idea of going to the stars. He was like "Ehhhh, Predator is a very terrestrial franchise. Up until now it's all been on Earth." So that idea never flew. Ironically, when we sat down with Drew, it turns out Robert, independently, has been talking about going to the stars, because it seemed like the natural place to go.
So the three things we brought to the table. One was new Predators. Two was new human protagonists that Mike was talking about. The Dirty Dozen approach. The Unmagnificent Seven. And three was a new setting. So effectively you have the construct of the first movie, but it's different Predator, different humans, different jungle.
Since the original came out twenty-odd years ago, there's been the sequel, a bunch of material from Dark Horse that a lot of people took as canon, the two vs. Aliens movies that seem to loosely follow the Dark Horse ideas... Did you use any of that material?
A: No. I've seen the AvP movies and I feel... I was disappointed. Predator 2 was a disappointment, too. The original is the original. The original is this iconic bar that you try to measure up to. I'm not sure if we have succeeded. I'm not sure if anyone can succeed. It's this lean, mean piece of cinematic mastery. It's Arnold at his best. It's John MacTiernan at his best. I don't know if anyone can truly measure up to it, but at the least we were very conscious that we were going to try our best. What was fun about the process was everybody who was part of it grew up on the original movie. Everybody was saying 'Let's not be lazy. Of course we can do another Predator movie, but let's try to give the fans something special.'
We talked a lot about Star Trek, and how JJ was able to give the fans the essence of the original but with these new cool touches that made it fresh and cool again and give the franchise a new life. That's what we're hoping to do for Predator.
M: To answer your question, we ignored Predator 2 and the AvP series. This is somewhere between a reboot and a direct sequel to the original Predator.
A: We wanted to acknowledge the original existed. There are references to the original in this script. The story of the original gets told by somebody in the group who's heard about it as an urban legend. A spook story.------ Fundamentally we wanted to take the good Predator, the one that did it right, and kind of ignore everything else and do the true sequel. As Mike says, the sequel that feels like an original
What's your process? Are you outline guys, notecard guys, what?
A: Our process is beyond bizarre but it actually works.
M: First part is we don't actually ever see each other.
A: We're never in the same room. (laugh) We start by having these endless conversations about what it is, starting from the macro to the very specific. Our styles of writing... I'm incredibly anal and analytical about stuff, to a fault. Mike is very, very fast and goes with his instincts. We sort of balance each other out that way.
So we talk about everything. Kind of build it in our heads. I'm a big fan of putting stuff down on the page because that sort of locks stuff down. Then Mike goes in and does the very first,very rough pass. In a weird way, when I go after and do a very substantial rewrite, it gets me over the fear of a blank page. I'm looking at a very rough draft of a scene where some things work and some things don't, but I already know what's not working. Then he goes after me, cleaning it up and fixing things I missed.
M: But it isn't like I present Alex with a full script. I'm working about ten or fifteen pages ahead of him. I will start on Monday and I will write ten pages and give it to him and he'll start rewriting it. Then the next day he can give me those ten pages and I'll give him the next ten or seven or twelve or whatever. And since we have diametrically opposed schedules--I'm married and I have a five year old. I go to bed at nine but I get up at six or five.
A: When my night is just beginning.
M: It's like one person working 24 hours a day.
We tend to problem solve quickly while we're in the process. That's the upside. That is in large part built on the tens or hundreds of hours we spend time talking about the macro concepts and the micro-specifics, down to left-handed or right-handed. Every beat that ends up on the page has been discussed on some level.
So just to be clear, the two of you never actually outline, but you get enough of it in your heads you can sit down and write?
A: I hate doing those documents, but sometimes I feel like... Sometimes there's a loose beat sheet. Sometimes we do more structured stuff, especially when you have to present something to a studio, where it helps to lock it down somewhat. It really depends on the job.
M: We do have a working document. It'll run from ten to fifteen pages. Depending on the situation it'll either be in beat-sheet form if it's for us, or it will be in a more literate, compelling form if it's for a producer to read. There's always something there. That doesn't mean that we stick to it, because as you progress things change, characters change, you start to understand them better. You start to get under their skin, they get under yours. The nuances of the script will change, but structurally we pretty much have it nailed before we go in.
A: I think I understand your question better now. Regardless of what form the document is, it's been outlined and discussed ad nauseum. We never go 'Let's just start writing.' We talk, we figure it out. I think that's always the fun part of the process. It's the frustrating part, too, sometimes. That's where our creative chemistry is strongest, where we constantly challenge each other to come up with something cooler, something we haven't seen before.
M: We try to keep it fun. The reality is, if the process becomes a grind then it stops feeling light in its feet. It stops being interesting for us. We have a lot of fun. Because we want the audience to have fun. At the end of the day this type of movie, an action horror flick, it's got to be fun. It's got to keep the audience on their toes and slightly off-balance. We can only generate that if we're having interesting, upbeat conversations about it.
How long did it take you to get a first draft?
M: This script was slightly different than others. We can write a good solid draft in eight to ten weeks, a little bit faster provided it isn't all outlined up and detailed and we don't go off track.
In this process we actually wrote a first draft which we sent to the studio. That same week they brought on the director, Nimrod Anatal. We had a meeting with him about the rewrite for a few changes that became slightly more than a few changes. With him we had to amend the way we work.
What happened for the rewrite was we had about ten or eleven days before we had to hand a draft into the studio. The draft that was going to get the OK or not. Nimrod had some substantial ideas, all of them good. Drew Crevello was good enough to give us offices in the basement of Fox. And for ten days we sat together with Nimrod, sort of breaking scenes and rewriting them. Essentially dissecting the script and rebuilding it.
A: It was a true writer's room. Mike would do his pass, I'd do my pass, and then Nimrod would be sitting right there reading the pages. It was madness. It was a death march to screenwriter's bootcamp. But we got it done.
M: It was a very interesting process. We had a relatively strong script, but the changes Nimrod wanted-- some of them were budgetary, some of them were taste, some of them were content, some were character-- it required that we really delve into the script. To his credit, he sat there 18 hours a day for ten days. Sitting on a couch in the basement of Fox reading our pages as we hand them back and forth, working until four in the morning every day.
We had about a day to go and we realized that we had a very solid script but it was about 10 or 11 pages too short. So we sat there going What are we going to do? We can't hand in a script that's 87 pages.
A: I think it was less than that. It was in the 70s.
M: Whatever it was, we were missing a piece, and we didn't know what it was. We stared at each other and then someone had the idea there's this guy who's been on the planet, who is a human being who's survived. Wouldn't that be cool? That became the genesis of the Noland character.
A: A Robinson Crusoe character. Named off Tom Hanks in Castaway.
M: Once it came to us I went into my little office, wrote for about four pages, and delivered about 12 pages to Alex. He spent the next ten hours rewriting it. We dropped it in the middle of our script and we had our script.
A: If Final Draft allowed us to magically expand the script, there would be no Laurence Fishburne character.
I got to see a draft from July of 2009...
A: I know which draft you saw. It was an early draft that got leaked. The ten-day draft.
The first draft was a lot more epic. The final set piece in the first draft is a Braveheart-style battle between two Predator clans. As cool as it sounds, unfortunately it was the first thing to go because... we can't afford it.
M: These were the elements we removed and rebuilt to make it a more refined, tighter story.
A: What you read is what we call the "down, dirty, survival draft." It was truly mystifying to us, to this day, that people responded so strongly to it. We were just trying...
M: You have to figure after those ten days we had no idea what was good and what wasn't. The only thing we had faith in at that point was each other. And that was quickly fading. (laughs) --------To this day I sort of miss that level of intensity.
A:-------------
M: This could not have existed without Drew, it does not exist without Nimrod, it certainly doesn't exist without Robert. To their credit, all three of them handled themselves as true gentlemen. They could've bullied us, they could've pushed us, but they elected to be collaborative and they were fantastically supportive of the crazy, odd ideas we had.
When is this set? Predator 2 was in the not-too-distant future. We only get a glimpse of Royce in the regular world. There's a mention of Afghanistan. Where does it line up with the other Predator films? Is this "now"?
Character-wise, how much did you flesh these guys out? Do you know how Stans ended up in prison? Where Mombasa is actually from? What Hanzo did that cost him his fingertips?
A: Oh sure, yeah.
M: As a matter of fact, Robert asked us after the fact, for the DVD extras and the comic book guys, to write extensive bios on each of these characters. It's not necessarily in the script but each of these characters has a backstory. Each of them has a reason they're there.
Is it tough doing a story where... well, almost every character is kind of evil? They've all got varying moral codes, but it's tough to say there's a "good guy" anywhere in this story.
A: That's fun, man. That's what makes it cool. There's only so many ways you can write an action hero. But when you have a group you have personalities, you have dynamics, you have conflict.
M: Also, we looked at this as a chance to differentiate this class of character. Once you took these people and put them in a no-win scenario, a scenario where they were going to die, the walls between them and us--and hopefully between them and the audience--really crumbled. Once they were put in this situation they were able to speak the truth, and like all humans we found that, even with the limited amount of time we had to spend with each of them, they became much more interesting. Each of them had a personal story. Yes, they were killers, but they had families, they had reasons for what they did. More importantly, we gave them the opportunity to face the fact that they were bad men and gave them the chance to either stand up and make it right or to run and die as cowards.
This is why Noland becomes a pivotal character in the piece. He's a man who has chosen survival above all else. He's chosen to live above humanity. When our characters look at this guy halfway through the movie, sort of this linchpin moment, and understand that he's become more animal than human—more Predator than human—they are all asked to make the decision 'How am I going to go out? Am I going to go out as a human being or as an animal? And is it worth living if you're going to live like an animal?' So each of these very hard people with very specific backstories, is each given a chance to make up for the sins they've committed. To die well and for a purpose, for a reason. And that reason is each other.
A: And if anything, the Noland character is instrumental in Royce's arc. Here's a guy who's purely about survival. 'I stick my neck out for no one,' to quote Humphrey Bogart. This very sort of classic antihero. And then you've got two contradictory examples. There's Isabella, the female sniper, who actually has compassion, who has kindness, who has managed to hold onto her humanity in the middle of all this. And there's Noland, who's forsaken it completely. The two examples. Royce finds himself at a crossroads. Is he going to be like Noland or is he going to be like her?
M: The key here is there's a crossroads for each of these characters. They all have to make a choice. And they live or die, well or poorly, by virtue of that choice.
A: You don't have that in the original because they're soldiers. It's a homogenized unit. They're brothers-in-arms who've been together through hell and high water. There's a bond of friendship, a bond of trust. None of that exists here, and that was the fun of it. They come from such different backgrounds. There's mistrust, there's tension, there's friction. New bond are being forged, friendships are being built, but at the same time quarrels and hostilities are constantly igniting because these are predators. It goes back to the title of the movie. It's not just about the two different varieties of Predators, the humans themselves are predators now. Royce is the ultimate hunter. We had so many versions all with the same idea--you think you're following a Predator but you're really following Royce.
