text:
Q: Let $A ∈ \mathbb{R}^{n×m}$ be a nonnegative matrix. Show that there exists an integral matrix that has the following properties: Let $A ∈ \mathbb{R}^{n×m}$ be a nonnegative matrix.
Question: Show that there exists an integral matrix $B ∈ \mathbb{Z}^{n×m}$ that has the following properties:

*

*Every entry of B is obtained by either rounding up or rounding down
the corresponding entry of A.

*Every row-sum of B is obtained by either rounding up or rounding down
the corresponding row-sum of A.

*Every column-sum of B is obtained by either rounding up or rounding
down the corresponding column-sum of A.

*The sum of all entries of B is obtained by rounding up the sum of all
entries of A.

It's not that hard to think of two matrices A and B where this would hold. Take for instance:
$A = \begin{bmatrix}
0.5 & 0.7 & 0.7 \\
0.8 & 0.3 & 0.1
\end{bmatrix}$, B =
$\begin{bmatrix}
1 & 1 & 0 \\
1 & 0 & 1 \\
\end{bmatrix}$.
However, I do find it hard to formulate a method that finds a matrix B satisfying the properties for any matrix $A\in\mathbb{R}^{n\times m}$. Thanks in advance!


Most of the bathrooms we fit involve some form of bathroom furniture.
The benefits are to hide away unsightly pipe-work, increased storage , easier to keep clean, change the whole aspect of the room, more practical, neatness, flexible sanitary-ware positions. There are looks and styles for everyone, options and variations to fit every household.
The manufacturers we sell and display have been chosen for long term reliability and flexibility in design. They must have a reliable manufacturing process to avoid water ingress later. Water + raw wood can be a disaster.
This is why there is no short cuts in the furniture providers that we sell, we have good brands with various entry level products to suit most people budgets.
is an important factor to consider and there are a few different materials to choose from.
Solid Surface is a worktop that can still be cut and worked on site, but has the looks and feel of quality, and can sometimes be repaired via a manufacturers repair kit if damaged was incurred later.
Laminate is a worktop that can be cut and worked on site, a lot more choice in colours and a more cost effective alternative to the others.
Veneered or a solid wood a more traditional alternative that enhance a room with Oak or natural timber look.
Marble or a natural stone add something really special to your bathroom, the look of quality shines through but does mean longer lead times and maybe a template needed prior to ordering.
Most of the brands we sell will be packed assembled apart from adding the feet to them. This saves hours getting frustrated over cheaper flat pack alternatives. They come in various sizes, carcass colours and materials to suit everyone. Merlin Bathrooms still recommend reading the instructions as we have had customers not doing this and who would want that lovely mirror cabinet falling off the wall simply by not following the instructions. The main unit depths are what is called full depth or reduced depths units.
Full depth usually means approximately 300mm to 350mm project from the wall.
Reduced depth usually means approximately 200mm to 230mm project from the wall. Please bear in mind most work tops hang over about 10mm as well.
Fitted units - this means exactly how it sounds a range of units designed to be as one solid line with a single work top and continuous plinth.
Chose a door style and handle in keeping with you styling or needs.
Materials and colours are flexible and Merlin Bathrooms will help you with this if needed.
We are very happy with the bathroom you refurbished for us, especially the shower you recommended. A major update, completed in the time quoted and very close to the estimated cost. You have all been very helpful, friendly and tidy. Also thank you for the extra plumbing job you did for us in the kitchen.


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Regional »
Congratulatory message to His Majesty the King to the President of Equatorial Guinea on the occasion of the Independence Day of his country
Posted by On October 12, 2014 0 Comment
PERSISMA, Rabat – HM King Mohammed VI sent a congratulatory message to the President of the Republic of Equatorial Guinea, Mr. Teodoro Obiang Nguema Mbasogo, on the occasion of the Independence Day of his country.
In this message, the Sovereign expressed to President Obiang Nguema his warmest congratulations and best wishes to his health and happiness and the people of Equatorial Guinea brother further progress and prosperity under the leadership of its head of state.
HM King takes this opportunity to acknowledge the efforts of Morocco and Equatorial Guinea for promoting relations of fruitful cooperation and active solidarity and mutual respect between the two friendly countries.
The Sovereign reaffirms his strong commitment to continue to work, together with the President of Equatorial Guinea, to strengthen bilateral relations in all fields and to adhere to its efforts in to achieve more economic gains and Social Equatorial Guinea, as part of an integrated and balanced South-South cooperation, which enshrines the spirit of partnership and solidarity, realizes the mutual interest of the two brotherly peoples and contributes to building stability and sustainable development of the African continent.
Morocco's new Ambassador presents his credentials to the President of the Republic of Singapore
Congratulatory message to His Majesty the King in Spanish Sovereign on the occasion of the National Day of his country
HM the King congratulates the Emperor of Japan on the occasion of the anniversary of his enthronement
HM the King congratulates the President of Lao on the occasion of the National Day of his country
HM the King Congratulates President of Fiji on the occasion of the Independence Day of his country

