Does anybody know where I can get a nice set of audi center caps for the B5 RS4 reps? Thanks its much appreciated.
go to your local audi dealership..parts department, and order them ..I got mine cheap..75 bucks for the real deal ones. You will have to do a little trimming on the inside of the cap...nothing big and they will fit perfectly. Now you can't tell my wheels are reps at all.
If you're talking about B7 RS4 Reps, order center caps for a B7 S4. You can get them for around $15 a piece. If you search google you can find this discussion. I used to have the part number but I have no idea where it's at now.
Don't have AOL IM ...but I am on yahoo IM. monchichi83000 I PM'ed you also.


Q. We want our wedding to be a relaxed, informal celebration and would like to make it as eco-friendly as possible. What kind of choices can we make that will reduce the carbon footprint of our day while still creating plenty of wow factor?
A. Jane Price says: Planning a green wedding can be simpler than you might think. The venue is usually one of the first decisions a couple will make, so check out what steps yours is taking to reduce their carbon footprint. In particular talk to them about the food. The increasingly popular and ethical farm-to-table ethos advocates homegrown, organic, seasonal produce and you'll be surprised to know how accessible it can be. At South Farm we have our own organic smallholding and grow around 250 different varieties of fruit, vegetables and herbs, we have free-range chickens that provide 90 per cent of the eggs used in our kitchens and 40 to 60 per cent of the pork we use is home-reared. This all means zero food miles, less packaging and lower refrigeration time – all contributing significantly to reducing the carbon footprint. In addition, menus are adapted seasonally to reflect what's growing on the farm.
- Hold your ceremony and reception all in one place to reduce the need for transport.
- Get married outside so your guests are warmed by the sun and your ceremony's lit by beautiful natural light. Make sure there's a choice of indoor spaces though, just in case the weather's bad.
- Opt for biodegradable confetti. Many churches and venues now insist on this so make sure your guests know to only use the good stuff. At South Farm we supply dried rose petals for all our couples so there 's no need for people to bring their own.
- Consider potted succulents, saplings or packs of biodegradable seeds as favours. Your guests will love the idea and nurturing their own plants from your wedding day makes it a really special token, not to mention an enduring reminder of your day. Another green option is a charitable donation made on behalf of each of your loved ones which really is the gift that keeps on giving!
- Look for a florist that uses organically grown flowers without the use of pesticides and chemicals and ask them to create floral arrangements using only seasonal, local blooms. That way they'll look fresh and pretty but will have had less storage, refrigeration and transportation time.
- Save trees by using paperless save-the-dates and wedding invitations or set up a wedding website with online invitations and all the details of your day. If you prefer the idea of traditional printed stationery then look for suppliers that use recyclable paper that way you can have beautiful invites and feel really good about them.
Q. My partner and I are both nature lovers and environmentalists and we're keen to reflect that on our big day. We want a venue that shares our passion for sustainability that we can really put our own stamp on – what would you suggest?
A. Jenna Ackerley says: If you haven't already thought about tipis, they really are the ideal choice for environmentally conscious couples. At Events Under Canvas we're particularly hot on the issue of sustainability and it's at the heart of everything we do, right down to the wood used to make the tentipi poles. These type of structures are not only striking in their simplicity, they naturally bring the outside in - you can even forgo the flooring and feel the grass beneath your feet if you wish!
When it comes to decorating, less is definitely more with a tipi and it doesn't take much to create a really magical space. LED lighting will reduce your power consumption (there are some beautiful options available), use rustic up-cycled furniture or hay bales for seating, and choosing acoustic entertainment will minimise the environmental impact even further.
Q. We're newly engaged and about to embark on planning our big day. We want to make sustainable and ethical choices where we can. Is this possible with the jewellery?
A. Sara Sweet says: When it comes to Fairtrade jewellery, there are many ways to be an ethical buyer, regardless of whether you're choosing a new and ready-made item; commissioning a bespoke design or sourcing antique or second-hand pieces – the options are as varied as the experience.
For new items, Fairtrade gold is available at certain jewellers for some of their products. It may not always be advertised, so make sure to ask. Using a local independent goldsmith is likely to get more positive results as they're producing on a smaller scale and can put the time and effort into sourcing materials and providing more options. Using your local jeweller also reduces your carbon footprint, helps support your community and our skilled British artisans!
If you're lucky enough to have heirloom pieces or forgotten jewellery you're no longer wearing, they can be melted down, redesigned and made into something new. Reclaimed materials are not only cost-effective and better for the environment but also far more personal and sentimental. Never be afraid to ask questions, so you know where you products are sourced, produced and packaged.
Q. We want our big day to be as low on air miles as possible. How can we do this with the wedding flowers without reducing the choice, colour and variety of blooms available to make our day look fabulous?
A. Helen Carson says: No problem, there's a wealth of wonderful flowers and foliage available in this country without having to fly material in from abroad. For locally grown varieties Flowers From the Farm is a network of growers dedicated to promoting British cut flowers – great for the 'just-picked' look that's so popular now. Using eco-friendly florists, close to home, will reduce the footprint of your wedding as the flowers don't have to travel far. They'll be fresher and more likely to last, picked at their prime and not sat in a warehouse or airport waiting to be transported.
Stick to what's in season too, the blooms are likely to be bigger and the colours and quality more intense, and include foliage, twigs and natural material for an on-trend wild bouquet.


How wild do you want your life to be? Do you want to explore new ways, mindset trainings and other great tools and experiences that get your life on a deeper level? This is the place where you can explore!
2 types of explorations that give the deepest changes on your daily life. Check out our activities and sign up for our enriching rides.
Train your confidence, your capabilities and mindset.
A not so common workshop theme with huge gains in terms of interhuman relations, confidence, deeper and more fulfilled connections.


Managing ballet class schedules and student registration doesn't have to be a hassle. With 3dcart, it's easy to sell classes for children or adults, collect costume and recital fees, and even sell tickets for big events or dancewear, all right online. Manage your products, services and accounts from anywhere, at anytime.
With 3dcart's easy-to-use platform, everything you need to succeed is available right at your fingertips. Reports, account and payment information, and countless innovative tools are at your disposal, allowing your ballet school to quickly grow and expand in a fiercely competitive market.
Help students become the dancer or choreographer they dream of being with an all-in-one eCommerce solution that's designed for your success. Whether your studio is split into lower and upper schools or simply caters to the little ones, 3dcart is ready to help you teach students the art of dance and the importance of self-esteem.
Grow your school's presence and increase conversions with hundreds of built-in marketing tools, with the ability to create promotions, coupons, newsletters and more.
Bolster your school's online presence with built-in social media integration that'll increase your school's visibility and traffic.


And here is the game video tutorial: start playing!
We updated our website page The NETNET project is… Visit it to discover more on the structure of the game.
The second transnational meeting will be in Turin, on 19 and 20 October. Stay connected.
The kick off meeting is on the road, Örkelljunga waits for us! 20-23 of march 2016 Necmettin, Charlotte, Enes, Ruperto, Tamara, Monica and Noemi will meet each other for the first time sunday 20th of March in Örkelljunga, Sweden for the first transnational project meeting. Soon the update!


text:
Q: Loop using os.walk only runs the first cycle I am trying to get the paths of a group of files that I have in a list. The files are in different subfolders. I am using os.walk and loops to run through the different files and appending the complete path to a new dataframe to use in a different program. But there is an error in the code that only makes it run the first cycle of the loop.
the code is based on this thread: Need the path for particular files using os.walk()
I am using python3.6 on MacOS10.14.6
I am not sure if it matters but the directories are on an external hard drive.
    import pandas as pd
    import os

    dir = "/Volumes/dir1/dir2"
    fastafiles = ["file1", "file2", "file3"]
    fastafiles_df = pd.DataFrame(fastafiles)

    fasta_paths = []

    for fasta in fastafiles_df[0]:
        #1
        for dir, subdirs, files in os.walk(dir):
            for file in files:
                if file.endswith(fasta):
                    #2
                    fasta_paths.append(os.path.join(dir, file))
                    #3

Running the code will give me 1 entry in fasta_paths with only the path of the first file.
If I print(fasta) at #1 I get all 3 file names from my dataframe.
If I print(file) at #2 I will get only 1 file name
and if I print fasta_paths at #3 I will get the path of the first file.
Could someone point out why the loop does not continue.

A: I guess the error is because of the namespace collapse due to dir being is used to denote the root directory as well as the parameter while unzipping and iterating over the os.walk generator object.
Still, keep in mind that dir is the name of a Python standard library and try not to use such variable names.
Can you try with the variable names changed?
import pandas as pd
import os

root_dir = "/Volumes/dir1/dir2"
fastafiles = ["file1", "file2", "file3"]
fastafiles_df = pd.DataFrame(fastafiles)

fasta_paths = []

for fasta in fastafiles_df[0]:
    #1
    for curr_dir, subdirs, files in os.walk(root_dir):
        for file in files:
            if file.endswith(fasta):
                #2
                fasta_paths.append(os.path.join(curr_dir, file))

redpajama_set_name: RedPajamaStackExchange


VirtualBox is a free and open-source hypervisor software, allows you to create and run a guest operating systems ("virtual machines") such as Linux and Windows on top of the host operating system.VirtualBox supports both software-based and Hardware-assisted virtualization.
VirtualBox may be installed on host operating systems, including Linux, Windows, Solaris, OpenSolaris, and OSx86. VirtualBox is released under GPL (GNU General Public License) v2, and Oracle VM VirtualBox Extension Pack is released under "Personal Use and Evaluation License".
VirtualBox can either be installed using precompiled binaries or source code. This tutorial focuses on installing VirtualBox using precompiled binaries (.deb).
Starting from the VirtualBox 2.0, it supports 32 and 64bit host and guest operating systems (To run 64bit guests, make sure your CPU supports hardware virtualization, and the host operating system is 64 bit).
Open up a terminal to begin, edit /etc/apt/sources.list file and update it with the VirtualBox repository.
Add the following line to above file.
Import the signing key of the Oracle VirtualBox to your system using the following command.
Update the Debian repository index.
Install the VirtualBox 5.1.222, command as follows.
Install dkms packages to ensure that the VirtualBox host modules are properly updated if the kernel version changes during the next upgrade.
Start VirtualBox (Actvities —> Search > Oracle VM VirtualBox).
Just accept the license agreement of VirualBox if it prompts you.
What are you waiting for? Go, Create, and have fun with virtual machines.
The following screenshot shows CentOS 6 installation on VirtualBox.
Virtual Box offers a package called "Guest Additions"; a collection of drivers and system applications which typically improves performance, especially of graphics.


