text:
Q: How to get every paired value as a separate list |python| a = [1, 2, 3]
b = [4, 5, 6]

res = next(zip(a, b))
print(res)

Output:
(1,4)

how to get every pair in aa a separate list?
Expected Output:
[1,4]
[2,5]
[3,6]

A: you can zip the items in a list and unpack them in a list comp.
new_list = [[x,y] for x,y in  zip(a,b)]

print(new_list)
[[1, 4], [2, 5], [3, 6]]

the issue with your solution is your first turning your lists into an iterator (correct) but you are only calling the first value with next


Home » Blog » When is the best time to buy a Medicare supplement plan?
Deciding when to buy a Medicare supplemental insurance policy is a very important decision. If you wait until it's too late you never be able to buy a Medigap plan if you have health issues. It is very important to be aware of when your enrollment period is for Medicare supplement insurance. This is not the same as your regular Medicare enrollment period, I know this all can be confusing, so I hope my explanation helps.
The best possible time to buy a Medicare supplement plan if you are NEW to Medicare, (either turning 65 or enrolling into Medicare Part B for the first time) is during your Medigap open enrollment period. This period starts the 1st of the month you turn 65 and lasts for 6 months. For example; John turns 65 in April of 2016. His Medigap open enrollment period starts April 1st and lasts until September 1st.
The reason why this the best time to purchase a Medicare supplement policy is because you have the freedom to buy ANY Medicare supplement plan regardless of your health. You can literally be on your deathbed and the insurance companies HAVE to sell you a plan, and they CANNOT increase the premium based on your health.
If John had decided to wait until October to buy a supplement plan he would be subject to medical underwriting.
For those people who are outside of their open enrollment for Medicare supplement insurance, they need to answer basic "yes" or "no" health questions to get approved for a plan. This only applies to the standardized plan letters (such as F, G, and N) and does not apply to Medicare Advantage as there are no health underwriting requirements with Medicare Advantage.
If you currently have an employer plan and Medicare parts A and B then you have the choice of going through health underwriting to get a Plan G or N, or using your guarantee issue to get a Plan F.
If new to Medicare buy before or during your open enrollment which starts the month your turn 65 and lasts for 6 months. The best bet is to apply for a policy 2-3 months before your 65 birthday, that way you get the ID cards and policy in the mail before you go onto Medicare.
If you are past your Medicare supplement enrollment period you can apply for a policy ANYTIME throughout the year but you will be subject to health underwriting.
To discuss your health history with us, please contact us directly, toll-free at (800) 208-4974 or complete our quote request form.
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text:
Q: C - Creating Sub Function To realloc Array Size I'm having an issue with pointers. I've read through 30+ posts on this subject and none match my setup. Here's what I'm trying to do:
void doSomething(myStruct **myList)
{
    resizeMyList(myList,5);

    myList[0] = '42';
    myList[1] = '43'; // ERRORS OUT OF MEMORY
}

void resizeMyList(myStruct **theArray,int size)
{
    myStruct *new_ptr = realloc(*theArray,(size * sizeof myStruct));

    if(new_ptr)
         *theArray = new_ptr;
    else
         printf("died");
}

After my resize function executes myList fails to get the new pointer. What am I doing wrong?

A: You do
myList[0] = ...

but myList is a double pointer so it should be
(*myList)[0] = ...

Also, you try to assign multi-character literals to a structure.

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text:
Maloram  is a place in the Puthuppadi village in Kerala,  India. The highway sided Hillside place is one of the cleanest area in Kozhikkode district.

It is under the Thiruvambady Assembly Constituency.

Demographics
 the India census, Maloram is the 16th ward of Puthuppadi Panchayath. the Current Ward member is AYISHA BEEVI from Indian Union Muslim League. According to Voters list and other sources, Around 600 Families and 3000 Peoples are living at this area. They are 60% of Lower middle Class families and 20-20 Upper middle class, Poor families.

National Highway 766 (India) Is the main transport road at Maloram.

