text:
Suite 12, 18 Harvest Terrace, West Perth, WA 6005
Airey Taylor Consulting
Structural, Civil, Engineering and Scientists
The Airey Taylor Consulting Difference
Award Winning Projects
Claylock®
Glass Fibre Reinforced Polymer (GFRP)
Rammed Earth Walling Systems
RetroClay®
Top Down Construction
Forensic Engineering
Permanent Form Concrete Walling systems
Post tensioned concrete design
Multi Storey
Peter Airey
HonFIEAust CPEng APEC Engineer IntPE(Aust)
As Founder and Managing Director of Airey Taylor Consulting Engineers & Scientists (formerly Airey Ryan & Hill), Peter Airey has provided engineering leadership within Western Australia for over 45 years. Since launching the firm, it has become the foremost provider of advanced, pro-active engineering solutions specialising in innovative and award-winning design for complex, multi-faceted structures.
In recognition of his lifetime achievement as an Engineer, he was appointed an Honorary Fellow of Engineers Australia, and he continues to pioneer and innovate throughout the national construction industry.
As responsible Director, Peter received the National Excellence Award from Engineers Australia for Best Overall Project for the State Theatre Centre of WA, and he has been a contributor to many Master Builders Association Excellence Award winning projects – including the 2017 Bankwest Best Project, Crown Towers Resort. He has held overall responsibility for over 15,000 commissions in the discipline of structural engineering, representing a significant contribution to the built environment of Perth and Western Australia.
Nationally and internationally sought after for his extensive knowledge of design options and comprehensive understanding of value engineering, the construction industry and its methods – Peter has received major commissions for projects in New South Wales, Queensland, South Australia, Northern Territory, as well as India, Indonesia, Thailand, Malaysia and the United Arab Emirates.
Peter is committed to presenting pioneering unique structural systems to respond to challenging specifications. In 2005 Peter was awarded a Patent for the Claylock(r) foundation design method on clay soils for new buildings – building upon the National Certificate of Recognition in the 1998 ACEA Awards for Excellence received for the development of a remediation system for permanent restoration of damaged buildings on clay based soils ("Retroclay"). In January 2013, a further patent for the layering system for permanent repair of cracked walls was received. An Innovation Patent has been granted for his Piles to Pillars system for use in Top Down Construction, another area in which he is an acknowledged industry leader.
In 2018 he launched Advanced Substructures Ltd – a national firm specialising in the use of these specialised foundation systems to create excellence in the construction industry.
Peter is professionally active in the drafting of Australian Codes of Practice for both the engineering profession and building industry of Australia, and is currently contributing to the national redraft of AS4678 for Earth retaining structures.
He is an acknowledged Expert Witness, and is highly sought after for his Forensic Engineering expertise. His work in Heritage Engineering has led to Airey Taylor Consulting's listing on the National Trust register as a Heritage provider and has received national recognition for his work fusing modern functionality with preserved historic architecture.
AIT FIEAust CP Eng NER
John Taylor joined Airey Taylor Consulting (formerly Airey Ryan & Hill) in October 1980 and was appointed as a Director in 1988. He provides concept design, project direction, design management and contract administration for major structural engineering projects spanning a broad range of applications.
John has made an outstanding contribution to innovative structural design for aquatic and recreational centres earning Australia-wide awards and commendations. He was an integral part of the team that pioneered the "wave pool" concept for the Shire of Sutherland in NSW, and an acknowledged leader and 'go to' Engineer in similar aquatic and recreational centre projects – with over 90 completed in Western Australia alone.
He possesses a record of leadership in steel structure design which includes commercial and high rise structures, as well as special defence and major industrial applications. He has received RAN commendation for the innovative use of post-tension slab flooring in the RAN's Torpedo Maintenance Facility at Garden Island in Western Australia, and was heavily involved in the roll out of the Over the Horizon Radar chain across Australia for the Department Of Defence.
His skill set includes provision of advanced structural design for high-rise concrete structures, use of post-tensioned, pre-stressed concrete, assisting clients to achieve economical, rapidly constructed buildings. John has been the Design Engineer for many Master Builders Association Excellence in Construction Award winners – most recently the 2018 Best Education Building ($20 – $50 million) for South Metropolitan TAFE Murdoch Campus T Block Building and 2017 Subcontractor of the Year Award for the Swimming Pool components of Crown Towers.
John has a huge track record of structural design for educational projects for interdenominational bodies, government instrumentalities and private institutions. He has personally designed over 90 educational institution facilities across WA, and has been responsible for overseeing the design of many others.
His portfolio of completed projects include Edith Cowan Sporting Complex, Albany Grammar School, and the incorporation of "Claylock" as a principal foundation for the Merredin Primary School and Residential College Project, utilising his acknowledged superiority of delivery, with cutting edge, patented technology that specifically addresses clay-based structural concerns on greenfield projects.
Engineering - 45 years
Design - 45 years
Research - 22 years
We are proudly committed to the following values:
In the best interests of the Client, we are dedicated to providing cost effective solutions, tailored to the requirements of the total project.
We strongly promote the ongoing education, support and professional advancement of all our staff. We value and encourage growth in building technical expertise in the industry.
Pursuit of Excellence
Leadership in innovative design and focus on best possible design outcomes are actively adopted by our senior design staff for each project.
We deal with Clients, Consultants and Contractors in an open, fair, and ethical manner. We earn and value the trust placed in us and our services by our Clients.
Forensic/scientific
Engineers Australia seminar now available
Managing Director to provide Engineers Australia seminar
Kimberley Pool features in National News
State Theatre Centre of Western Australia - The 2011 Australian overall winner of the Engineers Australia Excellence Award
Engineers Australia Excellence Award
State Theatre Centre of Western Australia — The 2011 Winner of WA Division of Engineers Australia Excellence Award in the Small Company Projects Category.
Cockburn Gateway Stage 3 Top Down Construction - Excellence in Engineering
Concrete Institute Award For Excellence
South Metropolitan TAFE, Murdoch Campus, T Block - Best Education Building ($20 - $50 million)
2018 Master Builders Association (WA)/Bankwest Excellence in Construction Awards
Winner - Steel Clad Structures category Sandra Donovan Shell, Manjimup
2018 Australian Steel Institute (WA) Awards
Guildford Hotel Redevelopment - Best Heritage Design; Best Non-Residential Interior Design; Best Alteration/Addition Commercial Design
2017 National Association of Building Designers Awards
Guildford Hotel Redevelopment, Guildford - National Winner - Best Commercial/Industrial Building under $5 million
2017 Master Builder's Association (Australia) Excellence in Building and Construction Awards
Church House (Winner : Best Office Building; Commendation : Best Project)
Crown Towers Resort, Perth (Winner : Best Project; Best Building Fit-Out; Best Multi-Unit Development (Over 20 Units/Over $50 million))
Church House, Perth (National Winner : Best Commercial/Industrial Construction $20M to $50M)
2017 Master Builders (Australia) Excellence in Building and Construction Awards
Copyright® Airey Taylor Consulting 2016
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Q: Compare columns of different excel using python I need to compare particular column between two excel sheet and if value matches then we need to replace the second column value of second excel sheet  into the first column of first excel sheet for eg
First sheet column
I'd

Tas-0001
Tas-0002

Second sheet column
I'd         Name

Tas-0001    tin-90876
Tas-0002    tin-56883

So i need to compare both excel based on id column and if it's matches need to replace the name column of second excel sheet into first column of first excel sheet
So final answer will be like
Id
Tin-90876
Tin-56883

I am trying using python panda dataframe but not able to achieve it.

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Howard Thomas Markey (November 10, 1920 – May 3, 2006) was an American jurist who served as the first Chief United States circuit judge of the United States Court of Appeals for the Federal Circuit. He is often credited with establishing that court's renown and competence in intellectual property law.

Early life, military and legal career

Markey was born in Chicago, Illinois to Thomas Joseph and Vera Marie (Dryden) Markey. He served in the United States Army Air Forces during World War II as a test pilot, flying P-38s and P-59 jets in extreme cold-weather. He left the army in 1946 as a major, and became a lieutenant colonel in the United States Air Force Reserve. Markey subsequently earned his undergraduate degree and a Bachelor of Laws in an accelerated one-year program at Loyola University Chicago School of Law in 1949, and a Master of Laws in patent law in 1950 from John Marshall Law School in Chicago. He returned to active military service in the Korean War, in which he served as a planner of the Korean Airlift.

Markey returned to Chicago following the war, specializing his private legal practice in patent law and other areas of intellectual property. He remained in the Air Force Reserve, then transferred to the Air National Guard, serving as commander of the Illinois Air National Guard, then returning to the Air Force Reserve as deputy commander of the Air Force Reserve's portion of Tactical Air Command. Markey retired from the Air Force Reserve in 1976 as a major general, having received the Distinguished Service Medal, the Legion of Merit and the Distinguished Flying Cross. He was a lecturer at Loyola University Chicago School of Law from 1971 to 1972.

Federal judicial service

Markey was nominated by President Richard Nixon on May 3, 1972, to the designated Chief Judge seat on the United States Court of Customs and Patent Appeals vacated by Chief Judge Eugene Worley. He was confirmed by the United States Senate on June 21, 1972, and received his commission on June 22, 1972. He was reassigned by operation of law on October 1, 1982, to the United States Court of Appeals for the Federal Circuit, to a new seat authorized by 96 Stat. 25. He served as the court's first Chief Judge from 1982 to 1990. His service terminated on April 30, 1991, due to his retirement.