Kimchi is THE most popular Korean dish. It is made of fermented vegetables with a variety of different spices.
As Kimchi gets older, fermentation creates the different levels of flavours; at the beginning for the first 2-3 days, it is salty and spicy but as time goes on, it produces a vinegary sharpness and the spiciness becomes milder and even sweet. Therefore old Kimchi is the best ingredient for use in Korean stews, soups and pancakes.
Cambridge is a very small city and you can get around easily by bike or foot. It attracts a wide range of people, often students and academics, from all over the world. However there is only one tiny Korean supermarket well outside the town centre. Their range is limited because they sell other oriental food too so this does not satisfy fans of Korean food. So for these reasons, I have tried to find very similar ingredients from an English supermarket.


text:
from mock import patch

from django.test import TestCase
from .utils import override_settings

@override_settings(SAILTHRU_API_KEY="FAKE_API_KEY_FOR_TESTING",
                   SAILTHRU_API_SECRET="FAKE_API_SECRET_FOR_TESTING",
                   EMAIL_BACKEND="djsailthru.mail.backends.base.SailthruEmailBackend")
class SailthruBackendMockTestCase(TestCase):

    class MockResponse:
        """requests.post return value mock sufficient for SailthruEmailBackend"""
        def __init__(self, is_ok=True, get_status_code=200, json=None):
            self._status_code = get_status_code
            self._json = json if json is not None else ['']
            self._is_ok = is_ok

        def json(self):
            return self._json

        def is_ok(self):
            return self._is_ok

        def get_body(self):
            return self._json

        def get_status_code(self):
            return self._get_status_code

    def setUp(self):
        self.patch = patch('sailthru.sailthru_client.SailthruClient.api_post', autospec=True)
        self.mock_api_post = self.patch.start()
        self.mock_api_post.return_value = self.MockResponse()

    def assert_sailthru_called(self):
        if self.mock_api_post.call_args is None:
            raise AssertionError("Sailthru API was not called")

        (args, kwargs) = self.mock_api_post.call_args
        if args[1] != 'send':
            raise AssertionError('sailthru api was not called with `send` method')
        if not isinstance(args[2], dict):
            raise AssertionError('sailthru was called with out vars')

    def get_api_call_data(self):
        """Returns the data posted to the Sailthru API.

        Fails test if API wasn't called.
        """
        if self.mock_api_post.call_args is None:
            raise AssertionError("Sailthru API was not called")
        (args, kwargs) = self.mock_api_post.call_args
        try:
            post_data = args[2]
        except IndexError:
            raise AssertionError('sailthru was called with out vars')
        return post_data

redpajama_set_name: RedPajamaGithub


text:
In classical music from Western culture, a diesis (  or enharmonic diesis, plural dieses ( , "difference";  Greek: δίεσις "leak" or "escape") is either an accidental (see sharp), or a very small musical interval, usually defined as the difference between an octave (in the ratio 2:1) and three justly tuned major thirds (tuned in the ratio 5:4), equal to 128:125 or about 41.06 cents. In 12-tone equal temperament (on a piano for example) three major thirds in a row equal an octave, but three justly-tuned major thirds fall quite a bit narrow of an octave, and the diesis describes the amount by which they are short.
For instance, an octave (2:1) spans from C to C', and three justly tuned major thirds (5:4) span from C to B (namely, from C, to E, to G, to B). The difference between C-C' (2:1) and C-B (125:64) is the diesis (128:125). Notice that this coincides with the interval between B and C', also called a diminished second.

As a comma, the above-mentioned 128:125 ratio is also known as the lesser diesis, enharmonic comma, or augmented comma, while a wider comma with a ratio of 648:625 is known as the greater diesis or diminished comma. As shown in the picture, in the quarter-comma meantone tuning system (a tuning system in which, by definition, major thirds are justly tuned), the diminished second coincides with the diesis.

Alternative definitions
In any tuning system, the deviation of an octave from three major thirds, however large that is, is typically referred to as a diminished second. The diminished second is an interval between pairs of enharmonically equivalent notes; for instance the interval between E and F. As mentioned above, the term diesis most commonly refers to the diminished second in quarter-comma meantone temperament. Less frequently and less strictly, the same term is also used to refer to a diminished second of any size. In third-comma meantone, the diminished second is typically denoted as a greater diesis (see below).

In quarter-comma meantone, since major thirds are justly tuned, the width of the diminished second coincides with the above-mentioned value of 128:125. Notice that 128:125 is larger than a unison (1:1). This means that, for instance, C' is sharper than B. In other tuning systems, the diminished second has different widths, and may be smaller than a unison (e.g. C' may be flatter than B):
 a greater diesis above unison (648:625) for third-comma meantone temperament (see below),
 a diaschisma above unison (2048:2025) for sixth-comma,
 a schisma below unison (32768:32805) for twelfth-comma, and
 a Pythagorean comma below unison (524288:531441) for Pythagorean tuning.

In eleventh-comma meantone, the diminished second is within 1/716 (0.0014) of a cent above unison, so it closely resembles the 1:1 unison ratio of twelve-tone equal temperament.

The word diesis has also been used to describe a large number of intervals, of varying sizes, but typically around 50 cents. Philolaus used it to describe the interval now usually called a limma, that of a justly tuned perfect fourth (4:3) minus two whole tones (9:8), equal to 256:243 or about 90.22 cents. Rameau, in his Treatise on Harmony (1722), names 125:148 (, recte 125:128) as a "minor diesis" and 243:250 as a "major diesis", explaining that the latter may be derived through multiplication of the former by the ratio 15552:15625. Other theorists have used it for various other intervals.

Greater and lesser diesis
Some acoustics texts use the term greater diesis for the difference between an octave and four justly tuned minor thirds (tuned in the ratio 6:5), which is equal to three syntonic commas minus a schisma, equal to 648:625 or about 62.57 cents (almost one 63.16-cent division in 19 equal temperament). Being larger, this diesis was termed "greater" while the 128:125 diesis (41.06 cents) was termed "lesser".

The small diesis  is 3125:3072 or approximately 29.61 cents.

Septimal and undecimal diesis
The septimal diesis (or slendro diesis) is an interval with the ratio of 49:48 , which is the difference between the septimal whole tone and the septimal minor third. It is about 35.70 cents wide.

The undecimal diesis is equal to 45:44 or about 38.91 cents, closely approximated by 31 equal temperament's 38.71 cent interval.

See also
 Chromatic diesis
 Septimal diesis
 Ditone

References

Commas (music)