redpajama_set_name: RedPajamaCommonCrawl


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Portrait of the Artist as His Own Father: Gabriel Polonsky's Documentary
Posted By: Jen documentary, independent film
By Hartley Pleshaw
"Arthur Polonsky, in Paris from Life Magazine 1948" Taken by Nat Farbman for the 1948 international edition of LIFE Magazine. Arthur was there on a 2-year traveling fellowship from the School of the Boston Museum of Fine Arts
For his upcoming documentary film, Gabriel Polonsky had the perfect subject: a talented, innovative, renowned artist. It was also a subject he had close proximity to: the artist in question is his own father. So one would think it would all be easy, and simple to tell the story.
Until, that is, he started to learn the story. As he began making a film about his father, Arthur Polonsky, Gabriel wound up teaching himself about his father's life and work as well as a little-known, but seminal group of mid-20th century artists known collectively as the "Boston Expressionists."
"I'm making this film for many different reasons. Five years ago I went to a movie at the Museum of Fine Arts, about a prominent Boston painter named Hyman Bloom—also an Expressionist— who was a friend of my father's. My father was briefly in the film, and I thought, 'where is the full story on my father and the group of other key artists in their circles?'
"(My father) has had an interesting life. His work is breathtaking. He's one of the best artists I've ever seen, and I would think so even if he wasn't my father. Yet he never quite attained the recognition he deserved, nor has the movement. I want to expose his art and that of the other Boston Expressionists to a whole new audience.
"So I decided that when my father turned eighty five, I'd go over to his house and just start filming. It was now or never. At first I didn't have a plan; I just knew that he's a fascinating character. He's brilliant, funny, and has an amazing story to tell: from son of Russian immigrant tailors in Lynn, MA, to an MFA scholarship recipient painting in Paris with friends like Ellsworth Kelly in 1948.
Amazing, also, to his son, is the environment in which his father works, and what he does with it.
Arthur Polonsky painting 2011. Photo by Gabriel Polonsky
"He lives in this unusual house. It's sort of a 'Grey Gardens' style Victorian house that's decaying around him, while he's still creating this beautiful art work in it. He does these really crazy "Rube Goldberg" household repairs. He took the radiator hose from his 1962 Renault, and attached it to the two faucets in the Victorian marble bathroom sink, to mix the hot and cold water.
"I think that these DYI repairs are as interesting and beautiful as his paintings that hang in museums. But what is most unusual is to capture him painting, which is a rare gift; he has never opened his studio and artistic process to the public before."
Thus inspired, Gabriel Polonsky began filming his father's story—and, in the process, learning about it.
"I didn't know much about his career. He didn't talk about it when I was growing up, or maybe I wasn't listening very much.
"The movie took a much different course than I ever expected, growing much larger than I ever anticipated and it is generating a lot of interest. Almost every museum and university I speak to, including the MFA and ICA, has asked to screen it once it is completed. And I am amazed and grateful for all of the help and support we've received from the Boston film and art communities. So, this is quite a journey for me as well."
How did Gabriel's vision for the film change from his original idea? "I started learning about this whole movement of Boston Expressionist painters, my father's role in it, and realized that though their work is held in prominent collections, they are little known by the broader public.
I learned about his world of art—all these amazing people he's known since the 1940's. Curators, collectors, other painters, authors, former students."
"Every inch of his house is full of art, towering stacks of news clippings, photos, books and articles about his career and the history of art in Boston since the 1940's—it's a virtual museum. And at 88, he is still painting and having major exhibitions.
"So I go over to shoot cinema verite footage of my father at home, drawing and painting. He starts opening up about his life before he had the family, as a young artist, and to his journey as an artist now in his late 80's. I realized that my father, and the artists' movement he helped initiate, was a much deeper, broader subject than I had known about.
"As I began interviewing other people, one of the first was Nick Capasso, who at the time was head curator of the DeCordova Museum. I asked him, 'Tell me something about Arthur Polonsky.' He said, 'Arthur Polonsky was one of the most important Boston painters of the 20th Century… period.' That amazed me. So, I decided to set out for the next two years with my camera to find out exactly what Nick meant.
Arthur Polonsky St. Botolph exhibition, Boston, MA 2005. Photo by Gabriel Polonsky
"I ended up doing over thirty interviews. I spoke with Boston's leading curators, collectors, authors, my father's former students, and my whole family of artists."
Why did it take the production of this film to allow Gabriel Polonsky to learn so much about his father? "It was a combination of things. As with many kids I wasn't listening to a lot of what my dad said when I was younger! Also, he was very modest and self-deprecating, and for certain reasons, he just didn't talk about that part of his life very much when I was growing up.
"Both of my parents are artists. They had studios in the house. It was creative chaos. My father made etchings in the bathtub with nitric acid. I would see them working, and I would go to their art openings, but I didn't quite 'get it.' I was eight years old, and my father would take me to museums with his work hanging on the wall. These interesting artists and students would come up and tell me how much they adored him and admired his work. They had this long history with him that I wasn't familiar with. He taught at Boston University for twenty-five years, and Brandeis before that and at the Boston Museum School for eleven years before that.
"These were parts of his life that were all connected, and were outside of the way I knew him as a father."
In particular, the "Boston Expressionism" movement which is recognized by curators and academics is not always accepted by the artists themselves. Like many of his fellow artists from that period, my father rejects the title 'Expressionist,' they don't really call themselves anything but 'painters!'
"But it does describe a way of working and a style that many of them were doing, though not always with intentionality.
"I almost feel that now I have a PhD in the history of Boston Expressionism. Not by reading about it in books, but by talking to the surviving people who lived it and wrote about it. And my father was one of the prominent Boston Expressionists. He played a major role in creating this artistic movement since the late 1940's, and he's still part of it."
And What is Expressionism?
"The simple answer is that (Expressionism) is a type of art or painting that's done from imagination, and frequently involves the figure. It's different from Abstract Expressionism, which was popular at the time, and came out of New York with Jackson Pollock, (Willem) de Kooning and (Mark) Rothko among others. Those artists' paintings were nearly devoid of the figure. Expressionism often has dreamlike, imaginary, distorted figures. The brushwork is usually coarse, agitated and dramatic, and the colors are vibrant. There's sort of a mystical, emotional theme to it. These are words often used to describe my father's work."
And how did one particular form of Expressionism emerge in Boston?
"Boston Expressionism really started in the 1940's at the Boston School of the Museum of Fine Arts. Before and after the war, some of the prominent European Expressionists came over and began the program. The majority of Boston Expressionists were first generation Americans from Eastern Europe. Many of them were Jewish; my father's parents emigrated from Russia. (Arthur Polonsky grew up in Lynn, Massachusetts.) They studied Expressionism, and created this historic movement in American art. But, it was unheralded. It never reached its due and hasn't been promoted to the extent that Abstract Expressionism has."
But according to Gabriel Polonsky, it was in Boston, not New York, where Expressionism first took root in America. "They were called 'The Bad Boys of Boston.' They were breaking all the rules. Some of my father's work looks like a beautiful nightmare. At the time, it was disturbing and controversial. They were changing art."
From what Gabriel has learned, it is almost a historical accident that this movement began in Boston; it just happened to be the place where so many of these European immigrant artists came from. But there were some aspects of Arthur's Lynn, MA boyhood that may well have influenced his later artistic visions. "There were big marshes near the Saugus Iron Works. They used to burn off the dead grass to prevent natural brush fires. He saw that when he was a kid, and he liked the color of the fire. So, that may be the reason that he incorporates fire into many works. Of course, the reviewers see that, and say, 'Polonsky has this raging inferno from within, that comes from deep inside his psyche.' This makes him laugh.
Arthur and Gabriel Polonsky from the film, 2013 photo by Mark Wuerthner
"My father and I went back to Lynn, with a camera crew. We drove around while he told stories about growing up there. We went to the Lynn Public Library where he spent much of his childhood. On the wall is an enormous, painted mural that depicts the creation of man, with angels and cavemen. When my father saw that mural as a little kid he said to himself, 'I want to be a painter. I want to be able to do that.' So, I had to film him returning to the library to see the mural once again, while talking about how it inspired a lifetime of painting"
Fortunately for Gabriel, one of the important periods in his father's life was already on film—film that he was able to use in his documentary.
"When he graduated (from the Boston Museum School), my father received a two-year fellowship to the booming art scene of post-WW II Paris. That was a life-changing experience for him. It was an amazing time. He lived up the street from Picasso and drew every day with friends like the aforementioned Ellsworth Kelly. Arthur was featured in LIFE Magazine, had acclaimed international solo shows, and was in group shows with Pollock and Picasso. From what I've learned about it, my father lived a real-life Woody Allen MIDNIGHT IN PARIS experience.
"He had a girlfriend in Paris and did many beautiful drawings and paintings of her. I found out that she's alive and well, and living in Massachusetts. So, I ended up doing a great interview with her and struck gold! She had this amazing B&W 8mm movie footage of them in Paris together. All these artists in the street, it's like a Fellini movie. My father is young and handsome, with his pipe. She's in the footage, too. It's an incredible document of an era to include in the film."
Also in the film will be scenes describing the impact that Arthur Polonsky's work—and that of other Boston Expressionists—has today, and the following that their work has attracted. Among such followers is Katherine French, Head of the Danforth Museum, Arthur's friend and lifelong collector, Carol Klein, and Boston's Herbert Grey, known as one of the biggest private collectors and an admirer of Boston Expressionism. Such people are in the vanguard of a revival of interest in Boston Expressionism, which Gabriel's film, inevitably, will spotlight. There is little doubt that the completion of this film will raise the profile and value of these works. According to Gabriel, this film is the first feature length film which will cover Boston Expressionism.
"Portrait of my father" Pastel on paper, 2009 by Gabriel Polonsky
As for Gabriel's own career, the Boston native has his own extensive portfolio of work as a filmmaker, artist, animator, and educator. In 1992, he founded Gabriel Polonsky Studio. (Gabriel's awards include a national Emmy nomination.) The documentary film about his father is the Studio's latest production.
The film's working title is RELEASE FROM REASON. It comes from a statement Arthur Polonsky gave in an interview: "In a world where reason is the goal, I think that art is the release from reason."
The film has completed all primary filming and production work, has over 150 hours of interviews and scenes recorded and is now raising funds to begin post-production. Gabriel Polonsky can be contacted directly at info@releasefromreason. com, or by calling 617 515-5642. Updates are available at http://releasefromreason.com/news/.
Hartley Pleshaw has been a writer for IMAGINE since 2006. He has worked in Boston-area media and theater for over three decades. His email address is: hartleypleshaw@gmail.com.
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FESTIVALS France
"Dífferent 12! L'autre cinéma espagnol" descends on Paris
by Fabien Lemercier
14/06/2019 - Three preview screenings and five features as yet unseen in France will unspool in Paris from 17-26 June, in the presence of their directors; a professional sidebar is also on the agenda
Fire Will Come by Oliver Laxe
Organised from 17-26 June at the Majestic Passy cinema in Paris, "Dífferent 12! L'autre cinéma espagnol" will allow audiences to discover a total of nine features. Standing out among them are three that are set to receive preview screenings: the opening film, the animation Buñuel in the Labyrinth of the Turtles [+see also:
interview: GoCritic! Interview: José L…
film profile] by Salvador Simó (in competition at Annecy this week and due to be released in French theatres on 19 June, courtesy of Eurozoom); the impressive Fire Will Come [+see also:
interview: Óliver Laxe
film profile] by Oliver Laxe, the winner of the Un Certain Regard Jury Prize at the most recent Cannes Film Festival (coming out in France on 4 September, thanks to Pyramide Distribution); and Staff Only [+see also:
interview: Neus Ballús
film profile] by Neus Ballús (unveiled in the Berlinale Panorama last February and going on general release from 19 July, courtesy of New Story).
Also featuring in the showcase are five Spanish pictures that have not yet been seen in France: The Days to Come [+see also:
interview: Carlos Marques-Marcet
film profile] by Carlos Marqués-Marcet (first revealed in competition at Rotterdam before pulling off a hat-trick at the Málaga Film Festival by scooping the Awards for Best Film, Best Director and Best Actress), Love Me Not [+see also:
interview: Lluís Miñarro
film profile] by Lluís Miñarro (which was world-premiered at Rotterdam), Ana by Day [+see also:
film profile] by Andrea Jaurrieta (starring Ingrid García Jonsson), Diana [+see also:
film profile] by Alejo Moreno (which took part in the Montreal World Film Festival, the Málaga Film Festival and the Seminci in Valladolid) and Cages [+see also:
film profile] by Nicolás Pacheco (screened at the Seville European Film Festival, among other events), which will bring the gathering to a close. The selection is rounded off by The Deer [+see also:
interview: Koldo Almandoz
film profile] by Koldo Almandoz (premiered in the New Directors section of San Sebastián – released in the French Basque Country on 23 January 2019, via Gabarra Films).
Interestingly, "Dífferent 12! L'autre cinéma espagnol" will pay tribute to thesp Sergi López, and a huge number of actors from the various films selected will also be attending the festivities.
The programme also includes a professional sidebar, as all of the features on the line-up (in addition to more recent Spanish-produced movies) will be presented to French distributors on 17 June at the Rendez-vous à l'Opéra! event organised by Ciné+ and Espagnolas en Paris. On 26 June, Small is Biútiful will unspool, offering French professionals a selection of Spanish projects in search of co-producing partners, distributors and international sales agents. Cineuropa will report on this event in more detail in the days to come. Incidentally, among the movies being showcased this year at "Dífferent 12! L'autre cinéma espagnol" are two features (Staff Only and Ana by Day) that took part in the 2013 iteration of Small is Biútiful.
(Translated from French)
Industry – France/Spain
Seven Spanish projects in Paris with Small is Biútiful
Venice 2019 – Opening/Competition
Locarno 2019 – Piazza Grande/Filmmakers of the Present/Moving Ahead/Out of Competition
Locarno 2019 – Competition
28 Times Cinema celebrates its 10th anniversary
FIDMarseille 2019 – Awards
I Never Climbed the Provincia and Mittelmeer come out on top at FIDMarseille


Establishing a Conflict Transformation Team: A Guide for Developing a Team in Your Conference.
Source: (2002) Washington, DC: JUSTPEACE Center for Mediation and Conflict Transformation, United Methodist Church. Downloaded 11 August 2005.