During his tenure on both courts, and while sitting by designation in the regional circuits, Markey is estimated to have participated in more than 6,400 cases, and to have written over 1,000 opinions. Following his retirement from the bench, Markey served as the dean of John Marshall Law School in Chicago, Illinois, from 1991 until 1994.

In 1997, the United States Congress renamed the Federal Circuit's Washington, D.C. headquarters the Howard T. Markey National Courts Building. Congressman Henry Hyde (R-IL), then-Chairman of the House Judiciary Committee, said that Markey's efforts had established the Federal Circuit as "the world's most respected and followed court on matters of intellectual property."

Retirement and death

Markey, who suffered from Parkinson's disease, died on May 3, 2006, in a nursing home in Hinsdale, Illinois where he lived his last years. Known for his sense of humor, he is said to have asked the nursing home staff to call him "judge" and "general" on alternate days. Markey was buried at Arlington National Cemetery. His wife of 52 years, Elizabeth Pelletier Markey, died in 1994. They had three sons.

References

Sources

Obituaries: Howard Markey; First Chief Judge of Federal Circuit Appellate Court, Patricia Sullivan.  Washington Post, May 5, 2006.
Former Federal Circuit Judge Howard T. Markey Dies, BNA Patent, Trademark & Copyright Journal, May 5, 2006.

1920 births
2006 deaths
20th-century American judges
United States Army Air Forces pilots of World War II
United States Air Force personnel of the Korean War
American test pilots
Burials at Arlington National Cemetery
Neurological disease deaths in Illinois
Deaths from Parkinson's disease
Judges of the United States Court of Appeals for the Federal Circuit
Judges of the United States Court of Customs and Patent Appeals
Deans of law schools in the United States
Lawyers from Chicago
Loyola University Chicago School of Law alumni
Recipients of the Distinguished Flying Cross (United States)
Recipients of the Distinguished Service Cross (United States)
Recipients of the Legion of Merit
United States Air Force generals
United States Army Air Forces officers
United States Article I federal judges appointed by Richard Nixon
John Marshall Law School (Chicago) alumni

redpajama_set_name: RedPajamaWikipedia


text:
Confessions of a Hitman () is a Canadian crime drama film, directed by Luc Picard and released in 2021. Based on Gallant: confessions d'un tueur à gages, a 2015 non-fiction book written by Éric Thibault and Félix Séguin about Canadian contract killer Gerald Gallant, the film stars Picard as Gallant.

The film's cast also includes David La Haye, Sandrine Bisson, Éveline Gélinas, Dany Boudreault, Emmanuel Charest, Jean-François Boudreau, Bobby Beshro, Maxim Gaudette, Louise Portal, Raymond Cloutier and Catherine De Léan.

The film was shot in 2019, on a budget of $6.6 million.

The film premiered at the 2021 Whistler Film Festival, where Picard won the award for Best Director of a Borsos Competition Film. It is slated for commercial release in March 2022.

The film received three Canadian Screen Award nominations at the 10th Canadian Screen Awards in 2022, for Best Supporting Actor (La Haye), Best Adapted Screenplay (Sylvain Guy) and Best Hair (Denis Parent and Jean-Luc Lapierre).

References

External links

Confessions (version in French with English subtitles) at Library and Archives Canada

2021 films
2021 drama films
Canadian crime drama films
Films directed by Luc Picard
Films based on non-fiction books about organized crime
French-language Canadian films
2020s Canadian films


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Brian Mackey – 'Keep The World Alive' Single Release
No Comments on Brian Mackey – 'Keep The World Alive' Single Release
Home » Blog » Music Blog » Brian Mackey – 'Keep The World Alive' Single Release
Brian Mackey – 'Keep The World Alive'
Hailing from New Jersey, musician Brian Mackey has released the excellent folk-pop single 'Keep The World Alive' in January 2021. It is a wonderful release that we thoroughly recommend checking out.
A gorgeously picked acoustic guitar opens the release. It is underpinned by wonderful strings which lay a solid foundation for Mackey's soulful vocals to enter.
Lyrically, 'Keep The World Alive' is charming and draws the listener in. This superb single evolves before the audience. It has been intelligently composed and arranged too. The track ebbs and flows, taking the listener on a journey. In addition, the chorus is catchy with a memorable hook that stays with the listener long after the music has ended.
'Keep the World Alive' was written during the Covid19 pandemic to highlight the life-changing effects of the past year. Brian Mackey is an artist who is extremely accessible and 'Keep the World Alive' is a song which reaches out and touches the listener. We have all fought in the same war, and Mackey unites us with this single.
Video Release
There is also a stunning video which accompanies the release. So far it has amassed an impressive 2.4 million hits on Facebook and has been featured by American Songwriter too.
We are so excited to have discovered Brian Mackey, and he is making music which needs to be heard. Mackey also has his second album planned and has started the recording process at Sony Tree Studios in Nashville. Follow the socials below for the full details.
Brian Mackey is an artist to watch in the 2020s, and we look forward to hearing what he will do next. Until then, 'Keep The World Alive' is available from the link below. Enjoy!
FV Music Blog February 2021
https://www.facebook.com/brianmackeyfans
https://www.instagram.com/brianmackeymusic
Twitter: @brianmackeynyc
Tags indie music blog, music bloggers uk, new music
← Renee Stahl – 'Every Tear Is A Prayer' Single Release → Kaylyn Marie – 'At Work' Single Out Now!