redpajama_set_name: RedPajamaWikipedia


text:
What's Wrong with 1949?
Since we don't have a regularly scheduled Best Pictures... installment for you this week, I am attempting to compensate with a newly filed entry in my series of Best Actress overviews, this one devoted to the starry but nonetheless straggly race from 1949. Oscar behaved very strangely that year, not least in ignoring some of the most lasting classics of that vintage, like John Ford's She Wore a Yellow Ribbon and Raoul Walsh's White Heat (although, in fairness, I have heretofore ignored those movies, too). Some bright gems like the snappish Adam's Rib, the stylish Third Man, and the British Kind Hearts and Coronets weren't eligible until 1950 (though they didn't generate the Academy enthusiasm they deserved then, either), and even though BIG was enough to secure Best Picture nominations throughout the 50s, Cecil B. DeMille's Samson and Delilah, by far the year's biggest hit, was confined to the Spectacle categories.
Still, none of this is anything compared to the hash Oscar made of the two actressing categories. StinkyLulu's Smackdowners recently discovered what a tepid bunch the Supporting gals were, lazily culled from a total of three movies. Up in the lead category, Oscar anointed an inevitable winner, though I think the performance is considerably overrated even now, and surrounded her with no more than adequate turns by three big once-and-future stars, plus a typical bout of gracelessness from Jeanne Crain in the box-office hit Pinky. You can read all of my thoughts about each nomination here.
What I really need help determining, though, is whether Oscar could have done better with the yields of that year—or, better put, exactly how much better he could have done. De Havilland's still on my personal ballot because she's quite good in her best moments, but I'm more impressed by Barbara Bel Geddes' incongruous warmth and accessibility at the heart of the dark Max Ophuls thriller Caught (think Jessica Lange's Tootsie performance in the middle of a woman-in-peril film noir); by another Ophuls heroine, Joan Bennett in The Reckless Moment, doing her gruff take on the role that would later be Tilda Swinton's in The Deep End; and most of all by Ginger Rogers in The Barkleys of Broadway, gamely replacing Judy Garland by the side of her legendary co-star Fred Astaire, and infusing very credible, very real emotion into the role of an ex-partner who left the dancing act in pursuit of more "serious actress" parts. She's funny, she's as smart and quick as she always was in these pictures, and unlike Harrison Ford in The Kingdom of the Crappy Skript, she proves that you really can return to an old well and put years of intervening maturity to good, rich, entertaining use.
My fifth nominee is Ann Sothern, the most charismatic and unpredictable of Joseph L. Mankiewicz's Three Wives, but reader, I suspect there's gotta be more gold in them '49er hills. Please tell me where to find it. With Garland, in the musicalized Shop Around the Corner remake In the Good Old Summertime? With Joanne Dru or Virginia Mayo in the undisputed classics I named up top? With Bette Davis whining "What a dump!" in Beyond the Forest, or Jennifer Jones in high-prestige mode in Vincente Minnelli's Madame Bovary? With Valentina Cortese or with Gene Tierney, both giving Richard Conte trouble in Jules Dassin's Thieves' Highway and Otto Preminger's Whirlpool, respectively? How about future winner Patricia Neal's one-two punch in The Fountainhead and the Best Actor-nominated The Hasty Heart, or never-nominated Maureen O'Hara in Nicholas Ray's mystery-thriller A Woman's Secret? Or Ingrid Bergman (pictured) headlining one of Hitchcock's first color pictures, Under Capricorn? These are your poll choices, and please vote, even if one just strikes your fancy, or even if you can't make a qualified choice in the other two races. I need inspiration. If your favorite isn't an option (Barbara Hale in The Window? Joan Crawford in Flamingo Road? June Allyson, for god's sake, in Little Women?), give her props in the comments. Help redeem this subpar year!
Labels: 1940s, Best Actress
John T said...
For me, it's about Olivia. I loved her in this role-one of my favorites (outside of her late 1930's work). I think it was that haunted, brittle look on the stars, and the way she pulls off that passive lust for Clift (and the restraint there-most human beings would be throwing themselves on Clift in 1949).
And though it's not eligible, you mentioned The Third Man, and that's just a cosmic rule to discuss that that film is completely, ridiculously wonderful. Near perfect. Could Orson Welles be more sensational as Harry Lime? As far as actressing, Alida Valli is excellent, though overshadowed by her costars. That last sequence still haunts.
Dame James said...
I love Olivia de Havilland, especially here in The Heiress. Her coldness and escalating bitterness was a nice change of pace for her. I find her transformation ingenious and one of the most daring of the 40's (well, after nearly anything Bette Davis did during the decade).
Looking on my ballot, I'm quickly realizing how weak of a year it was. I can't even come up with 5 nominees! I have de Havilland, Judy Garland in In the Good Old Summertime (anything she did between St. Louis and Summer Stock was award worthy), Hayward (The film is pretty mediocre, but, as always, she's the best things about the film) and Katherine Hepburn (although you said she's ineligible for this year). I haven't seen Caught or The Reckless Moment (hell, I've never even heard of them me...bad me) and it's been awhile since The Barkley's of Broadway. I don't remember anything that special about Rogers' performance so I may have to check that one out again.
NicksFlickPicks said...
I knew the Olivia fans would come calling quickly!
@John: I agree that those are two high-points of de Havilland's performance, I just wish they were joined by finer material. That early scene where she accepts the fish from the vendor on the street and clinches so overtly at her father's subtle criticism is an example of her being (for me) overly literal in her signals to the audience and inclined toward the two poles of Callow and Bitter. (We'll get to Valli, I hope, in 1950, though that year is so remarkably strong that she'll have to fight to qualify!)
@DJH: Ditto on the above. I love seeing de Havilland "get" coldness, since you're right that it was hardly her stock in trade, but I think she delivers it a bit too often and with too little complication to fully serve the story. As for Rogers, I expect/hope that someone on the poll slate will eventually unseat her: I like the performance very much, but in a better year, she'd never be my favorite, and probably none of my five current faves would even be on my ballot. That's why I'm so hopeful about what's still to come on my viewing list!
goatdog said...
Can't help you much except to join the others in praising Olivia. Her perf is hovering around the bottom end of my top 5 Best Actress winners, and although I'd agree that there are some scenes where she overdoes the "audience, are you following this?", but she's so incredible in the ending that it makes me forget any faults--until you bring them up!
I think 1949 was kind of a crappy year overall. My top ten films is solid but unspectacular (and includes some films that weren't eligible that year, so maybe it's not even solid), and I can't help you at all on surprise lead actresses. Your list of "further research" shows how weak the year was--you're actually contemplating Lizabeth Scott and Hedy Lamarr. Yuck.
12:18 AM, August 07, 2008
tim r said...
It must bore both of us to agree so often, but I'm with you on De Havilland Nick. What frustrates me about The Heiress -- which I think is a terrific piece of film-making -- is that she's the vaguest thing in it. For me it's a case of a slightly disappointing performance being hoisted up to Oscar by the quality all around her. She's never less than adequate, but I don't think she gets Catherine, really, and I totally hear you about over-signalling the pathos. There's something one-note (or two-note, if you like) and a bit stifling about the perf that just bothers me.
I've seen quite a few of the other films you mention, and agree that the Ophuls movies are probably the strongest picks without yielding exactly startling work. Virginia Mayo makes less of an impression in White Heat than Margaret Wycherly as Ma. Otherwise I'm stumped. Just one of those humdrum years I guess.
2:39 AM, August 07, 2008
Dan Callahan said...
You're hard on Livvy in "The Heiress," and I hate to say that I can see what you're saying. But only about the first half of her performance, especially when she's being "oblivious." The bitter second half is so strong and convincing that I don't mind that there are no shadings, per se. Or that she lingers over her lines, as if she's enjoying them. She is, and Catherine is, too.
Let's replace Loretta Young and Jeanne Crain (always! forever!) with Bette Davis in "Beyond the Forest" and Ingrid Bergman in "Under Capricorn," two great performances in films that were huge flops then but look like Vidor and Hitchcock masterpieces now. Don't even get me started on Ingrid's nine-minute take confession scene...
Of the actual nominees, it would be nice to give it to Hayward; I think "Foolish Heart" is the best of her nominated work. Nothing embarrassing, as there is in the later ones.
Greer Garson is surprisingly good in "That Forsyte Woman." And Miriam Hopkins should have won as Best Supporting Actress for "The Heiress"--everyone hated her personally, which is why she wasn't nominated, most likely.
Finally, I'm bewildered about your enthusiasm for Ginger Rogers in "Barkleys." I haven't seen it in years, and should probably look at it again. But I can still remember being so embarrassed for her during that incredible Sarah Bernhardt recital scene! What in God's name is she doing in that?
I've been going through a 1949 marathon this year, and am currently about to wind down and move on to another year. (Any suggestions as to the year?) I've seen about 40 movies, and have about 10 or so left.
I don't much like Olivia de Havilland in The Heiress; I think that the transformation from hopeful and romantic to cold and bitter is not believable. And Ralph Richardson as the father is so one-note that his only motivation for anything is apparently to be mean and cruel. But then again, I think the movie itself is a big misfire, yet another humorless Henry James adaptation that seems to miss the fact that he was actually funny and quite witty.
Jeanne Crain in Pinky is a confusing case; I think she's badly miscast here, and I don't think there's anything she could've done that would've overcome that. Generally, I like her a lot though—I wouldn't have objected to a nomination for A Letter to Three Wives, and I'll even go one further and say that I think that Mankiewicz should've cast her rather than Anne Baxter—who doesn't quite work because she seems calculating from frame one—in All About Eve. Pinky the movie doesn't work for me because Kazan doesn't seem to have any understanding of the social milieu; Gentleman's Agreement, despite the PC social plot, works very well I think as a look at a social milieu from someone who understands it. Pinky just doesn't have that compensation.
