TPS provides a high quality painting and decorating service to both residential and commercial clients across the Auckland region.
TPS is a registered member of Master Painters and Site Safe New Zealand. We pride ourselves in our personalized service to ensure customer satisfaction.
Detailed QuoteOur management team boasts more than 15 years collective experience in the painting and decorating industry.
All our tradesmen are efficient, skilled and experienced painters in all aspects of the painting and decorating trade. They are reliable, trustworthy and approachable, and always pay attention to the smallest of details, premises are always left tidy when the job is completed.
We respond quickly to any problems that may arise, or any additional work that may be required.
We are able to quote any work that you wish to undertake. This will include time required for the job and our availability to start. Once on site, we will work efficiently to meet these timeframes. We do what we say we will do.
We always use quality materials (Dulux, Resene paint) on your property to achieve a longest protection.
We are happy to recommend some other good tradesman to our client when they need them.
Our painters are well trained in the use of safety equipment and methods of application. We take great care to ensure that all our sites are safe and follow all safety guidelines and procedures.
Our painters are also trained in the use or removal of any hazardous products and will dispose of these materials safely.
We recognise that the projects are often the personal properties of our customers and as an added measure to ensure that our customers are happy and comfortable to have our workers on site, we thoroughly check our employees backgrounds.
We have full Public Liability for your protection.
We are active members of the Auckland Painting Contractors Association and Master Painters New Zealand. Our registration no. is 2167.
We are members of Site Safe NZ. All of our staff participate in various forms of Site Safe training.


Elena serves as the Fund Development & Marketing Coordinator for Esperança. She holds a Bachelor's Degree in Finance from Adams State University and a Nonprofit Marketing & Strategic Communications Certification from Arizona State University. Elena also serves as the staff liaison for the Anchors of Hope Emerging Leaders Board. She is passionate about sharing the stories of our families around the world.


Michael Moore's Sicko is disturbing in the way it tries to show how America's healthcare system fails even those who think they have a comfortable place within it.
There is a man of 79 loading a trash-compacter to pay for his wife's prescription drugs; a health insurer who told Congress that employees were promoted for their resistance to approving necessary procedures; and several workers who worked at Ground Zero after the attacks of September 11 and now suffer ailments.
Moore believes the rescue workers would be better off in Canada, Britain or France, ending the film with a stunt - taking them for treatment in a hospital in Cuba.
The movie is not communist propaganda, but a playful homage to communist propaganda with clips from old Soviet films full of peasants harvesting grain.
It shows the US healthcare system as being illogical. Corporations get tax deductions for insuring workers, but the self-insured are not entitled to it; the indigent get charged more for hospital stays than the insured; pharmaceutical companies can pay doctors for drug endorsements.
In Sicko, which follows his anti-Bush documentary, Fahrenheit 9/11, Moore does make some constructive points but it is difficult to isolate these amid the omissions, inconsistencies and preaching. His goal is not to break through to those who do not agree with him but to drown out the doubts of those who do.
Those who watch Sicko without a broad knowledge of the US healthcare system will leave with a shallower understanding of the crisis than the one they arrived with.


On March 23, 2019, I fished the Motherlode Kayak Angler (MKA) first tournament of the year at Lake McClure. I have never fished the lake before. It reminded me of Lake Oroville with the 45 degree angle banks, points, small coves/pockets and limited cover. The lake has a lot of spotted bass and a decent largemouth bass population.
During practice I went looking for bed fish. The water temperature was pushing 60 degrees and the water was clear. I peddled my Hobie Outback south to the Temperance and Cotton Arms searching protected coves that should hold bed fish. All the spawning beds were empty. I backed off to deeper water and fished the points that lead into those coves. I caught several fish on the points and a few in the creek channels around 15 to 20 feet deep. None of those fish were longer than 13 inches. I started to head north up the West bank fishing a dart head, shaky head and a senko with a nail weight. I was catching about one fish every other point and pocket I fished, just nothing of any size. I switched to a 3.3" Keitech Swing Impact FAT Swimbait in Electric Shad, on a 3/16 oz. worm nose jig head. I started to catch more fish and better quality fish. I let the bait fall to the bottom and reel it in slow. Most of the time they would hit it all the fall. I continued north and ended up east of Piney Creek behind some house boats. I found a waterfall that had about a dozen bass at the bottom of it. One of the bass was the biggest bass I've seen all of practice, and that was going to be where I would start the tournament.
The day of the tournament I went to the waterfall and on the my second cast I caught a 19 1/4 inch largemouth on a wacky rigged homemade ned bait. Unfortunately that was the only fish I caught at the waterfall. The rest of the tournament I threw the Keitech and caught what seemed to be fish after fish. My three fish limit consisted of a 14 3/4 inch and 15 inch spotted bass and the 19 1/4 inch largemouth for a total of 49 inches. Good enough for 6th place and a check. I talked to some of the anglers that finished in the top 5. They said they caught their fish on under spins and ned rigs.
Lake McClure has a very healthy population of bass and is a fun lake to fish. The lake fishes like Lake Oroville and you can catch a ton of fish in a day. I will definitely be coming back to Lake McClure again in the near future. Please practice CPR (Catch, Photo, Release).