M: But all that was lost for a much more startling open.
A: We sort of went for the LOST-style opening, which is just bang! guy falling.
M: You begin with the guy in free fall. A guy who wakes up, opens his eyes, and he's falling through space. A parachute deploys...
I saw a draft with two variant endings on it. Ending A, ending B. You look at Casablanca, you look at To Kill A Mockingbird, even stuff like Aliens or Terminator. You can't picture these stories with different endings. Is it tough to write completely different endings for the same film?
A: Oh, for sure. This was the draft that hopefully gets the greenlight. We were just trying like hell to get through and give the studio something that felt like a movie. There were so many arguments about how it should end. I really fought for the Dutch ending, because I was like 'We're going to be there in Westwood when everybody's going to go nuts when he takes off the mask and it's Schwarzenegger.' To this day we actually don't know which ending was shot. Nimrod felt it would be cool if there was a twist with Isabelle. Down the line there was another ending, more of a seventies movie ending.
M: To answer your question it was not difficult at that point because effectively the movie was over. Those endings were epilogs. We used them as such.
>>note: One version of the film ended with a cameo from Arnold Schwarzenegger's Dutch, now completely a part of Predator culture and leader of his own tribe. Another revealed that Isabella is also an alien, although not a Predator. Neither of these was used, although the setup for the first version was shot.<<
Labels: Finch, interview, Litvak, Predator, screenwriting
Don't Look Back Now...
Okay, I'm still trying to get caught up on things after a whirlwind of publicity stuff for The Fold. And to be honest, the storm flags are still blowing a bit. So I just wanted to offer some quick advice on drafts. Specifically, how to approach my first draft.
As I've mentioned here a few times before, I tend to treat my first draft as the "just finish it" part of writing. I just want to get it done with a beginning, an end, and the majority of points in between. I also don't hold back. I let dialogue, descriptions, and action scenes run on a bit longer than they probably should. A lot of it's not perfect, but I know I'll start cutting in the next draft or two, so there's no reason to worry about length now. The most important thing is to get the overall framework done. Personally, I find it's a lot easier to deal with the small things when the big things aren't looming over me.
A lot of folks I've talked to try to do this, but they get caught in early-editing mode. Ten pages in and they're going back to edit, or rethink a character, or to tweak the structure. Forward motion crashes to a halt because the writer's spending all their time looking back.
Now, in all fairness, a few people can do this and it works fine for them. It's how Kevin Smith writes. He goes in blocks of ten or twelve pages, writing, rewriting, and polishing until they're done. Then he moves on to the next ten.
If you're one of the folks who can do this, power to you. But in my experience, with all the writers I've talked to over the years, those folks are a rarity. Most of us, alas, have to go through the whole thing, then go through it again. And again.
So, if you're one of us, too, here's my quick piece of advice.
Don't look back.
When working on a first draft, I can read the page I left off on. That's it. If I stop halfway through the page, I can look at the top half before I start writing again. That's it. If I ended at the top of a page, too bad.
If I close the document, I'll make a note somewhere else of what page I was on. When I reopen it, I go right to the page I left off on. No slow paging through the document. Get back to where I left off and start writing again.
Under no circumstances while writing will I hit the up arrow or page up or push the scroll bar. None of that. Not even to go up to the last paragraph. No corrections, no re-reading, no going back to adjust. I don't go back to fix typos or formatting or anything. This draft moves in one direction and it doesn't stop moving in that direction.
I do not stop. Ever. Until it is done.
This is an adjustment, yes. And a very tough one. It might not work for everyone. But I've tried it twice now and found it helps. There's a lot of stuff to clean up, yeah, but I'm getting to the clean up stage a lot faster than I would normally.
Y'see, Timmy, forcing myself to only go forward means I'm forcing myself to write. I don't get to rethink yesterday's work or tweak that first encounter or even double check if I usedthe right spelling of prophesy (I didn't, but it doesn't matter in a first draft). I just write until the first draft is done.
So try going forward. Only forward. Never back. Not one line.
Next time, by popular demand from my fan page, we're going to talk a bit about screenwriting, clan wars, and hunting.
Labels: drafts, smith, tips
Another Chapter Comes to a Close...
Many thanks for your patience. The past week has been an amazing ride for me, traveling up and down the west coast, meeting a few hundred people, and signing a few hundred books. And losing a few hundred strands of hair...
Also, if you took part in the pre-order promo for The Fold, word on the web is that galley copies are starting to land. Hopefully you got one and can now use it as the teaching example it was always intended to be.
But enough about me and my book. Let's talk about you and your book...
A few weeks back I opened the floor for suggestions (it's always open, but I just pointed out all the space on the dancefloor) and a good double-handful of ideas came in. This week's little rant comes from one of them. And it's a good topic I wish I'd thought of before.
The question was about endings. More specifically, chapter endings. How do I find the right moment to end a chapter without it feeling either dragged out or cut off in mid thought?
Clive Cussler (author of Raise the Titanic and many, many others) commented years back that chapters should be like potato chips. Each one should be easy to digest and leave you wanting another one. That was a great rule that stuck with me early on, and I've tried very hard to follow it ever since.
So, here are a half dozen places in a story I'd usually pick to end a chapter on.
A question—These moments make great chapter endings. Sometimes the question's asked out loud, sometimes it's implied. When a what/how/why moment comes up in my story, it's going to make people want to turn the page in the hopes of learning the answer. So that's a great place to end a chapter.
Keep in mind, though, this only works if there's a real question and the reader doesn't know the answer. Whether or not the characters know is irrelevant (I'm the writer, I can make them go to the next chapter with very little effort). If this question is already answered or the answer is painfully obvious, it's not a great place to end. If I'm writing the novelization of Jurassic World. "Wait, there are dinosaurs on this island?" isn't a great stopping point.
A big reveal—The flipside of the above. Getting a long-sought answer can be powerful, especially if it's going to affect what happens next in my story. Even if it's not an answer, revealing a solid, key bit on information can give a moment a lot of weight and make it a great place to pause. When I tell you "the dinosaurs have gotten loose," that's a big moment that's going to change everything from here on in.
Again, though, this one will only work for me if it's an actual reveal. Vague responses and fuzzy reasoning don't make for good answers, in real life or in a novel. Neither do answers we already know. If I try to dramatically reveal that California is on the west coast of the U.S., that's not going to do much for anyone.
A big twist—Similar to the reveal but not the same. I've talked about the difference between mysteries and twists a few times in the past, so I won't go into that again here. A twist is a fantastic moment for me to end a chapter because it's very nature means everything's going to change. My readers will go to the next chapter just to see the fallout from a good twist.
I need to be very clear, though, on what a twist is and how it works in my story. If I fumble it, either with my reveal or what I'm revealing, it's not going to have any weight or ramifications. Which means my readers have no reason to turn the page.
A big setback—Any story's going to have its ups and downs. When my character gets his or her feet kicked out from under them, deliberately or accidentally, the reader wants to know how that character's going to recover. Are they going to stay down? Fight back? Come at
things from a new angle? I need to turn to the next chapter and find out!
The catch for this one (there's a lot of catches on these, have you noticed?) is that I need to have either a good solid character or a really compelling plot for this to work. If my reader doesn't care about the stakes—either internal or external—they're not going to care when my characters fail.
A big leap forward—The flipside to the setback. When my characters find the hidden button, manage to make it past the security system, or get the power running to the velociraptor fences again, this is an achievement. We can all pause for breath, and that's a good time to roll things over into the next chapter. There's a natural break there, and I should take advantage of that existing rhythm.
Again, though...I need strong characters or plot for this to work. I also need to be aware of what's going to be seen as a leap forward. Sharpening a pencil or avoiding a sleeping guard are not big accomplishments, so my readers won't feel that need to pause for a breath.
A cliffhanger—The classic. I just stop right in the middle of things, right as the action is kicking into high gear. My antagonist pulls the trigger, the T-Rex gets me cornered in the museum, or the zombies spin around when I accidentally step on a branch. These are moments when the reader must know what happens next. And if the next chapter is there, the reader will go to it.
The catch here is that the reader needs to care about my characters. If not, there's no tension when I put said character into that dangerous spot. It's like me telling you someone's in danger. You care in a sort of abstract way, but how often are you going to ask a follow-up question?
So, there's six solid ways to end a chapter. Each one's got a slightly different flavor and works better in different situations.
However, going over this list, there's sort of a glaring issue, isn't there? What if my story doesn't have any of these things? What am I supposed to do if I'm a hundred or so pages in and I haven't had a big setback, or a reveal, or asked any questions?
Well, my first thought would be... why don't I have any of these things?
A while back I did a big block of posts about structure. As I mentioned above, every story's going to have ups and downs. There will be unanswered questions, revealed answers, challenges, and successes. It doesn't matter if I'm writing a torrid period romance, a sci-fi space epic, or an apocalyptic horror novel. Every story is going to have these moments. They'll take different forms, but they will always be there.
Y'see Timmy, if those moments aren't there... well, my story has bigger issues than figuring out where chapter breaks should be. In fact, this probably is part of the reason I can't figure out where chapter breaks should go. Without these highs and lows, my story's just going to be a drab, monotone mess. And it's impossible to place breaks in something like that because it's all the same. There aren't any landmarks that stand out.
So I need to make sure I have something that can be broken up. And then I can break it up.
Next time, I might offer a few quick tips on drafting.
Labels: challenge, chapter, cussler, ending, the end, twist
Shameless Self-Promotion Post
A quick apology for missing the past few weeks. Real life intrudes at the most inopportune times. I had some rewrites that had to get my attention, and then... well, I had a big book release. With all the before-press and during-press (going on right now) that entails
Speaking of which, if you'll forgive me, I was going to do a quick bit of shameless self-promotion. My first hardcover came out on Tuesday. It's called The Fold, and it's sort of a sci-fi/mystery/thriller with a strong horror element. More or less.
It's got a ton of praise from people like Bram Stoker Award winners Joe McKinney (Dead City) and John Dixon (Phoenix Island), Chuck Wendig (Blackbirds), Mira Grant (Feed and Parasite), Wesley Chu (Lives of Tao), DJ Molles (the Remaining series), and Andy Weir who wrote a book called The Martian. Heck, even the Kirkus Review liked it and I'm told they're really picky when it comes to giving good reviews.
If you happen to live in California, I'm in the middle of doing a bunch of signings (which is why there's no ranty blog this week). I'll be scribbling in books at 7:00 tonight (Thursday, June 4th) at Borderlands Books in San Francisco, and then at Dark Delicacies in Burbank on Saturday, June 6th around 2:00 pm. Plus on Sunday I'll be down at Mysterious Galaxy in San Diego for the Writer's Coffeehouse
And then, back here we I may talk about chapters and cliffhangers, or maybe about...
Labels: genre, Horror, sci-fi, The Fold