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Namma Metro Ridership Rises from 4K to 29K in 4 Days
With Namma Metro ridership picking up pace, traders along its corridors are hoping for the best. Bangalore Metro Rail Corporation Limited (BMRCL) now operates services on both Purple and Green Lines between 7am and 9pm. Traders and commercial establishments along the corridors, particularly in areas like MG Road, Cubbon Park, Majestic, Chickpet, Indiranagar and Jayanagar, are hoping this will attract more people.
They, however, want the trains to operate at pre-Covid timings (5am to midnight) so that parking issues are resolved and it is in keeping with business timings. The daily ridership stood at 4,220 on Monday when the purple line resumed services after the lockdown.
From operating for six hours (8am – 11am and 4.30pm – 7.30pm) at start, green and purple lines now operate for 14 hours. On Friday, the number of passengers was 29,114. "Namma Metro is the city's lifeline and a boon to the economy. While there were few passengers on Day 1, the number is slowly increasing. BMRCL and other agencies should provide adequate infrastructure in and around Metro stations. For instance, the vicinity of Chickpet and KR Market stations gets flooded even after a few showers." Said Sajjan Raj Mehta, a trade activist from Chickpet.
He added that BMRCL should operate at the pre-Covid timings (5am to midnight). "This will save time, solve parking issues and will be a faster mode for customers," he said. Deepak Batavia, president, Church Street Shop Owners' Association, however, said: "People are still scared to step out or travel by Metro because of Covid-19."
BMRCL officials said they are hoping that ridership may go up in the next few weeks. However, it is unlikely to reach the pre-Covid daily figure of around 4.5 lakh any time soon. The reasons for the poor patronage are work from home, virus scare and allowing only smartcard users.
BMRCL operates trains at a frequency of five minutes during peak hours (8am-11am and 4.30pm-7.30pm) and 10 minutes during non-peak hours. A BMRCL official said: "Most Metro operators started with eight hours per day but we started with six hours. In Bengaluru, Work From Home seems to be more predominant. Let's wait for full operations for at least a week, before analysing usage."
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Ida is a quiet movie about disquieting things. At times the film is almost silent, but much like the convent life it portrays, the absence of most sound often signifies the presence of something larger, something ineffable, something wordlessly below the surface.
Ida is about Anna (Agata Trzebuchowska), a convent-raised orphan in postwar Poland preparing to take her vows who instead is launched by her Mother Superior into an odyssey of dark discovery. She is sent to her aunt Wanda (Agata Kulesza), a powerful official in the Communist state, who immediately informs her that she is, in fact, Ida, the child of Jews who were among the millions to meet a terrible fate under German occupation. The revelation initiates a journey for both of them, both literal (to uncover the final fate and resting place of Anna/Ida's parents) and spiritual. In an odd sort of way, the film is an inverted, distaff echo of Dylan Kidd's unheralded masterpiece Roger Dodger. Where that decidedly-male story of an adolescent and his uncle on a Dantean pilgrimage, rich with allegory, is first-and-foremost visceral and carnal, loud and bright, and only more obliquely about family and history, Ida focuses squarely on the latter, mediating the physical world through a reserved austerity. As often as not we see nothing of our protagonists but their faces, pushed oppressively into the corner of the screen almost paradoxically by open skies and large ceilings.
Ida is canny and deft in weaving together a panoply of weighty themes that would overwhelm most films. The film is about the Holocaust, of course, and Poland's complicity in the extermination of its Jews; it's also about historical memory, and how people and societies move on (for better or for worse) with an unquenchable darkness in their past. It's a film about identify, about the adoption of roles and the wearing of costumes to accommodate a society that has no place for you. It's a film about Communist rule, and how, in the words of Tony Judt, "history itself ground slowly to a halt," settling into "a winter of inertia and resignation." It's a film about the implicit tension between political and social power, a tension that places its two protagonists at opposite poles, one a blunt and reckless agent of the state, the other a guileless avatar of the church (or at least perceived as such), able to win entry and support simply by inhabiting a habit. It's a film about gender in society, specifically one with a wide gap between the institutional egalitarianism enforced from a distant but omnipotent imperial capital and the lived experience of a society still deeply suspicious of women with real power. And it's a film particular to a time and place, very specifically about a Poland that was forced to grapple with all of these in a society where all formal and accessible fora for discussion and debate were either dismantled or dominated by repressive forces, leaving behind a country defined by what was unsaid and undone.
If I am hesitant to say Ida is a great movie, interpret my reticence as praise. Its complex and intertwined narratives about social and religious power in a tortured crossroads of European culture, history and politics are given voice through action, not speeches; its metaphors and symbols (most poignantly a Jewish cemetery, abandoned and overgrown) are allowed to breathe organically by simply being. As often as not, Ida expresses layers of meaning simply by showing us things from a distance, with key action in the deep-focus background and deceptively banal activity in the foreground, empowering and encouraging the audience to build meaning in the open spaces it favors. And its characters, especially its two protagonists, who could easily have slid into obvious allegorical ciphers, are infused with vitality by superlative performances, one fire masking ice, the other ice masking fire.
Ida has no colors, but obliquely refers to them in discussing Anna's hair and her aunt's choice of dress. Ida has no non-diegetic music, but that attunes us more strongly to the music the characters themselves experience at moments of personal crisis. Ida's camera never moves, which highlights movement within the frame. Key events, both present and past, happen between shots, which makes us wonder much more about why we are seeing what we are seeing, and why we're seeing it from the often-peculiar angle we are. At times it's almost shot like a horror movie, a grimly appropriate choice given that it's a film very much about horror – not the kind that slaughters irresponsible teens, but the kind that haunts people and societies long after bodies and memories are buried.
Ida is definitely a kind of transcendentalist film, utilizing the "sparse means" Paul Schrader identified as a signal of the genre as well as the transition from the quotidian to the divergent to the transcendently static that defines the narrative structure of the form. It also owes much to many of the great European masters of the era it depicts, especially Bergman, Bresson, and Dreyer. Far from formulaic or derivative, though, it does the best kind of borrowing, leveraging aspects of past achievements into a film with a unique voice and an unsettling emotion ambiguity particular to the cultural moments it addresses – two pasts as well as the present. In its final shot, very consciously casting aside all its self-imposed formal rules, Ida raises as many questions as it answers, leaving us to wonder whether the anti-resolution of transcendence that is its natural ending point is even possible – as much a riposte to its antecedents as a tribute.
Ida is an exceptional accomplishment, especially for its director, Paweł Pawlikowski, and its two fantastic leads. If I am hesitant to say Ida is a great movie, interpret my reticence as praise. Greatness is hard to come by, and more often than not identifiable only after time has eroded the more plentiful but less durable artifacts of culture that clog our vision. This I can say with certainty, though – Ida is a compelling, intelligent movie, one whose ideas and images are impossible to dismiss. In the last analysis Anna's unwavering gaze is the perfect synecdoche for both Ida and its subject, lingering long after you've looked away.
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SEAGROVE — A Seagrove man died in a single-vehicle crash Sunday afternoon.
According to a press release from the N.C. Highway Patrol, the crash occurred on Little River Road around 4:30 p.m.
The victim, Danny Lee Sill II, 23, of Seagrove, was traveling east on Little River Road in a 2009 Chevrolet passenger car. While negotiating a curve, Sill drove off the road to the right and overcorrected his vehicle, crossing the center line. The vehicle then traveled off the road to the left, struck a mail box, a utility junction box, a fence and a tree. After impact, the car came to rest facing west on the shoulder.
Sill, who was the only occupant of the vehicle, died at the scene.


Credit Suisse found something it liked in Mastercard and Visa, and upgraded both of these names form neutral to outperform, and moved their targets up on MA to 256 from 210, and on Visa to 84 from 70.
Last Wednesday night, I touted the Oct 72.5 calls on V at .70, and the Nov 75 calls at 1.80, and the Nov 240 calls at 2.50 on MA.
Today you'll be sitting pretty on this names.
And that's this market. It's throwing free money at you; all you have to do is take it.
And not listen to the so-called erudite, intellectual bears, that can't see the coming economic recovery and boom, even though it is unfolding right in front of their eyes!


Ahead of the opening of the highly anticipated exhibition 'John Constable: Observing the Weather' this Saturday, we spoke to its Curator, Michael Regan. He gave us an exclusive insight into the inspiration behind the show and a particularly special highlight to look out for.
Constable is an artist who went against the prevailing fashion of the time and sought to objectively depict landscape for its own sake. He knew that this would set him on a collision course with the artistic establishment, (as represented by the Royal Academy), but in spite of this, he also sought to succeed commercially as an artist.
I was fascinated by the fact that in order to make his landscapes more accurate and believable, Constable was one of the first artists to make use of the burgeoning science of meteorology. I wanted to build an exhibition around this fact and the idea that Constable worked on two distinct levels: one objective, and one subjective, but both mutually compatible - his uncompromising search for truth, and also his deep love and emotional attachment to the English countryside.
As I began to research and identify the world of meteorological science, as it existed in the time of Constable, I found many similarities of approach between the scientists and the artist. I found a remarkable similarity between Constable's own weather observations, to be found inscribed on the back of many of his sketches, and the private weather diaries of the period. Some of this material has been included in the content of the exhibition in the form of examples of the scientific publications which Constable will have read at the time and his own sketches.
For me, one of the highlights of the exhibition is Constable's 'six-footer' oil sketch entitled 'Salisbury Cathedral from the Meadows', which has been lent by the Guildhall Gallery London. This late picture represents the culmination of everything that gives Constable's works a sense of modernity and that unique fusion of observation and emotion.