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"Edna Lewis Was Unapologetically Herself the Entire Time"
Three decades after its debut, In Pursuit of Flavor has been reissued. Chef Mashama Bailey explains why the cookbook remains so relevant today.
By Hilary Cadigan
Photo by Chelsie Craig
When you ask Mashama Bailey who inspires her most as a chef, she doesn't hesitate. The answer is always Edna Lewis: grand dame of Southern cooking, author of many cookbooks, winner of the inaugural James Beard Living Legend Award. Though Lewis passed away more than a decade ago, Bailey—a boundary-breaker in her own right (catch her on the first episode of this season's Chef's Table) and chef-partner at the Grey and the Grey Market in Savannah, Georgia—continues to find inspiration in the cookbooks she left behind. Among them, In Pursuit of Flavor, Lewis's highly personal celebration of the South's seasonality. Originally published in 1988, the book reissues today with a forward written by Bailey. We chatted with the Bronx–born chef about why she finds so much inspiration in Lewis's legacy.
Let's rewind to the moment you first learned about Edna Lewis. How'd it happen?
My first assignment of the first semester of culinary school was to write about a chef that inspired me. But this was probably 1999, and outside of Julia Child or the Frugal Gourmet, I didn't know any chefs. So I was like, "Okay, I'll just write about my grandmother because she was probably the best cook I knew: the one that introduced me to food and took me to Zabar's and Katz's when we first moved to New York City."
But my teacher said, "No, you have to pick an actual chef." So I started looking for a black woman chef. I couldn't find one. I couldn't find any that were in restaurants and had a reputation. All the ones I was finding out about that were alive worked at Disney World, or hotels—these Five Diamond type of things.
That world didn't interest me at all. I didn't want to wear the big toque on my head and I wasn't interested in making ice sculptures. I just wanted to cook good food.
Why do you think all of the black chefs were siloed at those types of restaurants?
Maybe because people weren't writing about or spending money on [traditionally black food]. Maybe they didn't feel like an African American point of view was changing the culinary narrative, so they weren't focusing on it. Maybe it was opportunity. I think a lot of black cooks decided to go into hotels because they had families to raise. So they stayed in the field but went for the benefits, you know? That was my observation.
Chef Mashama Bailey at her restaurant, The Grey.
Photograph by Chia Chong
So what did you do?
I went to the Schomburg Center for Research in Black Culture up in Harlem, and started digging. It was there that I found out about Edna Lewis.
There was an article written about her, in the Washington Post or something, and I was just like, who is this woman? Then I realized what she had done: She was cooking in the '40s and '50s and all of these communists and writers and actors were really digging her food. And she was cooking the food that she grew up on. Southern food.
That was really, really interesting to me because I didn't see any black chefs cooking Southern food that was getting recognition. They were all cooking French, or German, or Italian. She was cooking food that resonated with her as a child. So I took that, packed it away, and held on to it.
And your assignment?
I still have a little essay that I wrote about her during that class, but I never really thought about it again. Until, as a chef looking for inspiration, I started unpacking parts of my life. Looking for things that really resonated with me, that had a story and a little bit of a history. I like to cook like that. The food has to mean something to me.
Now that I'm cooking down in Georgia, people are always asking me how it is to be me, and how it is to be black, and having all of this recognition. And for me, Edna Lewis is just right there all the time.
What about her did you relate to most?
That she was a black woman, and that she cooked the food that she wanted to cook, and that she was the child of a former slave. Her family founded Freetown, Virginia. And she kept these traditions and celebrated the different times of the year with her food. We ate like that at home—we didn't have a farm or anything, but on New Years Day we ate Hoppin' John and collard greens, and in the summer, fried chicken and barbecue, and in the winter, grains. We ate with the seasons and I really liked that. When I think of a food memory, it really goes to a particular season.
Reading through In Pursuit of Flavor, I'm struck by how much of Edna's food is tied to memories—of her childhood, of her ancestors, of the days when food was purer and vegetables actually tasted like vegetables. What does that mean to you? How do you cook from memory—not just your own but that of your ancestors?
Well, when I really started taking food seriously was after my maternal grandmother's prime. It was just so flavorful. It smelled up the house and was just always…there. I remember how crispy the bacon was, and how long she would fry it. I remember the biscuits and the grits, and how she would make this pasta with ground beef and tomato and onion and cheddar cheese. She would cook it all day, so the pasta was overcooked, cooked into the sauce. That was the way she made spaghetti.
It's funny—a lot of her food growing up I didn't like, because I wasn't used to it. Like collard greens. I didn't start liking collard greens until one day when I was 16 or 17, I went down to her house and she cooked collard greens with pigs' feet in the pot. And I was like, "Holy crap." They were gooey and rich and sumptuous, and there was this underlying umami. I didn't even know that word then, but I had never tasted collard greens like that. From that pot on, I was hooked.
Do you use that recipe today, in your restaurants?
I don't put meat in the collard greens we cook, but I put enough olive oil to replicate that feeling, to replicate that texture. I think that's what it means to cook by memory: There's a point when you eat something and you are like, that's it! And then you are forever chasing that feeling. It's a full body experience.
Was it a particular sense of place—the South—that really connected you to both Edna and your grandmother? It seems like you often talk about the two in the same breath.
I think initially, yes. Initially it was like, How are we related, what do we have in common? Okay, there's this southern heritage, there's this closeness to family, there's this curiosity. We're all kind of curious.
I think Edna knew from a very young age what her role and her duties in life were. And I think that she went with the skills she had, and was introduced to the right people at the right time, and I have that in common with her. My whole entire career, even when it was hard, every step of the way I had people letting me know that I was doing the right thing. Like I was moving in the right direction, and I was supposed to be where I was.
I started cooking late, at 26. I was like, oh man, this sucks, everyone is so much younger than me. And then all of a sudden something happens—I get a raise or a promotion or something like that. Every time I started doubting, I shook it off, put my head down, focused a little bit harder, and something else happened.
The way Edna handled her career, and the way she handled success—I really want to emulate that. She was unapologetically herself the entire time.
It's kind of amazing that she was able to do that in the era she lived. Do you have any insight into how she was able to get around all the barriers that existed at the time?
There was this person, John Nicholson, who was a friend of Edna's and her husband's, and went to her dinner parties, back in the '40s and '50s (same era as my grandmother). They would put the kids to sleep, and then sit down in the living room and play records and make gin cocktails and eat. In that sort of redcoat environment there were a lot of mixed races in the same building, and this guy who had a little bit of money was like, "Hey, I really like your food. Why don't we open up a restaurant?" So they opened Cafe Nicholson [in 1948]. It was a very simple menu, I don't even think it was written down: roasted chicken and soufflés and a salad, and that was it. People wanted her to make biscuits and do all of this other stuff, and she was like, "Nope, this is what I'm doing."
I met Edna's sister Ruth, who is still alive, a year ago. She was saying how she used to help out in the restaurant and peel shrimp.
What was that like, meeting Edna's actual family?
Oh, it was awesome. It showed how close and tight-knit they are. But it's funny: they loved Edna but to them, she was just Edna. In the '70s when she wrote her cookbook, they thought that was the height of her success. I don't think they realized how she was making waves and changing people's thoughts about black people cooking in this country, or how black people can elevate food in this country. I don't even think she realized she was doing that. And now that she has passed on, there's a stamp in her honor, a foundation in her honor. I think they're kind of like, Holy crap, she was really important.
Do you have a favorite recipe in the book? Anything that really resonated with you?
Oh shit, probably one of her quail dishes. The quail with the grapes [Pan-fried Quail with Country Ham, pg. 101]. I always love cooking her quail dishes.
What about ingredients? Any she introduced you to?
Watercress. She loved watercress, and I try to use it every chance I get. A lot of chefs use arugula, but I think that watercress is very east coast, very American.
What about cooking methods?
When she makes her pie crust, she doesn't let it get cold again; she makes it all the way through. And she doesn't pre-bake the bottom, which allows the sauce from the fruit to soak into the crust. I had always been taught to blind bake the crust, but she doesn't do that. Like with peach cobbler—when I blind baked the crust it didn't come out as an old fashioned peach cobbler. So I'll never do that again.
What does it mean to you that this book is being reissued at this particular moment? Is there a message you take from it now that you didn't before?
Stay close to home, and don't forget about the things your parents and your grandparents instilled in you. All of that stuff really, truly matters.
I think as we grow older, we get to this phase in our lives where we're trying to find ourselves, and when that happens we tend to forget about all the things that were put into us by our family. For me, Pursuit of Flavor is really about coming home, and remembering where you come from. It's about not forgetting that every season has a reason and everything comes full circle.
Buy it: The reissue of Edna Lewis' In Pursuit of Flavor (with foreword by Mashama Bailey) is $20 on Amazon.
All products featured on Bonappetit.com are independently selected by our editors. However, when you buy something through our retail links, we may earn an affiliate commission.
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I Was Searching for a Cook Who Looked Like Me—Then I Found Edna Lewis
By Mashama Bailey


CHICAGO – Lane's Jazzmin Jordan wasn't even on the field for the first 15 minutes of the second half in the Chicago Public League playoffs semifinal match against Payton.
Over the next 25 minutes, there was no more important player on the pitch.
Carlye Makuch sealed an eventual 2-0 win over Payton (9-7-4).
Lane (13-6-1) advances to Thursday's Public League title match at Lane Stadium against Whitney Young, a 2-1 winner over Northside in the other semifinal.
"We played well throughout the game, but Payton was a formidable opponent," Lane coach Michelle Vale said. "We just continued to play how we play – we did a lot of passing and played together, which is one of the key things.
After 60 minutes of strong defense and few top chances for either side, nice combination passing and Jordan's strong finish changed things for Lane.
Andrea Cervantes' pass upfield initiated a strong counterattack, with Detzi Reveles then connecting with Johanna Bozic driving in on right wing.
Bozic sent a nice cross to Jordan at the left top of the box, and Jordan tucked a low 12-yard shot inside the right post.
The impact of that finish after a back-and-forth flow was evident.
Jordan also initiated the next big chance with 18 minutes left, as her corner-kick was headed just wide in a scrum near the right post.
But the Lane defense also more than did its part down the stretch.
A Lane foul gave Payton's Hannah Lowenthal a 20-yard direct kick from the right side with 13:05 left. Her send deflected to Vivian Gasca in the box, but Lane goalkeeper Maggie Grossman made a great effort to dive behind her and cover the ball before a Gasca point-blank try and a virtually certain tying goal.
"I felt like my defense was pretty strong today," Vale said, "and I appreciated how they worked with the goalie.
That Lane attack remained relentless to the end.
Off a Jordan corner kick with 3:05 left, Payton goalkeeper Hannah Lynn made a nice catch save on Sydney Varga's point-blank header.
Payton standout senior defender Emi Stearn made a nice block of a Jordan corner kick with 40 seconds left to nullify that threat. But Lane wasn't done – off a perfectly sent Cervantes 28-yard direct-kick from the right sideline, freshman Makuch lined home a clinching goal from left of the net with two seconds left.
In a balanced first half between the two squads, Lane had one of the best chances 12 minutes before halftime. A nicely struck Cervantes 45-yard direct-kick to the open far post just missed connection with a streaking Magdalena Price-Johnson.
Payton had its own strong performance.
"If we would have won I would have said we played great," Grizzlies coach Paul Escobar said. "But it's a tough loss. But I think our girls worked as hard as they could, and as a coach that's all you can ask for win or lose.
That effort was epitomized by Stearn, Payton's lone senior starter. She was briefly knocked from the game with a hit to the eye but returned with eight minutes left.
Before and after her injury, Stearn helped thwart multiple Lane threats in or near the box. But she was especially proud of her team's effort.
Lane has just four seniors, with Cervantes and Reveles the lone senior starters.
Any anxiety has eased over a successful season.


text:
Q: REGEX specific word from Name I am trying to figure out regex for wrongly formated names where the user has entered in the name and the relationship as one value, for example
[Son of Joseph Joestar ] => s/o. Joseph Joestar
the problem is since there was no validation, the users entered different variations like
s/o , s/, s/Joseph... , etc
this is so far I have gotten
^(s\/o.)(S\/o.)(s\/o)(S\/o)(s\/)(S\/)\w+

*

*the relation is at the beginning or at the start, and after that is the name

*there are 3 more cases Daughter(D/o.), Wife(W/o.), Father(F/o.)

I want to know the corresponding REGEX to filter out the relation prefixes
Thank You In advance

A: Maybe start with something like that
string foo = "s/o. Joseph Joestar";

// Look (and capture) for SDWF followed by "/" and
// EITHER "o" and maybe "." and maybe a white space
// OR we look ahead (?=  ) and see a Upper wordchar followeed by lower word chars.
//   look ahead because we do not want to have anything to do with this when replacing
string bar = Regex.Replace(foo, @"^([sSdDwWfF])/(o\.?\s?|(?=[A-Z]\w+))", match =>
{
    string relation = match.Groups[1].Value.ToUpper() switch
    {
        "S" => "Son of",
        "D" => "Daughter of",
        "F" => "Father of",
        "W" => "Wife of",
        _ => throw new Exception("Oops")
    };
    return $"{relation} ";
});


This level have normal difficulty and you need to make just actually striped candy with colorbomb that will also help to complete other orders. First try to play near to center colorbomb that you already get with this level and combine with striped candy. After try to make other striped candy to complete all orders.
We completed this level with 61320 score using striped candy with colorbomb combo before six moves and got two star score at the end.