As for the other three, I've only seen Hayward. I don't much like her, but she's serviceable in a movie that is languishing in a pretty well-deserved obscurity. (Is Marc Robson one of the only directors in the history of cinema who peaked with his first film?) Come to the Stable is on Netflix via Play Now, but I've never run across Edward My Son, which is my hope for redeeming the category.
My picks for Best Actresses would be as follows (and these are based on World Premiere date, rather than Oscar eligibility):
1- Ingrid Bergman, Under Capricorn
2- Virginia Mayo, Colorado Territory
3- Setsuko Hara, Late Spring
4- Anne Sheridan, I Was A Male War Bride
5- Jennifer Jones, Madame Bovary
Patricia Neal is quite good in The Hasty Heart, but it's not the kind of performance that ever would've gotten a nomination. (Too low-keyed.) And Judy Garland in In The Good Old Summertime is a very good performance. Some people (not me) might like Barbara Stanwyck in East Side, West Side, and a friend of mine loves Betty Hutton in Red, Hot and Blue. (Although he's a big fan of hers.)
And Supporting Actresses:
1- Barbara Britton, I Shot Jesse James
2- Audrey Totter, The Set-Up
3- Margaret Leighton, Under Capricorn
4- Margaret Rutherford, Passport to Pimlico
5- Elizabeth Patterson, Intruder in the Dust
And for the hell of it, the Leading men:
Lead Actor:
1- John Wayne, She Wore a Yellow Ribbon
2- John Ireland, I Shot Jesse James
3- Richard Todd, The Hasty Heart
4- Chishu Ryu, Late Spring
5- Robert Ryan, The Set-Up
And Supporting:
Supporting Actor:
1- Anthony Nicholls, The Hasty Heart
2- Dean Jagger, Twelve O'Clock High
3- Louis Adler, House of Strangers
4- J. Edward Bromberg, I Shot Jesse James
5- Juano Hernandez, Intruder in the Dust
@Goatdog: One of your top five winners? Praise indeed. I just can't go there, but it's dispiriting to hear that you haven't seen much else from '49 that warrants greater enthusiasm.
@Tim: You can't actually think it bores me. I agree with every word about The Heiress (which I had the pleasure of teaching for the first time this spring) and about de Havilland, who's somehow more frustrating for not being bad, just resolutely un-wonderful.
@Dan: I agree that the second part of the performance feels sturdier than the first, but I do think it's easier to pick one mode and stick with it. Why is this Catherine so imperious and icy to her maid Maria? It's partly the play and screenplay's fault, but why can't de Havilland show us a Catherine who has soured on love / Morris / men without having turned into an all-purpose battle-axe? As for Rogers, I fully concede that a second trip to her performance may diminish my fondness for it, but I've always admired her savvy gifts for humanizing Astaire and warming up their movies, and at least in my semi-distant memory, she made Barkleys entertainingly silly but also emotionally credible, using all her own regrets and aspirations as an actress in service of this character.
Two questions I can't resist: why did everyone hate Miriam Hopkins? And do you not like Hayward in I'll Cry Tomorrow? I'm a sucker for that one.
(By the way, you all saw Dan's superb piece about Anne Bancroft this week, right?)
@DWS: Where have you been all my life? These are great and in many cases unpredictable recommendations, which I'll happily take to heart. Interesting defense of Gentleman's Agreement, which Nathaniel & Goatdog & I will be revisiting in a few months. I'm also mighty intrigued to see so much good will accumulating around Ingrid Bergman in Under Capricorn. My jaw did drop a little over the idea of being a big fan of Betty Hutton. I am the exact opposite of this friend you describe. But, as they say, chacun &#224 son actrice.
Livvy's Catherine is cold to her servant Maria because the girl has complimented her appearance, and Catherine finds any comment like that insincere. She's so damaged by her father that she cannot even accept a simple compliment. I guess we'll just have to agree to disagree, but I think she's indelible in those last scenes. "Bolt the door, Maria"..."He came back with the same lies...the same silly phrases..."
If I remember correctly, Catherine in the book is more of a blobby presence, and James mocks her for eating too much. I actually prefer the stage/film version...it's not one of his best stories, and Lord knows there's no humor in it.
I love Ginger Rogers in everything she did up to 1943 and "Tender Comrade," where she's awful, suddenly. And she stays awful for the next 20 years of her movies. I have no idea why this happened.
From Bette Davis on down, everybody had a score to settle with Miriam Hopkins and her scene-stealing, upstaging tricks. It ruined her career. She did send a nice telegram to Bette in 1949 that said, "I'd rather be second fiddle in a hit (The Heiress) than top-billed in a flop (Beyond the Forest)." She should have been nominated for so many films, but her personality off the screen alienated too many people.
Finally, I love Susan Hayward in "I'll Cry Tomorrow" and "I Want to Live!", but strictly in a guilty pleasure sense. Dave Kehr had a good piece about her in the Times when "Tomorrow" came out on DVD.
I think Olivia De Havilland is masterful in "The Heiress," but if you're looking for competitors, you might want to look at Valerie Hobson in the British film "The Rocking Horse Winner." Arguably, she's stiff at times, but much less so than in most of her other work, and the stiffness fits the character. She gives a striking performance, but her work in the movie went unrecognized.
@Dan: That is some telegram! I had no idea about Hopkins, but it does help to explain her chronic failure to be nominated for good performances in plum parts. (And just to stump a little for Henry James, he has a wickedly good time with Lavinia in the book, and Austin Sloper gets off some great jokes, albeit invariably cruel ones.)
@Matt: I've heard great things about Hobson in this film, but alas, it premiered in the U.S. in 1950... so she's back in the already-heady mix with the other banner performances of that year. Maybe when I finish this essay I'm working on, I'll tackle that year next, to make up for the last two, mostly unsatisfying races I've covered.
CanadianKen said...
Based strictly on world premiere date, my five nominees for '49 would be:
INGRID BERGMAN "Stromboli"
PEGGY CUMMINS "Gun Crazy"
BETTE DAVIS "Beyond the Forest"
OLIVIA deHAVILLAND "The Heiress"
VALERIE HOBSON "The Rocking
Horse Winner"
If Bergman and Hobson are ruled out because of late U.S.release dates, then I'd substitute Ann Sothern and Linda Darnell, both for "Letter to Three Wives"
Honorable mentions for '49:
JOAN BENNETT "The Reckless
Moment"
DORIS DAY "My Dream is Yours"
DEBORAH KERR "Edward My Son"
VIVECA LINDFORS "Adventures
of Don Juan"
(though that may be supporting)
CATHY O'DONNELL "They Live By
Night"
LIZABETH SCOTT "Too Late
for Tears"
ALIDA VALLI "The Third Man"
KINUYO TANAKA "My Love Has
Been Burning"
(also ineligible due to
post'49 American release)
And I'd add a little love for
Jeanne Crain in "Pinky".Call me crazy but, personally, I think she transcended the perceived miscasting. As for Ginger Rogers in "The Barkleys of Broadway" - well, you and I will never EVER be on the same page there. I'd say that Sarah Bernhardt scene alone demands some sort of retroactive mega-Razzie award. It ain't pretty.
@Ken: There you are! I think about you a lot when I write posts like this, since you've always got great recommendations.
Peggy Cummins is another '50 qualifier, because of the weird way Gun Crazy was released. But your long, generous list is wonderful, and leaving aside my own silly stipulations for this exercise, I've long been eager to see Stromboli and some of these others.
Lastly, since it's looking like I'll really have no takers on my Rogers endorsement... again, in a stronger year, she wouldn't be my gal, but every performance in this field has (for me) some conspicuous shortcomings. Rogers's matter less to me than the others' do, and her virtues are considerable. The big, climactic Sarah Bernhardt scene is a little crazy, and her versions of Broad Acting in the previous rehearsals are very broad indeed. But, even then, and certainly by "La Marseillaise," she's obviously sending up the whole shebang, right? – I mean, both the contrivance of the Barkleys script and Bernhardt's own legacy of extreme stylization. After all, this happens well into the home-stretch of Barkleys, when the film explicitly okays staginess and song 'n' dance as perfectly reputable alternatives to high drama. Maybe not a brilliant scene, but I think she's funny in it, and charismatic, and I like that her take on what she's doing in this sequence is a little hard to read. WAY more crucial to me in any case is the sad, fantastic scene in which she balks at reuniting with Astaire even after Oscar Levant has hoodwinked then into dancing together one last time ("They Can't Take that Away from Me"), which is even more poignant than the very good acting she does during that dance. And she's touching as well as quite funny during the conclusion scene: she makes quick, pert gestures around Fred's empty apartment when a slower gesture would certainly be maudlin, but she doesn't hustle through the sequence, either, so it still has time to reverberate. It might sound like I'm ascribing all of the poignancy to who Rogers *is*, and our extra-filmic associations with Fred and Ginger, but I actually think she *manages* those associations brilliantly (not relying on them too heavily, but not lazily leaning on them), and her comic timing is still great ("just a little torture").
It's an unconventional film, especially compared to the other Astaire and Rogers films, but I really think she makes it work.
Darn you, Nick, for being such a persuasive rascal. Can I really be thinking of watching BARKLEYS again? Guilty. And I've enjoyed hating Rogers' performance for so many years now. Still, maybe in spite of your eloquent appraisal, I'll still be able to muster up a little bit of a hiss. If not,well. who knows, I may start doubting my own long-held opinions on telemarketers, on people who describe anything and everything as "awesome" and on Mary Pickford's performance in COQUETTE.
(Near the end of that last entry, I meant, "Not relying on them too heavily, but not avoiding or denying them, either." Why can't Blogger figure out a way to let us edit our own comments on our own blogs?)
@Ken: I don't expect to transcend "agreeing to disagree" about this performance, but if you do watch it again, I hope it improves for you, at least a little. If it's any consolation, you won't get any arguments from me on those other three scores you mention.
I just re-screened The Barkleys of Broadway based on your recommendation and I must say that Ginger Rogers pleasantly surprised me and is- dare I say it- Oscar-worthy (although Olivia still should have won). It seems as if she's taking the best things about her previous Oscar-worthy work (the dancing and personality from Top Hat and the comedic chops from Stage Door) and has finally found a vehicle that ably combines them. The film itself is solid, if a bit clumsy at times, but Rogers proves herself in ways we hadn't seen before.
March Madness, in August!
What's the Story (Morning Glory)?
And Busby Berkeley would sh*t, I know...
One Hotel to Rule Them All
A Gotham in Trouble
Best Pictures from the Outside In: '31/'04
Hold Your Horses, Pull Your Punches, and Watch You...
Let Me Be Frank
All Racist on the Western Coast