A geeky post today, sorry. If you're not into this stuff, I hope that the images are interesting anyway.
These street images were made while photostrolling with the Carl Zeiss Distagon T* 25mm f/2.8 ZF.2. All were shot with a Nikon D800E body. One of the things I wanted to see was how the optics would stack up against the high resolving power of this body. Even wide open, I was blown away by how sharp the thing is. But with a fair amount of chromatic aberration which even my untrained eye could pick out. However, this was easily take care of by Lightroom or, simply by stopping down.
One of the love-it-or-hate-it characteristics about this lens is the heavy vignetting at f/2.8. I mostly shoot with rather clinical Nikkor glass and thus found the romance imparted by the vignetting to be rather enjoyable.
Posted in equipment, gear review, photography, street, travel, U.S.A.


In New Hampshire's Second Congressional District this November, incumbent Ann McLane Kuster faces Jim Lawrence.
I've had occasion to mention each of them before. Here's a quick review.
Jim Lawrence files his candidacy papers with NH Secretary of State, 2016. Ellen Kolb photo.
Ann Kuster, accepting NARAL's endorsement in 2014, chose a macabre if apt visual backdrop.
Congresswomen Ann Kuster (D-NH) accepts NARAL endorsement, 10/20/14. Photo taken from Cornerstone PAC press release, http://eepurl.com/6thWX.
"As chemical abortions take deeper root, and as hospitals increasingly absorb the lucrative business from the closing of local clinics, the issue of the Texas law will shrink in importance; but the abandonment of women by all three women on the highest court in the land will live and grow in infamy. It will be seen by future generations for what it truly is." Read the rest of the post.
"Yet the reason this bill failed can be boiled down to one memo and the memories of the government shutdown crisis of 2013. Faced with the choice of either offending Planned Parenthood or failing to pass a bill that provided the Zika money they had been demanding be allocated for months, the Democrats chose the latter. Moreover, they did so because they were also sure that no matter how partisan and divisive their own behavior, Democrats have come to believe that the media will blame Republicans for any Congressional standoff." Read the rest of the post.
40 Days for Life podcast: what are your rights on the sidewalk?
From the 40 Days for Life headquarters' podcast library comes reassuring information about the rights of peaceful witnesses outside abortion facilities. Here's the link; the relevant information begins around the 8:45 mark.


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Henry Wellcome memorial tablet
List of Countries » United Kingdom » England » London » Henry Wellcome memorial tablet
On 25 July 1936, sir Henry Wellcome died, aged 82, at the London Clinic. He was cremated at Golders Green and in 1987 his ashes were buried in the churchyard of St Paul's Cathedral.
This memorial tablet can be seen in the north aisle at the east end of the Crypt of St Paul's Cathedral in London, just beside Alexander Fleming tomb.
The inscription reads as follows: "FLOREAT SCIENTIA / Remember / SIR / HENRY / WELLCOME / F R S / 1853 - 1936 / Pharmacist and / Philanthropist / Patron of / medical research / and history / Founder of / THE / WELLCOME / TRUST".
Photos by ti.supmacinu|ihgrob.l#ihgroB acuL (August 2011), courtesy of St Paul's Cathedral Press and Communications Office
North vs. south
Kirk R Wilhelmus 17 Oct 2016 18:33
This plaque is in the north aisle, not the south aisle.
Unfold North vs. south by Kirk R Wilhelmus, 17 Oct 2016 18:33
Re: North vs. south
Luca Borghi 22 Oct 2016 15:44
Fixed! Thanks again, Kirk!
Unfold Re: North vs. south by Luca Borghi, 22 Oct 2016 15:44


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Raleigh News and Observer
Tropical Storm Elsa impacting the Carolinas on Thursday. Here's the latest forecast
Bailey Aldridge
July 8, 2021, 9:09 AM ·2 min read
Tropical Storm Elsa is dumping "torrential rains" over the Carolinas as it moves through the region Thursday.
Elsa was located 45 miles west of Florence, South Carolina, and 150 miles southwest of Raleigh, North Carolina, as of 8 a.m. Thursday. The storm was moving northeast at 18 mph with maximum sustained winds of 40 mph. Tropical storm force winds — which range from 39 mph to 73 mph — extend up to 115 miles.
A map from the National Hurricane Center shows Elsa's location as of 8 a.m. Thursday.
Parts of North Carolina and South Carolina are experiencing tropical storm conditions Thursday morning.
A tropical storm warning is in effect from South Santee River, South Carolina, to as far north as New Hampshire, including Eastern North Carolina, as of 8 a.m. The warning for south of South Santee River was discontinued.
"A Tropical Storm Warning means that tropical storm conditions are expected somewhere within the warning area," the National Hurricane Center says.
Portions of Central North Carolina are under a flash flood watch until 6 p.m., the National Weather Service says.
Elsa's winds were expected to reach North Carolina as early as 8 a.m. and are forecast to reach the northern part of the state as early as 2 p.m., the NHC says.
The storm is expected to continue dumping rain on the Carolinas through Thursday.
Parts of South Carolina could get between 3 and 5 inches of rain with up to 8 inches possible in some areas. It could lead to "limited flash and urban flooding," forecasters say.
Eastern and Central North Carolina could get 2 to 4 inches with up to 6 inches possible in some areas, which could lead to "limited-to-considerable flash and urban flooding" and "isolated minor river flooding," the NHC says.
A "few tornadoes" are possible in eastern North and South Carolina through Thursday afternoon.
The NWS says an elevated risk of rip currents associated with Elsa will remain along the coast likely through Friday.
The entire South Carolina coast and most of the North Carolina coast were under a high risk of rip currents as of Thursday morning, indicating that "life-threatening rip currents are likely," the NWS says. People are advised to stay out of the water under a high risk as the "surf zone is dangerous to all levels of swimmers."
Elsa's path as of 8 a.m. shows it remaining a tropical storm as it moves over the Carolinas. It's expected to become a post-tropical cyclone Friday night or Saturday.
A graphic from the National Hurricane Center shows Tropical Storm Elsa's projected path as of 8 a.m. Thursday.
"On the forecast track, Elsa will move over South Carolina and North Carolina today, pass near the eastern mid-Atlantic states by tonight, and move near or over the northeastern United States on Friday and Friday night," the NHC said at 8 a.m.
Elsa has weakened since Wednesday, but forecasters say some restrengthening is possible Thursday night and Friday as it moves toward the northeast.
"I was taken aback by how often I heard this," McKay Coppins said on CNN.
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WFTV
Magic storm back to beat 76ers in Fultz' return to Philly


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Cafe, Shop & Garden
What's On at Buzz?
Buzz Hire
Link Organisations
Thank you to those who have supported us so far....
We're delighted to have had some amazing support so far in helping us to fit out and open the shop.
North Bristol Advice Centre - for substantial start-up funding and continued support.
Awards for All - £9,660 towards infrastructure work including heating, plumbing and electrics. Also for counter top, tables, chairs, vacuum cleaner, smoothie maker and sinks.
Bristol Green Capital Small Grants - £4,200 for food dispensers and other essential equipment.
Quartet Express Grant - £800 for equipment to fit out the shop.
The Mall Fountain Trust - £1,000 towards essential equipment.
Horfield and Lockleaze Neighbourhood Partnership - £900 Wellbeing Grant towards commercial fridge and freezer.
Comic Relief Local Communities Programme - £5,000 to help develop our volunteering programme, training and support and to clear the rear garden in preparation for growing in 2016.
Trusthouse - £9,959 towards salary costs for the Shop Manager and to buy a polytunnel for growing in 2016.
In addition to this, thanks to Bristol City Council for funding the Work Zone Project.
Sign up to our monthly newsletter.


Also see my videos on Genesis 6 and the Nephilim.
If you take nothing else from this page, please remember this one statement: In the future, when amazing beings present themselves as aliens from another world, claiming they are our benevolent benefactors and are ready to lead us into our next step of evolution, know this: They are lying. They've been here since before The Flood, and they are not who they say they are.
Genesis 6:1‐7 contains information that is largely passed-over and discounted regarding an astounding event that has far greater implication than is generally recognized. This event, when understood in a broader context reveals explanations that are often unavailable with the traditional explanation of the verses.
Did God create Demons and Evil Spirits? Are they fallen angels or something else? If they are something else, how did they come to be and why did God allow it?
How is it that all flesh got corrupted, and how did that corruption occur?
If the"sons of God"are the sons of Seth, as is often taught in schools of Theology, how do otherwise normal cousins (sons of Seth with the daughters of Cain) produce giants (or Nephilim)?
If the Tower of Babel was intended to reach into heaven by its height, why would they build it in the plain instead of on a mountain top?
Angels fell — one third of them.
Angels mated with human women.
Their offspring were Nephilim; many of these were giants, although some may not have been, all having non-human or extra-human characteristics.
God considered these Nephilim to be abominations.
Nephilim continued making further abominations by genetically corrupting humans, animals, and even plants.
It was an attempt to cut off the bloodline of the Messiah.
It was also an attempt at incarnation of their disembodied spirits.
Click here for a more detailed summary of what you need to know.
Why do some references to the "names under Heaven" and the "Book of Life" refer to "blot out" while other references say "not been written"?
 All inhabitants of the earth will worship the beast—all whose names have not been written in the book of life belonging to the Lamb that was slain from the creation of the world.
Who would these beings be whose names are not written in the Lamb's book of life?.
Those whose names are written are creations of God. Those whose names that are blotted out are those creations of God who reject God. Those whose names are not written are abominations not created by God. Instead, they are the result of the genetic manipulation of the Nephilim.