My works are at the frontiers of literature and philosophy. I am also interested in digital humanities. Winner of the 'Amado Alonso' International Prize for Literary Criticism (Navarra, 2004) and 'El Barco de Vapor' Children's Literature National Award (Lima, 2009).


I am the author of the Baby Reflux Lady's Survival Guide, a comprehensive approach to teaching parents everything they need to know to support their unsettled babies. Having directly experienced reflux, silent reflux, colic, Cow's Milk Protein Allergy (CMPA) and other food intolerances and allergies through my two daughters, and found no support for us as a family and no support to resolve their discomfort, I made it my life's mission to change this situation. The most important thing for us to understand as parents of baby's who struggle is that reflux is a symptom, always, not a disease; and as such, it always has a cause. When we understand the cause, we can then choose the path of action most likely to give our baby the break they need, and resolve their discomfort completely. Find me on facebook, instagram and my webpage for more information and details about where to purchase my book, or simply search amazon for "The Baby Reflux Lady". Thank you.
What has a Day at the Beach got to do with Infant Reflux?


I want to copy files from QNAP TS-119P II to Asustor AS-5102T directly. There are many solutions: including ftp, rsync, or mount a shared folder.In my case, rsync is the easiest solution.
TS-119P II runs QTS 4.3.3 while AS-5102T is ADM 2.7.1. Details steps might be different if you are using different firmware versions.
I will also talk about invalid characters in names and how ADM handle it. A must read for non-Windows users.
Enable Enable Rsync server on [Services] → [Rsync Server] tab and click [Apply].
Next, add a backup module which controls destination path and authentication in [Backup Modules] on the same tab. The Name will show up in TS-119P II and files will be copy to Path here.
If you want to authorize by account, create new users by [Manage Users] dialog. Click [Edit] on the back module. When you enable Authentication in [Backup Module] dialog, select them for this backup module.
Users created here are only for rsync. You won't see them on [Access Control] in ADM.
Open [Backup Station] → [Remote Replication] → [Rsync (File-Level Backup)] tab and click on [Create a Replication Job] to create a replication job.
In [Remote Replication] dialog, give it a name and click on [Settings] to setup Remote site. In [Settings] dialog, enter the IP and user of AS-5102T. If you didn't enable Authentication in rsync server, provide any ADM valid user who has read and write access. Otherwise, provide authorized user in the backup module mentioned in previous section. The [Test] button only verifies if the give IP has a live rsync server. It doesn't do anything with authentication.
If the authentication is success, you may select the backup module name in rsync server in Destination folder. Put the TS-119P II source folder in Source folder. Click on [Add] to confirm. You cannot only one pair of them in a replication job. If you need more folders to replicate, create a separate job for each of them.
Push the start icon next to the job in the tab to run this replication job immediately. If you want to run it regularly, click on [Backup frequency] button in [Remote Replication] dialog to schedule.
For files and folders already exist in destination path will be untouched unless there is the same file name from source. The file on destination will be replaced by file with the same name.
When I am comparing contents on both sides, I notice a folder * Test on source becomes _3AJDB~3 on destination on OSX. The former is accessible but the later is not from OSX. Strangely, it is displayed properly in [File Explorer] in ADM. Moving files inside the folder without problems but fail to change name by warning containing invalid characters.
If I rename this folder on ADM from OSX, it displayed properly on OSX but becomes  Test in [File Explorer] in ADM.
Anyway, it's too wordy. Just take a look at the summary table.
I think it is ADM who force to follow the rules explained in NTFS and ReFS Invalid Characters section in Invalid Characters in File Names on its ext4. It's a good idea for Windows users but a potential problem to others – QTS keeps them while ADM won't. They will be replaced by characters known by ADM but not QTS or OSX. It's call mangling.
8 days after this post being published and more tests have been done, I finally realized I made a big mistake!
Samba still has to remain backwards compatible with network clients who store files only in the 8.3 format, such as Windows for Workgroups. If a user creates a file on a share called antidisestablishmentarianism.txt, a Windows for Workgroups client couldn't tell it apart from another file in the same directory called antidisease.txt. Like Windows 95/98 and Windows NT, Samba has to employ a special methodology of translating a long filename to an 8.3 filename in such a way that similar filenames will not cause collisions. This is called name mangling, and Samba deals with this in a manner that is similar, but not identical to, Windows 95 and its successors.
Although I have enable Enable Mac file service (AFP) in [Services] → [Mac OS X] → [File Service] tab, it is Samba displayed in Finder.I am using it to access ADM shared folders. That's why my file names with Windows invalid characters are mangled.
There are two solutions: add mangled names = no in smb.conf or use AFP (Apple Filing Protocol) instead.
In Special characters in Samba filenames on serverfault, we may add mangled names = no in [global] section to stop mangling in Linux.
Adding "mangled names = no" to smb.conf solved this (thanks, Dennis Williamson).
But even you modify /volume0/usr/builtin/etc/samba/smb.conf and restart with [Services] → [Windows], it won't work. Samba keep on mangling Windows invalid characters. It's the same if you modify /etc/config/smb.conf in QTS. mangled names is always yes on both systems.
We have to try next solution.
BTW, if you put # in front of any options, they will be removed after Samba restarts.
More about configuration files may be found in Asustor ADM Configuration and Executable Files and QNAP QTS Configuration and Executable Files.
On ADM, if you just enable Enable Mac file service (AFP) in [Services] → [Mac OS X] → [File Service] tab, you won't see it in Finder. An AFP server will have (AFP) at the end of the server name.
You need to use [Connect to Server] dialog in Finder's menu [Go] → [Connect to Server…] and type aftp://[IP of NAS] to choose AFP connect to ADM.
To display an AFP server on ADM in Finder, enable Advertise AFP service over Bonjour in [Services] → [Mac OS X] → [File Service] tab and give it a service name. It will be displayed with (AFP) after service name in Finder.
QTS don't have this option and its AFP service is always displayed in Finder.
If there are only Windows in your network, use Samba. Once you have OSX, remember to use AFP from OSX to prevent mangling. rsync among NAS won't mangle because they are not using Samba.


We have been hard at work with our partners and friends in seeking sustainable solutions to the interconnected crises around affordable-housing and homelessness in King and South Snohomish Counties. Below we highlight concrete progress made in Bellevue and Burien toward our goal of affordable, accessible shelter and housing for all God's children.
In early October, when tenancy termination notices landed on the doors of a 36-unit low income apartment building in Burien, leaders in the Highline Ecumenical Leadership Circle reacted quickly and powerfully. 'Our phones blew up with messages," Joey, our lead organizer, told us. In one week, local faith communities raised $12,000 for relocation assistance, and challenged the city to match it. At a City Council meeting packed with faith leaders, teachers, tenants of Fox Cove, and community supporters, the Burien Council responded to this call by committing $35,000 to provide technical relocation assistance to the displaced families. In addition to this immediate response, local faith leaders asked the City Council to engage the structures of this crisis by convening a new Renter's Rights Action Plan in early 2019 to develop a range of new municipal policies to protect renters from sub-standard housing, unjust eviction and unfair rental practices. Our local faith leaders, in community with neighbors and allies, are preparing now for that process to ensure that Burien families can live with dignity, health and security.
We are so grateful for these opportunities to celebrate through action out of faith and love for our communities. We recognize, also, that the hardships of the affordable housing and homelessness crises in our area are still very much an everyday reality for so many people in our communities, and we remain committed to working together faithfully in pursuit of sustainable solutions to the systemic causes of this injustice.