References

Thamarassery area

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Home Constitutional Law What is Preamble in Constitution? Scope, Contents And Legal Status
What is Preamble in Constitution? Scope, Contents And Legal Status
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The Constitution of India and the Constitution of many countries of the world have a very vital part which is known as the Preamble. Also, some enactments of "extraordinary" character also have a preamble.
Enactments of extraordinary character simply refer to laws made in answer to some age long challenge(s) faced by the country. While the Constitution is the principal enactment which defines the legal framework and the validity of other enactments in a country. An example is the Constitution of India.
The Preamble as mentioned above is a part of a Constitution which has triggered a lot of constitutional and judicial controversies.
These debates and controversies are simply rooted in the political cum legal issue of "whether the Preamble is an integral and an operative (enforceable) part of a constitution?"
The reason behind this study will be of no good if the issue is resolved in favour of any school of thought without first and foremost starting an overview discussion on the concept of preamble. This discussion will not be limited to one jurisdiction but to other common law jurisdiction of the world.
What is Preamble?
The Preamble is the "user manual" of a Constitution. It is the introduction to law or statute, and in this case, the Constitution. It is of the same character with the preface of a book.
In this regard, a preamble is intended to state the subject, aims, and objective of the constitution which it is the preface of. Some had also viewed the preamble as a way of life which is aimed at guiding the use and interpretation of the constitution.
Nature and Scope of a Preamble
By the resolution of the Constituent Assembly of India on the 26th day of November 1949, the preamble was adopted. The day it gained the force of law which is on the 26th day of January 1950, is the day set down as the Republic day of India.
The court in the case Golak Nath v. State of Punjab Coram, Subba Rao .J. had observed that preamble to Acts are a part of such objectives which the enactment is set to achieve.
The nature of the preamble of the Indian Constitution is to serve as a recital which highlights various relevant facts of the Constitution in order to give a clearer understanding of the Constitution when it is being interpreted.
A preamble may be also operating to ascertain the extent or limitations of certain expressions and the reason for the said expression used in the Constitution.
The reliance and resort to the preamble for the interpretation of the Constitution in the event of ambiguity is a legitimate exercise of power by the court of any other body with the power to grant an interpretation of the provision of the Constitution of India.
Summarily, the preamble of the Indian Constitution indicates the source where the Constitution comes from and consequently derives its authority. It also posits the objects which the constitution shall serve and promote.
The Contents of the Preamble
The contents of the preamble of various countries may vary. Unlike the preamble of countries like Canada, the provisions of the preamble to the Indian Constitution is quite elaborate and this section of study shall subsequently examine the same.
By way of discussion, we shall highlight the following as the essential content of the preamble to the Indian Constitution:
We the people of India
Dignity of Persons
Here, the preamble clearly provides for the persons whom the constitution is meant for, the makers and the most important persons who the wordings of the constitution applies to.
Again, the powers created and vested in some offices clearly emanates from. This is vested in the people who shall be held accountable. It is also exercised in trust for the overriding benefit of the Indian citizens.
The Supreme Court in of India had in the celebrated case of Union of India v. Madangopal that the part of the preamble hold and recognize the legislative competence of the Indian Legislature to make laws.
Therefore, the commencement predates the constitution itself and the law will recognize and uphold it. The Supreme Court further observed that the constitutional powers of the legislature to make such retrospective laws seemingly by virtue of the preamble emanates from the people of India
Sovereignty is the enormous and unfettered power of a State or Country. The good people of India, in the preamble voluntarily resolved to be the Sovereign Democratic Republic. Sovereignty may be external and internal in nature.
While external sovereignty is the authority of a State (in this case, India as a country) to pilot its affairs without recourse to any other country for validation. Internal sovereignty, on the other hand, is the relationship of the State and its agents with the citizens which cannot be challenged by anyone except with a lawful excuse.
Adopting the spirit of law as reposed in Article 5 of the Constitution of Ireland, it is summarized that the concept of sovereignty as highlighted in the preamble to the Indian constitution is the ultimate power which is vested in a state to determine its legal, political, social, religious and economic fate without recourse/validation from any other source.
Socialism advocates the communal ownership and control of means of production, distribution, and exchange.
By the Constitution (42nd Amendment) Act 1976 of India, the Socialist approach to the socio-economic life of India was reaffirmed.
While the country may be operating a mixed economy, in reality, the status of the Socialist approach in the socio-economic life in India has faced the judicial interpretations and obviously came out purer and stronger. The case of Excel Wear v. Union of India is instructive on this.
The court had, in that case, relied on the preamble to lean more in favour of socialism while recognizing the right to private ownership and the means of production which in fact is prevalent in India.
See also the decisions of the court in D. S. Nakara v. Union of India and Samatha v. State of Andhra Pradesh, where the Court also sought reliance on Articles 14, 15, 16, 17, 21, 23, 38, 39, 46 of the Constitution in determining the extent of the socialism doctrine contained in the constitution.
The Preamble also embodies the basis of the doctrine of secularism in India. The doctrine of secularism is the liberty of the State as well as the citizens to run their affairs without recourse to a state adopted religious dictates for validation.
The Supreme Court in the following cases St. Xavier's College v. the State of Gujarat, S. R. Bommai v. Union of India, Aruna Roy v. Union of India, I. R. Coelho v. State of Tamil Nadu insisted that the doctrine of secularism is not intended to divest or rob the citizens of their right to maintain a relationship with God and it is not intended to render the country as an anti-religious state.
The political am]nd legal doctrine of democracy also enjoys validation in the Preamble to the Indian constitution.
As held by the Supreme court in the case of Mohan Lal v. District Magistrate, Rai Bareilly, observed that the import of the doctrine of democracy is simply a society governed by the rule of law which shall also remove the reliance on democracy to occasion dictatorship by majority.
Flowing from the basis of the doctrine of democracy, the Preamble also accommodated the solemn resolution of the people of India to be a republic. This, in essence means that, the actual sovereignty as mentioned and briefly discussed above is imbibed in the masses.
Justice/ Equality
The aim of justice and equality as enshrined in the Preamble to the Constitution of India is to ensure the attainment of a possible degree of social, economic and political equality among the masses in the pursuit of their legitimate goals.
Liberty/ Dignity of Persons
The doctrine of liberty states that the masses are free from any form of restriction in their public and private life provided they live within the dictates of the law which is validly enacted.
In consideration of the diverse races, religion and other realities of the Indian citizens, the draftsman of the constitution had impressively emphasized the basis of unity notwithstanding the diversity in India by providing the Fraternity clause in the preamble.
The Legal Status of a Preamble
A careful look at the various definitions and existing works of literature on this subject matter, one may conclude that the preamble is not a part of the constitution neither does it enjoy the force of law.
The courts are not left out in this controversy, the Court had in various cases held that a preamble is to merely operate as a legislative spare tyre which can only be resorted to solely for clarification.
See the cases of State of Rajasthan v. Basant Nahata, Kesavananda Bharat's case and Union Government v. LIC of India, where the courts keep ruling in this favour. It overruled that the Preamble to the constitution as well as any law which may contain a preamble is an integral part of that constitution or that enactment which embodies the preamble.
This study affords a great insight into the meaning and the very nature of a preamble to an average reader. This subject matter did not restrict the discussion on the preamble to only as it is contained in the constitution but also reflects that, it may also be contained in an enactment which has a rich history.
The very nature of a preamble and its usual embodiments were highlighted and discussed in this study as well as exposing the judicial approach to same. What really calls for determination in this conclusion is the legal status of a preamble.
Against the observed controversy surrounding the status of a preamble, it worthy of submission that surely, a preamble is beyond a preface and a legislative spare tyre which is only resorted to in the event of ambiguity. In fact, a preamble to the constitution is the constitution itself for the reasons stated hereunder.
The preamble dictates the entire content of a constitution. While it may be argued that the contents of a preamble are not justiciable, it is further submitted that all that part of the constitution which is deemed to be justiciable enjoys the force of law.
Therefore, there are the offshoots of the preamble. This means that the said preamble is justiciable through its offshoots.
Again, will the court fall back to a non-legislative piece to determine or resolve the ambiguity occasioned in a constitution? The answer is clearly No. If the preamble of a constitution is not a legislative piece which enjoys the force of law, the court cannot rely on it to properly resolve an ambiguity faced while determining the constitution.
Finally, the said preamble is also enacted together with what is usually deemed an operative part of a constitution.
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Collins English Dictionary - New Zealand Edition (10th rev. ed Gift Ed)
Author(s): eds.
Collins is proud to announce a major new edition of its flagship dictionary. Updated with the latest terms to enter the language, the dictionary is not only comprehensive and authoritative, but also offers outstanding coverage of world, regional and dialect English. Collins New Zealand Dictionary is a rich source of words for everyone who loves language. This new gift edition includes the latest words to enter the English language as well as a wide range of biographical entries. Usage notes give advice on using the right word in the right place, and thousands of etymologies trace the roots of modern English. A clear, two-colour page design helps to make this dictionary accessible and easy to use, and the new virtual thumb tab makes it even easier to find the entry you are looking for. The dictionary includes a supplement on words on the cusp of entering the language, as well as an extended essay on how English has changed in the last 30 years, and looking forwards to the next 30 years. All definitions, examples, idioms, and usage notes are based on the Collins Corpus - our unrivalled and constantly updated 2.5 billion-word database of today's English - making it an authoritative and up-to-the-minute reference source.
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Publisher : HarperCollins Publishers
Imprint : Collins
Author : eds.
Edition : 10th Revised edition
BIC subject : Dictionaries