text:
Ben Affleck Reiterates Spring 2017 Start for Batman Movie
The Batmanben affleck dc films Movie News
Despite saying earlier this week that he is a believer in "not reverse engineering projects to meet a window or a date," Ben Affleck reiterated to Variety that plans are still on for his solo Batman movie to shoot in the spring of 2017.
"We're on the right track with that and everything is coming together. We're still finishing up a script. I'm very excited."
Affleck also opened up about what came before him as well, saying:
"I respect all of those [Batman] movies. Christopher Nolan did an incredible job, Christian Bale did an incredible job, Tim Burton did an incredible job. At a certain point you have to look forward and try to believe in your own vision for it and not be looking over your shoulder the whole time. I go into that movie with a tremendous amount of respect for the people who came before me."
Joe Manganiello will face off against Ben Affleck's Batman in the film as Deathstroke, after first making his debut in the upcoming Justice League, with additional appearances by Jeremy Irons as Alfred and J.K. Simmons as Commissioner Gordon expected to happen as well. Affleck will both star in the film and sit in the director's chair. DC Entertainment President and CCO Geoff Johns will serve as co-writer (with Affleck) and producer.
An official release date for the Batman film hasn't been set, but it was previously reported the film could take the June 14, 2019 release date that had been set aside for the Justice League sequel.