Jazz at Lincoln Center's WeBop® program introduces parents and children to the sounds of jazz. Classroom activities are lead by professional musicians as kids 'shake' and 'bop' to the live sounds of Ella and Louis. The identity was refreshed because WeBop® will now be offered in cities outside of New York. The system features a playful customized typeface that functions similarly to JALC's Jelly Roll. The counters of the WeBop logo are infinitely customizable allowing kids to create their own versions of the mark. Video pieces will feature interviews with kids accompanied by the animated graphics.


text:
Illinois airport evacuated due to suspicious bag
PEORIA, Ill. (AP) - An Illinois airport was evacuated for about three hours Thursday morning after a passenger had a bag that appeared to contain tubes of explosive material, though security officials determined it wasn't a bomb.
The Peoria International Airport was evacuated just after 6:30 a.m. Thursday and reopened about 9:30 a.m., Airport Director Gene Olson said. The Peoria Police Department's Explosive Ordinance Disposal unit was called after the suspicious items were found during routine security screenings, Olson said.
A female passenger had luggage that looked like a bomb but was in fact a lookalike used to train employees of abortion clinics in bomb recognition, Peoria County Sheriff's Office Chief Deputy Joseph Needham said. The woman was released after questioning.
The lookalike included a jar with liquid, an aerosol can, wires, timing device and dog toys that resembled dynamite sticks and were labeled "dynamite," officials said.
Peoria County Sheriff Mike McCoy told the (Peoria) Journal Star the woman was on a flight to Dallas.
"The woman was saying everything was all right," McCoy said, but added that anyone who saw the luggage "would be suspicious."
The airport was reopened after security officials determined it wasn't an explosive device, Olson said. About a half-dozen flights were affected, he said.

redpajama_set_name: RedPajamaCommonCrawl


With growing number of useful websites, we have so many accounts online. So, it is hard to remember all passwords. People who cannot remember all passwords use a common password in all websites. But using same passwords in all websites is not recommended. In case any of your web account compromised, hackers can compromise all your accounts.
Few people who are smart use password management tools. Password management tools can help users save passwords at one secure place and then use it whenever you want to log in on that website. But what if you are going somewhere. In this case, you leave all your passwords in your system. So, you will not be able to use those websites without passwords. In this case having a portable password management tool will be useful.In this post, we are sharing 3 best portable password management tools.
SecureWallet is a simple to use and free portable password management tool for Linux and Windows/ Ot comes with easy to use interface.You can easily store login information of any of your account. And all information you store in this tool will be password protected.
This tool comes with two column interface. At the left side, you will see the name of login. On clicking on this, it will display the login information at the right side.
Pault is another nice password management tool comes for free It lets you easily manage your passwords. You can easily protect your passwords of different accounts and keep it always with you.
PassBox is another portable tool for keeping all your passwords safe. You can store all your password in this tool and remember the password of PassBox. Whenever you are going to log in to any website, use this tool to see your password. To store your password, you only need to enter login URL, username, and password. You can also add a security question and its answer. You can save as many accounts in this as you want.
This tool also has a free password generator that suggests best and strong password for your account. You just need to select the length and select if you want to include special characters.
This tool has modern UI and comes with no irritating ad.
Password management tool is an important tool to have if you usually forget your passwords. With a portable password management tool, you can keep your passwords safe. Try these available password management tools and see if it suits you. If you know any other nice tool which should be in the list, you can share it with us via comments.