text:
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Interview: Back in Analogue Land
Revue & Corrigée, Vol. 63, France, May 2005
Text by Rui Eduardo Paes
The world traveler born in Japan is recovering the audio cassette as a means of musical creation. After all, in present times digital technology isn't the only way. Let's have some noisy, dirty sound surfaces again.
He could be one of the greatest studio producers working in New York right now, both in the fields of pop music and electroacoustics, but Aki Onda choose another way: he's in love with portable cassette tape recorders and cheap audio cassettes and uses them to make good, experimental, democratic electronic/concrete music. Myself a devotee of the cassette format, which I used in the beginning of the Nineties with my plunderphonic industrial-punk-noise project Astronauta Desaparecido, I had to interview him and ask everything there is to ask about his use and abuse of those tools. Welcome back to analogland...
Rui Eduardo Paes: You used to work with samplers and computers, you have a long experience as a producer and a studio technician and you're specialized in sound synthesis. With this digital background, what really made you turn to audio cassettes? You said already that your cassette option doesn't mean anything. It's hard to believe... Maybe you don't have grand philosophic explanations, but something justify certainly your decision to work with lo-fi technology. What? The portability? You have DAT recorders...
Aki Onda: They are just tools for making music. Digital and analogue equipment have different sound characters. I use both of them to bring out the best they have, and to combine them together. It's impossible to get the warmness of cassette sound by using laptop. But when I do serious and tedious editing, I prefer using a computer and Pro-Tools. It depends on what kind of music you make, and your music determines the method. The reverse is not true.
However, I love the texture and timbre of the cassette sound. It's obscure, not clear enough for the reproduction purpose. Sound wouldn't be the same as the sound you listen to, it would be changed in a characteristic way. It's interesting that it gets richer because of its fault. Also, when I play cassettes, I plug them into an old guitar or bass amp, such as Fender, Vox, or Ampeg, instead of using loudspeakers. I can get the perfect sound for me from this combination. Although the amps should be vintage tube ones. I have a problem with the sound of new amps, even re-issued ones. It's too clear, and not punchy and cranky enough. As you know, I only play field recordings I have been collecting for more than a decade, and I consider them as memories of my personal life. They are not just sound, I could say... I also play memories. So, in a sense, I make the determination of sound quality by mimicking the human memory system. We don't remember things clearly and mathematically, like digital media does. Rather, the details of our memories are distorted and compressed, like fuzzy images wedging themselves into the realm of oblivion. My sound should be closer to those memorial images I have in my mind.
Paes: Are you aware of the work of other musicians/sound artists that use cassette recorders/players as instruments, like, for instance, the swiss Andres Bosshard and his "cassetten-machinen", several portable cassette recorders connected to a computer? And did you know about the cassette chains through the world in the Eighties, with musicians using the mail to receive and send cassettes of collective, added, work, with the results also comercialized in cassette format ("The Cassette Mythos Audio Alchemy" series coordinated by Robin James for What Next/Nonsequitur Foundation was one example of this "cassette culture")?
Onda: I don't know those musicians and artists you mentioned. But I know there was a worldwide community of musicians who used cassette medium for mailing their work to each other in the Eighties... In my case, picking up a cassette recorder was purely by chance. I bought the first Sony cassette Walkman at the market in Brixton, London, in 1988, just before visiting Morocco. When I was in that country, I was quite impressed by the exotic soundscape of the cities, and wanted to record them since I had just bought the brand new cassette recorder. My ears were also attracted by Moroccan traditional and modern pop music, which you could hear through radios, and purchase them by cassette tapes at cassette stores (not record stores!). I actually bought many of them at that time. The cassette format was still very popular in many Asian and African countries, and I guess it still is, even in the 21st century.
I wasn't aware of what I was doing in the beginning. I was young and inexperienced, and looking for what I could do. It was actually before I started making music. So, the first seven or eight years, I was collecting these sounds recklessly, innocently, just for fun, without knowing what to do with them. Although, after I started making music, I was playing sampler and computer, using cassette sound as a sampling source sometimes. Then, much later, I started performing with cassette Walkmans and my collection of field recording tapes around the year 2000, after I moved to the US from Japan. Eventually, it would lead me to start making the albums of the Cassette Memories series. The first one was released in 2003. Actually, it took fifteen years or so to reach the point where this project was ready to appear in public. I could say that it had automatically developed very slowly by itself.
Paes: In a text distributed with the CD Ancient & Modern you say that the "compositions" you make with your "cassette diaries" are only memories of sound, "dreamscapes," freed from all meaning, and even from your own subjectivity. You also told about these sounds that they're concrete (as you know, in concrete music the sound is separated from it's source and identity). Knowing this, there is something that puzzles me. The fact that you name some of your pieces with descriptive titles, like "The Little Girl in Tangier" or "Rain." In other words, you're telling what it is, you're conducting the attention to the origin of the sounds. But there's more: you don't simply press the rec key and stay with it - you walk and you choose the sounds you like, you record and you stop recording at will, in such a way that each recording is a choice made by you. There's really no random, no chance, factor in here, but your conscious choices. We hear your sound choices, not only your memories but the decisions you make to memorize. Even if you layer and mix it with other sounds, they're still choices. There's no contradiction in all this?
Onda: Well, it's a bit difficult to answer to this question. There is much logic in what you say. But you're trying to analyze my music from the "outside" by using the logic of language. But when I play music, I'm "inside." Music has another type of logic that you can't explain in words. It's much more intuitive, abstract, and momentary (how do you describe fluid movements of a dancer by using words? Can you catch them?). Also, when I write a text, I try to use words musically, or metaphorically. There is no contradiction if you are in it.
Paes: I feel there's a distance between the way you present your proceedings and what we hear in your work. Knowing that you mix different field recordings from different time-spaces, it's with some surprise that I hear very musical pieces, with what seems to be instrumental sounds, sometimes more present, even, than the field recordings recognisable as such. And you use loops very often, even to structure the pieces with a repetitive rhythm. So, in your records you don't give us only the sounds you collect in your travels. Not only you mix them, but you also process them (at least, it seems), you loop them, but you make us, listeners, not to focus in that side of your work. When you play live, yes, it's easy to understand that you're manipulating your cassettes, but listening to the records can be a bit puzzling if we follow your words about it. You insist in a "I found it" approach, forgetting the "I made it" part of the thing. Why?
Onda: When I play cassettes, so to speak my memories, I try to open up my unconsciousness, it's like automatic-writing, leave it wherever it goes. Sometimes, it takes me to a place where I wanted to go, sometimes it leads me to a place I didn't expected. I try not to control music, just control sound, the music itself does the work for me, as if the music made itself, and I just welcome it as it were. That means; I'd like to take off any intention at that very moment. And now, I'm talking about musicality, which is an abstract idea, but you are talking about the process of making music, or music production, which is the concrete idea. They are different, right?
Paes: Not necessarily. Another question: You're a radical experimentalist, you worked as a pop producer, you already told that encountering hip-hop and house music changed your life, and you worked until recently right in the middle of the electronics "establishment," in the Electro-Acoustic Music Studio at Dartmouth College, in New Hampshire, with a maverick in what concerns electronic music, Jon Appleton. How do you deal with all this? Are you the product of those "transversalities"? Do you feel divided in some way? I suppose we can't point you as an "experimental academic" or a "popular electro-acoustician" (laugh)...
Onda: You'd better stop giving a definition! It's a sickness (laugh)! I'm not a strange animal like "experimental academic" or "popular electro-acoustician," not even a radical experimentalist. I make music, and music tells you everything, period. Why don't you leave it as it is? I think it's quite normal to have this kind of mixed background nowadays. If I had studied, and developed music in a specifically established world like contemporary music, jazz, techno, or whatever, I would have taken a different path. But I was self-taught, and I still am. I always learn something from my own experience. Also, I've been exposed to many different types of music, and curious to all of them, like many other musicians in our generation. It's the natural consequence of circumstances.
I was staying as a visiting composer in the Electro-Acoustic Music Studio at Dartmouth College, which Jon Appleton serves as the director. But my term, which was three years, was over. I don't think I've been a part of the academia. The reason Jon Appleton hired me was, I had another type of experience, outside academic world, and he expected me to bring those experiences into the academic institution. More than that, it is all about the friendship between Jon and I. Our relationship wasn't like master and pupil. We understood each other, exchanged our ideas and experiences on music. We actually had a wonderful time there. Jon is an open-minded person, and has a huge appetite for open forms of music. He has been inviting many composers from different fields, for instance Don Cherry was there, and Jon and Don made an amazing duo album, Human Music, together for Bob Thiele's Flying Duchman. Someone should re-issue the album. It's so brilliant... Anyway, I moved to Brooklyn, New York, two years ago, where I've been working as a free-lance. New York is my hometown now.
Paes: I notice you have many references in free jazz and that you played with some free-improvisers, like Otomo Yoshihide, Ikue Mori, Alan Licht, Loren Connors, Noël Akchoté, Un Drame Musical Instantané, Jac Berrocal... How do you position yourself in relation to jazz and to improvisation, since it's evident you're not a jazz player?
Onda: Those musicians you mentioned have different backgrounds. Of course, they improvise, that's true, but they also compose. Besides, their ways of improvising (and composing) are rather different. However, they all have adventurous personalities. Their inquiring mind has inspired me so much. Anyhow, each of them has their own musical world, extremely strong ones. Probably, that's the biggest reason I've been collaborating with them.
Also, another notable reason is... I'm not sure if you selected those names intentionally or not... Anyway, all of them are somehow connected to a visual mode of expression. Otomo Yoshihide has been making many soundtracks for Asian films (including Japanese ones). Ikue Mori also makes visual works. She has been one of my favorite musicians for the last fifteen years. I learned a lot about improvisation from her playing. Alan Licht founded Text of Light with Lee Ranaldo, which plays imaginary soundtracks for Brakhage's films. Loren Connors takes photos, draws paintings, and writes poems. I admire him, and his work, a lot. Noël Akchoté; has been strongly connected to film and photography. He has a vast knowledge about them and applies techniques of those media to music. Un Drame Musical Instantané; was the first group that played live music for a silent film, as I remember, in the Seventies. They made many theatrical pieces as well. Jac Berrocal is an amazing actor in his life (laugh). He's a devastating character who dreams the rock'n roll swindle! He's been making albums that would work as imaginary soundtracks as well. His music is full of visual images for me.
Have I been associating with jazz? I don't think so... However, the first record I liked in my life was Art Ensemble of Chicago's People in Sorrow. I was fourteen years old, I guess. I also listened to other jazz musicians' albums, John Coltrane, Albert Ayler, Don Cherry, Cecil Taylor. It was because of my family environment. My father taught in a university, and my mother was a painter. So there were many scholars, artists, so called intellectuals, around us. And listening to avant-garde jazz was a sort of fashion among those people, although my parents were not interested in music at all. Those people introduced free jazz to me, and told me how radical and progressive this sort of music was. However, I mostly cared about the emotional impact of music since I didn't have any musical knowledge at that time. Because of that, I preferred Art Ensemble of Chicago and John Coltrane to Anthony Braxton and Cecil Taylor. Actually, Braxton and Taylor gave me headaches (laugh), because I couldn't understand the complexity of the musical structure. I'm listening to Cecil Taylor quite often now, and I like it very much though. Anyway, jazz, specially free jazz, was the first music that I was interested in, that's true, but it was only the beginning, and my curiosity to music expanded after that. It didn't take time to find Brigitte Fontaine's Comme A La Radio which was an epiphany for me, and other Saravah stuff like Nana Vasconcelos, Pierre Akendenge that led me to some other French groups like Un Drame Musical Instantané;, Jac Berrocal's Catalogue several years later, also some American composers who had the same kind of taste, narrative and visual oriented, with funny mixtures of styles, like Annette Peacock, Michael Mantler, Kip Hanrahan, John Zorn... Then, I started listening to hip-hop, which gave me a fresh surprise. It was amazing that they could make music just by playing turntables! That was one of the reasons that I bought a sampler and a computer. I thought I could make some kind of beats by using them although I didn't have any musical education... Another big influence I had was the French electro-acoustic music originated by Pierre Schaeffer. I was strongly inspired by early GRM records, especially Schaeffer, Francois Bayle, Bernard Parmegiani, and Luc Ferrari. The idea of musique concrete was naturally acceptable for someone who started making music with a sampler and a computer, like me, and their ideas opened up my mind, which was a bit captured by hip-hop beats. I started associating with an abstract way of composing, and thinking as well in terms of sound.
But I should stop talking about my listening background here otherwise it would last forever. This is just a little part of it. It's so amazing that when you start exploring the whole universe of music, even if it's just underground music, it's endless. You could enjoy the adventure for the rest of your life.
Paes: I know that the most part of your references aren't from the music field. Even if you point out Phill Niblock or Luc Ferrari, there's Jonas Mekas, an experimental cinema icon, Peter Beard, Robert Frank, Stan Brakhage (not Chris Marker?). Why does that happen? And you have also some literary influences, like Marguerite Duras (who directed films too, by the way), and I read a review somewhere in which the critic speaks about the philosopher Walter Benjamin to explain your music. And at what point are important for you the extra-musical references, and namely the ones coming from films and books? Are you going to tell me again that, since you make "soundscapes", you deal necessarily with cinematic qualities?
Onda: As far as I remember, I wasn't listening to any music before I encountered free jazz, not even ordinary pop music. I decided to be a painter, or a so-called artist, when I was four or five years old. I was familiar with painting, textile, and photography from an early age. Visual art had been my main concern until I really got into music. In school, from the beginning until I dropped out, I didn't understand why everybody had to do the same thing in a class, and I didn't obey their rules at all. I was a terrible troublemaker there. I skipped so many classes. Even if I attended classes, I built a wall around me, ignored the other students and teachers, and just read books silently. I could say that I learnt most of the things through my reading experience. When I was around fifteen, I started watching films, and some dance or theater pieces, instead of going to school. There were several nice underground film theaters in Osaka and Kyoto. I saw films by Marguerite Duras, Jonas Mekas, Kenneth Anger, Maya Deren, and some others, like Syuji Terayama (who was a Japanese theater director, filmmaker, and poet). I was immensely astonished by them, and concluded that this is the true reality, and that the reality I saw in the fucking boring Japanese society was a fake! Sounds very naive, but that's what I honestly felt. Since the environment in which I grew up in was so utterly un-Japanese, I had to develop my identity as a stranger within society. I needed freedom, but this was not needed in Japan. The visions of visionary filmmakers gave me courage and strength to live through in society as a stranger, and planted seeds inside me, which would eventually grow into my own vision much later. If you discover something that strikes you deeply when you are young, it can work as a kind of revelation, opening a new door and remaining in your mind for good until you die.
Last year, I had a few days off when I was touring in France. I visited a town called Trouville, in Normandy, where Marguerite Duras had an apartment in an old villa by the beach. This town is well known as the closest summer resort from Paris, but it was at the beginning of winter. No visitors were there. I walked around the empty streets alone, came to the villa, and went down the stairway by the building, which led down to the sandy white beach. I was amazed how much details of the town I began to recall. I strongly felt like I had been there before. It happened because of my intensive reading experience of Duras' novels when I was a teenager. Almost everything I saw was described in her books. It was a strong déjà vu, or a flashback of memories. I even felt that she was there in the scenes. More precisely, I heard the tone of her voice, the same voice I could hear in her writings, ghosts everywhere... After that experience, I wondered how much one's memory belongs to their own life. Was it my memory, her memory, or our memory? I think one has memory, a place has memory, and any kind of art form also has memory. They all have been connected somehow together, somewhere in the far greater void.
Paes: You're also a photographer, and you use in your visual work the layering procedures we can find in your music. So, here is the question: why the layers? (Niblock would tell me, as he did, that, when those layers are in phasing, he can obtain some shocks of frequencies and "phantom" sounds/crazy harmonics, but that's not your case...) Is it to achieve density? Intensity? What?
Onda: In a sense, I don't recognize so much difference between audio and visual. I'm not talking about the nature of the media, just talking about my sensitivity. They were raised together like twins inside myself. It's not easy to separate one from the other. That's probably why I'm still engaged in both. It seems like my music suggests some kind of visual images. It's funny that many concert organizers who asked me to perform, believed that I'd like to use visual images in my concert (laugh). But I prefer not to use any visual images when I play music, and I want to leave the visual side open for listeners. They can imagine whatever they want in my music. Then, the "phantom" effect happens by the collision between my sound and the visual images in their mind. Also, if there are one hundred people there, there are one hundred different images there, in the space. They would cause another "phantom" effect as well. If you want to create a strong energy, it's better to hit with something different. I suppose the idea is basically the same as Phill's, just our approaches to the effect are different.
I'm now working on audio-visual pieces. They are basically a series of still photo images which are shown by slide projections, and it would work as a film (The style is like Chris Marker's La Jetée, I eventually would like to transfer them to 16 mm film). Then, I ask other musicians, mostly a solo or duo guitarist, to improvise on the slide projections = film. So each time would be different because of the different music. I call it Cinemage, which means "homage for cinema," or "images for cinema." In this case, I'd like to avoid making both music and picture myself. I guess, my sensitivity towards both media is too close, so that if I do both, it wouldn't cause strong "phantom" effects. Maybe, maybe not... I have to try more before finding it out.
Paes: Reading in the Internet one interview you gave sometime ago, I find the use of the word "obsession" several times, and also the word "passion" and, very important, the term "insanity." Are you specially interested in the way madness, the dark side of the human mind and spirit, can be reflected in an art creation, be it photography or music?
Onda: Some of my music might be intense and obsessive, for instance one of my Cassette Memories' albums, Ancient & Modern, but not all of them. It's just one side of my music. Those states of mind you picked up come from one's unconscious level. If you saw them in my music, probably they were there, but I didn't try to create them myself. They appeared naturally. So... I don't know.
Anyhow, your question reminded me one of my childhood experiences. My family was living in a small city in Nara prefecture, which is next to Osaka and Kyoto, in a small apartment in an old crusty building which was a dormitory for university professors' families. The building was surrounded by a big Buraku, which was a ghetto where discriminated-against people reside. They are like an outcast minority, not a racial or national minority, but their life was still separated from general public. I really liked playing with children there, and actually spending much time there. Luckily, my parents didn't care if I was there (In the first place, our family also had a sort of minority sensitivity. My father had the Korean background. We even didn't have clear identity as Japanese). The kids of Buraku and I had so much fun. We shoplifted many things, like cheap sweets, whatever goods, from stores, collected them in our fastness. We broke vending machines, and stole drinks, porno magazines. We often did a ritual that we burnt things we stole. We often peeked into a shack where couples were having sex... There was an anarchic mood in Buraku people's life since they all hid a feeling of "We are abandoned from the society" in their mind. In their poverty, there was sharp knife gloomy mood as well... One day, I remember, a car hit a girl of the Buraku accidentally, and she was hurt. Her father ran out of their house in anger, pulled the driver out from the car, and gave him violent blows. It was bloody... Many things I remember there are quite intense and impulsive, although the details are faded now. They are all pulled together in a foggy image, sound is erased, like a silent film, but there was a faintly phlegmatic sweet smell, like blood, sweat, semen, all permeated into the sandy black ground... The whole image became one of my primal visions... My parents bought a nice house in a nice residential area, and my family moved out from the apartment when I was ten or eleven years old. I was sad that I had to leave there. And in the Seventies and Eighties, many Buraku people moved out from their communities, and started living in the other areas, mostly in the big cities, partly because of the Braku Liberation Movement which was supported by the government. They hid where they came from, and started a new life in a new place. So the ghetto was taken down, went up in smoke with all its memories.
For the last several years, especially after I moved to New York, I suspect that I've been probably looking for similar sort of visions which I saw in my childhood and when I was a teen. It's strange that I had never looked back on my past when I was in my twenties. I was actually avoiding it. And, in the music world, I was trying to learn about producing, composing, engineering, even marketing as much as possible, to expand my knowledge about them and to develop my skills. But at some point, the importance and the achievement of the purposes ceased. My interest has shifted to the music itself, and to my own self. I rediscovered the experiences that I had in the past. Memories came back, and they were much richer than I thought... I'm recording my new album now, which will be released as Cassette Memories Vol.3. The title is Come Home. It's about where I came from...