text:
Air India to resume nonstop flight between US & Bengaluru from Dec 2
This will be Air India's longest route covering a distance of 14,000 km and the longest flight to and from India. The airlines will operate a 238-seater Boeing 777-200 LR aircraft.
Air India is all set to resume its non stop flight operations between Bengaluru and San Fransico (SF) from December 2, almost eight months after it suspended the operations due to Covid-19 restrictions and due to poor demand among passengers during the course of the pandemic.
The new non-stop service is expected to meet the demand of corporate customers for travel to SFO and adjoining areas in the US.
Air India gets first Boeing 777-200LR to fly on international route
Air India is expected to operate three weekly flights between Bengaluru and San Francisco. Flight AI175 will take off from Bengaluru at 2:20 pm on December 2 and is expected to cover 14,000 km in 16 hours and 10 minutes. Meanwhile, on the same day, AI176 will take off from San Francisco at 9 pm and is expected to take around 17 hours and 55 minutes to reach Bengaluru. As per the Air India website, economy class tickets from Bengaluru to San Fransico are priced at Rs 95,950 and business class is priced at Rs 299,092.
The service was inaugurated during the Covid-19 pandemic on January 10, 2021. The flight took off from San Francisco with four women pilots, 12 cabin crew members and 238 passengers. It covered a distance of almost 14,000 km on the Atlantic route that had it fly over the North Pole.
non stop flight