text:
Sitting Down... with the UK Asian Film Festival
The &ASIAN team got a chance to sit down with Dr Pushpinder Chowdury MBE and Dr Ashvin Devasundaram from the UK Asian Film Festival to ask them about setting up a festival during the pandemic, the importance of UKAFF in today's media landscape, and what they hope for diversity in the future.
Joa Siqi Yang
Photo courtesy of UKAFF
Pushpinder Chowdhry: My name is Pushpinder Chowdhry. I am the Director of the UK Asian Film Festival. I have been a founding member and a speaker for 23 years.
Ashvin Devasundaram: My name is Ashvin Devasundaram, Senior Lecturer in World Cinema at Queen Mary University of London. I'm also Associate Director of the London edition of the UK Asian Film Festival. And over the years, I've been conflating my recent specialism, which is about new independent Indian cinema – cinema that's very much of the moment – a form of independent films that started roundabout 2010; it emerged as a cohesive new genre of Indian cinema.
Can you tell us about the UK Asian Film Festival and Indian indie films?
PC: The festival started as a women's film festival, and it was London-based. Over the years, it has grown into more a feminist film festival, which is inclusive of a whole range of not only just issues but also about equality. So we are very proud that it has grown in its content and its thinking, as well as gone UK-wide from just being a London-based festival.
AD: The festival has championed upcoming talent, new filmmakers, films with more topical and timely content relating to gender issues, LGBTQ themes and issues, political, socio-politically attuned films, which kind of resonate with my own research. That brought me essentially to the festival to contribute to the curational aspects of programming, but also new and dynamic approaches in relation to bringing in young people, promising young curators of the future. So we've established the Young Curators Lab, which aims to nurture the future of film curation and we run workshops every year as part of the UK Asian Film Festival. So there's a real kind of diversity, a plethora of different dimensions to the festival, in addition to screening films.
What challenges have you had to face this year?
PC: All throughout the year, we were screening our festival films: the films were screened online, we contacted the filmmakers to do Q&A. The reason was we were keeping our audience engaged while pandemic was going on. So when it came down to doing a festival, usually we have a festival in March: March 2021 [we were] still under lockdown. We shifted it to May when we thought it will ease a little and we are offering a hybrid festival. Some screenings are in person with COVID compliance, and lot of hard work in collaboration with the venues: how we were going to screen the film and how we are going to carry out other activities, which will keep the audience safe.
What have been your personal UKAFF highlights?
PC: Highlight for us as a festival is when we can screen a film which has been banned in their original country. And we are doing a premiere: either a UK premiere for it, or a European premiere for it. So these kind of things where we can pick up gems going along when we are curating, these films come our way. This year is a film called Zindagi Tamasha, which is banned in Pakistan. Independent film, which is an amazing must-have film for any festival. So the legacy had been right from the start when our first festival started 23 years ago, we had a film called Fire and we were screening it here in London in the main cinemas, while they were burning the cinemas in Delhi and Bombay and all over India. These kinds of moments are important for us. But having honoured Bhanu Athaiya – she was the first Asian woman to get an Oscar for the film Gandhi, for her costume design… people didn't even know who she was! And there were Asian women pushing the boundaries.
AD: I concur with the idea of providing a platform for films that have a more, kind of, left-field, unconventional ethos: films that are radical to the point of being denied a certificate of release in their countries of origin. Pushpinder has cited Fire, which is a hugely influential Indian film about lesbian relationship. When it was released, there were kind of mob vigilantes going out on the rampage and destroying, vandalising cinemas screening the film. But now casting an eye back, that film has opened out, and is such a touchstone for new independent films that broach themes related to LGBTQ lived experience.
There's a whole host of films spanning a decade, from 2010 to the present moment, which have kind of, you know, foregrounded the issues related to the LGBTQ community in India. Also, this idea of film festivals constituting a lifeline for more independently-minded films that otherwise might not gain the oxygen of exhibition in the multiplex spaces, or even online. So film festivals are very important.