Cheyenne Filtered Cigars, the lightest of the light, are domestically made in North Carolina using 100% domestic tobacco, they are available in a wide variety of flavors.
Everything worked out GREAT !!!!!!!!!!!!!
I bought them for my boyfriend who is an avid cigar smoker. Wasn't sure if he would even like them as they are so much like cigarettes however, he did.. he was very pleased.


In many nations powerful elites often control and abuse the political system based on special interests and secrecy. Given this reality, many individuals feel like "fodder" because so many dreams fail to materialize for the majority of people. Likewise, the daily grind of paying taxes to governments that abuse power based on various agendas is not only frustrating, it also destroys the spirit of many. Artists obviously belong to the same reality but for some, they feel this crushing reality, even more, stronger because they seek to open new dimensions.
Not surprisingly, for some individuals blessed with so much talent then these internal convulsions can unbalance and destroy artists because of countless "false dawns." Vincent Van Gogh and Paul Gauguin are prime examples. They both were blessed with so much talent but the system crushed them and made life extremely uncomfortable. Therefore, in time capitalists got rich on the labor of two individuals blighted by poverty and extreme dark moments.
Paul Gauguin stated, "without art, there is no salvation" but even in death "salvation" did not fully materialize for this artist. Likewise, for Yumeji Takehisa death fails to provide artistic "salvation" when it applies to international recognition. However, death provided "salvation" for Vincent Van Gogh in its entirety when it applies to international esteem. For Paul Gauguin who was extremely sophisticated, this would have been enough. Yet he remains blighted by aspects of his life that still cast a shadow.


Everyone knows what a Japanese tea ceremony is supposed to looks like. A woman in an elegant kimono serves piping hot cups of green tea in a tatami-mat room overlooking a tranquil rock garden. So it is a shock to find out that Rina Fukazawa's tea class is held at Hasuhachi Kitchen, an organic café in a non-descript Nihonbashi building.
A former television announcer, Fukazawa now works freelance and is a passionate promoter of healthy living — being an Ashtanga yogini, Ayurveda oil therapist and a macrobiotic chef. She is also a twenty-year practitioner of the Edo Senke style of tea ceremony and feels strongly about "sado" (way of tea) can enhance contemporary life.
In 2009, she started her monthly tabletop tea ceremony workshops entitled "Tea Journey," to make sado more easily accessible. "Many people are curious about sado but are intimidated by all the formality and expense it involves. With tabletop tea ceremony, people can appreciate tea without all the fuss," she explains. According to Fukazawa, all schools of sado have official rituals of performing tea ceremony on tables. However, it has not been popularized.
"Doing tea ceremony has allowed me to remain calm in stressful situations. Rather than react emotionally, I am able to collect myself mental to make rational decisions. In the hectic lives of people today, the ability to slow down is necessary," explains Fukazawa.
Tea was first appreciated not for its spiritual elements but for medicinal purposes. During the Heian Era (8th century), tea was brought back by missionaries who went to China. With the spread of Zen Buddhism, the practice of serving began to be recognized for its spiritual values. By the Muromachi Era (14-16th century,) feudal lords held grand ceremonies. During the Edo Era (17-19th century), tea ceremony became popularized and practiced by the merchant class and women.
Tea ceremony played a large role in the lives of samurai, giving them respite from their violent lives. The most fascinating legend involving samurai and tea ceremony involves the friendship between Otani Yoshitsugu, a feudal lord with leprosy, and Ishida Mitsunari. To foster the spirit of community, at a tea ceremony, one cup is passed around and everyone drinks from it. At one elaborate ceremony with many powerful lords present, some pus from Otani's deformed face fell into the communal teacup. Repulsed, the other samurai refused to drink from it except for Ishida who drank it all up and declared it delicious. It is said that this event caused Otani to side with Ishida in the Battle of Sekigahara despite being convinced that they would lose.
"How can pouring a cup of tea be a spiritual exercise?" is a legitimate question. Precisely by giving such a simple act so much importance, it makes people appreciate simplicity. Because the motions are slow, deliberate and silent, a tranquil environment is created. Another important element of tea ceremony is the spirit of "Ichi-go, ichi-e" which translates into "One life, once chance of (encounter)." Because of how the experience of drinking tea together is elevated, cordial feelings are fostered.
My mother-in-law is a tea ceremony instructor. Every time we go visit her, she never fails to ask what we want to drink. "No thanks, I'm not thirsty," I would reply. Attending Fukazawa's workshop made me realize that thirst has nothing to do with her offer. It's a symbolic gesture of gratitude shown to guests for making the journey to visit.
Fukazawa points out that serving tea does not have to be expensive. She points out that the teacups used at the workshop are actually rice bowls. "About the only indispensable tool is the bamboo whisk which can be purchased for about \1,000," she says.
Compared to traditional tea ceremony where silence prevails, there is lots of talk in Tea Journey. Fukazawa explains verbally and reads aloud to end a session. But she hopes that even without much knowledge of Japanese, the experience of tabletop tea ceremony can transcend language. Tea Journey would appeal to people wanting a way to decompress in Tokyo but find yoga too contortionistic and meditation too static.
There are introductory workshops every month. For those wanting to master serving Japanese tea on tabletops, she has workshops teaching the necessary skills. For those serious about mastering Edo Senke style, she refers them to the official group. "You learn something about yourself every time you serve tea," she says.


This technical hooded parka is a classic design from Lanvin. Certain to be a mainstay in many wardrobes, this transitional piece is perfect for colder seasons and even as a light piece for the chillier summer evenings. Crafted from a luxurious cotton, this Lanvin coat features a hood with drawstring tie fastenings, a concealed zip fastening, front flap pockets, long sleeves, button cuffs, a chest pocket, a back slit at hem, a relaxed fit and a detachable popstud collar shield.