redpajama_set_name: RedPajamaCommonCrawl


text:
« Terrorists strike again–this time in Turkey
US Supreme Court delivers another blow to 'freedom of religion' »
Peter, Paul, Francis, and the Greek Orthodox
Improperly Claimed Tomb of Peter
Today is the day the Greco-Roman churches observe combined day for the Apostle Peter and the Apostle Paul:
June 29 marks the day of the Apostles St. Peter and St. Pavel (Paul) in the Bulgarian Orthodox calendar.
The feast day commemorates the martyrdom of the two great Apostles, assigned by tradition to the same day of June in the year 67. http://www.novinite.com/articles/161691/Bulgarians+Celebrate+Saints+Peter+and+Paul%E2%80%99s+Day#sthash.TMNyThUG.dpuf
Pope Francis said the following about it last year:
On this Solemnity of Saints Peter and Paul, the principal patrons of Rome, we welcome with joy and gratitude the Delegation sent by the Ecumenical Patriarch, our venerable and beloved brother Bartholomaios, and led by Metropolitan Ioannis. Let us ask the Lord that this visit too may strengthen our fraternal bonds as we journey toward that full communion between the two sister Churches which we so greatly desire. http://en.radiovaticana.va/news/2014/06/29/homily_for_the_solemnity_of_saints_peter_and_paul/1102327
Pope Francis called Peter and Paul patrons of Rome and again pushed for full unity with the Eastern Orthodox. He also made comments about it yesterday (see Pope Francis, Patriarch Bartholomew, Cardinal Koch, and the 'Great and Holy Council').
Interestingly, according to certain Catholic and Eastern Orthodox scholars and priests, Peter and Paul were not the patrons/founders of the Church in Rome.
Here are some Roman Catholic sources:
Neither Peter nor Paul founded the Church at Rome, for there were Christians in the city before either of the Apostles set foot there. Nor can we assume, as Irenaeus did, that the Apostles established there a succession of bishops to carry on their work in the city, for all the indications are that there was no single bishop at Rome for almost a century after the deaths of the Apostles. In fact, where ever we turn, the solid outlines of the petrine succession at Rome seem to blur and dissolve…
Neither Paul, Acts nor any of the Gospels tells us anything direct about Peter's death, and none of them even hints that the special role of Peter could be passed on to any single 'successor'. There is, therefore, nothing directly approaching a papal theory in the pages of the New Testament (Duffy, Eamon. Saints & Sinners: A History of the Popes. Yale University Press, New Haven (CT), 2002, pp.2,6).
Antonio Ferrua …was the Jesuit archaeologist responsible for uncovering what is believed to be the tomb of St Peter in the grottoes under St Peter's Basilica in Rome…Ferrua was more circumspect. Aware of the scepticism that surrounded even the analysis of the Greek fragment – which others had read as Petros endei or "Peter is not here" – he recently told the Italian Catholic newspaper L'Avvenire that he was "not convinced" that the saint's bones had been found…A man of deep faith, Ferrua was a rigorous scholar, much admired for his refusal to allow his beliefs to compromise his work (The Rev Antonio Ferrua. Telegraph, London – May 29, 2003 http://www.telegraph.co.uk/news/obituaries/1431338/The-Rev-Antonio-Ferrua.html viewed 07/20/09)
Irenaeus focuses on the church of Rome which he describes as "greatest, most ancient and known to all, founded and established by the two most glorious apostles, Peter and Paul." Here we must acknowledge a bit of rhetoric, as the church of Rome was obviously not so ancient as those of Jerusalem or Antioch, nor was it actually founded by Peter or Paul (Sullivan F.A. From Apostles to Bishops: the development of the episcopacy in the early church. Newman Press, Mahwah (NJ), 2001, p. 147).
ALTHOUGH CATHOLIC TRADITION, BEGINNING IN the late second and early third centuries, regards St. Peter as the first bishop of Rome and, therefore, as the first pope, there is no evidence that Peter was involved in the initial establishment of the Christian community in Rome (indeed, what evidence there is would seem to point in the opposite direction) or that he served as Rome's first bishop. (McBrien, Richard P. Lives of the Popes: The Pontiffs from St. Peter to Benedict XVI. Harper, San Francisco, 2005 updated ed., p.25).
Some of the Eastern/Greek Orthodox use even stronger terms:
From the outset we must clarify that we Orthodox, not taking part in the politically correct spirit of western and especially ecumenist "Christianity," do not refer to those religious communities who have, sadly, been separated from the One, Holy, Catholic and Apostolic Orthodox Church as "Churches." But, following the example of our Holy Fathers throughout the ages, refer to them as heretics, and you, Your Excellency, and your followers, we denominate as "Papists" and your heresy as "Papism."…
That the Apostle Peter did not travel to Rome after the composition of his first epistle is witnessed to in his second catholic epistle, understanding , of course, that this epistle was obviously written for the Gentile Christians, whereas the first was written for the Jewish Christians. In this epistle there is also no mention of city of Rome.
Finally, the fact that, near the end of his life, the Apostle Peter did not journey to Rome is verified by the Apostle Paul's second epistle to Timothy, in which he writes: "At my first defense no one took my part; all deserted me. May it not be charged against them! But the Lord stood by me and gave me strength to proclaim the message fully, that all the Gentiles might hear it." From this epistle of the Apostle Paul, which was written near the end of his life, it is clearly verified, that during its writing, the Apostle Peter was not in Rome, otherwise the Apostle Paul would out of necessity have mentioned it.
Moreover, it is clear that before the composition of this epistle, the Apostle Peter had not traveled to Rome. If he had already preached there it would not be possible for the Apostle Paul to write that "also in Rome the Gentiles were taught and heard the preaching by him."
When we add to these Biblical witnesses all that is mentioned in the Acts of the Apostles regarding the Apostle Paul's first journey to Rome, something that we will expand upon shortly, along with his epistle to the Romans, we come to the indubitable conclusion that, before the Apostle Paul's first journey to Rome and also before the composition of his second epistle to Timothy, the Apostle Peter had not traveled to Rome…
Regardless, however, of the time and place of the death of the Chiefs of the Apostles, in our opinion, the most significant witness to the fact that the Apostle Peter did not travel to Rome before the Apostle Paul, and therefore that he did not found the Church in Rome, is concluded from the juxtaposition of the epistle to the Romans with the Acts of the Apostles regarding the Apostle Paul's first journey to Rome…
Consequently, the Apostle Peter had not journeyed to Rome before the composition of this epistle, that is, before 58 A.D. Perhaps he made the journey during the two – year period that intervened between the writing of the epistle and the Apostle Paul's first visit to Rome? For us, that which is mentioned in the Acts of the Apostles regarding the Apostle Paul's first visit to Rome, and his subsequent two – year stay, rules this out completely…
As for the fifth detail, that Peter and Paul meet their end at the same time (in Rome), we find no witnesses save apocryphal sources, which are bereft of validity…The witness of Origen regarding the death of Paul in Rome under Nero is refuted by Clement of Rome, who wrote "and come to the extreme limit of the West, and suffered martyrdom under the prefects."…
And so, it is nowhere proved that the Apostle Peter traveled to Rome, nor that he preached and died there. Rather the opposite is witnessed to by the Holy Scriptures and Ecclesiastical History…
After reading the above, your recent presentation of the alleged Holy Relics of the Apostle Peter, unknown for two centuries, strikingly presents the tragic character of your religious system…
+ Andrew of Dryinoupolis, Pogoniani and Konitsa
+ Seraphim of Piraeus and Faliro
(Letter to Francis. HOLY AUTOCEPHALOUS ORTHODOX CATHOLIC CHURCH OF GREECE. April 10, 2014, pp. 1, 37, 41, 45-56, 89. http://cdn.romfea.gr/images/stories/photos/2014/4/romfea1/spiti/Epistle%20to%20Pope%20Francis%20I.pdf viewed 04/21/2014)
Yet, despite the fact that the Apostle Peter is not buried in St. Peter's, etc., the Eastern Orthodox will end up with unity with the Church of Rome. Both biblical and Catholic prophecies warn this will happen, and although much of the media will endorse this, it will not be good for the Roman nor Eastern Orthodox Catholics, nor the Protestants for that matter.
As far as the Protestant go, there was another meeting with them a few days ago. Charismatic Ken Copeland and others met with the Pope (the original report is in Italian, with the machine-translated English version below it):
Francesco si è incontrato con degli importanti 'leaders evangelici' per pianificare l'alleanza tra la Chiesa Cattolica Romana e gli Evangelici, o meglio sancire una «unità nella diversità». L'incontro si è tenuto il 24 giugno 2014 in Vaticano presso il Palazzo Santa Marta. Ecco i nomi di coloro che si sono incontrati con lui: John e Carol Arnott (fondatori di Catch The Fire), Kenneth Copeland (fondatore di KCM Ministries), James Robison (fondatore di Life Outreach Int.), Geoff Tunnicliffe (Capo della Worldwide Evangelical Alliance ossia l'Alleanza Evangelica Mondiale). C'era anche Tony Palmer (Vescovo della Communion Evangelical Episcopal Churches)…
USCITE E SEPARATEVI DALL'AEI. Guardatevi e ritiratevi da tutti coloro che promuovono questa diabolica alleanza o unità nella diversità.
Chi ha orecchi da udire, oda (http://giacintobutindaro.org/2014/06/26/francesco-incontra-predicatori-pentecostali/)
Francis met with the important 'evangelical leaders' plan for the alliance between the Roman Catholic Church and the Evangelical, or rather establish a "unity in diversity". The meeting was held at the Vatican June 24, 2014 at the Palace of Santa Marta. Here are the names of those who met with him: John and Carol Arnott (founder of Catch The Fire), Kenneth Copeland (founder of KCM Ministries), James Robison (founder of Life Outreach Int), Geoff Tunnicliffe (Head of Worldwide Evangelical Alliance that is the World Evangelical Alliance). There was also Tony Palmer (Bishop Communion of Evangelical Episcopal Churches)…
Shameful and scandalous.
LEAVE AND SEPARATE FROM THE AEI { l'Alleanza Evangelica Italiana}. Look and turn away from all those who promote this unholy alliance or unity in diversity.
The ecumenical movement is going forward, though some few are realizing some of the dangers of it.
Some Protestants and some Eastern Orthodox keep trying to have ecumenical unity with Rome. Sadly, many more of them will join in this disastrous unity as well.
Why Should American Catholics Fear Unity with the Orthodox? Are the current ecumenical meetings a good thing or will they result in disaster? Is doctrinal compromise good? Here is a link to a related video Should you be concerned about the ecumenical movement?
Beware: Protestants Going Towards Ecumenical Destruction! What is going on in the Protestant world? Are Protestants turning back to their 'mother church' in Rome? Does the Bible warn about this? What are Catholic plans and prophecies related to this? Is Protestantism doomed? watch the video Charismatic Kenneth Copeland and Anglican Tony Palmer: Protestants Beware!
Some Similarities and Differences Between the Eastern Orthodox Church and the Continuing Church of God Both groups claim to be the original church, but both groups have differing ways to claim it. Both groups have some amazing similarities and some major differences. Do you know what they are?
Orthodox Must Reject Unity with the Roman Catholics Unity between these groups will put them in position to be part of the final end time Babylon that the Bible warns against as well as require improper compromise.
United Nations: Humankind's Last Hope or New World Order? Is the UN the last hope for humanity? Or might its goals end up with sinister results? A related video would be United Nations and Vatican Are Planning the New World Order.
Where is the True Christian Church Today? This free online pdf booklet answers that question and includes 18 proofs, clues, and signs to identify the true vs. false Christian church. Plus 7 proofs, clues, and signs to help identify Laodicean churches. A related sermon is also available: Where is the True Christian Church? Here is a link to the booklet in the Spanish language: ¿Dónde está la verdadera Iglesia cristiana de hoy? Here is a link in the German language: WO IST DIE WAHRE CHRISTLICHE KIRCHE HEUTE?
Continuing History of the Church of God This pdf booklet is a historical overview of the true Church of God and some of its main opponents from Acts 2 in the first century to the 21st century. Two related sermon links would include Continuing History of the Church of God: c. 31 to c. 300 A.D. and Continuing History of the Church of God: 4th-16th Centuries. In Spanish: Marque aquí para ver el pdf folleto: Continuación de la Historia de la Iglesia de Dios.
The History of Early Christianity Are you aware that what most people believe is not what truly happened to the true Christian church? Do you know where the early church was based? Do you know what were the doctrines of the early church? Is your faith really based upon the truth or compromise?.
The 'Peace Deal' of Daniel 9:27 This prophecy could give up to 3 1/2 years advance notice of the coming Great Tribulation. Will most ignore or misunderstand its fulfillment?
When Will the Great Tribulation Begin? 2015, 2016, or 2017? Can the Great Tribulation begin today? What happens before the Great Tribulation in the "beginning of sorrows"? What happens in the Great Tribulation and the Day of the Lord? Is this the time of the Gentiles? When is the earliest that the Great Tribulation can begin? What is the Day of the Lord? Who are the 144,000? Here is a version of the article in the Spanish language: ¿Puede comenzar la Gran Tribulación en 2014 o 2015? ¿Es el Tiempo de los Gentiles? You can also see the English language sermon video: The Great Tribulation from the Mount of Olives.
Pope Francis: Could this Marian Focused Pontiff be Fulfilling Prophecy? Pope Francis has taken many steps to turn people more towards his version of 'Mary.' Could this be consistent with biblical and Catholic prophecies? This article documents what has been happening. There is also a video version titled Pope Francis: Could this Marian Focused Pontiff be Fulfilling Prophecy?
Could Pope Francis be the Last Pope and Antichrist? Former Argentinian Cardinal Jorge Mario Bergoglio is now Pope Francis. According to some interpretations of the prophecies of the popes by the Catholic saint and Bishop Malachy, Pope Francis is in the position of "Peter the Roman," the pontiff who reigns during tribulations until around the time of the destruction of Rome. Do biblical prophecies warn of someone that sounds like Peter the Roman? Could Francis be the heretical antipope of Catholic private prophecies and the final Antichrist of Bible prophecy? Could a Jesuit be "the black pope"?
The Last Pope Do Biblical and Catholic Prophecies Point to Pope Francis? Why might Pope Francis be the last pope? What happens if he is? Biblical and other prophecies help explain what to expect.
The Last Pope: Do Biblical and Catholic Prophecies Point to Pope Francis? Amazon Book What does the Bible say about a pope near this time? Is the final pope to be an antipope and antichrist? Does Catholic prophecy point to Pope Francis as being the dreaded "Peter the Roman"? This 186 page book provides information and answers.
The Last Pope: Do Biblical and Catholic Prophecies Point to Pope Francis? Kindle This electronic version of the printed book which is available for only US$2.99. And you do not need an actual Kindle device to read it. Why? Amazon will allow you to download it to almost any device: Please click HERE to download one of Amazon s Free Reader Apps. After you go to for your free Kindle reader and then go to The Last Pope: Do Biblical and Catholic Prophecies Point to Pope Francis? Kindle.
This entry was posted on Wednesday, June 29th, 2016 at 12:01 am	and is filed under Religious News.
Peter, Paul, Francis, and the Eastern Orthodox
Greco-Romans and Peter and Paul
Apostles Peter and Paul and the Greco-Roman Churches
Apostles Peter & Paul and the Greco-Romans
Eastern Orthodox Patriarch Bartholomew responds to Rome
Orthodox Committed to Ecumenism says Romanian Priest
Pope and Patriarch Meet: Unity at "Crucial Stage"
Pope Francis officially takes office, has ecumenical hopes, and has first Eastern Orthodox head to attend in 1000 years
Pope Francis reaches out to Eastern Orthodox Patriarch Bartholomew