text:
Significance and Symbolism of the Olympic Torch
Molly Steckler
Take a deep dive into the history of the Olympic Torch. Learn what the significance of fire is in ancient Greek mythology and discover how the tradition started in the first place.
Fire was significant in ancient Greek mythology. It continues to serve its relevance in the Olympic Torch from the opening of the Olympic Relay in Olympia, Greece to the closing ceremony of the Olympic games. But there is so much more to this historic ritual than many realize.
Discover the significance of fire in ancient Greek mythology and learn how the Olympic Torch became an important ritual for the Games in the first place.
A Brief History of the Olympic Torch
The ritual of the Olympic flame and the Olympic Torch Relay is a not-so-historic tradition of the Olympic Games first introduced during the 1928 Summer Olympics. The flame served as an homage to the significance of fire in ancient Greek mythology and, thus, the original Olympic Games in Greece.
Fire in Greek Mythology
Fire has divine connotations in ancient Greek mythology. The story about the Titan Prometheus is that he stole fire from the gods. The sacred fire was kept burning at the altar of Hestia, the goddess of hearth, during the celebration of the original Olympic Games in Greece.
Reintroducing the Olympic Flame in 1928
The Olympic flame was reintroduced to the Olympics during the 1928 Summer Olympics set in Amsterdam. An employee of the Electric Utility of Amsterdam was appointed to light the flame at the Marathon Tower in the city's Olympic Stadium.
What Is the Olympic Torch Relay?
The Olympic Torch Relay was not a tradition brought about from the ancient Olympic Games, but an idea introduced by Carl Diem during the 1936 Summer Olympics in Berlin.
The project, in fact, was entirely funded and produced by the Nazis. (Hitler admired the ancient Greeks and believed the Nazis were their heirs.)
The flame was carried, by foot, over 2,000 miles from Olympia to Berlin's Olympic Stadium at the opening of the Olympic Games.
When the Summer Olympics were held again in London in 1948, the relay tradition was continued as a "relay of peace" following World War II.
Olympic history is filled with monumental moments for sports and athletes. Read about Four Awesome Moments in Olympic History.
The Olympic Torch Today
The Olympic Torch remains a symbol of the Olympics and a continued tradition through the three ceremonies held at each Olympics. Running remains a popular form of transportation for the torch, but other modes, like boats, railways, and buses, are now embraced.
The Major Ceremonies
Olympic Flame Lighting – The city of Olympia, Greece hosts this event a few months before the start of the Olympic Games. The High Priestess, followed by a group of priestesses, call upon Apollo, the god of light, to light the torch in front of the Temple of Hera. The sun reflects against a parabolic mirror to light strips of old camera film, which starts the flame. The official Olympic website livestreams the event.
Olympic Torch Relay – The Olympic Torch is brought from Olympia to the Panathenaiko in Athens for another ceremony, where the flame is officially presented to the host city. The Torch is then carried for several months, following a meticulously themed route, to the host city's Olympic Stadium.
Olympic Cauldron Lighting – Upon arrival of the Olympic Torch to the host city, the final torchbearer lights the Olympic cauldron at the start of the Olympic Games. The cauldron remains lit for the duration of the Games.
What Happens If the Olympic Torch Goes Out?
The Olympic Torch is uniquely designed for each Olympic Games. The official Olympic website lists a photo of every Olympic Torch used since 1936.
A fair share of mishaps have taken place during the Olympic Torch Relay, causing it to be extinguished. Thus, backups are always nearby. These backups contain fire from the original flame, assuring the Olympic cauldron flame traces back to the original ceremony in Olympia.
The torch also contains two flames: one larger and more visible orange flame and a smaller, blue flame inside that is protected from the weather.
The Tradition Lives On
The Olympic Torch remains an iconic symbol for the Olympic Games. The Olympic cauldron lighting that starts each Games reminds both viewers and athletes of the Greek tradition that started these very games.
Four Awesome Moments in Olympic History
Top 5 Moments in the U.S. and Russia Rivalry
Keirin Racing: 5 Fun Facts


- VF - 4 fascinated fans with its sophisticated design as a successor to the VF - 1 [VF - 4].
- VF - 4 which finally was not blessed with the opportunity despite the desirability of kit formation for many years finally appears as a plastic model.
- The kit is a snap-fit \u200b\u200btype that requires no adhesive, daringly eliminating variable gimmicks, and sticking to the form as a fighter form stereoscopically.


text:
Jeffrey Shaffer
Ronald Raether
Troutman Sanders
Christopher Burgess
Feds Seize 3 Website Domains Tied to Android Apps
First Time Authorities Seize Domain Names Involving Mobile Apps Eric Chabrow (GovInfoSecurity) • August 22, 2012
U.S. federal authorities say they've seized three website domain names that distributed illegal copies of copyrighted Android cell phone applications, the first time website domains involving cell phone app marketplaces have been confiscated.
See Also: The Application Security Team's Framework For Upgrading Legacy Applications
Visitors to the three sites - applanet.net, appbucket.net and snappzmarket.com - will see a seizure banner that notifies them that the domain name has been seized by federal authorities and an explanation that willful copyright infringement is a federal crime.
Intellectual property lawyer James Denaro of CipherLaw characterizes these seizures as significant because the federal government is recognizing the increasing import of mobile platforms by going after the illicit distribution centers. "This is cutting-edge enforcement," he said.
"At this moment, the monetary damage done by these sites is growing quickly," Denaro said. "Because the mobile market will eventually eclipse the desktop market, these types of sites pose a tremendous future threat to the intellectual property of the software developers going forward." .
FBI Special Agent in Charge Brian Lamkin said thefts from these illegal websites cost companies millions of dollars and can even inhibit the development and implementation of new ideas and applications.
According to a statement issued Aug. 21 by the Justice Department, FBI agents downloaded thousands of copies of popular copyrighted mobile device apps from the alternative online markets suspected of distributing copies of apps without permission from the software developers, who would otherwise sell copies of the apps on legitimate online markets for a fee.
In most cases, the servers storing the apps sold by these alternative online markets were being hosted in other countries, and international law enforcement partners assisted in obtaining or seizing evidence stored on these servers. Nine search warrants were also executed in six different districts across the country today as part of the operation.
The operation was coordinated with international law enforcement, including Dutch and French law enforcement officials.
"Criminal copyright laws apply to apps for cell phones and tablets, just as they do to other software, music, and writings," U.S. Attorney Sally Quillian Yates of the Northern District of Georgia said in a statement announcing the seizures "These laws protect and encourage the hard work and ingenuity of software developers entering this growing and important part of our economy."
Selling Records for Profit Alleged
25 Health Breaches Added to Tally
Eric Chabrow
Host & Producer, ISMG Security Report; Executive Editor, GovInfoSecurity & InfoRiskToday
Chabrow hosts and produces the semi-weekly podcast ISMG Security Report and oversees ISMG's GovInfoSecurity and InfoRiskToday. He's a veteran multimedia journalist who has covered information technology, government and business.
https://www.healthcareinfosecurity.com/feds-seize-3-website-domains-tied-to-android-apps-a-5055


text:
Ferdinand Lewald (* 12. Juli 1846 in Heidelberg; † 12. Juni 1928 in Karlsruhe) war ein deutscher Verwaltungs- und Ministerialbeamter sowie Verwaltungsrichter.

Leben
Geboren als Sohn des evangelischen Theologieprofessors in Heidelberg Ernst Anton Lewald, studierte Ferdinand Lewald Rechtswissenschaften an der Ruprecht-Karls-Universität Heidelberg. 1865 wurde er Mitglied des Corps Suevia Heidelberg. 1868 legte er die 1. juristische Staatsprüfung ab und wurde Volontär beim Amtsgericht Heidelberg. 1869 wurde er Sekretariatspraktikant beim Kreisgericht Mosbach und 1870 Gehilfe beim Bezirksamt Kork. 1871 bestand er die 2. juristische Staatsprüfung und wurde Referendär unter anderem beim Sekretariat des badischen Innenministeriums in Karlsruhe. 1872 wurde er Amtmann beim Bezirksamt Konstanz und 1873 beim Bezirksamt Pforzheim. 1875 wurde er zum Amtsvorstand des Bezirksamts Sankt Blasien und 1877 des Bezirksamts Säckingen ernannt. 1878 erfolgte seine Beförderung zum Oberamtmann. 1879 wechselte er als Finanzrat in die Steuerdirektion. 1884 wurde zum Ministerialrat im badischen Finanzministerium in Karlsruhe berufen und 1890 zum Domänendirektor ernannt. Von 1900 bis zu seiner Pensionierung 1913 war er Präsident des Badischen Verwaltungsgerichtshofs in Karlsruhe.

Von 1901 bis 1913 und von 1917 bis 1918 war Lewald Mitglied der Ersten Kammer der Badischen Ständeversammlung. Beim Zustandekommen der Verfassungsreform von 1904 erwarb er sich besondere Verdienste. Außerdem war er für einen kurzen Zeitraum als Mitglied der Fortschrittlichen Partei Angehöriger des Karlsruher Stadtverordnetenkollegiums.

Lewald war seit 1901 Mitglied des Großen Rats der Technischen Hochschule Karlsruhe. Dort war er Beirat in Rechtssachen und lehrte über viele Jahre öffentliches Recht. Von 1900 bis 1914 war er Herausgeber der Zeitschrift für badische Verwaltung und Verwaltungsrechtspflege. Er zählte zu den bedeutendsten badischen Juristen. Er verfasste eine ausführliche Biographie über den badischen Juristen und Politiker August Lamey. Sein Bruder war der Rechtsanwalt am Reichsgericht in Leipzig Carl Lewald (1843–1924).