text:
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redpajama_set_name: RedPajamaGithub


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export default formlyUtil;

// @ngInject
function formlyUtil() {
  return utils;
}


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Reutum () é uma cidade dos Países Baixos, na província de Overijssel. Reutum pertence ao município de Tubbergen, e está situada a 10 km, a noroeste de Oldenzaal.

Em 2001, a cidade de Reutum tinha 464 habitantes. A área urbana da cidade é de 0.16 km², e tem 162 residências.
A área de Reutum, que também inclui as partes periféricas da cidade, bem como a zona rural circundante, tem uma população estimada em 1160 habitantes.

Tubbergen
Cidades de Overissel

redpajama_set_name: RedPajamaWikipedia


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Haidar () ist ein arabischer männlicher Vorname und Familienname mit der Bedeutung "Löwe". Die türkische Form des Namens ist Haydar.

Namensträger

Vorname

 Scheich Haidar (1459/1460–1488), Oberhaupt der schiitischen Safawiyya
 Haidar Abdul-Razzaq (1982–2022), irakischer Fußballspieler
 Haidar Abu Bakr al-Attas (* 1939), jemenitischer Politiker
 Haidar Al-Shaïbani (* 1984), algerisch-kanadischer Fußballspieler
 Muhammad Haidar Zammar (* 1961), deutsches mutmaßliches Al-Qaida-Mitglied

Familienname

 Aminatou Haidar (* 1966), marokkanische Menschenrechtsaktivistin
 Mohamad Haidar (* 1989), libanesischer Fußballspieler

Sonstiges
 Burdsch Haidar, frühbyzantinische Siedlung im Nordwesten von Syrien
 Haidar (Tulcea), Dorf in Rumänien

Einzelnachweise

Männlicher Vorname
Arabischer Personenname

en:Haydar (name)


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Obituaries for July 17, 2015
Friday, July 17, 2015, 12 a.m.
• Kathy Louis • Mitsuo 'Mike' Miyajima • Steven Wheeler • Kei Hirano
Kathy Louis
Kathy Joy Denise Louis, 54, of Omao, Kauai Passed away on July 3, 2015 At Straub Hospital. She was born on July 17, 1960in Honolulu, Hawaii. She was a Baker with Koloa School Cafeteria.
Kathy is preceded in death by her Mother Emily Keoho Aucion, Grandmother Elizabeth Haluapo,
Sisters Makalapua Haluapo, Hattie Telles, Marylyn Gerardo & Rose Leilani Garcia and her brothers Ioane & Kawano Haluapo , Albert Keoho, Sr., Guardians James & Mary Gerardo, her granddaughter Ivy Louis.
She is survived by her husband: Matthew Louis, daughter, Bridget Louis, son Matthew (Rosanna) Louis, grandson, Anthony Louis, granddaughter, Lily Louis. Kathy also is survived by her sisters: Joyce (Terry) Daligdig, Alison (Clayton) Silver, Sr. and Brenda (Rey) Coloma; her brothers: Wayne Sees, Howard Sees, James Gerardo, Alan Gerardo, Brian (Shanell) Gerardo, Clifford (Dannette) Lee, Edward Keoho, Sr., David (Bruna) Lam and Francis Lam as well as numerous nieces, nephews, auntie, uncles, cousins & many friends.
Friends may visit with the family on Friday July 24, 2015 at Borthwick Mortuary Chapelin Koloa from 5:00pm to 9:00 pm and on Saturday July 25, 2015 at Lihue First Church at 10:00 am. Services and Inurnment to follow.
The family is being assisted by Borthwick/ Kauai Mortuary.
Mitsuo 'Mike' Miyajima
Mitsuo "Mike" Miyajima, longtime administrator and educator for the DOE State of Hawaii, who served on the islands of Maui and Kaua'i, passed away on February 17, 2015. Mitsuo was born in Pu'unene on Maui on July 7, 1918 to Kiyoki and Tsumo Miyajima.
He is survived by his wife, Leo; children Debra, Glenn and Michele; grandchildren Lisa, Alana, N.Pili; brother Charles (Margaret), sister Sue(Dom) Domozych and significant extended family, nephews and nieces, Karl, Michael (Kili) and Sue(Brian). Private services will be held.
The family has been assisted by Borthwick/Kauai Mortuary.
Steven Wheeler
Steven Davis Wheeler of Lihue, Hawaii passed away peacefully on July 7, 2015 at the age of 70. He was born in Banana River, Florida. He lived most of his adult life in Minnesota where he graduated from Macalester College and William Mitchell School of Law. Early in his career he was a corporate attorney and officer with Northwest Airlines. He then went on to be the chief judge of the Workers Compensation Court of Appeals, and retired as a District Court Judge in Ramsey County, St. Paul Minnesota.
Steve is survived by his wife Margaret Wheeler, his 2 children Benjamin Wheeler and Heidi Mueller, his 2 step-children Christine D'Amico and Michael Johnson and 10 amazing grandchildren. He is also survived by his two sisters, Catherine Wilson and Nancy Flippert and one brother, James Wheeler.
A celebration of his life will be held at St. Michael and All Angels Episcopal Church on Sunday July 19, 2015 at 4:00 PM with a pupu reception to follow.
In lieu of flowers, the family requests that donations be made to Kauai Hospice or St. Michael and All Angels Episcopal Church, or a charity of your choice.
Kauai Memorial Gardens and Funeral Home assisted the Wheeler family with arrangements.
Kei Hirano
Kei Hirano, 84, of Kauai, died on June 20, 2015 in Kailua. He was born in Kalaheo, Kauai. He was a Circuit Court Judge and a Korean War U.S. Army Veteran. He is survived by his wife, Jessie M. Hirano; son, Todd Y. Hirano; daughter, Sharyl J. (Tom) Hirano; 2 grandchildren and 2 great-grandchildren.
The family has chosen to hold private services. Donations may be made to Hospice Hawaii.


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Northrop Grumman to upgrade B-2 satcom system
By Doug Beizer
Northrop Grumman Corp. has begun work on a new, extremely-high-frequency satellite communications system for the Air Force's B-2 stealth bomber under a 62-month, $171 million system development and demonstration contract.
Under an upgrade program, the new satellite system eventually will allow the B-2 to send and receive battlefield information up to 100 times faster than its current ultra-high frequency satellite communications system.
The authority to proceed with the system development phase follows the Air Force's decision in February authorizing Northrop Grumman to proceed with this first increment of the satellite upgrade program.
During the first increment of the project, the Northrop Grumman-led team will replace the B-2's current flight management computers with a single, integrated processing unit developed by Lockheed Martin Systems Integration.
The team also will develop a fiber-optic network that supports high-speed data transfers to, from and within the aircraft.
The B-2 is a long-range, multipurpose bomber capable of delivering both conventional and nuclear munitions. The bomber's stealth characteristics make it difficult for enemy radar to detect, thus making it possible to penetrate even the most heavily defended targets. Northrop Grumman is the Air Force's prime contractor for the B-2.
Northrop Grumman of Los Angeles ranks No. 3 on Washington Technology's 2007 Top 100 list of the largest federal government prime contractors.
Doug Beizer is a staff writer for Washington Technology.


Homes for Sale in Donnelly, Idaho | Robert Lyons | Century 21 Whitewater Clark | (208) 866-3557 | Contact me to request more information about our real estate company. | McCall Idaho Homes for Sale as well as a 4 county area. I am also a top listing agent for our region.
Courtesy of Tamarack Realty, Inc.


SimTrack® is a dynamic visibility and analysis tool that utilizes Simcad Pro®'s patented technology to provide real-time operational visibility, dynamic replay, proactive forecasting, and customizable reports. SimTrack's open architecture enables it to interact with a multitude of live data systems – RFID, BarCode, GPS, PLC, WMS, EMR, ERP, MRP, etc. - enabling organizations to better manage the daily activities, improve system efficiencies and provide historical replay and analysis to help in understanding the past and improving the future.