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Home » TV
Who is Shooter from Love & Hip Hop: Atlanta?
Tue Jul 03, 2018 at 3:20am ET
By Shaunee Flowers
Shooter Gates held a rally in memory of his son on the Love & Hip Hop: Atlanta Season 7 finale — Pic credit: @goodshooter/Instagram
Rod "Shooter" Gates was featured on the Season 7 finale of Love & Hip Hop: Atlanta. Sierra Gates' ex-husband appeared on LHHATL for the first time in Season 6 and is quickly becoming a favorite on the show. So who is Shooter on Love & Hip Hop: Atlanta?
When Sierra and Shooter Gates first appeared on LHHATL, they were still married. However, that ended quickly when Sierra's then-assistant revealed that she had been sleeping with her boss' husband.
It turned out that Morah Lee wasn't the only side chick that Shooter was accused of sneaking around with. When the season began, Shooter was accused of fathering two children with two other women outside of his marriage. (On the LHHATL Season 7 finale, he revealed that one of the children was proved not to be his. )
That was more information than Sierra could handle and she left Shooter immediately. Last summer, Sierra filed for divorce and their drama couldn't have come at a worse time.
On August 6, Shooter Gates' son, Rod Gates Jr., was shot and killed outside of an apartment complex in Morrow, Georgia. Two people were arrested in connection with the shooting — Marcus Smart, who is believed to have pulled the trigger, and Shantavius Willaims, who reportedly lied to police.
https://www.instagram.com/p/BXffjHPg4IP/?utm_source=ig_embed
The terrible news was shared on the Season 7 premiere and the loss of his son was a large part of Shooter's storyline. Part of that being the lack of support that he received from Sierra, who was still reeling from the cheating news.
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While Sierra did reportedly pay for the funeral and was present for the services and at the anti-gun violence rally featured in the finale, it was Keely Hill who took shots at Sierra because she thought the Glam Shop owner should have handled things differently and been there for Shooter despite what he did to her.
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Sierra and Shooter divorced amicably, agreeing on a divorce settlement rather than dragging each other to court. The two still co-parent the two children they had together, with Sierra getting to make the final decision in any disagreements that may arise.
Child support in the Sierra and Shooter Gates divorce is interesting. It turns out that she's paying support to Shooter because Sierra makes more money.
According to Bossip, Sierra Gates is drawing a $5,000 per month salary presumably from the Glam Shop to Shooter's $4,000 per month that he earns as a music producer. The way the law works in Georgia, that means that she pays him child support in the amount of $128 per month.
https://www.instagram.com/p/BkvG60xgnPC/?taken-by=goodshooter
Now if you read all that and wonder how could a guy named Shooter be holding an anti-gun violence rally? Well, his name actually comes from his talent at rolling dice not from shooting guns.
Shooter Gates is active on social media, often updating his Instagram page to let fans know what he's up to.
Shaunee Flowers
Shaunee Flowers is the Reality TV Editor at Monsters & Critics,...read more
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Theatergoers put on light blue hospital gowns and transformed into psychiatric patients from 1963 as part of an immersive performance Friday evening.
After Hours Theatre Company presented Dale Wasserman's stage adaptation of "One Flew Over the Cuckoo's Nest," based on the novel by Ken Kesey, in a Burbank warehouse decorated to look like a 1960s psychiatric hospital. Alumnus Graham Wetterhahn, the show's artistic director and producer, said the interactive experience begins with audience members being treated as if they are checking into a mental hospital as soon as they approach the ticket table.
The first hour of the experience was dedicated to the pre-show, in which audience members were given new identities as patients and asked to change into light blue hospital gowns and nursing uniforms. Viewers could choose to be chronic patients, who model a traditional spectator experience, or acute patients, who interacted with the actors on stage. The stage layout included elevated seats on the right and left for chronic patients, and game tables and hospital chairs located on the ground-level stage for acute patients, who could move around and change seats throughout the play.
"This is actually trying to give you that experience of a patient, and that I think is something that changes your perception of the play, … putting (us) back into that time and space … and out of our normal everyday reality," Cormano said.
After checking in, visitors received a wrist band with a made-up name, date of hospital admittance, blood type and ID number. When the actors asked the spectators their names, the spectators responded with the patient name written on their wristband. The interior of the hospital welcomed participants with light bulbs in bird cages hanging from the ceiling, an odor of tobacco and soft background music.
Visitors either gambled for "secrets" by playing Go Fish with Dale Harding, an acute patient who admitted himself into the hospital, or searched with delusional Martini, another acute patient, for his hidden doll. Engaging in collective behavior, such as voting for protagonist Randle McMurphy's proposed change in TV-watching time or dancing during the party scene, was also encouraged.
Because a lot of the depth and complexities of the characters in the book get lost in translation during the play, Wetterhahn said, the pre-show is designed to help the audience understand and connect to the characters.
Audience members interacted with the set in addition to the characters. Attendee Rick Manina said he chose to be an acute patient so he could spend more time close to the stage. At one point Manina pretended to be a patient sitting in a wheelchair he found on the set, which he rolled to the front of the stage until the actors rolled him back, he said. Manina said he appreciated the 1960s details on the set he remembered from his childhood, such as a telephone with a dial, Silly Putty and Slinkies.
Wetterhahn said the play's psychiatric-ward setting and general stage directions make it an excellent script for an interactive experience. After reading the script, he said he could immediately see the audience's role because the script often does not specify which characters perform specific actions, such as when the ensemble receives pills from the nurses.
"People expect when they are immersed in something for it to be, not necessarily scary, but a little bit creepy, … heightening the adrenaline and the emotions of the events," he said.