Auszeichnungen
 Geheimer Rat 2. Klasse, 1897
 Geheimer Rat 1. Klasse mit dem Titel Exzellenz, 1906
 Dr. jur. h. c. der Albert-Ludwigs-Universität Freiburg
 Dr.-Ing. e. h. der Technischen Hochschule Karlsruhe, 1916
 Ehrenbürger der Technischen Hochschule Karlsruhe
 Großkreuz des Ordens vom Zähringer Löwen, 1913
 Kommandeurkreuz 2. Klasse des Friedrichs-Ordens, 1890
 Kommandeurkreuz 1. Klasse des Ordens Berthold des Ersten, 1910
 Kriegsverdienstkreuz, 1917

Schriften
 August Lamey. In: Badische Biographien. V. Teil. Heidelberg 1904, S. 453–505 (Digitalisat)
 Aufgaben und Ziele des Landeswohnungsvereins, 1917

Literatur

Weblinks
 Redebeiträge von Ferdinand Lewald im Badischen Landtag in den Digitalen Sammlungen der Badischen Landesbibliothek

Einzelnachweise

Verwaltungsjurist
Amtmann (Baden)
Oberamtmann (Baden)
Ministerialrat (Baden)
Richter (deutsche Geschichte)
Richter (Oberverwaltungsgericht)
Mitglied der Ersten Kammer der Badischen Ständeversammlung
Wirklicher Geheimer Rat
Ehrendoktor der Albert-Ludwigs-Universität Freiburg
Ehrendoktor des Karlsruher Instituts für Technologie
Träger des Ordens vom Zähringer Löwen (Großkreuz)
Kommandeur I. Klasse des Ordens Berthold des Ersten
Kommentur II. Klasse des Friedrichs-Ordens
Corpsstudent (19. Jahrhundert)
Exzellenz (Baden)
Badener
Deutscher
Geboren 1846
Gestorben 1928
Mann


The Illinois Talent Agency law is a bit peculiar, in that it is a subsection of the Illinois Employment Agency law. In Illinois, a Talent Agency is first considered an employment agency, and secondly is considered a talent agency. Therefore, talent agencies in Illinois are required to take submissions or applications from anyone and everyone, just as an employment agency is required to do. The agencies are not required to respond, however, unless they are interested in possibly representing the talent.
"Theatrical employment agency" means the business of conducting an agency, bureau, office or any other place for the purpose of procuring or offering, promising or attempting to provide engagements for persons who want employment in the following occupations: circus, vaudeville, theatrical and other entertainment, exhibitions, or performances, or of giving information as to where such engagements may be procured or provided, whether such business is conducted in a building, on the street, or elsewhere.
"Theatrical engagement" means any engagement or employment of a person as an actor, performer, or entertainer, in a circus, vaudeville, theatrical or any other entertainment, exhibition, or performance.
Sec. 8. Any such licensee conducting a theatrical employment agency, before making a theatrical engagement, except an emergency engagement, for an employee with any employer, for services in any such engagement, shall prepare and file in such agency a written statement signed and verified by the employment agent of such licensee, setting forth how long said employer has been engaged in the theatrical business. Every such statement shall be kept for the period of one year and shall set forth whether or not such employer, while financially interested in a theatrical business, has failed to pay salaries, or "left stranded" any company, group or employee during the two years preceding the date of application; and further, shall set forth the names of at least two persons as references. If such employer is a corporation, such statement shall set forth the names of the officers and directors thereof, the length of time such corporation, or any of its officers have been engaged in the theatrical business, and the amount of the paid up capital stock. If the employer conducts a cabaret or night-club, the agent shall include in such statement the name and address of the owner or owners, and whether they have failed to pay salaries to employees within the past two years. If any allegation in such written verified statement is made upon information or belief, the person verifying this statement shall set forth the sources of his information or belief. Such statement so on file shall be kept for the benefit of any employees whose services are sought by any such employers.
Every such licensee conducting a theatrical employment agency who shall procure for or offer to an applicant a theatrical engagement, or any kind of employment as an entertainer, shall have executed in triplicate a contract containing the name and address of the applicant, the name and address of the employer and that of the employment agency acting for such employer, in employing or furnishing such applicant for employment, the character of the entertainment to be given, or services to be rendered, the number of performances to be given per day or per week, by whom the transportation, if any, is to be paid, and if it is to be paid by the applicant either the cost of the transportation between the places where said entertainment or services are to be given or rendered, or the average cost of such transportation. Said contract shall state from whom said applicant is to receive his or her salary, the amount of salary promised and the gross commissions or fees are to be paid by said applicant and to whom such gross commissions or fees to be paid. The original contract shall be given to the applicant for employment, the duplicate contract shall be given to the employer and the triplicate contract shall be kept on file in the office of the agency for a period of one year.
The Illinois Department of Labor lists licensed employment agencies, and mixes the talent agencies among them. Below are the agencies that were licensed as of the end of 2018. This is not very useful to those seeking a talent agent in Illinois, but it is at least better than the total non-listing that was the case until recently. In the list below, scattered among the employment agencies, cleaning agencies, home health care agencies, etc., you will find Talent Agencies, modeling agencies, etc. Illinois is not very helpful to actors and models, and desperately needs an updated, modern law and a new way of listing these agencies, as well as proactive monitoring of talent and model agencies.