Another film that comes to mind is Lipstick Under My Burkha, which is a film, very feminist film by Alankrita Shrivastava, which was denied initially a certificate of release by what's called the Indian Censor Board or the CBFC (Central Board of Film Certification) to give it its more formal name. Now we managed to gain that film for the UKAFF, the UK Asian Film Festival. We have screenings–patch screenings, I must say, in Edinburgh, in London and it galvanised so many interesting conversations. So this, I feel, is the beating heart of what UKAFF can do with new currents, new independent currents of cinema, especially in terms of showcasing films to a broader, global, intercultural audience and create conversations around them. So that certainly is one of the highlights for me.
It's also some of the more recent initiatives that we've run. I mentioned the Young Curators Lab, working with young curators. This year we have a set of digital film commissions to commemorate what is quite a momentous year. It's the birth centenary of the Indian filmmaking icon Satyajit Ray. So the theme of this festival is Ray of Hope, which is also quite timely in relation to the long year that has ensued, and we are now kind of slowly emerging from the pandemic. A lot of the films that we've curated this time resonate with the idea of a ray of hope. So this is quite a special installment of the festival on that front.
We [are] also running an international conference this year, which is called Curation in the time of COVID: the South Asian Film Festivals International Conference. Now the reason for this conference is primarily because of the existential state that the film festival sector finds itself in as a result of the pandemic and locked down; a lot of audiences have gravitated to the streaming giants, and Netflix and Amazon Prime video has now, kind of usurped this role as a portal of access to films. So it's caused us in the film festival sector to try and think outside of the box, and devise new and innovative strategies to back in and keep, retain our audiences, kind of bring them back. And as Pushpinder mentioned, one of these strategies is the hybrid format. So blending of online screenings as well as in-person venue screening. That is certainly a legacy of the pandemic year. We're working with our own kind of streaming platform, Modern, which is providing the online service for us 'modern films'. One of the aims of the outcomes that we hope that will emerge from this international conference, which features leading South Asian film festivals and curators is to formulate a network, a network of salvation from festivals that will build a community around curation, and hopefully we'll be able to share knowledge, share resources, network and maybe have that as an annual kind of event, part of the UKAFF every year. So there's a lot going on, too many things to mention.
What do you feel is UKAFF's contribution to dialogue around the Asian community?
AD: Returning to the blanket term that is Asian, I completely agree that it can often be quite ambiguous, quite woolly and quite reductive in the sense of what is actually Asian. So I think it's important for us to try it through cinema and culture to unpack the nuances of, and the cultural specificities of what it means to, you know, have distinct–maybe overlapping in some cases–but very distinct identities, forms of culture and what have you. That is exactly the case with South Asian, kind of, geographical awareness as well. So we try our best not to be too India-centric, because invariably, South Asia has collapsed into India, which is usually problematic. So we do try to kind of, include and engage with a broad spectrum of films, and events that are linked to Pakistan, Bangladesh, Sri Lanka, and Nepal, the wider region and look at some of these connections, as well as some of the specificities.
I think as long as one is having a very collaborative and very nuanced conversation, reflecting the differences and the similarities, and thereby showing the kind of wide spectrum that is South Asia, that I think would be a step in the direction of raising more representative interpretations of regional specificities. I think the same applies to the broader regions of Asia in general. Rather than kind of collapsing it into this rather kind of stereotypical idea of what Asia can denote... to kind of unpack the layers, and kind of reveal that through intercultural conversations. A lot of that stems from the post-screening discussions that we have. So that's another aspect that we've tried a lot to do, as in back into as diverse in audience as possible to, kind of, include non-Asian audiences as well, because a lot of these films then turn into primers, or kind of almost educational tools, opening out a window to regions in Asia that people might not have travelled to or not have a lot of awareness of. In that sense, using cinema as a window to a diverse spectrum of culture, politics, society, music, film, and a whole plethora of other dimensions.