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From seyfocenter.com
First Sweden, and now the European Parliament
The Resolution passed by the Swedish Parliament on 11 March 2010 stating that, during the First World War, Armenians, Assyrians, and the Pontus Greeks were subjected to genocide has been applauded by organisations representing the victims all over the world.
This Resolution contributes to historical justice, and helps to inform the public all over the world of these historical facts. It is an historic step towards the worldwide recognition of the 1915 Genocide. It will also help open the way for Turkey to face up to its past, and apologise to the victims of the 1915 Genocide.
However, some ultra nationalist and fundamentalist Turkish groups which have refused to acknowledge the genocide, organised rallies in Stockholm and elsewhere to protest against the Resolution using racist language.
Those protestors made reference to what the Samers were subjected to by Swedes, Algerians by the French and Native Americans by Americans. Following every resolution to recognise the 1915 Genocide they resort to the same clichéd rhetoric to cover up their shame. They fail to understand that genocide is a crime against humanity and cannot be covered up.
They called for, mainly on internet sites, the boycotting of goods and products made by Swedish companies, including Volvo, IKEA, SAAB, Erikson. They also targeted members of the Swedish Parliament by claiming that they are terrorists, Jews or Armenians. Prime Minister Erdogan went even further and threatened that Armenians who live and work illegally in Turkey, in order to make a living, could be deported. The language used in his speech and in some newspaper articles shows us with what sort of mentality Turkey is being ruled.
This historical resolution by the Swedish parliament is the first step taken for Assyrians. In order to create the environment for the second step, the Seyfo Centre, the Assyrian Democratic Organisation (ADO) and other Assyrian organisations are having a conference at the European Parliament on 28 April 2010.
Speakers at the conference include some members of the European Parliament, and speakers from America, Sweden and Turkey.
Seyfo Center
Assyrian Genocide Research Center
Sweden said Yes!
Sweden Recognizes Assyrian, Greek and Armenian Genocide
A Historical Recognition
Berzan Boti will, as an act of restitution, hand back his property to its rightful owners – The Assyrians!
Assyrischer Jugendverband Niederlande und Seyfo-Center
Laufen für das Mor Gabriel Kloster im Tur Abdin
Dieser Eintrag wurde veröffentlicht in Allgemein, Assyrer in der Heimat, Assyrische Organisationen, Ausland, Gesellschaft, Politik, Schweden, Völkermord (Seyfo) 1915 und verschlagwortet mit 1915, ADO, Assyrer, Assyrian, Assyrian Democratic Organization, Assyrian Genocide Research Center, Assyrians, European Parliament, Kurds, Othuroye, Othuroyo, Sabri Atman, Seyfo Center, Suroye, Suroyo, Suryoye, Suryoyo, Sweden, Syriac, Turkey von Ninos Ego. Permanenter Link zum Eintrag.