text:
Filming in the Most Depressing City on Earth: Jakarta
by Andre Vltchek / November 12th, 2018
It stinks, it is the most polluted city on earth, but that is not the most terrible thing about it.
You can drive for ten or even twenty kilometers through it, and see only ugliness, fences and broken pavements. But there are many miserable cities on this planet, and I have worked in almost all of them, in 160 countries.
So why is 'Jakarta killing me'? Why am I overwhelmed by depression whenever I decide to film here, or to write about the state in which its citizens are forced to live? Why, really, do I feel so desperate, so hopeless?
I am tough. I hardly succumb to depression even in such places like the war-torn Afghanistan, Iraq, or in the middle of the toughest slums of Africa.
So, what is it, really, about Jakarta?
Here, I often speak about 'immorality', but again, what do I mean by this term? I am not a moralist, far from it. I have no religion, and I very rarely pass 'moral judgments', unless something truly outrageous unveils in front of my eyes.
So why, as so many others, do I land in this city in good spirits, and leave one or two weeks sick, broken, literally shitting my pants, full of wrath, despair?
Why? The Western mass media and local servile sheets are constantly bombarding the world, describing Jakarta as a 'sprawling metropolis', or to use the terminology of the Australian National University, as a 'normal city'.
But it is not. In fact, it is the most 'immoral' place on earth that I know. It is one enormous monument to fascism, intellectual collapse, Western neo-colonialism and turbo-capitalism.
This time, right here, I will explain, briefly and determinately, why!
You can actually avoid feeling this way, if you decide to land in Jakarta, work for a week or two surrounded by local 'elites' (usually shameless thugs), sail through life here with half-closed eyes. Or if you get paid well 'not to see'. You can also be a Western journo who lives in one of high-rise condominiums, gets himself local bimbo for a girlfriend, and collects his 'news' from official briefings and press conferences.
Such foreign 'visitors' are warmly welcomed in Jakarta, and they get incorporated into the life of local tsars, of feudal 'cream', of bandits who double as business people or politicians.
It is not so difficult! You land at that lavish Terminal 3 of Soekarno-Hatta International Airport (half of things do not work here, already, or 'yet', but the terminal does look lavish), you can take a luxury limo to one of so many 5-star hotels, have meetings at a steel-and-glass office tower, dine in a posh mall where nobody shops (a money laundering concept), but where those with unlimited budgets, often dine. After all this you can leave thinking that Jakarta is just cool – bit 'shallow', too loud and too vulgar – but a 'kind of cool' city.
And you can, if you choose to never learn that about 90% of its citizens are actually living in slums.
That is, if 'international standards' for what is a 'slum' and what is 'poverty' or extreme poverty, were to apply here.
You see, 'officially', according to the treasonous Indonesian regime, only 9.9% of Indonesians are 'poor'.
In Indonesia, you are not really 'poor', not necessarily, if you or your children are shitting into canal, and that canal is literally toxic from chemical, medical or other waste, and if, just a few meters 'down the stream', someone is washing clothes, or even brushing teeth, getting bit of your excrement. You are not 'poor' if you have no access to clean water, or to a decent electricity supply (almost nobody does in Jakarta, as the voltage fluctuates and destroys almost all electric appliances in no time). You are not poor if your children cannot afford to eat milk products and become physically or mentally ill from a lack of vitamins, minerals, or out rightly suffering from malnutrition. You are not poor if you are 'functionally illiterate', cannot compare and know close to nothing about the world.
In Indonesia, you are poor if your income is below Rp.400.000 per month (the definition applied since March, 2018). That is, as I write this essay, the equivalent of US$26 per month. Even the most cynical 'absolute poverty' line stands at US$1.25.
According to the UN declaration that resulted from the World Summit on Social Development in Copenhagen in 1995, absolute poverty is "a condition characterized by severe deprivation of basic human needs, including food, safe drinking water, sanitation facilities, health, shelter, education, and information. It depends not only on income, but also on access to services."
If this definition were to be applied to Jakarta, at least, but probably more, than 90% of the population would have to be considered as 'absolutely poor'. And most likely between 95 and 98 percent of people all over the entire archipelago.
But this whole country is wrapped in a duvet of lies and fabrications. Several years ago, when I was writing my big book about Indonesia Archipelago of Fear, Pluto, UK), I spoke to several leading statisticians from the UNESCO Institute of Statistics (UIS), which is based in Montreal, Canada. I was told, on the record, that Indonesia does not have 245 million people as was commonly reported, but more than 300 million. However, all international and local statisticians are strongly discouraged from disclosing the real numbers. Why? Because those 60 or probably millions of more people simply 'do not exist'.
If they 'do not exist', the state, the government, the regime, do not have to take care of them, to feed them, to even bother registering them. These are the poorest of the poor, the most vulnerable individuals.
Almost everywhere in the world, poor countries are addressing their social problems publicly, because they want to raise awareness of the plight of their people. Some nations are then combating their problems themselves (like China or Venezuela), or they are asking the international community for help.
In Indonesia, the rulers are covering-up the true horrors of the Indonesian reality. Why?
Because they don't give a damn about the poor. They couldn't care less about the great majority that actually lives in destitution. They don't need 'help', because the people do not matter. What matters is the profits of the few who are from the 'elites', as well as servitude and prostitution to the Western rulers. After all, it was the West that triggered the 1965 coup in which between 1-3 million intellectuals, 'atheists', Communists and unionists lost their lives. And so, the Indonesian treasonous business 'heads', the military generals, religious leaders as well as the servile scholars and media 'stars' are merrily prostituting themselves, eternally grateful to Washington, London and Riyadh, for saving them from the just and egalitarian society, which the great father of the nation Soekarno and the Communist Party of Indonesia (PKI) were aiming at.
'Positive statistics', which are actually easily detectable lies, bring 'more investment' for their enterprises. Or so they believe. The Indonesian economy is almost exclusively based on the plunder of natural resources by foreign multi-nationals, as well as local companies. Profits end up in the pockets of very few. The business of the savage plundering of Kalimantan (Borneo), Sumatra and Papua has been monumental. The country has been almost fully stripped of its forests; it has leveled to the ground entire mountains and polluted mighty rivers. But the loot flows abroad, or it stays in the pockets of Jakarta's chosen few. Apart from 'commodities', Indonesia produces almost nothing of value. Its scientific research is basically nil, and its intellectual output minimal. Even judged by Western standards: the 4th most populous country on the planet, does not have one single Noble Prize laureate, and not one internationally recognizable thinker or a writer.
And so, there are those 5-star hotel towers, office buildings, and ridiculously overpriced malls and supermarkets (most of them designed and built by foreign companies), basically catering for those who steal, and never had to work for their money.
Living in slums that are not called slums
But in between, there are the so-called kampungs – 'villages' – where the great majority of Jakarta's citizens live. A Kampung sounds romantic, but in reality, it is not – anywhere else on earth it would be called a slum. The slums of Jakarta and, in fact, of the entire Indonesia, are rat-infested, open sewage colossuses, with dark narrow alleys, toxic canals, and extremely limited access to drinking water (water in the capital was privatized by French and British companies, and as a result, the quality dropped and prices became unrealistically steep for the majority of people).
Except for just a few tiny dirty specks of green areas, and the most of the time closed small square in the center of the city called Monas, Jakarta has no public parks. Forget about public playgrounds for children, or public exercise machines! In fact, Jakarta has nothing 'public' left. Nothing 'belongs to people' – as everything was sold, corrupted, grabbed and privatized. A family of 4 has to pay around 7 USD to even enter Ancol, the only available beach area, despite the fact that Jakarta is theoretically a maritime city. But even in Ancol, despite the entrance fee, the tiny beach is littered with garbage, and a narrow promenade is broken and outrageously filthy. Otherwise – there is nothing!
A tiny public space a la Jakarta
In one enormous slum (sorry, kampung), I recently filmed hundreds of children playing in the middle of a cemetery, simply because they have no other places to go.
On the other hand, Jakarta has more mosques per square kilometer than any other city on earth that I know (and I have visited almost all Muslim countries). Mosques and small mushollahs, are literally growing on every street, often taking over land that should be intended for public use. But unlike in Malaysia or Turkey, these religious institutions do not provide playgrounds for children, or a 'public space'.
The contrast between the tiny minority of extremely rich, and the destitute majority (I don't believe that Jakarta has any substantial 'middle class', anymore), is so tremendous, that these two groups appear to be living on two absolutely different planets, while inhabiting the same city. The structure of Jakarta is such that the two realities often never even meet. And it is considered normal, by both the exploiters and the deprived masses.
Poor are used to being poor, obedient and 'entrusting their fate into God's hands', in the Indonesian language called pasrah. And the rich are secretly laughing at the poor, all the way to the bank. I know them, the rich of Indonesia, too. I worked, for decades, with Indonesians from across the spectrum – from the poorest of the poor, to the richest of the rich.
So why do I feel as I do? Why do I want to throw up?
Haven't I worked in Mathare and the other tremendous slums of Nairobi, Kenya, or in Uganda, or India?
Yes, of course. I made films about the misery in Africa. But it is different there. In the entire city of Nairobi, which is the so-called service center of East Africa (much of the money from Uganda, Rwanda and even DRC Congo is being washed there), there is only one truly huge luxury mall, of which Jakarta has dozens. Comparing the palaces (ugly, vulgar, but palaces) that the Indonesians are building from the blood and sweat of the poor and from the theft of the natural resources, with those in Africa, the African 'elites' at least have some shame left. They don't make contrasts so visible. They intuitively know that what they are doing is wrong, and often try to hide their wealth.
And in Africa, slums are called slums, and every slum dweller knows that his or her life is shit.
In India, things are bad, almost as bad as in Indonesia, but at least there is some true resistance, and the Communist Parties are regularly in control of various Indian states. Left-wing guerillas are fighting a civil war all over the sub-continent, and the country has some true great thinkers and intellectuals, most of them from the left.
The Indonesian poor have no idea that they are poor, they 'thank God' for what they have, or, more precisely 'do not have'. And the super-rich looters are proud of their achievements. They are hiding nothing. On the contrary – they flash their wealth, knowing that they are above the law, or any moral principles. They drive their Mercedes limos right next to the slums, without fear. They are actually respected, not only feared. The more they steal, the more they are admired.
And if they are crossed, they kill.
They kill human rights activists, peasants who refuse to give up their land, or anyone who stands in their way.
Justice is totally corrupted. Actually, everything is. Only those who pay are protected.
To even just irritate the true owners of the city can lead to death. In Archipelago of Fear I wrote about the case of an owner of the former Hilton Hotel, who shot a waiter point-blank in his own establishment. Why? Because he had humbly dared to inform the owner's girlfriend that her credit card had been declined. For the murder he only got a few years, and he bribed himself out just a few months after being put behind bars.
Not long ago, they put into prison the former moderately left-wing governor of Jakarta, known as Ahok, for trying to improve the infrastructure, sanitation and public transportation. The official charge: "insulting Islam". A bad joke, really, as almost all Indonesian linguists agreed that there was no insult whatsoever. But again, it worked: to do something for the people, one risks being branded as a socialist, or a Communist (which here is illegal). To pay too much attention to the wellbeing of the common citizens may brand you as an atheist, which is also illegal. So, if you build a few new train lines, a few sidewalks, erect a couple of parks; you are risking ending up deep behind bars. Religions – be they Wahhabism or Pentecostal Christianity – have, for decades, been fully encouraged by the West, which is gaining greatly from destitution, ignorance and the obedience of the Indonesian masses.
Yes, I have seen a lot of horrors in this world, and faced indescribable cynicism. But Indonesia is truly 'unique', and so is its capital city.
It is like a huge, decaying carcass of a fish, inside which 12 million people breathe the most polluted air on earth, surrounded by indescribably ugliness, gloominess and pop-ridden meaninglessness.
And there is no fight, no true rebellion against this totally fascist arrangement of the city and the society.
The poor 'know their place'. They have obediently accepted their fate. They steal from each other, insult and oppress each other. They do not dare to take on the real usurpers and bandit rulers. Or more precisely: they do not find them to be the real reason of their plight. In Jakarta, there is so much tension and hatred, but it is not directed against those who brought the city and the nation to their knees.
All this, while the rich do not even bother to look down at the masses. They actually do not even notice that the masses even exist. They make sure of not counting the tens of millions of monstrously poor human beings.
And the West lies, its media lies, and so do its economists.
Read the US and European newspapers and you will be told that Jakarta is a 'sprawling metropolis', that Indonesia is the 'third biggest democracy' (my god, according to them, India is No. 1), and that the Indonesian religions are moderate and tolerant.
Jakarta is a shameless fusion of fascism and feudalism. As the great Australian painter George Burchett (the son of the legendary left-wing journalist Wilfred Burchett) once told me: "Cities are usually built for the people. But the Indonesian cities, particularly Jakarta, are built against the people."
Ciputra Mall
I have written many times about Jakarta's 'cultural offering'. With 12 million inhabitants, it has not one permanent concert hall, its cinemas exclusively showing Hollywood junk, with some variations of Southeast Asian horrors and other garbage. The only art cinema at TIM has only around 30 seats and a very sporadic schedule. The few modern art museums are all privately owned, and avoid all social topics, or any criticism of capitalism and Western imperialism. But there are, of course, the paintings of Warhol and a few decadent Chinese artists mocking Communism, hanging on their walls. This way, the local elites can get even further indoctrinated, while taking their selfies.
Deeper thoughts are discouraged. Pop culture – its lowest grade – is literally everywhere. Intellectually, the city has been ruined since 1965.
Noise is everywhere, too. Loud, aggressive noise. Monstrous decibels that would be banned anywhere else in the world, beat people who are visiting malls. Mosques all over the city are, unlike their counterparts even in the Middle East or Malaysia, broadcasting entire sermons over the Orwellian-style loudspeakers, at least five hours a day, but sometimes much longer. Churches of extreme right-wing orientations preach 'Prosperity Gospel', periodically telling the worshipers that "God loves the rich and that is why they are rich, while hating the poor and that is the reason why they are poor." To escape religions is impossible. To escape noise is impossible. It often appears that the people of Jakarta are terrified of silence. Silence would make them think, and thinking could lead to some extremely frightening conclusions.
And therefore, I film.
I film broken pavements – tiny narrow sidewalks made from unmatched tiles, polluting scooters and unhygienic eateries blocking the way of the few daring pedestrians. Why is all that happening? Because nothing public is respected or put together well. Everything that is not for a fee, is simply dreadful. And it is designed to remain that way.
I am filming slums. I am filming filth, such filth which these days hardly exists even on the Sub-Continent. I cannot believe my own eyes, and so I film. I always believe my lenses.
Bus way stop — doors not working, people often fall to their death
I know the arteries of the city, big and small. I know the corners, back alleys, clogged waterways. I know the humiliated, imprisoned waterways, surrounded by miserable dwellings.
I know the old city – Kota Tua, built by the Dutch and so badly restored, that UNESCO recently refused to put it on its prestigious World Heritage Sites list.
It is easy to accuse me of being anti-capitalist, or "anti-Indonesian regime" of thieves and of barefaced collaborators. But it is impossible to accuse me of not knowing the country and its capital city. I have literally been everywhere, covering every conflict here, for more than twenty years, witnessing the atrocities committed against the people, nature and the culture.
Wherever I go in this world, I speak about Indonesia and Jakarta. It is my warning to the world.
The Indonesian nightmarish scenario has already been implemented in many parts of the world, by Western imperialism, but, has often failed as it was too monstrous for other people to swallow. The West tried to replicate Jakarta in those countries that I deeply love and call home: they tried it in Pinochet's Chile ("Watch out, comrades, Jakarta is coming", Allende's people were told), but Chile rose and both the regime and the fascist system were smashed. They tried it in Yeltsin's Russia, and again, the people rejected this horrible extremist horror show.
Jakarta is not just a city – it is a concept. Perhaps it should one day become a verb – "to Jakarta". That would mean, to sacrifice people to greed, corruption, business, religion and foreign interests.
But it is not omnipotent. It can be confronted and defeated. We fought against Jakarta in both Santiago de Chile and Moscow. And we won.
And we will win elsewhere, too. Maybe even in Jakarta itself, one day…
All this explains why I often come to both Borneo and Jakarta – to work on films, to define and document the horror, to warn the world what has already been done to the Indonesian nation.
I try to cut through lies. I try to explain that Dilma Rousseff, the former President of Brazil who was impeached (during a constitutional coup) because of the 'massaging of statistics' before the elections (something that is commonly done in many countries including those in the West) would have to be, theoretically, executed by a firing squad, or quartered by a mob, if she were to do proportionally what the government of Indonesia is doing without any scruples or second thought. In Jakarta, they do not 'massage' – they pervert, lie, and call black, white, and day, night. And they get away with everything. No one dares to challenge them. And they get rewarded by the West – as long as they rob the country and its people of everything, and deliver huge part of the loot to the gates of Washington, Canberra, Paris and London.
I get exhausted. And 'broke' once in a while (because almost nobody wants to read about Indonesia, or watch films about it). And once in a while I get thoroughly depressed, temporarily losing faith in humanity. And I shit from the terrible food. And I get sick from the pollution. And I get exhausted from constant racist insults of the passers-by in this, one of the most racist countries on earth, which in just a bit over half a century has committed 3 monstrous genocides: in 1965, against the people of East Timor, and now against the Papuans. It is constant 'bule' (albino, or worse), but I am lucky, as my Chinese comrades suffer much worse insults, and, of course, my African comrades do as well, not to speak of my Papuan brothers!
Fascist Jakarta is a tough adversary. But I am tough, too. And so I go, drive and crawl through the dirt, noise and insults. Because it is needed. Because here is buried the key to the countless other conflicts that the West has implanted all over the world.
The Economist once described Indonesia as the least documented large country on earth. Right. And there are many reasons for it. I often describe 1965 as a "Cultural Hiroshima", because almost all the intellectuals were either, killed, imprisoned or muzzled – overnight, and on the direct suggestions and orders from the West.
This is the most intellectually and mentally damaged country on earth, which often feels like one huge mental asylum. It is the biggest untold story of the 20th Century. Too many people got killed here. Too many people had killed. Everybody fears everything. But nobody dares to speak or to define things.
Jakarta is a city where people 'don't know', or they simply refuse to know that they are being robbed of everything, that they have been fooled, and that they had been thoroughly brainwashed.
Here, cheap pop culture, Western junk food and forced dependency on filthy scooters and private cars are called 'modernity' and 'progress'. Watching European football is a 'sign of progress'. Mobile phones and text messages double as culture, and so do video games. Nobody reads books.
You ask the poor about poverty, and what do you hear? Women 'put their fate in the hands of God'. Men begin 'analyzing', speaking like the IMF, using business jargon: "exchange rates, global economic situation, support for small businesses…"
In reality, the majority of local families, according to my own survey, lives on US$2-3 dollars a day (family of 4-5). Food in supermarkets costs 2-8 times more than in places like Germany. Therefore, the supermarkets are empty. The Majority of people shop at pasars – markets, where food is often full of cancerogenic chemicals, and filth is everywhere.
But most of people do not feel poor. They feel insulted when they are told that they live in misery. All without exception answer that they have nothing against capitalism. Most of them know nothing about the world; they have never been taught to compare.
Anti-Communist Museum
Everybody 'hates Communists", as demanded by the West and by the local rulers. There are entire anti-Communist museums here, and people going out to go there, even paying from their own pocket to get further indoctrinated. If you tell them that all they see is one huge lie, they get mad, angry, sometimes even violent. Their entire lives are based on myths. Their lives depend on them, psychologically. If myths were to be taken away, their entire lives would collapse, as they would lose meaning. That is why there is too much noise, and no substance. People are scared. But they don't know what frightens them.
Everybody thinks the same. There is hardly any variety. It is scary. Indonesia feels like North Korea, as it is presented by the West and its propaganda. But North Korea is actually totally different – there I found definitely much more intellectual diversity than in Jakarta!
Nobody wants to change things – at least not the system, the essence. People want "more money and better life". Is their life bad now? "No!" Do they hold their elites responsible? "For what?" They don't understand – they don't know what I am talking about, or pretend they don't know, when I ask such questions.
And the rich? Their kids are in the US, Japan or Europe, studying how to screw their own population even more, after returning back. For them, the greatest pride is to work for some foreign company, or to be awarded with the Western diplomas, and to be given some reward from Europe or the United States.
And the city is choking on its own gasses, garbage and excrement. While the rich have their condos and villas in Australia, California, Singapore and Hong Kong. They can get out of Indonesia whenever they want, as they have already stolen millions, billions of dollars. When they come back to Indonesia, it is to rob even more.
I have to admit, it is all 'a little bit tiring'. Fine, honestly: it is exhausting. Documenting all this is deadly. So now you know.
And I also have to admit, it is often lonely working here. No one in his or her sane mind would come here to work. The expenses, both financial but also related to mental sanity and physical health, are tremendous. Rewards are near zero. The West does not allow the truth about Indonesia to reach the world, and therefore, no powerful criticism of the country can ever by aired by the mainstream media.
But it is my duty to speak. Therefore, I speak. And write. And film. And as my maternal Russian and Chinese grandparents did – I fight against fascism, regardless of the cost!
• All photos by Andre Vltchek
• First published in New Eastern Outlook (NEO)
Andre Vltchek is a philosopher, novelist, filmmaker and investigative journalist. He has covered wars and conflicts in dozens of countries. Five of his latest books are China Belt and Road Initiative: Connecting Countries, Saving Millions of Lives, China and Ecological Civilization with John B. Cobb, Jr, Revolutionary Optimism, Western Nihilism, the revolutionary novel Aurora, and Exposing Lies of the Empire. Also watch Rwanda Gambit his documentary about Rwanda and DRCongo and his film/dialogue with Noam Chomsky On Western Terrorism. He can be reached through his website and his Twitter. Read other articles by Andre.
This article was posted on Monday, November 12th, 2018 at 10:16am and is filed under Capitalism, Indonesia, Jakarta, Neoliberalism, Poverty, Public Spaces, Religion, Wahhabism.