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Home » Salary History Bans Sweep The US, While Most Global Efforts To Close The Gap Target Transparency
Salary History Bans Sweep The US, While Most Global Efforts To Close The Gap Target Transparency
By Todd K. Boyer, Caroline B. Burnett & Elizabeth Ebersole on March 7, 2019
Posted in Benefits & Compensation, California, Discrimination & Retaliation, Diversity & Inclusion, Gender Pay & Pay Equity, Global, Handbooks & Policies, US
Today is International Women's Day. The day marks a call to action for accelerating gender parity.
In our global gender pay gap thought leadership series, we've highlighted the numerous ways governments around the world are taking actions aimed at closing the gap. In the US, the movement to prohibit the practice of inquiring about an applicant's salary history continues to gain steam. Cities and states across the country have enacted legislation making it unlawful to inquire about prospective employees' salary history. Proponents of salary history bans argue that using past compensation in future employment decisions perpetuates existing pay disparities among women and minorities.
The tricky part for multi-state employers is that each new law has its own twist, for instance, California's ban applies to employers and their "agents." California's law also requires employers to provide the pay scale for a position to an applicant upon reasonable request. Many other states and municipalities, however, have less clear guidance.
To help you track these recent developments, we've summarized salary history bans in the US in the table below. (Of course, always check to see if any local legislation applies.)
City, State or Territory Restriction Nuances to note
Albany County, NY For employers with 4 or more employees, effective in 2018, the local law prohibit employers from requesting, requiring, or screening based on an applicant's current or former wages, including benefits and other compensation. Employers may confirm an applicant's prior wages, including benefits, other compensation, or salary history, after both:
Making the applicant an offer of employment that includes compensation.
Receiving the applicant's written authorization.
Effective January 1, 2018, all California employers prohibits employers from asking applicants about their salary history.
Pursuant to Labor Code Section 432.3, employers (and their agents) cannot:
Rely on the salary history of an "applicant" as a factor in determining whether to offer the applicant employment or what salary to offer the applicant, except in specified circumstances;
Seek salary history information orally or in writing, including information about compensation and benefits.
Section 432.3 further requires employers, upon "reasonable request," to provide the "pay scale" for a position to an applicant applying for that position.
"Pay scale" means a salary or hourly wage range, and not other forms of compensation such as equity or bonus compensation.
"Reasonable request" means a request made after an applicant has completed an initial interview with the employer. Employers need not provide pay scale information to applicants until after they have completed their first interview.
"Applicant" or "applicant for employment" means an individual seeking employment with the employer and is not currently employed with that employer in any capacity or position.
Employers are allowed to ask applicants their "salary expectation" for the position applied for. However, employers must still avoid inquiries that might be construed as pressuring an applicant to disclose salary history.
Connecticut Effective January 1, 2019, except when certain limited exceptions apply, all employers cannot:
Inquire about a prospective employee's wage and salary history.
Direct a third party to make the inquiry.
"Wages" are defined as compensation for labor or services, whether the amount is determined by: time, task, piece, commission, or other basis of calculation. "Wages" does not include "other elements" of an applicant's compensation structure, if the employer does not inquire about the value of those other elements.
Delaware Effective December 14, 2017, all Delaware employers and their agents:
Cannot screen applicants based on their compensation histories, and
Are prohibited from seeking an applicant's compensation history.
"Applicant" means a prospective employee applying for employment.
Employers are explicitly permitted to discuss and negotiate compensation expectations with an applicant, directly or through an agent, if done without requesting or requiring the applicant's compensation history.
Hawaii Effective January 1, 2019, all employers are prohibited from:
Inquiring about an applicant's salary history;
Relying on salary history to determine an applicant's salary, benefits, or other compensation.
The salary history ban does not apply to either:
Applicants for internal transfer or promotion.
Public positions where salary, benefits, or other compensation is subject to collective bargaining.
Massachusetts Effective July 1, 2018, it is unlawful for any MA employer and their agents to seek an applicant's wage or salary history before making an offer of employment. Nothing in the law prohibits an employer from asking a prospective employee about their compensation needs or expectations.
New York, NY Effective October 31, 2017, all NY city employers are prohibited from asking about an applicant's salary history. The salary history ban does not apply to either:
Public positions where compensation is determined under a CBA.
Oregon Beginning October 6, 2017, all Oregon employers are prohibited from seeking an applicant or employee's salary history. Compensation includes: wages, salary, bonuses, benefits, fringe benefits and equity-based compensation. It does not include tips.
Philadelphia, PA (*PENDING) Philadelphia's Wage Equity Ordinance prohibits employers from inquiring about an applicant's wage history or conditioning consideration for an interview or employment on disclosure of that information. The ordinance was scheduled to take effect in May 2017. Implementation was delayed pending a legal challenge; litigation is still ongoing.
San Francisco, CA Generally speaking, the ordinance – effective July 1, 2018 prohibits 3 things:
It bans employers from considering current or past salary of an applicant in determining whether to hire the applicant or what salary to offer the applicant.
It prohibits employers from asking applicants about their current or past salary.
Also, employers are prohibited from releasing the salary history of any current or former employee to that person's employer or prospective employer without written authorization from the current or former employee (unless the release of salary history is required by law, is part of a publicly available record, or is subject to a collective bargaining agreement).
"Applicant": person applying tor employment to be performed in the geographic boundaries of the city and whose application, in whole or part, will be solicited, received, processed or considered, whether or not through an interview, in the city. "Applicant" does not include a person applying for employment with their current employer.
"Employer": any individual, firm, corporation, partnership, labor organization, group of persons, association, or other organization however organized registered to do business in the city. "Employer" includes job placement and referral agencies and other employment agencies.
"Employment": any occupation vocation, job, or work, including but not limited to temporary or seasonal work, part-time work, contracted work, contingent work, work on commission, and work through the services of a temporary or other employment agency for which the applicant is to receive a salary. Employment does not include work as an independent contractor.
"Inquire": any direct or indirect statement, question, prompting or other communication, orally or in writing personally or through an agent, to gather information or about an applicant, using any mode of communication, including but not limited to application forms and interviews.
Suffolk County, NY Employers with 4 or more employees, effective June 30, 2019, employers are prohibited from inquiring about, or relying on when determining compensation, an applicant's wage or salary history.
Vermont Effective July 1, 2018, employers are prohibited from inquiring about, seeking, requiring, or screening for interview purposes based on information about an applicant's current or past compensation. Employers may inquire about a prospective employee's salary expectations or requirements.
Westchester County, NY Effective July 9, 2018, the local law prohibits employers (with 4 or more employees) and other covered entities generally from relying on, requesting, requiring, or seeking an applicant's current or former wages. Employers and other covered entities may rely on prior wage history to determine an applicant's wages if:
The applicant voluntarily discloses the information; and
The voluntary disclosure is provided to support a higher wage than the one offered by the employer.
Puerto Rico Effective March 8, 2017, employers are prohibited from requesting an applicant's salary history from the applicant or their former employer.
Outside of the US, we have not seen comparable efforts to prohibit salary history inquiries, with the notable exception of legislation in Canada. Ontario's Pay Transparency Act proposes requirements concerning disclosure of compensation particulars of employees and prospective employees. In addition, and among other things, the Act would prohibit employers from asking candidates about their compensation history, whether personally or through an agent, with few exceptions. However, for now, the law is not in effect – it is currently on hold to allow the government to engage in public consultations. (Read more HERE.)
Efforts to close the gender pay gap outside the US have focused primarily on transparency and representation. The UK and Australian governments have recently focused their efforts on representation and the gender pay gap, requiring employers to publish data about the difference in average pay between men and women. In the UK, gender pay gap data is made available for public use, whereas in Australia the government publishes aggregated pay gap data from which individual companies cannot be identified. Other countries across Europe have also recently introduced pay transparency legislation (e.g. Germany and France). (Ireland and Spain are also considering similar legislation.)
In "no ask" jurisdictions, it is recommended that employers:
Remove all salary questions from hiring forms (including job applications, candidate questionnaires, and background check forms);
Update interviewing and negotiating policies and procedures;
Train recruiters, hiring managers and interviewers regarding the importance of ensuring that applicants are not pressured (even indirectly) to disclose salary history.
It is further recommended that employers adopt a uniform practice that complies with the strictest "no ask" jurisdiction in which the employer operates. A uniform practice will help to avoid non-compliance.
For assistance developing your compliance playbook as it relates to gender pay and pay equity obligations in the US and globally, please contact your Baker McKenzie employment lawyer.
Tags: Gender Discrimination, gender pay, gender pay gap, no-ask, Pay Equity, salary history ban
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Patrick stone student of the month november 2018
Huge congratulations to Year 10 student, Patrick Stone, who was recently awarded 'Student of the Month' for November 2018. Patrick is a dedicated student, who has a enormous talent for dramatic performance. This award is most definitely well-deserved. Amazing work, Patrick!
Patrick receiving his award from Mr Cornish
"Since the start of his GCSE Business Studies, Patrick has been a model student who always contributes to lessons and works hard to produce high quality classwork and coursework. Patrick's contributions to lessons have always been of a high level and he always tries to go to the extra mile with a full explanation, keen to demonstrate his excellent business knowledge. He has always shown a high level of commitment to the course and is always very happy to support others around him. Patrick is always friendly and polite both in and out of lessons; he is a gentleman. This award is very well deserved! Congratulations Patrick!"
L Davey, Teacher of Business Studies
"I can always rely on Patrick to help me pronounce the long scientific words!!!! He is fantastic in lessons, so dedicated and enthusiastic about the subject."
S Lilley, Teacher of Design & Technology
Patrick is frequently seen in talented performances on the College stage
"Patrick has been an absolute delight to teach and always approaches his Drama lessons with creative enthusiasm and positivity. He has played a multitude of roles, including many lead roles, from Brutus in Shakespeare's Julius Caesar to Alex Vicary in a local community-based project on World War 1. He impressed the audiences with his gifted and pensive executions in both these remarkable performances. He was an excellent role model for the other cast members as he was hard working, committed and highly inspiring. He is an extraordinary performer, merging instinct and intelligence. Patrick wholeheartedly deserves recognition for his contribution to the College and the wider community. He is talented and imaginative, with an appetite for success. Patrick is a strong leader, an empathic collaborator and he thoroughly deserves the award this month for his exceptional ability and exciting potential for the future. I am sure this is the beginning of many more triumphs."
S Godfrey, Team Leader of Drama
'As a tutee, Patrick is everything you would want from a Year 10 student. He is the perfect role model for younger students within the College. He has a mature head on young shoulders and a fantastic sense of humour that brightens up tutor time. He fully engages in the whole College experience and as his Tutor I am proud to see him excelling in his performances.'
J Salter, Team Leader of Physical Education and Tutor
"Patrick is a hugely valuable member of the class in Religious Studies. He is a deep thinker who always asks perceptive questions and makes important contributions to debates. His excellent knowledge of current affairs allows him to make links between the topics we cover in class and issues out in the real world, which always adds an interesting dimension to our class discussions. Patrick's home learning tasks are of the highest quality and his written work is outstanding. A real star!"
N Martin, Teacher of Religious & Psychology
"Patrick is a pleasure to teach! He is an organised, enthusiastic and good-humoured student, who approaches every task with a positive attitude, giving 100% every lesson."
M Dicks, Teacher of Physical Education


I thought this was an absolutely delicious moment.
"Oh, really!" "Yeah, really Joe...STFU."
That's freaking awesome. I wonder how Lieberman will get around to retaliating, the little prick.
The surprised look on Joe's face is a thing of beauty.


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Select country and language. Currently selected country: Bonaire, Currently selected language: English
Copenhagen >
Leader in contemporary art
 Arts & Culture
Copenhagen, a city of wide avenues, stately palaces and impressive warehouses, is a feast for the eyes. The Danes are famous for their unfailing eye for style: as one would expect, this hip Scandinavian capital is dressed to perfection. And the creative Danish character has delivered art and culture of the highest calibre for decades.
Copenhagen is a world leader in the field of contemporary art. Design is one illustrious example of Danish art that has conquered the world. Renowned exhibitions follow each other in quick tempo and Copenhagen's many museums will familiarise you with contemporary Danish art by both famous and yet-to-be discovered names. Works by artists such as Per Kirkeby, Olafur Eliasson and Richard Winther are among the finest examples. The exceptional museums should be part of any comprehensive visit to the Danish capital.
 An example of Danish Design
 Charlottenborg
Kunsthal Charlottenborg
Address 2 Nyhavn is the location of a huge brick palace: Kunsthal Charlottenborg. This lovely building is one of the largest museums for contemporary art in Europe and was the previous location of the Royal Danish Academy of Fine Arts. It hosts varied art exhibitions by both Danish and international artists. Entrance is free on Wednesday evenings after 5 pm. A tip is to buy an 'Art & Water' ticket which lets you visit the museum and take a tour on the canal.
 The inner courtyard of Charlottenborg
Dowager queen
Kunsthal Charlottenborg is named after the most famous widow of Copenhagen: Queen Charlotte Amalie, who married King Christian V in 1667. During their marriage, he tried to prevent her from exerting any political influence so that she would not become as influential as his own mother had once been. However, Charlotte Amalie gained much popularity with the Danish people with her charm and tact, and when the Swedish king Charles XII attacked Denmark, Charlotte Amalie gave the people access to the canons so that they could defend themselves. After her husband died, she moved to the Charlottenborg palace.
Louise, Louise and Louise
Lovers of 20th-century art will feel their hearts beating faster in the stunningly situated Louisiana Museum, just north of Copenhagen. Art, nature and architecture merge in perfect harmony on the shores of the Sound, the strait between Denmark and Sweden. The wide, light halls do justice to the world-famous paintings of Picasso and Francis Bacon as well as sculptures by Alberto Giacometti. The Louisiana owes its name to the original owner of the property, whose three wives were all named Louise.
 The garden of the Louisiana Museum
Lousiana Museum, Strandvej 13, 3050 Humlebæk
 The ARKEN Museum
Ark for contemporary art
At the age of 25, Søren Robert Lund won the award to design the striking ARKEN Museum of Modern Art which opened in 1996. The concrete colossus is located practically in the sea, some 15 kilometres south of Copenhagen. It pays homage to the ocean with its ship-like design. The impressive permanent collection comprises around 300 pieces by artists such as Damien Hirst, Wolfgang Tillmans and Olafur Eliasson. Especially worth a look is Din blinde passager bv Olafur Eliasson, a 90-metre tunnel which surrounds visitors in thick mist. The museum café provides spectacular views over the Bay of Køge.
ARKEN Museum, Skovvej 100, 2635 Ishøj
More about Copenhagen
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More than 16,000 individuals attended the American College of Cardiology's (ACC) annual meeting last weekend, March 16-18, in New Orleans. While ABIM has attended ACC's annual meeting and those of other medical specialty societies in the past, this year was of particular importance because it marked the official launch of a Collaborative Maintenance Pathway (CMP) for cardiologists who wish to maintain their ABIM Board Certification via an ACCSAP-based educational curriculum and performance assessment beginning in fall 2019.
Later that afternoon at the "Heart to Heart" stage, ABIM's Chief Medical Officer, Dr. Richard Battaglia, and Cardiovascular Disease Board Chair, Dr. Olakunle Akinboboye, spoke on a panel with representatives from ACC, the Heart Rhythm Society (HRS), the Society for Cardiovascular Angiography and Interventions (SCAI), and Heart Failure Society of America (HFSA). The society leaders from HRS, SCAI and HFSA expressed their excitement about working together with ACC and ABIM on the new assessment pathways for Clinical Cardiac Electrophysiology, Interventional Cardiology and Advanced Heart Failure, and Transplant Cardiology that are anticipated in 2020.