PC: Can I just say that one of the advantages of running an independent film festival is: we are actually quite flexible with our boundaries. We also talk about issues that might relate to South Asian sensibilities. For example, we included an opening night film from Yemen. Yeah, because the subject connected with, completely con nected with all of South Asia, all of Asia, in fact. The other thing is, we also look at things in our stories– a look at Indian people going to Africa and settling there. So there's interaction. So, we had a story from South Africa, written by a Nigerian and made it into a film and it was a story about South Africans [and] Asians. That is a completely different experience. We had a film from Malaysia, Singapore, right? So, we are interested in where Indians have travelled, Asians have travelled, South Asians have travelled and bring in the flavour of South Asia, which then organically evolved.
How could the wider industry help with diversity and what are your hopes for the festival this year?
PC: I think what holds us back is all that I've said], [or] had gone before. We are careful, we are mindful, we are inclusive. And that means our progress, getting resources is limited for us. But we are hopeful that there is enough support, with our reach out there, especially when we do innovative things like the conference and this networking of individual filmmakers, that's where our strength is in the film. And the next generation is our strength, where new storytellers who are grounded, you know, their roots are grounded. But the stories have wings. So we have challenges because of who we are.
AD: Yes, I think that diversity is innate in the New Wave currents of cinema that you're seeing emerge from India, but also from Pakistan, Sri Lanka, films like Zindagi Tamasha, which is a film that has been banned in Pakistan, is pushing boundaries. As have several new independent Indian films, pushing the boundaries of thought, of debate, [of] very timely, very topical things and issues, and broaching a diverse spectrum of storylines and confronting and challenging repressive and authoritarian systems. So for me, it's very heartening to see the burgeoning rise of these new waves of film across South Asia, not just in India.
Secondly, I think organisations and creative industries, institutions are waking up to the reality of walking the talk of diversity rather than using it as a buzzword, and tokenizing it therefore. I think even in the academy, we are now talking about things like decolonization and how to actually concretize or make it real, rather than just having this as a kind of buzzword. But the BFI (British Film Institute), I think it's doing some good work in relation to implementing strategies linked to diversity and inclusivity. We see a lot of research in that direction as well. But ironically – Netflix, if you look at the casting in a lot of Netflix series and films, it is very diverse. So I think online, big streaming platforms have taken on board some of this, these key questions relating to inclusivity and diversity, and also presenting a very international platform. So you can now watch films from esoteric regions of the world.
So I think it is in the public consciousness, it's in the social consciousness, but it just needs to be, reiterated and re-invoked in films, which is already happening. But I see this as a positive sign, a synthesis of the film festival sector, streaming platforms – everyone kind of coming together to present more avenues to open up these windows I talk about, into bringing to the consciousness of people the realities of the world we live in; about multiplicity, multiplicities of identities, different cultural and social and political contexts.
I think the more and more we engage with diverse forms from across the world, the more and more we see casting across ethnicities, more collaborative and more inclusive practices of curation, of filmmaking. I think things are going to move more positively in the direction of, as I say, walking the talk of diversity.
The UK Asian Film Festival can be found here, on Twitter, Instagram, Facebook and YouTube, and is running from the 24th May to the 6th of June, 2021.
This transcription has been lightly edited for clarity.