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You are here: Home / The Arts / Small Works
December 9, 2013 by Danielle Bresette
A New Perspective, Emma Benard
It takes many small parts to make a whole. That was the thought behind Small Works, the current art show on display at CCV Montpelier. The show, which runs from October 4 through December 16, 2013 features the work of CCV students, staff, faculty, and alumni.
"Art is such an important part of my life, and has helped me heal, feel empowered, and able to express myself," said student Emma Benard, who has four pieces in the show. "I am always interested in sharing my art with the community, and the CCV art show was an opportunity to be a part of a collaboration of artists who would like to share their work, too."
The exhibit captures an important theme at CCV: diversity. Not only are the pieces by a collection of CCV community members, but they are also created in many different mediums including photography, watercolor, oil on canvas, and mixed media collage. The theme of the show, Small Works, meant that artwork could be no larger than twelve by twelve inches, which CCV hoped would encourage a greater diversity of artists and work.
Ice III, Pat Lyon-Surrey
The CCV Montpelier academic center opened its doors to students in August of 2012, and has featured two art shows in that time. The CCV Winooski center also features an impressive art collection, with galleries on both the first and second floors, allowing students and artists from the greater Burlington community to share and display their work.
"There are many added benefits in holding exhibitions in the CCV centers", said Jeremy Vaughn, Coordinator of Academic Services in Montpelier. "CCV offers a range of studio art courses and the work is seldom seen outside of the classroom. One of the purposes of holding exhibitions like Small Works in Montpelier is to create a conversation around the creative products of our talented students, staff, and accomplished instructors throughout the state."
You can see the work of Benard, Vaughn, and 12 more artists from the CCV community at CCV Montpelier, 660 Elm Street, through December 16.
The spring 2014 show at CCV Montpelier will feature the work of David Southwick, and will be on display from January through May.
Filed Under: The Arts Tagged: art, montpelier
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