text:
Editors' ChoiceNeuroscience
Synaptic Signaling to a Separate Population?
Elizabeth M. Adler
Science Signaling, AAAS, Washington, DC 20005, USA
Science Signaling 07 Oct 2008:
Vol. 1, Issue 40, pp. ec344
DOI: 10.1126/scisignal.140ec344
, AAAS, Washington, DC 20005, USA
The tiny blips in postsynaptic membrane potential produced through the spontaneous release of individual quanta of neurotransmitter played a key role in elucidating the mechanisms underlying synaptic transmission, but the physiological importance of spontaneous release has remained unclear. Atasoy et al. provide evidence that spontaneous release of glutamate activates a population of postsynaptic N-methyl-D-aspartate receptors (NMDARs) distinct from those activated by evoked release. Using the use-dependent open channel NMDAR blocker MK-801 to determine NMDAR activation history, the authors looked for crosstalk between NMDARs activated by spontaneous or evoked release in dissociated cultures of rat hippocampal neurons, hippocampal slices, and autaptic synapses in solitary-neuron cultures. Whereas application of MK-801 to resting neurons rapidly blocked NMDAR-mediated miniature excitatory postsynaptic currents (NMDA-mEPSCs) resulting from spontaneous release, it had little effect on the NMDAR-mediated response to evoked release (NMDA-eEPSC). On the other hand, repeated stimulation in the presence of MK-801 led to a decrease in NMDA-eEPSC, whereas evoked release-dependent block had relatively little effect on subsequent NMDA-mEPSCs. Fluorescence imaging indicated that evoked and spontaneous release of synaptic vesicles frequently occurred at the same synapse, with little correlation between the rates of the two forms of release. Modeling suggested that, at medium to large synapses (>0.2 μm2 area), independent activation of two populations of NMDAR could occur. The authors propose that spontaneous and evoked release may activate different populations of NMDARs—even in the same synapse—an intriguing possibility that could enable these two forms of release to elicit distinct postsynaptic responses.
D. Atasoy, M. Ertunc, K. L. Moulder, J. Blackwell, C. Chung, J. Su, E. T. Kavalali, Spontaneous and evoked glutamate release activates two populations of NMDA receptors with limited overlap. J. Neurosci. 28, 10151-10166 (2008). [Abstract] [Full Text]
Vol 1, Issue 40
You are going to email the following Synaptic Signaling to a Separate Population?
By Elizabeth M. Adler
Science Signaling 07 Oct 2008 : ec344
Spontaneous and evoked glutamate release may activate different populations of NMDA receptors.


Europoly - The European Union Identity Trading Game is a fully functioning portable social game, developed within the contexts of real life, the art system and consumer society. In this way Europoly recognises the blurred boundaries between 'the art work' and 'the sellable product' in western consumer society. Therefore, Europoly will be advertised through marketing strategies, from the newspapers, radio, and TV ads and commercials over billboards to the final product market, which will be created in the form of industrial product of a social game similar to Monopoly. At the end of marketing campaign, Europoly will be exhibited at the final exhibition of the project Inquiry into Reality: The Disappearance of Public Space.
This piece of work is questioning the position of immigrants in EU, as well as the idea of EU. Non EU citizens working in the EU, have been photographed and featured in Europoly with their professions. Luck, to a great extent, determines the possible rise or fall of the 'players' who wish to become part of the new European identity.
The European Union defines European identity as something that is provided only within the Union and only to European Union citizens, although Europe does not end at the borders of the Union. However, the EU does have the power to define identity, the power to set up the rules of a game others have to join. The consumer society of the European Union has created a rule, that 'everything is for sale', including even notions of identity.
Through a vision of the modern world the game of Monopoly - a game not chosen by chance, because MONOPOLY means having power over something or someone – has been transformed into a Kafkaesque world of complex rules/laws of the 'game', which today's European Union offers to all 'players' as the only possibility, the only reality.
The conceptual structure of the work is articulated through 22 selected professions of varying value and prestige, as well as a whole series of accompanying symbols (Yugo and designer bags, profession cards, chance cards, Eu community chest cards). The work deals with problems of identity, power, the process of integration, and questions the rigid, categorical, merciless, and sometimes even grotesque, qualities of a system of rule which mainly functions through pure statistics - numbers, calculations, value relations, thereby reducing the value of the individual as such. An integral part of the portable Europoly game will be a booklet including texts by philosophers, sociologists, curators, art critics, historians and economists, as well as artists whose areas of research are pertinent to the issues raised by Europoly. Their contributions will play an essential role in interrogating the multiple layers of the work itself as well as extending the dialogue regarding and beyond European identity.