text:
Margaret Cushing "Meg" Whitman Cold Spring Harbor (Estados Unidos), 4 de agosto de 1956) es una empresaria, alta ejecutiva, activista política, filántropa y diplomática estadounidense. Es la CEO de Quibi y miembro de los directorios de Procter & Gamble y Dropbox. Whitman previamente se desempeñó como presidenta y CEO de Hewlett Packard Enterprise. Whitman fue miembro principal de las dos campañas presidenciales de Mitt Romney en 2008 y 2012 y postuló para gobernadora de California como republicana en 2010, pero respaldó a los demócratas Hillary Clinton en 2016 y Joe Biden en 2020.

Oriunda de Cold Spring Harbor, una aldea de Huntington, Nueva York, Whitman se graduó de la Universidad de Princeton y de la Harvard Business School. Whitman se desempeñó como ejecutiva en The Walt Disney Company, donde fue vicepresidenta de Planificación Estratégica durante la década de 1980. En la década de 1990, se desempeñó como ejecutiva de DreamWorks, Procter & Gamble y Hasbro.

Whitman se desempeñó como presidenta y directora ejecutiva de eBay, de 1998 a 2008. Durante los 10 años que Whitman estuvo en la compañía, supervisó su expansión de 30 empleados y $4 millones en ingresos anuales, a más de 15,000 empleados y $ 8mil millones en ingresos anuales. En 2014, Whitman fue ubicada en la posición 20 dentro de la lista Forbes de las 100 mujeres más poderosas del mundo.

En 2008, The New York Times mencionó a Whitman como una de las mujeres con más probabilidades de convertirse en la primera mujer presidenta de los Estados Unidos. En febrero de 2009, Whitman anunció su candidatura para gobernadora de California, convirtiéndose en la tercera mujer en un período de 20 años en postularse para el cargo. Whitman ganó las primarias republicanas en junio de 2010. Como la quinta mujer más rica de California con un patrimonio neto de $1.3 mil millones en 2010, gastó de su propio dinero en la carrera electoral más que lo gastado por cualquier otro candidato político en una sola elección en la historia de Estados Unidos, invirtiendo $144 millones de su propia fortuna y $178.5 millones en total, incluyendo el dinero de los donantes. Whitman fue derrotada por el exgobernador demócrata Jerry Brown en las elecciones gubernativas de California de 2010 en un 54% a 41%.

Primeros años y educación
Whitman nació en Cold Spring Harbor, Nueva York, hija de Margaret Cushing (de soltera Goodhue) y Hendricks Hallett Whitman, Jr. Su tatarabuelo patrilineal, Elnathan Whitman, fue miembro de la Asamblea Provincial de Nueva Escocia. A través de su padre, Whitman también es tataranieta del senador estadounidense Charles B. Farwell, de Illinois. Por parte de su madre, es bisnieta del historiador y jurista Munroe Smith y tataranieta del general Henry S. Huidekoper. Su abuela paterna, nacida Adelaide Chatfield-Taylor, fue hija del escritor Hobart Chatfield-Taylor y de su esposa Rose Farwell Chatfield-Taylor, y hermana del economista Wayne Chatfield-Taylor.

Whitman asistió a la Escuela Secundaria Cold Spring Harbor en Cold Spring Harbor, Nueva York, y se graduó después de tres años en 1974. En sus memorias, afirma que estaba en el 10% superior de su clase. Quería ser doctora, por lo que estudió matemáticas y ciencias en la Universidad de Princeton. Sin embargo, después de pasar un verano vendiendo anuncios para la revista Business Today, se pasó al estudio de la economía. Se graduó con una licenciatura en economía con honores de la Universidad de Princeton en 1977 después de completar una tesis de último año de 83 páginas titulada "La comercialización de productos de consumo estadounidenses en Europa occidental". Luego, Whitman obtuvo una maestría en administración de empresas (MBA) de Harvard Business School en 1979.

Whitman está casada con Griffith Harsh IV, presidente de neurocirugía en la Universidad de California en Davis, anteriormente en el Centro Médico de la Universidad de Stanford. Ellos tienen dos hijos. Ha vivido en Atherton, California, desde marzo de 1998. Whitman College, una universidad residencial completada en 2007 en la Universidad de Princeton, recibió el nombre de Meg Whitman luego de su donación de $ 30 millones.