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In January 1913, a handful of sailors met at Peterson's Boat House at the foot of 12th Street in Oakland. They formed Oakland Yacht Club which was incorporated in December of that year.
Early history of Bay Area yacht clubs suggests that there were two yacht clubs named "Oakland." It is thought that our Club has its roots in several former clubs including The Panama YC.
Judge H.W. Pulcifer was elected the first Commodore, and the first meetings of the board of directors were held in the Judge's chambers. (The Judge served as Commodore again in 1916-1918).
Oakland Yacht Club was the ninth yacht club to be formed in The Bay Area. The others are Alvarado and San Francisco, formed in 1869, followed by Corinthian, Encinal, California, South Bay, Vallejo and Aeolian.
A $250 CLUBHOUSE
In our first year, Oakland YC received our first eviction notice. Board minutes of February 1, 1914 noted that a new clubhouse committee was formed. That October, OYC moved up the Estuary to the 19th Avenue site that would be its home for the next 63 years. A new 30' by 40' clubhouse was constructed: cost $250.
The marina consisted of wood pilings driven into the mud. Members tied their boats to the pilings and access was by dinghy. Some secured their boats to stakes on shore making access a muddy affair at low tide. In January 1919, all members were assessed $1 for a new wooden walk out to the boats. In September of that year, the board took quick action to shore up the wharf underpinnings; otherwise, the clubhouse would be laying over in the mud. Next month the board authorized payment of $95 "for labor on the wharf."
In those early years, yachting and yacht clubs were largely the domain of the wealthy and privileged who could afford the trappings of a private club and to have their wooden yachts maintained. That first year, the OYC fleet was 30 sailboats.
Jack London's sailboat was among them. The famous author-adventurer was a member from 1913 until his death in 1916. He was in good standing with the club when he died, but was posted in 1915 for non-payment of dues and then granted the first non-resident membership.
CALIFORNIA'S GOVERNOR IS COMMODORE
A prominent member in those early years was Dr. George Pardee. He was elected Oakland Mayor in 1894 and served as Governor of California from 1903 to 1907. Among Governor Pardee's pals were John Muir and Teddy Roosevelt. When Roosevelt visited California in 1903, he tried to convince Pardee to become his vice-presidential running mate. Pardee opted to stay in California. Amazingly, thirteen years after he left the governor's mansion in Sacramento, he became Commodore of Oakland Yacht Club. He served as Commodore again for four years -- 1925-28. Pardee is well known for founding the East Bay Municipal Utility District and was its president from 1924 to 1941. Pardee Reservoir in the Sierra foothills is named for him.
OYC's modest marina facilities improved in the 1920s when floats were installed for use in loading and unloading boats. By the mid-1930s, more floats were installed and the 19th Street harbor was dredged. This occasion was celebrated with a huge "Nite In Venice" party at which all yacht clubs and many local dignitaries were present. More than 300 boats, many gaily decorated, attended the party to help OYC celebrate its newly-improved harbor facilities.
STINKPOTS VS. RAG MERCHANTS
Sailboat to power boat ratio has had wide swings throughout the club's history. In spite of its early roots as a sailing club, in the late 1920s and 1930s, power boats prevailed. In 1936 the OYC fleet consisted of 61 motorboats and only six sailboats.
Famed construction and engineering firm president Steve Bechtel was a member in the 1930s and 40s. During the construction of the Bay Bridge, he regularly took visitors and business associates on his boat out to view the progress of the huge concrete stanchions, his firm's prized project.
Before the club's move to Alameda in 1977, Wednesday lunch -- sandwiches brought in by a catering firm -- was the only regular food service. Wednesday lunch continues today as one of the club's most popular weekly events.
MOVE TO ALAMEDA
Demands by the Port of Oakland, owner of the Oakland property, caused relations to became strained. In January 1977, OYC members voted to abandon the Oakland property and move to Alameda and take over Pacific Marina. A $250 assessment was levied and membership dropped to below 80. Virtually all members participated in the move which included towing the floats down the Estuary to the foot of Alameda's Triumph Street.
A modest two-story wood building located about 100 yards from the Estuary became the new clubhouse in November 1978. The building, thought to be a WWII temporary building, was formerly the office of Del Monte Properties, then owner of the large parcel that has since been developed into Marina Village. The area was strictly an industrial neighborhood of warehouses and storage lots.
The first cook was hired in 1979, but the galley continued to be largely a do-it-yourself operation. Steaks, hamburgers and spaghetti were the order of the day and the galley was operated mostly with wives at the stoves. It was the Commodore's job to shop for the food on his way to the club on Friday. During this period, Friday night dinners became a club tradition that continues today as the principal regular meal of the week. A sign-up sheet for volunteer bartenders was posted in the club lobby until the first bartender was hired in 1985.
A BRAND NEW CLUBHOUSE
OYC was in the path of urban renewal and in 1989, members voted to build a new clubhouse nearby. In May 1990, following a temporary stay in the building now occupied by the Pacific Lighthouse Restaurant, OYC moved into its fourth, and by far, most luxurious clubhouse.
Now over 100 years young, Oakland Yacht Club enjoys a rich heritage and an enviable reputation among the Bay Area's boating community. With the acquisition of its marina in 1998, OYC is one of only four area yacht clubs that owns all of its own facilities. Its 240+ member families enjoy a calendar full of race, cruise and social activities.


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Susanne Knipper is a female model that has walked the runways for Hermes, Emporio Armani and Balmain.
Susanne Knipper is signed with Elite Stockholm, Munich Models Munich, Elite London, Elite Barcelona, Elite Amsterdam, Elite Copenhagen, Elite Milan, The Society Management New York and Elite Paris. Her mother agency is Elite in Amsterdam.
In 2015 Susanne Knipper walked the fall couture runways for Versace, Chanel, Elie Saab, Fendi, Zuhair Murad and Alberta Ferretti. She walked the spring runways for Daks, Mary Katrantzou, Gareth Pugh, Philipp Plein, Carven, Barbara Bui, Akris and Moncler. She modeled for an editorial in the September edition of Mixte, which was called Black Forest.
In 2016 she walked the spring couture runways for Dior, Chanel, Giorgio Armani and Zuhair Murad. She walked the fall runways for Jason Wu, Suno, Opening Ceremony, Sies Marjan, 3.1 Phillip Lim, Narciso Rodriguez, Marc Jacobs, Paul Smith, Mary Katrantzou, Topshop, Erdem, Fausto Puglisi, Emporio Armani, Bottega Veneta, Ports 1961, Dolce & Gabbana, Dsquared2, Vionnet, Yang Li, Emanuel Unagro, Veronique Branquinho, Miu Miu and Off-White. She walked the Marc Jacobs Resort show. She walked the fall couture runways for Schiaparelli, Chanel, Alexandre Vauthier, Elie Saab, Viktor & Rolf and Zuhair Murad. She walked the spring runways for Zimmermann, Cushnie et Ochs, Tadashi Shoji, Jonathan Simkhai, Prabal Gurung, Carolina Herrera, Monique Lhuillier, Narciso Rodriguez, Zac Posen, Marchesa, Daks, Emilia Wickstead, Erdem, Mulberry, Roberto Cavalli, Giorgio Armani, Ermanno Scervino, Dolce & Gabbana, Trussardi, Krizia, Lanvin, Vionnet, Balmain, Emanuel Ungaro, Roland Mouret, Emporio Armani, Hermes, Esteban Cortazar and Redemption Choppers. She modeled for an editorial in the June edition of Glamour Iceland, which was called Beaching the Streets. She modeled for an editorial in the July edition of The New York Times Online, which was called Colorful Knits: The More, The Merrier. She modeled for an editorial in the August edition of Vogue Russia, which was called The Power of a Woman. She modeled for an editorial in the August edition of Glamour Iceland, which was called Summer Shadows. She modeled for an editorial in the September edition of Harper's Bazaar US, which was called Making His Marc. She modeled for an editorial in the October edition of Wonderland Magazine, which was called Play Time. She was in the spring ad campaign for Faustine Steinmetz. She modeled lookbooks for Narciso Rodriguez and Area.