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Arturo Ramos
Race Spanish/Cuban
Marital Status Married
Occupation Doctor
First Appearance Anger
Last Appearance Loyalty
Dr. Arturo Ramos is one of the characters in the show Wilfred. He is played by Nestor Carbonell.
Arturo Ramos is the boss of Kristen Newman, Ryan's sister. Throughout the first season, Kristen tries desperately to impress Dr. Ramos. She believes that it could be beneficial to her career however it is later revealed that the two had an brief affair in the past. After Kristen comes clean to her husband, she decides to leave to go to India with Arturo for work.
When Kristen returns from India, she reveals that Arturo impregnated her in there after the two realized they were in love. This is later discovered to be false as he hasn't contacted her in two weeks and sent her a restraining order. After Kristen has an accident, Arturo runs over and rekindles his romance with her but this doesn't last long as Kristen tells Ryan later on that he has since refused to leave his family for her.
Season 1 Edit
Retrieved from "https://wilfred.fandom.com/wiki/Arturo_Ramos?oldid=6565"


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Workthoughts
Join the conversation on workplace and career
The Saturday Read – 'Shop Class As Soulcraft' – Matthew Crawford
April 11, 2015 Eileen Kohan
What can you do with a degree in philosophy? Matthew Crawford received his PhD in political philosophy from the University of Chicago in 2000. After a series of jobs as a 'knowledge worker' he created a career that combined philosophy, writing and custom motorcycle maintenance. Drawing from his personal journey, he wrote about the value of work and producing tangible results. His book, 'Shop Class As Soulcraft: An Inquiry Into The Value of Work', was published in 2009.
In a New York Times Magazine essay he argued 'The Case for Working With Your Hands'.
"A good job requires a field of action where you can put your best capacities to work and see an effect in the world. Academic credentials do not guarantee this."
He provides the historical context to explain how we got to where we are today.
"High-school shop-class programs were widely dismantled in the 1990s as educators prepared students to become "knowledge workers." The imperative of the last 20 years to round up every warm body and send it to college, then to the cubicle, was tied to a vision of the future in which we somehow take leave of material reality and glide about in a pure information economy. This has not come to pass. To begin with, such work often feels more enervating than gliding. More fundamentally, now as ever, somebody has to actually do things: fix our cars, unclog our toilets, build our houses."
Contrasting his experience at a policy organization with his part-time experience tearing down an old Honda motorcycle under the guidance of an experienced tradesman: "As I sat in my K Street office, Fred's life as an independent tradesman gave me an image that I kept coming back to: someone who really knows what he is doing, losing himself in work that is genuinely useful and has a certain integrity to it. He also seemed to be having a lot of fun."
He then considers the broader implications to our society when the best and the brightest are channeled into elite institutions bypassing an apprenticeship in problem solving in the world of grease and dirt.
"The visceral experience of failure seems to have been edited out of the career trajectories of gifted students. It stands to reason, then, that those who end up making big decisions that affect all of us don't seem to have much sense of their own fallibility, and of how badly things can go wrong even with the best of intentions (like when I dropped that feeler gauge down into the Ninja). In the boardrooms of Wall Street and the corridors of Pennsylvania Avenue, I don't think you'll see a yellow sign that says "Think Safety!" as you do on job sites and in many repair shops, no doubt because those who sit on the swivel chairs tend to live remote from the consequences of the decisions they make. Why not encourage gifted students to learn a trade, if only in the summers, so that their fingers will be crushed once or twice before they go on to run the country?"
He remains optimistic as he concludes the essay: "The good life comes in a variety of forms. This variety has become difficult to see; our field of aspiration has narrowed into certain channels… For anyone who feels ill suited by disposition to spend his days sitting in an office, the question of what a good job looks like is now wide open."
Enjoy the Saturday read, 'Shop Class As Soulcraft'.
Categories: creativity, The Saturday Read, values	Tags: Matthew Crawford, Shopclass as Soulcraft, The Case for Working With Your Hands, work
← On Imagination a poem by Phillis Wheatley
The week@work – April 6 – April 12 →
And then we came to the middle…
The Friday Poem: 'August' by Mary Oliver
The Friday Poem – 'How Would You Live Then?' by Mary Oliver
Summer 2019@work: Cathedral Thinking, Blue Oceans and Redefining the Purpose of a Corporation
college and work
poetry@work
The Friday Poem
The Saturday Read
week@work


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New York City Ballet – Ash, This Bitter Earth, The Infernal Machine, Jeux, Paz de la Jolla – New York
By Marina Harss on February 21, 2016 in Reviews · 0 Comments
Sara Mearns in Kim Brandstrup's Jeux.
© Paul Kolnik. (Click image for larger version)
21st Century Choreographers: Ash, This Bitter Earth, The Infernal Machine, Jeux, Paz de la Jolla
★★★✰✰
New York, David H. Koch Theater
www.nycballet.com
Justin Peck's Paz de la Jolla, a seaside romp set to Bohuslav Martinu's 1950 sinfonietta for string orchestra, brought a welcome blast of summer to the Saturday matinee at New York City Ballet. In 2013, when it premièred, it was only Peck's third ballet for the company. (The process of its creation was captured in the excellent documentary Ballet 422.) Three years on it still feels fresh, bubbling with energy. And, even though Peck's first official story ballet, The Most Incredible Thing, premiered only this season, Paz contains what still may be his most successful moment of narrative invention.
Sterling Hyltin, Amar Ramasar and Tiler Peck in Justin Peck's Paz de la Jolla.
This story-within-the story comes in the slow, haunting second movement, a kind of nocturnal reverie. The dancers bend, sway, and interlock, creating patterns that give the illusion of waves and heaving surf. Sterling Hyltin and Amar Ramasar, the ballet's leads (along with an unstoppable Tiler Peck) dance a shy and tender pas de deux, then lie down side by side. As if in a dream, Hyltin rises and allows herself to be drawn into the waves; the dancers form eddies around her, pulling her in further. As she realizes her predicament, her movements become more frenzied and Ramasar, awakened, dives in after her. The two appear to drown. But, this being ballet, all is soon well again and the two dancers join the raucous finale that brings Paz careening to a close.
The colorful 1920's style beach-wear, by Reid Bartelme and Harriet Jung, adds to the sunny atmosphere and brings to mind other similar works, including Bronislava Nijinska's Le Train Bleu and Jerome Robbins' In G Major. The hyper-fast, spinning-on-her-own-axis choreography for Tiler Peck is very reminiscent of her part in The Most Incredible Thing. Justin Peck (no relation) seems to be bewitched by her speed, but perhaps it's time he thought of new, less obvious ways to test this unflappable dancer. In any case, this ballet reveals a more vulnerable, more dreamy side of the choreographer.
Adrian Danchig-Waring and Sara Mearns in Kim Brandstrup's Jeux.
Paz closed a program that had begun with a series of short works (by Peter Martins and Christopher Wheeldon), before moving on to Kim Brandstrup's Jeux, from last season. Handsome to look at, with its film-noir lighting and flattering black 1940's style dresses (by Marc Happel), Jeux nevertheless proves to be rather thin, a not-quite-convincing cross between Balanchine's La Valse and Shirley Jackson's sinister short-story, "The Lottery." A blindfolded woman, Sara Mearns, is harassed by a sinister cluster of couples. Still blindfolded, she encounters a youth (Adrian Danchig-Waring) wearing jeans and carrying a ball. Then, as the other couples swirl around her, she seems to lose her mind, repeatedly clutching her head and smoothing her dress. Finally taking matters into her own hands, Mearns places the blindfold over the younger man's eyes and lowers herself onto his body just as the curtain falls on the scene. The music is Debussy's eponymous 1912 "poème dansé," which Vaslav Nijinsky turned into a ballet about a love triangle. Brandstrup fails to find his way through it, resulting in a ballet that is more inert than intriguing.
At least it was well danced. This cannot be said for the first ballet of the evening, Peter Martins' 1991 Ash, a relentlessly difficult if thankless work full of tricky partnering and virtuosic, topsy-turvy, off-kilter moves. Zachary Catazaro was outdone by the choreography, nearly dropping his partner (Ashley Laracey) at one point, and looking breathless and rather lost throughout. Two of the men in the small ensemble, Sebastian Villarini-Velez and Spartak Hoxha managed to bend the choreography to their advantage in short solos, traversing the stage with exciting space-devouring jumps and slides. The other Martins work, The Infernal Machine (set to music by Christopher Rouse) is an aggressive, rough-handed pas de deux, danced here with grit and impressive flexibility – there are a lot of splits – by Unity Phelan and Preston Chamblee. Chamblee, in his first featured role, shows potential as a leading man. It will be nice to see him take on other, more nuanced parts.
In between, Sara Mearns and Tyler Angle danced a duet created by Christopher Wheeldon for Wendy Whelan in 2012, This Bitter Earth, set to a rather sentimental remix by Max Richter of Dinah Washginton's eponymous song. Like other works created for Whelan by Wheeldon, it has a diaphanous simplicity meant to highlight Whelan's honest, straightforward, and un-varnished stage manner. When she danced it, Whelan was all angles and vulnerability. Mearns, a very different sort of dancer, has her own take, more muscular and dramatic. Where Whelan fluttered like a leaf, Mearns falls with a kind of fateful abandon. It's not much of a pas de deux, really; one almost wishes it had been retired after Whelan's final season. But it lives on, and, in Mearns's hands, it still breathes.
Tags: Adrian Danchig-Waring, Amar Ramasar, Ash, Ashley Laracey, Bronislava Nijinska, Christopher Rouse, Christopher Wheeldon, David H. Koch Theater, Debussy, Dinah Washginton, George Balanchine, Harriet Jung, In G Major, Jerome Robbins, Jeux, Justin Peck, Kim Brandstrup, La Valse, Le Train Bleu, Marc Happel, Martinu, Max Richter, New York, New York City Ballet, Paz de la Jolla, Peter Martins, Preston Chamblee, Reid Bartelme, Sara Mearns, Sebastian Villarini-Velez, Shirley Jackson, Spartak Hoxha, Sterling Hyltin, The Infernal Machine, The Lottery, The Most Incredible Thing, This Bitter Earth, Tiler Peck, Tyler Angle, Unity Phelan, Vaslav Nijinsky, Wendy Whelan, Zachary Catazaro
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New York City Ballet – Paz de la Jolla premiere and bill – New York
New York City Ballet – Jeux + Polaris, The Blue Distance, Common Ground, New Blood – New York
New York City Ballet – Fall Gala – New York
Marina Harss
Work for DanceTabs
Reviews on Balletco
Marina Harss is a free-lance dance writer and translator in New York. Her dance writing has appeared in the New Yorker, The Nation, Playbill, The Faster Times, DanceView, The Forward, Pointe, and Ballet Review. Her translations, which include Irène Némirovsky's "The Mirador," Dino Buzzati's "Poem Strip," and Pasolini's "Stories from the City of God" have been published by FSG, Other Press, and New York Review Books. You can check her updates on Twitter at: @MarinaHarss
New York City Ballet – Spectral Evidence, Soirée Musicale, Namouna – New York
New York City Ballet – Symphonic Dances, Pictures at an Exhibition, This Bitter Earth, Everywhere We Go – Washington