Hidden prizes such as poison, razor blades, cocaine, sleeping pills, drugs, needles, gooey centers of LSD, rusty safety pins, syringes, and broken glass.
Diabetes is only the beginning of your troubles.
candy, Halloween, Legends Week, poison, razor blades.


Discovered by Johann Elert Bode in 1774.
Independently discovered by Johann Gottfried Koehler 1772-1778.
Independently rediscovered by Pierre Méchain in August 1779.
February 9, 1781. 81. 9h 37m 51s (144d 27' 44") +70d 07' 24"
"A nebula near the ear of the great Bear [Ursa Major], on the parallel of the star d, of fourth or fifth magnitude: its position was determined from that star. This nebula is a little oval, the center clear, & one can see it well in an ordinary telescope of 3.5 feet [FL]. It was discovered by M. Bode at Berlin on December 31, 1774, & by M. Méchain, in the month August 1779."
[with M82] "Two small nebulae 3/4 degrees separated."
"On December 31 , I found through the seven-foot telescope, closely above the head of UMa, east near the star d at its ear, two small nebulous patches separated by about 0.75 degrees, the positions of which relative to the neighbored small stars are shown in the tenth figure. The patch Alpha (M81) appears mostly round and has a dense nucleus in the middle. The other, Beta, on the other hand, is very pale and of elongated shape. I could determine the separation of Alpha to d as 2deg 7', to Rho as 5deg 2' and to 2 Sigma as 4deg 32' with some acuracy; Beta was too faint and disappeared from my eyes as soon as I shifted apart the halves of the objective glass."
[With M82] "Two nebulous stars at the ear of the Great Bear [Ursa Major]."
1801, Nov. 8 (Sw. 1100). eB [extremely bright], the bright part confined to a very small place; the nebulosity is of the milky kins, vm. E. npsf. [very much extended north preceding (NW) to south following (SE)].
1802, Sept. 30 (Sw. 1112). vB. eL. [very bright, extremely large]; it very nearly fills all the field, it loses itself imperceptibly, m. E. npsf. [much extended north preceding (NW) to south following (SE)]; I can trace it nearly 1/2 deg in extent beyond the bright part.
1810, Nov. 26, Review. I viewed the nebula with the large 10 feet. It has a bright, resolvable nucleus, certainly coonsisting either of 3 or 4 stars or something resembling them. It is about 15 or 16' long. The object was already too low to be seen to an advantage.
John Herschel (1833): h 649.
eB; eL; E, pos=156 deg; gb and then vsmbM, with faint rays of light nearly to extremities of field (15'). The most condensed part is 4'l and 3' br.
extremely bright; extremely large; elongated, at position angle 156 deg; gradually brighter and then very suddenly much brighter toward the middle, with faint rays of light nearly to extremities of field (15'). The most condensed part is 4' long and 3' broad.
Smyth: CCCLXIX . M81 and M82.
CCCLXIX. 81 M. and 82 M. Ursae Majoris.
No. 81 is a fine bright oval nebula, of a white colour, in the Great Bear's ear, which was first registered by M. Messier in 1781, and exhibited a mottled nebulosity to WH [William Herschel]. Its major axis lies np [north preceding, NW] to sf [south following, SE]; and it certainly is brightest in the middle. There are several minute companions [stars] in the field, of which a close double star in the sp [south preceding, SW] quadrant is No. 1386 in Struve#s grand Catalogue, and by him marked vicinae; the members are both of 9th magnitude, and trend np [north preceding, NW] to <7>sf [south following, SE], about 2" apart, forming a fine though difficult object.
With a low power, No. 82 M. can be brought into the north part pf the same field of view, although they are half a degree apart. It is very long, narrow, and bright, especially at its northern limb, but rather paler than No. 81. A line drawn through three stars in the sp [south preceding, SW] to a fourth in the nf [north following, NE] passes directly through the nebula. The two nebulae precede Lambda, in the end of Draco's tail, by 25deg, but as the vicinity is deficient of large [bright] stars, they are not readily fished up.
The apparent place here taken, is that of a small star between the two nebulae, which was differentiated with 29 Ursae Majoris, and every care taken in the reduction. The bright star in the animal's chest, south of 29, viz. Phi, is pronounced to be double, both companions being of the 5th magnitude, and only half a second asunder.
John Herschel, General Catalogue: GC 1949.
GC 1949 = h 649 = M81.
!; eB; eL; E 156deg.0; g,svmbMBN. 4 observations by W. & J. Herschel.
Remarkable; extremely bright; extremely large; extended in position angle 156.0 degrees; gradually, then suddenly very much brighter toward the middle where there is a bright nucleus.
GC 1953 = W.H. nova? = M81??
vB; cL; mE; 5 or 6 st (?) inv. 1 observation by W. Herschel.
Remark: GC 1953 M. 81 ?? A nebula observed by W.H. as described, but differing most materially in place from M. 81. It would certainly be very extraordinary should three nebulae so extremely remarkable as M. 81 and 82 and this be found to lie so near together.
Spectrum continuous; the red end of the spectrum wanting or very faint.
M. Tempel, of the Observatory at Arcetri, near Florence, has made a considerable number of drawings of Nebulae with the two fine Amici telescopes at his disposal, which it is to be hoped may soon be published. The following Nebulae have, for the first time, been carefully drawn ar Arcetri: - GC .., 1949 [M 81], 1950 [M82], 2318 [M108], .., 4315 [M 14], ..
NGC 3031 = GC 1949 = GC 1953 = h 649; Bode, M 81.
Remarkable, extremely bright, extremely large, extended in position angle 156 degrees, gradually, then suddenly very much brighter toward the middle where there is a bright nucleus.
NGC 3031, RA= 9:47.3, Dec=+69:32. [Publ. Lick Obs.] Vol. VIII, Plate 21; M. 81. This very beautiful spiral is about 16'x10', and is too well known to require description. Short exposures show that the nucleus is almost stellar. Central part very bright. See Abs. Eff. 10 s.n.