Whether you run into a friend at the local shop or meet someone for the first time, the most common greeting is a 'hello' and a smile. A smile is a key part of the impression you make on someone and can make a person more attractive. But smiles are not considered attractive if they display yellow, damaged or broken teeth. People usually adopt a closed mouthed smile if they suffer from any of these problems.
There is good news for people with dental problems. Most of them can be corrected through cosmetic dentistry. This type of dentistry is relatively new, but is becoming very popular all over the world as it can solve a number of dental problems to give you the perfect smile.
One of the most common dental problems is missing teeth. This can affect a person's smile and even confidence. However, cosmetic dentistry can deal with this problem through the use of dental implants for missing teeth. Implants are custom made for each individual and can be made to look exactly like your other teeth. This is a wonderful treatment for those who have suffered gaps and missing teeth and have always been afraid to smile.
Cosmetic dentistry can be beneficial in helping you achieve the perfect smile and in turn, a boost of self confidence. Ensure that the cosmetic dentist you consult is reliable and well qualified to treat you and you can be sure of a lasting smile makeover.


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Top 10 Finance Movies
How to invest money profitably? How to get the maximum profit? Financial consultants of Finance World give advice. Are you interested in Finance? We have compiled for you a list of the best films about Finance, trading, investment.
The most popular finance movies
10. The Wizard of Lies (2017)
This finance movie was nominated for the Golden globe 2018 "Best actor of a mini-series or film on TV", "Best supporting actress of a mini-series or film on TV». The plot movie: Bernard Madoff in 2008 created a major financial pyramid. It was the biggest Ponzi scheme in world history. Bernard convinced everyone that it was an investment Fund. The company's debt amounted to $50 billion. In 2009, the court sentenced Bernard to 150 years in prison.
9. There Will Be Blood (2007)
In the Russian box office, the film was called "Oil". The film received an Oscar 2008 for "Best actor" and "Best work of the operator", and he was nominated in 6 categories. Oil is an important resource in the modern world. The oil industry in the United States developed hard. It was a struggle for the deposits. The main character of the film is Daniel Plainview. He found the source of the oil. The film tells how Daniel got rich.
8. Serial Billions (начало в 2016)
Directors Brian Koppelman and David Levin shoot the series "Billions". This film answers an important question: "What is more important — power or money?". We live in a great information age. Information rules the world. The protagonist of the series — billionaire Bobby Axelrod. He likes to take risks. His opponent is Chuck Rhodes. Chuck is a Federal Prosecutor and a major politician. One hero breaks the law, and the other wants to stop him.
7. Pi (1997)
Talented mathematician Max Cohen dreams of creating a universal financial code. This code will predict the fall of stock markets. Max Cohen created the code. The financiers on wall street have started a hunt for him. But the mathematician did not want to pass this code. He was against mad profit.
6. Too Big To Fail (2011)
In 2008, the global financial crisis began. The wave started in America. Then the whole world suffered. Many experienced traders from the US went bankrupt. The heroes of this finance movie are real people, for example, a famous businessman, billionaire Warren Buffett.
5. Margin Call (2011)
The film was nominated for an Oscar for best screenplay in 2008. What is the margin call? This is a demand for extra money. They're for a big open deal. The film proves that big financial risks and margin calls led to the global financial crisis in 2008. The film is played by famous actor Kevin Spacey.
4. Becoming Warren Buffett (2017)
This is a documentary finance movie about Warren Buffett. He became a legend in the world of finance and investment. The film tells about his life, family, habits, work. The film shows family photos, rare videos, and interviews. Warren Buffett's partners and friends talk about him.
3. Wolf Of Wall Street (2013)
The film starred the famous Leonardo DiCaprio. "Wolf of wall street" is a finance movie about American stock exchanges. It's a story about Jordan Belfort. The story takes place in the 1980s and 1990s. Brokers sell shares through phone calls. The main character earned a lot of money and then lost them.
2. Wall Street (1987)
The film "wall street" is a classic of finance movies. Broker buddy Fox made a career, made a lot of money. Then he thought about justice and lost all the money. The main idea of the film: the United States – a country of great opportunities. Here you can succeed. Here there is constant economic growth.
1. The Big Short (2015)
The film won an Oscar for best screenplay. This film tells about the financial crisis of 2007-2008. The film is a game, but its characters talk about important financial terms and global processes. Actors: Margot Robbie, Christian Bale. Many experts consider this film the best. He topped our top 10.


So I have blogged about my pregnancy in a while!
I am technically 31 weeks but the baby measures at 33 weeks. So she is predicted to be around 8 to 8 1/2 pounds.
Yesterday was my baby shower. Thank you to everyone who came and even those who were not able to come. Thank you for the great baby wishes!
Here is a current belly shot. Man looks like I swallowed a beach ball!!
You look fantastic!!! Congratulations, a little while longer to go!


You can go after the job you want...and get it! You can take the job you have...and improve it! You can take any situation you're in...and make it work for you! For over 50 years the rock-solid, time-tested advice in this book has carried thousands of now famous people up the ladder of success in their business and personal lives. Now this phenomenal book has been revised and updated to help readers achieve their maximum potential in the complex and competitive 90s!


Morgans Consult have been a main framework supplier of Dwr Cymru's for a number of years. In this time, we have been involved in many projects supplying branding, wayfinding schemes and rolling out refreshes of their brand across their vast corporate and operational estates which include visitor centres, reservoirs, maintenance sites, offices and regional hubs.
Dwr Cymru are a not-for profit organisation and their strong brand successfully reflects this. We have been tasked with ensuring brand continuity is achieved across their estate.
Dwr Cymru have a range of signage and branding requirements and we are tasked with implementing the most suitable solutions in a variety of settings; whether it be branding a corporate office space or directing visitors to remote part of a vast reservoir.
There is a definite requirement for a flexible supplier with the ability to respond to requests quickly and deliver projects efficiently on time to budget.
The result is a successful relationship where we have supplied diverse types of signage and branding. Notably Llandegfedd and Elan Valley have had considerable improvements to the wayfinding around their sites. In both cases, signage was designed to mirror the beautiful natural surroundings whilst also remaining functional. We surveyed, audited, designed, manufactured and installed the signage to meet important deadlines.


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Does Artemis Pet Food really support Animal Rights?
http://www.artemiscompany.com
Artemis Pet Food does not have an official position on animal rights, but the company is known for its high-quality, ethically sourced pet food products. All of Artemis' pet food is made without any artificial colors, flavors, or preservatives, and the company only uses ingredients that are considered safe for human consumption. Additionally, Artemis supports numerous animal welfare organizations and donates food to animal shelters across the United States.
Is Artemis Pet Food testing finished products on animals?
No. Artemis Pet Food does not test its products on animals.
Is Artemis Pet Food using ingredients that have been tested on animals?
No. Not only Artemis Pet Food does not tests its own products on animals, but it also ensures that none of their ingredients are tested on animals
Is Artemis Pet Food cruelty-free? Search for cruelty-free and vegan companies and products using PETA's Beauty Without Bunnies database.