Carrera

Inicios
Whitman inició su vida laboral en Procter & Gamble en 1979 y hasta 1981, donde se desempeñó como Gerente de Marca. Posteriormente trabajó durante ocho años en la firma de consultoría Bain and Company, llegando a la posición de vicepresidenta.

En el periodo comprendido entre 1989 y 1992, Whitman trabajó en Walt Disney Company, donde se desempeñó como Vice Presidenta Senior de marketing para la división de productos de consumo.

De 1995 a 1997, Whitman fue Presidenta y CEO de Florists Transworld Delivery (FTD), posición que dejó para convertirse en la Gerente general de la división de pre-escolar de Hasbro Inc.

eBay
Ha sido presidenta y CEO de la tienda en Internet eBay desde marzo de 1998. Ella se unió a eBay cuando la compañía tenía 30 empleados y solo operaba en los Estados Unidos. En la actualidad eBay es una organización global con más de 9,000 empleados.

Adicionalmente a la gerencia de eBay, ella pertenece a la Junta directiva de Procter & Gamble y DreamWorks SKG. De acuerdo a Forbes Magazine, la fortuna de Whitman se estimaba en más de $1.5 billones de dólares para el 2005.

En el 2005, fue entrevistada por la Junta directiva de Disney para suceder a Michael Eisner como CEO, nominación que luego de una semana rechazó, obligando a la selección de Robert Iger.

Hewlett-Packard
En enero del 2011 se unió a la Junta directiva de Hewlett Packard y el 22 de septiembre del mismo año fue nombrada directora general sucediendo a Leo Apotheker 11 meses después de su nombramiento.

Whitman decidió la división del negocio de HP creando dos nuevas empresas, HPInc. centrada en el negocio de las impresoras y ordenadores personales y presidida por Dion Weisler y HP Enterprise (HPE) de la que Whitman es además consejera delegada dedicada a sistemas y servicios para empresas, software, gestión y servicios de almacenamiento virtual.

En noviembre de 2015 dio el campanazo de salida de HPE en Wall Street culminando su proyecto.

Carrera política

Respaldos y recaudación de fondos a campañas presidenciales
Whitman fue partidaria de la campaña presidencial del exgobernador de Massachusetts Mitt Romney en 2008 y estuvo en su equipo nacional de finanzas. También fue incluida como copresidenta financiera del comité exploratorio de Romney. Después de que Romney se retirara de la carrera y apoyara a John McCain, Whitman se unió a la campaña presidencial de McCain como copresidenta nacional. McCain mencionó a Whitman como posible secretaria del Tesoro durante el segundo debate presidencial en 2008, pero perdió la elección ante Barack Obama.

Durante las primarias republicanas de 2012, Whitman respaldó a Mitt Romney, quien la elogió. El nombre de Whitman fue mencionado como una posible miembro del gabinete en una futura administración Romney antes de perder ante Obama.

Durante las primarias republicanas de 2016, Whitman fue copresidenta financiera de la campaña presidencial de Chris Christie. Después de que Christie se retirara de la carrera y posteriormente respaldara a Donald Trump, Whitman lo criticó como "una asombrosa demostración de oportunismo político" y pidió a otros donantes de Christie que rechazaran a Trump, a quien comparó con Adolf Hitler y Benito Mussolini. En agosto, Whitman respaldó la campaña presidencial de la demócrata Hillary Clinton, afirmando que votar por Trump "solo por lealtad al partido sería respaldar una candidatura que creo que ha explotado la ira, el agravio, la xenofobia y la división racial". Sin embargo, reconociendo sus diferencias programáticas con Clinton, Whitman elogió su "temperamento, experiencia global y compromiso con los valores nacionales fundamentales de Estados Unidos". Hizo un llamado a todos los republicanos para que "antepongan al país antes que al partido" y agregó que apoyaría financieramente la campaña.

Whitman habló en la Convención Nacional Demócrata de 2020 en respaldo del candidato presidencial del partido, Joe Biden.

Campaña a gobernadora de 2010
En 2010 intentó dar el salto a la política y fue candidata republicana al puesto de Gobernador del Estado de California, pero perdió las elecciones contra Jerry Brown.

Referencias

Enlaces externos

 Official introduction on eBay
 Listing of Whitman's donations to both Republican and Democratic candidates and PACs, 1994-2006
 Blog with information on Whitman's support for Romney under the thread "CEO Running Mate"

Procter & Gamble
Personas de Hewlett-Packard
Republicanos de Estados Unidos


It was a wonderful night in New York's Time Square when we first tasted ice cream from Cold Stone Creamery.
After taking the order the singing staff mix the flavors on a freezing stone slab right in front of you. The portions are sumptous and so is the price.The experience is absolutely lipsmacking. I loved it so much that I dreamt of when Cold Stone would open near my house.
With these sweet memories we visited the Cold Stone Creamery above the Cleveland Park Metro in DC on Connecticut Avenue. I was disappointed.
The staff didnt sing with enthusiasm. The ice cream after mixing was limp and looked more like a slurpee thaqn a frozen ice cream.
I don't know if I will go to a COld Stone unless I am in Time Square.


text:
Ein Feldbuchrahmen ist ein Hilfsmittel für Vermesser. Der Rahmen hat meistens die Größe A4 und nimmt auf einer stabilen Platte mehrere Zeichenblätter auf, die mittels eines Klappmechanismus eingeklemmt werden. Der Rahmen wird mittels eines verstellbaren Gurtes um den Hals gelegt, so entsteht eine Zeichengrundlage. Ältere Modelle waren aus Holz mit einer Platte aus Sperrholz, später Aluminiumblech. Moderne Feldbuchrahmen bestehen meist aus Kunststoff und sind auch für den Einsatz unter Wasser geeignet. Weniger verbreitet sind Modelle im Format A3.

Der Name entstammt dem Erfordernis, "im Feld", also in der freien Natur, relativ sauber konstruieren zu müssen. Feldbücher gelten als Urkunden und werden prinzipiell im Original archiviert, auch wenn man sie später im Büro sauber neuzeichnet.

Eine einfache Variante ist das Klemmbrett.

Weblinks

Einzelnachweise

Geodäsie


When you decide to sell your property, it just makes sense to stage for potential buyers. That means you have to know who they are most likely to be and what they are looking for. The more you can appeal to their ideal lifestyle by staging, the easier it is for your potential buyers to quickly say YES.
Here's a different way to think of it. Let's say that you were planning a beach getaway. You start looking online at various options. The first thing you see on one website is an amazing beach filled with shells that you can't wait to collect.
After: The masculine furniture from upstairs is moved down to the man cave.
You scroll down and see photo after photo of families with young children. However, your sole purpose is to have a quiet adult getaway. That beach is calling you, but the notion of hearing all those whining and crying kids is a turn off.
Many potential buyers naturally go to the worst case scenario in their mind before deciding to purchase. Regardless of whether it's catastrophic thinking or simply being conservative with how they spend their hard earned money, it matters.
Still, you look through the rest of the website searching for some reassurance that this dream destination can actually be a good fit for what you're looking for.
It takes time. It takes effort. It takes openness.
And ultimately, the fear of those whining kids might trump that beautiful beach. So you decide to move on and try to find a better fit.
The same process happens for your potential buyers when they're viewing your listing online and in person. They're looking for a sense of fit. That's why, when you're trying to sell your home, it's critical that you stage for potential buyers. Help them to quickly and easily see themselves in your property.
For more examples of the power and impact of staging, take a look at the Set Your Stage Facebook albums featuring many before and after photos of the various homes and condos that we've successfully staged to sell. Let our experienced team stage for potential buyers in your Calgary neighbourhood!
« Calgary Investors: Is it time to sell your rental property?
This entry was posted on Sunday, June 5th, 2016 at 4:16 PM	and is filed under Before and After Home Staging. You can follow any responses to this entry through the RSS 2.0 feed. You can skip to the end and leave a response. Pinging is currently not allowed.