"Study abroad" is no longer novel in today's world. The term has become associated with some unpleasant reports and may even be a liability. Questions such as "How's the real life on that side?" and "Is it really a better decision to study abroad?" always bother people who have made the decision that I did….


Just like an elephant, I'll never forget how much I love you. Whether it's your love for your child, or your relationship with your own mother, a bond between a mother and child is unbreakable. Our Limited Edition Elephants Charm features a baby and mama elephant set. Hook them together by their trunks or share them separately in two Living Lockets®.


text:
El Tossal de Sant Martí és una muntanya de 1.011,4 metres al municipi de la Conca de Dalt, a la comarca del Pallars Jussà, a l'antic límit dels termes de Claverol i Hortoneda de la Conca, tots dos actualment integrats en el de Conca de Dalt. Està situat a les Rocs de Gairat, a l'extrem nord-oest de la Serra de Pessonada. Queda al sud de Claverol (Conca de Dalt), al nord-est de Sant Martí de Canals i al nord-oest de Pessonada.

Enllaços externs
 Institut Cartogràfic de Catalunya

Sant Marti

redpajama_set_name: RedPajamaWikipedia


text:
To and From: Centre A exhibit looks to the past to understand the present
The tram news stand and coffee shop illuminated at night in the BC Electric Building at 425 Carrall St. City of Vancouver Archives, AM640:CVA 260-778, 1937. Photographer James Crookall.
All tracks once led to the corner of Carrall and Hastings streets, a hub of interconnecting stories and experiences housed by the former BC Electric Railway (BCER) building.
Three separate railway systems ran through it, connecting Vancouver to faraway places like Chilliwack in the early half of the 20th century.
Bars, restaurants and shops soon followed, teeming with businessmen, waitresses and entertainers from diverse backgrounds. The awkwardly angled corner pulled public focus away from Gastown, to the city's new centre.
"The scar of the railway system is still very much evident in the city," says Annabel Vaughan, co-curator of Centre A gallery's new exhibit, To/From BC Electric Railway: 100 Years. "It really shows the power of the CPR and how these buildings become places in our own cognitive maps."
With the exhibit having opened in mid-September, Centre A, on the ground floor of the historic structure, celebrates the 100th anniversary of the BCER through artwork by local artists Raymond Boisjoly, Stan Douglas, Ali Kazimi, Vanessa Kwan, Evan Lee and Cindy Mochizuki.
"Instead of covering the exhibit with old archives and photos, we wanted to show a few art pieces that would bring back other people's memories," says Makiko Hara, curator of the gallery and co-curator of the exhibit. "We want people to come and share their own stories and memories of the neighbourhood."
The very architecture of Centre A reflects its past life as a crucial point of intersection. The three grid systems of Vancouver connect inside, as sets of columns follow different lines.
"I call it the belly button of Vancouver," says Vaughan, who wrote her architectural thesis on the building. "I saw an old image of it and it looked like Chicago in the 1930s. And I wondered, where did that urbanism disappear to? This area has captivated me ever since."
Works such as a selection of photographs from Douglas' "The Malabar People" show traces of a vaudevillian Vancouver. Four black-and-white portraits are taken from the 16-photograph collection, depicting patrons and staff of a fictional 1950s club. Striking to see, the large pictures show the mixed demographics and socio-political tensions of the area.
On the other side of the wall, Lee and Kazimi focus on the racial tensions of Vancouver's past and present. In a film, Continuous Journey, Kazimi tackles the largely ignored racist history towards South Asians by the "Continuous Journey Regulation of 1908." Lee brings these similar attitudes into present day with his rendition of the 2009 Ocean Lady—when authorities seized the ship carrying Sri Lankan crew and passengers seeking asylum in Canada.
Boisjoly develops a text-based work using old interurban maps of the milk train, to consider location within a cultural and geographical history. Tucked away in the corner of the gallery, Mochizuki's "Confections" recreates a Japanese confectionary shop, which were in abundance before the uprooting of thousands of Japanese Canadians during World War II.
In the centre of the white-walled gallery, perhaps an anchor to the exhibit, Kwan's "Vancouver Family" ties together the idea of collaborative storytelling through diverse histories. Hers is an ongoing project where she sent a package to all the Kwans (numbering 300) in Vancouver, with a letter asking, "Is there a place you'd like to go, but have never been?" She enlarges and frames some of the 51 responses she received.
When the privately owned BCER changed ownership by the province, the headquarters moved to Burrard Street in 1961, shifting the economic centre of the city drastically, and permanently.
"These spaces are now often disregarded, as buildings get torn down," says Hara. "It's a shame. This is something important and we have to pay attention to the fact that we are here.
The exhibit ends with a panel discussion with Boisjoly, Kwan, and Mochizuki, catalogue launch and closing party on November 10. A film screening of Continuous Journey will be held on October 20 with Lee and Kazimi present.
Centre A on Facebook


The madness and badness of 21st century city living can leave you frantic, cranked up and get your mind spinning.
How do we achieve simplicity and some degree of tranquility within the hive of activity and vanity that is London city?
How can our minds be free?
Maybe music is the key…?
Join Lyrix Organix and Cardboard Citizens for a free live sharing of Sound Minds Vol 1: a concept album for the 21st century devised, written, produced and performed by young people at Platform in Islington.
Chasing Shadows will be the first time this brand new musical work (created as a result of the Sound Minds workshop) is performed live. The group will then head to Roundhouse Studios to record the EP which will be available to download on 30 June.
Don't miss your chance to support this talented group perform as part of Islington's Word2017 Festival.
Read our news story about the project to find out more!


Treatment for alcoholic hepatitis requires stopping alcohol consumption to prevent further damage to the liver and potentially reverse existing liver damage. Doctors may also prescribe medications to reduce inflammation in the liver and improve liver function. Malnourished patients sometimes require vitamin and mineral supplements, states Healthline.
In cases where the liver is severely damaged, alcoholic hepatitis patients may require liver transplantation, notes Healthline. Symptoms of alcoholic hepatitis include weight loss, changes in appetite, dry mouth, fatigue and yellowing of the skin. The long-term outlook for alcoholic hepatitis patients depends on the extent of the liver damage and whether or not the patient stops drinking alcohol.