Online vs. Classroom: Which Learning Environment is Right for You?
When approaching the next step in higher education, one of the first things to consider is whether you should attend school in an online vs. classroom environment. Traditional college called for students to be physically on campus, but in the modern world, amid hectic schedules and full-time jobs, weaving in an online education is often the most effective way to pursue your degree.
Do you need flexibility in your schedule? Are you a natural self-starter?
Learning 24/7 – Your classroom and campus is available to you all day, every day. You can view course content, participate in discussions and work on group projects, all based on your needs and schedule. Research and studying has never been easier with online libraries, where accessing ebooks, reference materials, and interactive information can be easily accomplished without leaving your home, workplace, or wherever you are with a computer and Internet access.
Flexible education – Time is the most valuable asset you have, so the flexible schedule of online learning can work naturally with your lifestyle. Instead of traveling to campus, you can spend more time learning in the comfort of your own home. Fitting in coursework and study time is up to you, which is ideal when for many, the only time available to study is after the kids go to bed or early in the morning before work. Listen to lectures while exercising, peruse ebooks on your morning train ride, and spend your lunch break scouring the online library for information for your next group project.
A focus on your career and global networking – Online universities also can be a career partner, with Career Services departments that offer professional coaching, resume support, and once you graduate, alumni resources. Since the explosion of social networking communities, it's also easier to make a connection with individuals you might never meet at your local college campus. Networking with other like-minded students can open up opportunities for career growth beyond your own backyard.
No distractions – If you are prone to being distracted by your everyday life, physically being in a traditional learning environment might be the best route for you. For some students, there is greater impact in being motivated by and meeting with classmates in person than online.
Predictability – If you work part-time, you might have the flexibility to schedule in time for commuting to a campus, so a set curriculum could be just what you need to accomplish your career goals.
Face-to-face education – Do you blossom in front of people and feel more comfortable in a community setting? If life before cell phones and virtual meeting places floats your boat, then strapping on your backpack and heading to a classroom for the benefits of in-person feedback and interaction with professors is an optimal surrounding for your learning needs.
Every pathway to learning has its pros and cons, but the bottom line is that you need to find an approach to education that is the right fit for you. As you get ready to pursue your degree and answer the question of online vs. classroom learning, take a look at your lifestyle and seize this moment to achieve your personal career goals.
Ready to learn more about pursuing your degree? Learn more about online degree programs at AIU.


How to Easily Master Format ACER ICONIA TALK S (A1-734) with Safety Hard Reset?
How to Easily Master Format ACER PREDATOR 8 with Safety Hard Reset?
How to Easily Master Format ACER LIQUID Z6 PLUS with Safety Hard Reset?
How to Easily Master Format ACER LIQUID X2 with Safety Hard Reset?