text:
LegalHealth partners with medical professionals to address the non-medical needs of low-income people with serious health problems.
Bristol-Myers Squibb Foundation Awards Research Grant to LegalHealth and CVLC
The Bristol-Myers Squibb Foundation has awarded a research grant to the New York Legal Assistance Group (NYLAG) and Connecticut Veterans Legal Center (CVLC) to study the impact of civil legal services on mental health and quality of life outcomes for veterans receiving treatment in Department of Veterans Affairs (VA) mental health and homeless programs. The grant is part of the Bristol-Myers Squibb Foundation's Mental Health and Well-Being Initiative that focuses on community-based solutions to aid in the much-needed response to the mental health and community reintegration needs of veterans, military service members, their families and families of the fallen.
NYLAG's LegalHealth Division and CVLC were awarded grants of $330,700 and $365,980, respectively, to study the medical-legal partnership (MLP) model in VA hospital settings. An MLP is a healthcare delivery model that brings legal professionals together with medical professionals to serve low-income patients within a healthcare setting. MLPs are designed to help patients address their legal problems, such as unstable housing conditions or lack of health insurance and other benefits that impede treatment or endanger a patient's health and recovery. The Project pairs CVLC, an MLP which serves exclusively veterans, with NYLAG's LegalHealth Division, which operates the country's largest MLP through its onsite clinics at 20 healthcare facilities.
Over the course of the two-year study, independent VA researchers will evaluate the impact of MLPs on veteran patients at two VA settings in New York, and two in Connecticut. If successful, the results will be used to promote the adoption of VA MLPs nationwide, as well as to identify best practices for serving other vulnerable populations with mental health and related social issues.
"Too many of our nation's veterans and families are struggling in silence after they return home and find themselves fighting a new battle. The lives of our brave men and women are still on the line, long after their combat deployments are over and we have a moral responsibility to provide veterans with access to quality mental health treatment and care," said U.S. Senator Kirsten Gillibrand, a member of the Senate Committee on Armed Services. "I look forward to the results of this important study which will help examine how innovative medical-legal partnerships can provide the support and tools our VA hospitals and veterans need."
NYLAG currently operates MLPs at the James J. Peters VA Medical Center in the Bronx and the VA New York Harbor Healthcare System in Manhattan, while CVLC operates MLPs at the VA Connecticut Healthcare System's West Haven and Newington Divisions, all of which will participate in the study. NYLAG and CVLC attorneys coordinate with medical staff to identify and serve veterans with pressing legal needs, including eviction prevention, obtaining public benefits, and debt collection.
"NYLAG is immensely grateful to Bristol-Myers Squibb for identifying medical-legal partnerships as an area worthy of intensive research and evaluation," said Yisroel Schulman, NYLAG President and Attorney-in-Charge. "Under the leadership of LegalHealth's Director, Randye Retkin, we are excited to work with our partners at CVLC toward the day when many more poor and near-poor veterans receive the legal assistance they need to improve their lives."
"Lawyers are important members of the team helping veterans rebuilding their lives. We are all so grateful to the Bristol-Myers Squibb Foundation for giving us the opportunity to demonstrate empirically the reduced stress and anxiety veterans feel when they have a lawyer on their side," said CVLC Executive Director and Co-Founder Margaret Middleton.
Click here to download a PDF of our press release.
LegalHealth's services helped to pull Alan and his family back from the brink.
Read Allen's Story
Change the lives of low-income New Yorkers
© 2020 LegalHealth
NCLSN
7 Hanover Square, 18th Floor


The Facing Project Toolkit – The Toolkit is a guide to help communities plan and launch The Facing Project. The 180 + page Toolkit consists of examples, worksheets, checklists, consent forms, recruitment flyers, and templates.
Branding – Use of logo and mission as an affiliate of The Facing Project.
Web Hosting – Each campus/community will receive their own website through The Facing Project that tells your community's story and connects you to other communities around the world doing Facing Projects. The Facing Project will host this website for one year.
Fundraising Software – Use of our peer-to-peer fundraising platform for your project.
Web Site Training – Training on how to access your site and upload content at your own convenience.
Writer Training – Up to 30-minute training session/video with project writers.
Coaches – Each campus/community is assigned a Facing Project expert who walks organizers through the Toolkit, is available for questions/brainstorming, and is their liaison with the Facing Project HQ throughout the project development.
Editors – Each campus/community is assigned a Facing HQ editing team who reviews each project's stories and provides feedback.
Give credit to the Facing Community and all authors in any reproduction in print, web, or for advertisement purposes.
Connect the Facing Community with other Facing Communities (if requested).
Promote the Facing Community's project across The Facing Project's online networks.
Speaking – Keynotes and motivational plenaries on the power of stories.
Workshops – Grant Writing and Funding a Project; Writer Development (half-day); and Community Engagement Curriculum Development.
Handle design and printing of Facing Community's books at the cost of the Facing Community (price to be determined at a later date based on community's printing preferences and quantities).


text:
A comprehensive flower identification guide and their respective meanings. You have found a picture of the bouquet you love but cannot identify the flowers. Scroll down our list of flower names and their pictures and hopefully you will come across it.
This is a constant work in progress, my aim is to try to include every single flower but this will take time!
Flowers Pictures and Meanings starting with A
Absinth Wormwood
Alexander Yellow Loosestrife
Aloe Flower
Arbor Vitae
Arbutis
Austrian Rose
Meaning: Separation and Torment of Love.
Meaning: Friendship, secret love, beauty in retirement and chaste love. Yellow acacia flowers symbolize secret love.
Nordic symbol of life and immortality.
Meaning: Sorrowful recollections.
Meaning: Greek words – agape and anthes, which mean flower and love respective.
a.k.a Lysimachia punctata
Meaning: These flowers generally represent unity, and are often traded between married couples or long-time loves. They are also given to express the idea that the giver finds the recipient flawless and elegant in both appearance and manners.
Aloe Vera Flower
Meaning: Grief.
The name was derived from the Arabic alloeh meaning 'bitter' because of the bitter liquid found in the leaves. It is also known as 'lily of the desert', the 'plant of immortality', and the 'medicine plant'.
Meaning: Compassion.
Meaning: A symbol for friendship and devotion, and is often given as a gift to represent a longstanding bond between the giver and the recipient. It is also thought to symbolize good fortune, prosperity and wealth, and is sometimes presented as an emblem for good luck in new ventures and important life changes.
Meaning: Beauty.
Alyssum is a perennial plant with yellow, white, pink or purple flowers.
Meaning: It's name,derived from the Greek language means unfading and is used as a symbol of immortality. These flowers also represnt unfading affection.
Meaning: Love Returned, "your love is reciprocated", Mutual Love.
Meaning: pride, timidity, splendid beauty, intense beauty and determination and perseverance.
The Amaryllis belladonna flowers:
Meanings: They are thought to represent anticipation and unfading love, good luck and protection against evil. As a gift, these flowers may be meaningful in a number of ways, from presenting them to someone stepping into a new stage of life, to telling the recipient that you will always love them. On the negative note they are also a symbol of forsaken love.
Meaning: Inspiration and encouragement.
Meaning: Wards away evil spirits
Meaning: Restoration of youth
Meaning: Represent a deep romantic attraction. The openness of its blossom is also said to represent hospitality.
Arbor Vitæ
Meaning: Unchanging affection, unchanging friendship.
Meaning: Only love
Meaning: Preference, hope and good fortune.
Meaning: Unending regret.
Meaning: Love, danitiness, patience, and a love of variety. Can also be considered a symbol of elegance and refinement.
Meaning: Patience and dedication to a loved one.
Meaning: Thou art all that is lovely
Meaning: Take care of yourself for me; fragile passion; Chinese symbol of womanhood.
Yellow Peonies and Dusty Miller