text:
Paper Cranes For 'Yolanda' Children Survivors Raise US$ 1K
by Joseph G. Lariosa January 14, 2014
written by Joseph G. Lariosa January 14, 2014
CHICAGO (FAXX/jGLi) – A Japanese legend of folding a thousand paper cranes as symbols of peace and hope inspired a Vietnamese American school girl to raise funds and bring a message of peace and hope to Filipino children, who survived super Typhoon Yolanda (Haiyan) in the Philippines two months ago.
Tenth grader Francis Nguyen (pronounced nuhWIN or WIN) along with friends Chieu Le, Teresa Do and Kali Gabriel asked their families and friends to fold one thousand paper cranes to sell at a dollar a piece to be donated to the Filipino children devastated by the typhoon in Central Philippines.
Meanwhile, Philippine Ambassador to the United States Jose L. Cuisia, Jr. asked the U.S. government to allow the duty-free importation of products from areas devastated by Typhoon Haiyan to spur the recovery and rehabilitation of the affected communities.
When she turned over the paper cranes and the $1,000 she raised for the typhoon survivors to Ambassador Cuisia at the Philippine Embassy in Washington, D.C., Nguyen said, "Cranes symbolize hope, health, happiness, and longevity. People need something to hope for and smile about when they believe there isn't much to look forward to in their future."
She explained, "The Crane Project, which seeks to bring hope after devastation, was inspired by the Japanese myth that if one folded a thousand cranes, his or her wish would be granted."
CUISIA THANKS VIET AMS FOR THEIR KINDESS, GENEROSITY
"I would like to thank you for your kindness, generosity, and prayers. The children in the Philippines, especially those orphaned by the typhoon, need those things you mentioned—hope, health, happiness, and longevity—as we move from the relief phase to the rehabilitation phase," said Ambassador Cuisia, who also received at least $18,000 from representatives of the Vietnam Buddhist Center and the Tu Bi Foundation.
Nguyen first folded paper cranes following the earthquakes and tsunami that struck Japan in 2011. "We think of it not as helping victims but helping friends and family," said Nguyen as she recalled how thousands of Vietnamese found friends and family in the Filipino people during the migration of the boat people starting in 1975.
Le along with Nguyen and representatives of the Vietnam Buddhist Center and Tu Bi Foundation also expressed their sympathies to Ambassador Cuisia for those who lost their lives, homes and loved ones during Typhoon Haiyan.
Venerable Thich Nguyen Hanh, Abbott of the Vietnam Buddhist Center, said, "We comfort each other in the face of enormous tragedy and loss of life, which reminded me of the massive migration of the Vietnamese boat people fleeing Vietnam to find freedom in 1975 and landing in the Philippines."
The paper cranes and funds raised were turned over by Ambassador Cuisia to Feed the Hungry, Inc., a Philippine-based, volunteer organization aimed at uplifting the spirit and well-being of the poor through feeding, community and economic development, gift giving, education scholarships, classroom building, and calamity relief and emergency medical assistance programs.
JUST LIKE HAITI
Meanwhile, Ambassador Cuisia, Jr. also announced a plan for a duty-free importation of products in the U.S. from the devastated areas in his remarks at a conference at the Center for Strategic and International Studies (CSIS) on the role of the United States government and military, the private sector and non-government organizations in responding to the devastation.
"Similar to what the United States did following the Haiti earthquake, the Philippines is looking at possible trade preference for products from Haiyan-affected areas," Ambassador Cuisia said.
In his presentation, Ambassador Cuisia again expressed his appreciation to the US Government and the American people for the generous assistance extended to the Philippines in the aftermath of Typhoon Haiyan.
The typhoon, one of strongest in recorded history, killed as 6,183 people dead, affected 2.6 million families and displaced 930,000 others. Another 28,626 people were injured and 1,785 people remain missing. It also left more than $12.9 million in damages.
According to the ambassador, the total US assistance package from the US government alone is estimated at around $85 million and covered food aid, shelter materials, clean water, and hygiene education and supplies for affected families as well as protection for vulnerable populations.
This amount includes the $25 million in additional aid announced by Secretary of State John Kerry during his visit to Tacloban in December. The US Chamber of Commerce Typhoon Haiyan Corporate Aid Tracker has also reported over $51.8 million of business pledges to support recovery efforts as of December 5.
MUCH WORK TO BE DONE
"There is much work to be done, and in the spirit of the alliance and partnership we have shared, we continue to count on your invaluable assistance," Ambassador Cuisia said, adding that at least $8.2 billion is needed for the Reconstruction Assistance on Yolanda Plan that the Philippine government unveiled last month.
He said the Philippines will continue to need assistance in the long-term recovery and rehabilitation of 171 municipalities in four regions of the country that have been identified as priority areas for assistance.
According to the ambassador, the priority needs that have been identified include shelter, food, debris removal, water systems and access to sanitation facilities. Other priorities include livelihood, public health services, education and national protection capacity.
The forum entitled "US Response to Typhoon Haiyan in the Philippines" was hosted by CSIS and Abbott, and moderated by Murray Hiebert, Deputy Director and Senior Fellow and Ernest Bower, Senior Adviser at the Sumitro Chair for Southeast Asian Studies of CSIS.
Panelists from the US government were, Principal Deputy Assistant Secretary Scot Marciel of the Bureau of East Asian and Pacific Affairs, Department of State; Deputy Assistant Administrator for Asia Gregory Beck, US Agency for International Development; and Brig. Gen. Joaquin F. Malavet, Principal Director of Asia and Pacific, Office of the Deputy Undersecretary of Defense at the Department of Defense.
Panelists from the private sector were Marc DeCourcey, Executive Director of the Business Civil Leadership Center of the US Chamber of Commerce; Thomas Tighe, Chief Executive Officer of Direct Relief; Kate Irvin, Group Director for Diplomatic Relations of the Coca-Cola Company; Chris Palusky, Senior Director of Humanitarian and Emergency Affairs of World Vision; Suki McClatchey from Abbott; and Evangeline Ganuelas, Executive Director of Feed the Hungry, Inc.
PHOTO CAPTION AND CREDIT
FOLDING A THOUSAND CRANES: Ambassador Cuisia (left) with members of the Vietnamese Community who turned over almost $20,000 they were able to raise for victims of Typhoon Yolanda, including $1,000 raised by Tenth Grader Francis Nguyen from a paper crane folding fund-raising project. (Philippine Embassy Photo by Majalya Fernando)
Joseph G. Lariosa
Correspondent and syndicated columnist of Journal GlobaLinks (JGL), formerly Journal Group Link International, a Chicago, Illinois-based news agency, public relations and advertising outfit, has been a veteran journalist from both sides of the Pacific. He holds a Bachelors degree in Journalism from the Lyceum University of the Philippines. He is few units short of completing his Masters degree in Journalism at Chicago, Illinois-based Roosevelt University.
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Adaptability. On most alternative breaks, you live and work in a new community which helps develop an understanding of how to adapt to a variety of cultural settings. A willingness to immerse yourself in new environments shows employers you can fit into any workplace.
Teamwork. The service you do with your team throughout the week and the long hours you spend surrounded by the same group of people creates team cohesiveness like no other experience can. This experience shows employers that you are a master of collaboration -- a valuable attribute for any position.
Resiliency. If spending multiple nights on a cot in a crowded gym and getting ready in the morning without the comforts of home can teach you anything, it's resiliency. Being able to thrive in varied circumstances is a key quality for every job candidate.
Self-Awareness. Throughout alternative breaks, opportunities are given for reflection about both service and individual experiences. Reflecting on progress, identifying areas for improvement, and acknowledging your own change in thinking shows employers your commitment to both professional and personal growth.
Passion. After engaging in an alternative break, it's hard to walk away without a hunger to do more in your community. This passion for service shows employers you are ready to commit to causes you believe in.
Alternative Breaks help develop skills you may never realize you had, allowing you stand out to savvy employers. Learn more about how you can give and get a lot in return during your next break by volunteering. Search for a volunteer opportunity that fits your passions today.


Added a minor change to allow .tar.gz extension for the --scripts-version CLI.
I didn't enable the .tar extension, It's supported by the package(tar-pack) but it seems not to be supported by Yarn.
Oops indeed, overlooked this one.


Clans in the metro do not only serve as a venue for like-minded people to be in a group where they can be who they truly are or to secretly find a mate that most of us perceive that they've been doing for the longest time. It also serves a conducive place for volunteerism and good works that have ripples of meaningful change in our society. Take the Men's Exclusives as an example for a clan with a noble cause.
Founded on February 14, 2013, by Zy Freh, Men's Exclusive has already etched a mark in the LGBT community especially for the MSM group with their outreach programs that are not the common thrusts of most clans elsewhere. More so, they spearheaded the "Top Ten Most Outstanding Clans/Organizations In Mega Manila." It only shows that they do not only seek acknowledgment for their group alone but also the use of collaboration with different clans for what our community can still offer the society as a whole.
In order to foster camaraderie and a deeply-rooted relationship among members, Men's Exclusives highly encourage community service in the group. With that, volunteer works serve as a haven for a life-changing experience that, in the long run, expand their horizon and to embrace meaningful relationships.
So do you want to join a clan that will make you grow as an LGBT advocate catering to the needs of the society and giving service above self? Then join Men's Exclusives by clicking here.