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Paul Porvaznik – Business Litigator
Case Notes and Summaries of Recent Cases (State and Federal Courts – Illinois Focus)
Presentations/Projects
Published Content (Print and Electronic Media)
Expert Witness Services, Freelance Writing Queries
The content of this blog is intended for informational purposes only. It is not intended to solicit business or to provide legal advice. Laws differ by jurisdiction, and the information on this blog may not apply to every reader. You should not take, or refrain from taking, any legal action based upon the information contained on this blog without first seeking professional counsel.
Tag: insider
Plaintiff Shows Actual and Constructive Fraud in Fraudulent Transfer Suit – IL Court
The plaintiff mortgage lender in Summitbridge Credit Investments II, LLC v. Ahn, 2017 IL App (1st) 162480-U sued the husband and wife borrower defendants for breach of a mortgage loan on two commercial properties in Chicago
Two days after the plaintiff obtained a $360K-plus default judgment, the defendants deeded a third commercial property they owned to their adult children.
The plaintiff caught wind of the post-judgment transfer during citation proceedings and in 2015 filed a fraudulent transfer suit to undo the property transfer. The trial court granted summary judgment for the lender and voided the defendants' transfer of property. The defendants appealed.
Affirming, the First District recited and applied the governing standards for actual fraud ("fraud in fact") and constructive fraud ("fraud in law") under Illinois's fraudulent transfer act, 740 ILCS 160/1 et seq. (the "Act")
The Act allows claims for two species of fraud under the Act – actual fraud and constructive fraud, premised on Act Sections 5(a)(1) and 5(a)(2) and 6(a), respectively. (Also, see http://paulporvaznik.com/uniform-fraudulent-transfer-act-actual-fraud-constructive-fraud-transfers-insufficient-value-il-law-basics/5646)
Actual Fraud and 'Badges' of Fraud
Actual fraud that impels a court to unwind a transfer of property requires clear and convincing evidence that a debtor made a transfer with actual intent to hinder, delay or defraud creditors.
Eleven badges or indicators of fraud are set forth in Section 5(b) of the Act. The factor the Summitbridge Court particularly homed in on was whether there was an exchange of reasonably equivalent value. That is, whether the defendants' children gave anything in exchange for the transferred commercial property.
In analyzing this factor, courts consider four sub-factors including (1) whether the value of what was transferred is equal to the value of what was received, (2) the fair market value of what was transferred and what was received, (3) whether it was an arm's length transaction, and (4) good faith of the transferee/recipient. Reasonably equivalent value is measured at the time of transfer.
In opposing the plaintiff's summary judgment motion, the defendants made only conclusory assertions they lacked fraudulent intent. Moreover, they failed to come forward with any evidence showing they received consideration for the transfer.
In summary, because there were so many badges of actual fraud present, and the debtors offered no proof of consideration flowing to them in exchange for quitclaiming the property, the appeals court affirmed the trial court's actual fraud finding.
Unlike actual fraud, constructive fraud (i.e., fraud in law) does not require proof of an intent to defraud. A transfer made for less than reasonably equivalent value of the thing transferred that leaves a debtor unable to meet its obligations are presumed fraudulent. A fraudulent transfer plaintiff alleging constructive fraud must prove it by a preponderance of evidence – a lesser burden that the clear and convincing one governing an actual fraud or fraud in fact claim.
Constructive fraud under Act Section 5(a)(2) is shown where a debtor did not receive a reasonably equivalent value for the transfer and the debtor (a) was engaged or was about to engage in a business or transactions for which the debtor's remaining assets were unreasonably small in relation to the business or transaction, or (b) intended to incur, or believed or reasonably should have believed he would incur, debts beyond his ability to pay as they came due.
Section 6(a) constructive fraud applies specifically to claims arising before a transfer where a debtor doesn't receive reasonably equivalent value and was insolvent at the time of or resulting from a transfer.
The First District agreed with the lower court that the plaintiff sufficiently proved defendants' constructive fraud. It noted that the plaintiff's money judgment pre-dated the transfer of the property to defendant's children and there was no record evidence of the debtors receiving anything in exchange for the transfer.
Summitbridge provides a useful summary of fraud in fact and fraud in law fraudulent transfer factors in the context of a dispositive motion.
Once again, summary judgment is the ultimate put-up-or-shut-up litigation moment: a party opposing summary judgment must do more than make conclusory assertions in an affidavit. Instead, he/she must produce specific evidence that reveals a genuine factual dispute.
The defendants' affidavit testimony that they lacked fraudulent intent and transferred property to their family members for value rang hollow in the face of a lack of tangible evidence in the record to support those statements.
Posted on September 28, 2017 October 12, 2017 Categories Business TortsTags constructive fraud, fraud in fact, fraud in law, fraudulent transfer, insider, post-judgment, real estate dispute, UFTA
Uniform Fraudulent Transfer Act: Actual Fraud, Constructive Fraud and Transfers for Insufficient Value: IL Law Basics
The Illinois Fraudulent Transfer Act ("FTA") – 740 ILCS 160/1 et seq. – is a powerful creditor enforcement tool aimed at capturing assets transferred by a judgment debtor to elude a money judgment.
In United Central Bank v. Sindhu, 2014 WL 3748555, the bank obtained a $4.3M judgment against the defendant. After initiating various citations to discover assets, the bank learned that several months after the judgment, the defendant transferred three properties to his sister – including one residence property valued at over $3M. He also received and turned over several rent checks on one of the transferred commercial properties.
The plaintiff filed an FTA suit against the defendant and his sister seeking the turnover of the $3M property and the rent checks. The defendants moved to dismiss all complaint counts. The Court denied the bulk of the motion.
Operative Rules and Reasoning:
FTA Sections 5(a)(1), (2) and 6 govern claims based on actual fraud, constructive fraud and for pre-transfer claims, respectively.
The FTA's actual fraud provision – Section 5(a)(1) – requires a plaintiff to plead that a debtor transferred property with actual intent to hinder or defraud a creditor, whether the claim arose before or after the transfer was made.
Actual fraud factors include whether (1) the transfer or obligation was to an insider;
(2) the transfer or obligation was disclosed or concealed;
(3) before the transfer was made or obligation was incurred, the debtor had been sued or threatened with suit;
(4) the transfer was of substantially all the debtor's assets;
(5) the debtor removed or concealed assets;
(6) the value of the consideration received by the debtor was reasonably equivalent to the value of the asset transferred or the amount of the obligation incurred.
To plead FTA constructive fraud (Section 5(a)(2)), the plaintiff must allege that the transfer was made, before or after a creditor's claim matured, and the debtor never received reasonably equivalent value in exchange for the transfer.
The constructive fraud plaintiff must also allege that the debtor engaged in or was about to engage in a transaction that left the debtor with zero or unreasonably small remaining assets, or should have believed that he (the debtor) would incur debts beyond his ability to pay as they became due. (*3).
FTA Section 6(a) applies only to creditor claims that arose before a debtor's transfer of assets.
An FTA Section 6(a) plaintiff must establish that (1) the debtor made a transfer without receiving a reasonably equivalent in exchange for the transfer; (2) that the debtor was insolvent at that time or became insolvent as the result of the transfer; and (3) the creditor's claim arose before the transfer. (*3).
The Court found that the plaintiff sufficiently alleged valid FTA claims under all three sections.
The thrust of the complaint was that (a) several months after the money judgment, (b) the defendant secretly transferred multiple million dollar properties and rent checks to a family member (an insider) and (c) received little or nothing in return for the transfers.
Defendant's sister (the transferee) argued that she retired over $1.5M in the debtor's mortgage debt in return for the conveyance of the $3M residence property.
However, since the property was worth more than twice the amount of the retired mortgage debt, the Court found that the defendant didn't receive a reasonably equivalent value in exchange.
Taken together, the Court found these allegations satisfied the pleading standards for an FTA actual fraud and constructive fraud claim for transfers made before or after a creditor's claim arose.
Sindhu shows in sharp relief the fruits of aggressive post-judgment collection efforts.
Had the plaintiff not so ardently pursued its claims, the defendant could have transferred substantial assets properties and likely escaped the judgment.
Posted on September 2, 2014 January 11, 2015 Categories Business Torts, Creditor's Rights, Post-judgment - CollectionsTags actual fraud, citation to discover assets, constructive fraud, insider, Sindhu, UFTA, Uniform Fraudulent Transfer Act


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Q: Virtual propagation on destructor I know that virtual propagates to the derived class method and it's optional to put as keyword on the method declaration on the derived class, and i know that i MUST mark as virtual the destructor of the base class, in order to have polymorphic destruction, but what i want to know is if the default destructor of the derived class, inherit the virtual from the virtual destructor of the base class, and so i have to explicit write it on the derived class.
Example:
class A{
public:
    virtual ~A() override = default;
}
class B: public A{
public:
    // have i to write this or it's already what the compiler get as default?
    virtual ~B() override = default;
}

A: The destructor for a derived class, despite having a different name from the destructor of the base class, overrides the base class destructor. Just like any other override, it's virtual if the one it overrides is virtual.

A: Yes once a member function (destructor included) is marked as virtual in the base class, it remains virtual in all derived classes.
You can omit the keyword virtual in ~B() declaration, and even omit ~B() entirely, if it's empty.


This is on of my favorite salads–very light.
Alright to begin you will need to roast the eggplant. You can do it in either of two ways–each works great. If your stove is a flame top then you can directly roast it on the flame. But to begin you will need to first massage the whole eggplant with the olive oil and then place directly on a medium flame to roast. You can turn it to roast it evenly–stop when it is cooked through. While still hot–be careful you don't burn your fingers–half lengthwise with a knife and then scoop the inside of the eggplant. Let cool.
Another way to roast the eggplant is to massage the whole eggplant and then cover entirely with foil, and then place under a broiler under high until cooked through. Takes about 30 min or so, depending on the size of the eggplant. Do the same, i.e. cut lengthwise and scoop the soft eggplant pulp. Let cool.
Mince the onions, cilantro, green chilly pepper. Add in the egg plant pulp, lemon and salt to taste. Mix well and serve chilled.
thank you so much, but could we know this Quantity how many portions it makes for how many persons ?
4-5 portions. It is a side so one tablespoon or two for each person is sufficient.