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Fellowship of Isis Central
Welcome to the Fellowship of Isis Central Blog! The Fellowship of Isis is an international organization dedicated to furthering awareness of the Goddess. Information presented here about the Fellowship of Isis (announcements, policies, liturgy and the branches of study in the FOI) is provided directly to us by FOI Co-Founder Olivia Robertson, Temple of Isis, Clonegal Castle, Ireland.
In Memory of Steve Wilson
Photo: FOI members enact the Mystery of Isis and Osiris. Photo © Johnny Merron.
Members of the Priesthood of the Fellowship of Isis, including Steve Wilson (in striped robe, arms upraised), Caroline Wise, Ingrid Fischer and Johnny Merron enact The Mystery of the Awakening of Osiris with Lawrence and Olivia near the balustraded portico entrance to the Temple of Isis at Clonegal Castle. Johnny is seen here lying prone as Osiris. He had a time lapse on his camera, which enabled him to set it and have time to get in position before the photo was taken.
All contents © Fellowship of Isis Central Global Website, Circle of Isis. Please Fellowship of Isis Central for more information.
Unless otherwise noted, content of all posts on this blog by Linda Iles, Honorary Secretary of the Circle of Isis Advisory Board.


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Home Actualité internationale World News – AU – Aussie NBA Guard suffers yet another injury...
World News – AU – Aussie NBA Guard suffers yet another injury setback
Exum jumped off the pitch early on Tuesday morning after a non-contact leg injury in Cleveland's clash with Orlando on Tuesday morning.
Reports from Cleveland suggest he sustained a calf injury, although the extent of the damage is not yet known.
Regardless, it's another setback for the talented Aussie, whose entire career has been affected by persistent injuries.
World news – Robert Saleh reveals his 4-word mantra for Jets players
After being selected in the 2014 NBA draft, Exum ripped open its ACL just a year later and has never had a steady run.
The 25-year-old started the 2021 season in good shape, an average of 23 minutes for the Cavs and an important part of their rotation.
WARNING INJURY VIDEO This is the Dante Exum Injury, non-contact, but man, I'm absolutely broken. picture. Twitter. com / TQL71mCgaO
Dante Exum, Cleveland Cavaliers, NBA, Orlando Magic, Philadelphia 76ers, Stephen Curry, Miami Heat, East Conference, Atlanta Hawks
World News – AU – The Australian NBA guard suffers again including injury setback
Ref: https://www.sen.com.au
World news – (Photo) The picture shows that the Liverpool star's...


Following news that iOS devices are at risk of spyware related to the Hacking Team, the saga continues into the Android sphere. We found that among the leaked files is the code for Hacking Team's open-source malware suite RCSAndroid (Remote Control System Android), which was sold by the company as a tool for monitoring targets.
The RCSAndroid code can be considered one of the most professionally developed and sophisticated Android malware ever exposed. The leak of its code provides cybercriminals with a new weaponized resource for enhancing their surveillance operations.
It was configured to use a Command-and-control (C&C) server in the United States; however, the server was bought from a host service provider and is now unavailable.
It was configured to activate via SMS sent from a Czech Republic number. Attackers can send SMS with certain messages to activate the agent and trigger corresponding action. This can also define what kind of evidences to collect.
Based on emails leaked in the dump, a number of Czech firms appear to be in business with the Hacking team, including a major IT partner in the Olympic Games.
Attackers use two methods to get targets to download RCSAndroid.
The second method is to use a stealthy backdoor app such as ANDROIDOS_HTBENEWS.A, which was designed to bypass Google Play.
The role of ANDROIDOS_HTBENEWS.A and the malicious APK mentioned in the first method is to exploit a local privilege escalation vulnerability in Android devices. Hacking Team has been known to use both CVE-2014-3153 and CVE-2013-6282 in their attacks. The said exploits will root the device and install a shell backdoor.
The shell backdoor then installs the RCSAndroid agent. This agent has two core modules, the Evidence Collector and the Event Action Trigger.
The Evidence Collector module is responsible for the spying routines outlined above. One of its most notable routines is capturing voice calls in real time by hooking into the "mediaserver" system service. The basic idea is to hook the voice call process in mediaserver.
Take voice call playback process for example. The mediaserver will first builds a new unique track, start to play the track, loop play all audio buffer, then finally stop the playback. The raw wave audio buffer frame can be dumped in the getNextBuffer() function. With the help of the open-source Android Dynamic Binary Instrumentation Toolkit and root privilege, it is possible to intercept any function execution.
The Event Action Trigger module triggers malicious actions based on certain events. These events can be based on time, charging or battery status, location, connectivity, running apps, focused app, SIM card status, SMS received with keywords, and screen turning on.
To avoid detection and removal of the agent app in the device memory, the RCSAndroid suite also detects emulators or sandboxes, obfuscates code using DexGuard, uses ELF string obfuscator, and adjusts the OOM (out-of-memory) value. Interestingly, one unused feature of the app is its ability to manipulate data in the Android package manager to add and remove permissions and components as well as hide the app icon.
Popular mobile platforms like Android are common targets for organized or commercialized monitoring operations. Attackers know that rooting devices via malware exploits is an effective means to control devices and gather information from them. In a root broken device, security is a fairy tale.
Disable app installations from unknown, third-party sources.
Constantly update your Android devices to the latest version to help prevent exploits, especially in the case of RCSAndroid which can affect only up to version 4.4.4 KitKat. Note, however, that based on the leak mail from a customer inquiry, Hacking Team was in the process of developing exploits for Android 5.0 Lollipop.
Install a mobile security solution to secure your device from threats.
The leaked RCSAndroid code is a commercial weapon now in the wild. Mobile users are called on to be on top of this news and be on guard for signs of monitoring. Some indicators may come in the form of peculiar behavior such as unexpected rebooting, finding unfamiliar apps installed, or instant messaging apps suddenly freezing.
Should a device become infected, this backdoor cannot be removed without root privilege. Users may be required the help of their device manufacturer to get support for firmware flashing.
Trend Micro offers security for Android mobile devices through Mobile Security for Android™ to protect against these types of attacks. Find out more about the 7 Android Security Hacks You Need to Do Right Now to keep your mobile data safe.
Story added 21. July 2015, content source with full text you can find at link above.


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What we're tracking on 28 February 2019
Longtime readers know we have a soft spot for Qalaa Holdings' USD 4.3 bn Egyptian Refining Company — and for Ahmed Heikal, who with his team kept the project on track despite a literal tsunami (it's a long story), the global financial crisis and the events of 2011 and 2013. Well, guess what? They flipped the switch earlier this week and ERC has made its first ultra-low-sulfur diesel. The refinery, which will reach full commercial operations by the third quarter of this year, has successfully produced diesel with sulfur at 1.5 parts per mn (ppm) — if you're keeping track at home, Euro V diesel is the cleanest burning in the world and has tolerance for up to 10 ppm sulfur. The start of production at ERC isn't just good for Qalaa's financials — it's good for the air all of us breathe in the capital city and beyond: It will cut Egypt's present-day sulfur emissions by about a third and reduce Cairo's carbon footprint at the same time.
And what about the financials? Qalaa tells us that ERC's cash flows could start to feel the impact of production in June when all units begin ramping up.
Tap or click here to take a tour of ERC in this video produced by Qalaa, including some very cool drone footage (runtime: 6:52).
The Sawiris brothers are two of just six Africans who have made it onto Bloomberg's Bn'aires Index. The business information service estimates that Nassef (#230 in the world) is currently worth USD 6.76 bn while Naguib (#334) is worth just over USD 5 bn.
Global economy looking better: Global economic activity in February was "slightly above" what was expected in December and January, Bloomberg reports, with some suggestions from Goldman Sachs' chief economist "that sequential growth will pick up from here."
A day of drama on Capitol Hill: The Donald's long-time lawyer Michael Cohen made an abrupt u-turn yesterday when he testified in front of Congress, accusing his former paymaster of being involved in "a criminal scheme to violate campaign finance laws." Cohen, who previously pled guilty to campaign finance violations, alleged that Trump paid USD 130k in illegal hush-money to adult film star Stormy Daniels, who claimed to have had an affair with Agent Orange. The WaPo and NYT have more.
Trump and North Korea's Kim Jong Un are meeting again today in Hanoi, Vietnam, for talks. A diplomatic breakthrough could be in the cards — their official agenda for the day includes a "joint agreement signing ceremony," the NYT reports.
In global miscellany worth knowing about this morning:
You can still Uber in London: A court in the United Kingdom has refused to allow a group of London taxi drivers to bring a legal challenge against a judge who had awarded Uber a 15-month probationary operating license, the FT reports.
Plans to expand the number of qualifying teams in the 2022 Qatar world cup to 48 from 32 remain complicated and a decision is unlikely before June due to the ongoing Qatar smackdown in the GCC, the Washington Post reports.
Egypt is set to host 150 athletes for the 2019 Pentathlon World Cup this weekend in an event open to all without charge, reports Ahram Online. The event runs through Sunday.
PSA- We're looking at a relatively cool weekend with highs in the capital city of 17°C today, 16°C tomorrow and 19°C on Saturday. Expect cloudy periods in the afternoon all three days, but none of the rain that had previously been in the forecast. There's still a chance of a shower on Monday, though, according to our favourite weather app.