text:
Hooded left turn lanes to be added to N. Murphy Rd.
MURPHY (January 24, 2023) As motorist activity in the increasingly busy commercial corridor at FM 544 and North Murphy Road further accelerates, City of Murphy officials are moving proactively to provide a safer way for drivers to enter and exit these shopping centers.
Starting Monday, Jan. 30 and continuing for about 90 days, work crews from Greeniverse Construction, a third party construction company, will be adding what are known as hooded left turns on North Murphy Road, just north of the intersection with FM 544, onto the commercial driveways of Murphy Marketplace, site of the Lowe's Hardware Store and other businesses, as well as the driveways that lead to the Walmart Superstore on the west side of the road.
"These hooded left turn lanes provide a far safer way for cars to turn left, across several lanes of oncoming traffic," says Tim Rogers, Murphy's Director of Public Services. "The added protection of hooded turns, in both northerly and southerly directions, gives motorists a bit more confidence that they will enter the commercial driveways safely and securely."
A hooded lane provides a small, curbed island shaped in the form of a curved angle, giving motorists a clear and unrestricted way to turn left across oncoming lanes of traffic. They are also designed to prevent head-on collisions, as the concrete hoods provide a tire stop that eliminates contact between cars turning left from opposing directions.
In addition, a dedicated entrance on the southbound side of North Murphy Road, near the Jersey Mike's sandwich shop, will be constructed at the same time.
Some lane closures are expected during the construction, which should be completed, weather permitting, by late April.
Adequate traffic control devices and barriers will be in place throughout the construction timeframe, including advance warning signs, cones, and other driver safety systems. Motorists are, nonetheless, advised that caution through the area is extremely important.
Next⇒ Rainbow Trout Roundup set for Feb. 25


Security and trust mechanism for distributed networks".
Mercredi 10 mai 2017, 11h.
Nowadays, the widespread of inexpensive communication technologies, distributed storage internet of things urge the collaboration of different systems and entities. Different advantages are provided by this collaboration as: the reduction of time requirements and the ability to use extern and professional resources. However, this collaboration is not perfect since several problems can appear such as the misuse of resources, disclosure of data or inadequate services. Therefore security is one of the main issues that interests different researchers and industrials. For these reasons, in this presentation, we will focus on different security and trust mechanisms proposed in several French and European projects in order to enhance the security of distributed systems as Multi-cloud, Internet of things and Software Defined Networks (SDN). Mainly, during this presentation four topics will be discussed: 1) Security and privacy in IoT, 2) Security for distributed storage, 3) Trust mechanisms: Definition and challenges, 4) Testing techniques: Is your system really working?


text:
Roadmap for Prosecuting COVID Crimes
covid_crimes_250x250.png
Dr. Mercola has posted a new, explosive interview with Francis Boyle, a roadmap for how we can prosecute the perpetrators of COVID-19. As Mercola summarizes:
The Biological Weapons Anti-Terrorism Act of 1989 imposes fines and prison sentences on anyone who "knowingly develops, produces, stockpiles, transfers, acquires, retains or possesses any biological agent, toxin or delivery system for use as a weapon."
The problem we face today is that our federal government has been captured by forces that seek to destroy the U.S. from within. As such, we cannot trust the federal judiciary to prosecute and hold those responsible for the pandemic and the toxic COVID shots accountable.
To circumvent the corrupted federal judiciary, we need to focus on locally elected prosecutors instead. Depending on the state, they may go by titles such as district attorney, state attorney, prosecuting attorney or county attorney.
Organize locally to find people willing, as a group, to call on your local, elected district attorney to convene a grand jury and indict the individuals suspected of being involved in the creation of SARS-CoV-2, and those responsible for the COVID shots.
The charge that applies is "murder and conspiracy to commit murder." For starters, 15 researchers listed on a key paper describing how to weaponize a coronavirus virus can be indicted, plus those who funded the research. Those to be indicted in relation to the COVID shots include the chief executive officers, chief operating officers and chief scientific officers of Pfizer, BioNTech, Moderna and Johnson & Johnson.
Learn more: Roadmap for Prosecuting COVID Crimes


Intuit believes in the power of the individual. The power to do more. To make more. To be more. We believe in the people who do things - the hat jugglers, the to-do list junkies, the masters of getting it done faster, better and more efficiently than ever before. Whether that`s balancing the household budget, running a business or paying taxes. We believe in these people - because we are these people. We thrive on action - and results. And by making things simpler, we all get more out of doing what we love. We`re innovators, and have been at it for nearly three decades. And we don`t stand still. As the world evolves, so do we - inventing new solutions to solve important problems, perfecting those solutions and delighting our customers. In short: Improving people`s financial lives so profoundly that they can`t imagine going back to the old way. We started small in 1983 with Quicken personal finance software, simplifying a common household dilemma: balancing the family checkbook. Today, we`ve improved the lives of more than 50 million people, and our annual revenue approaches $4 billion. We`re publicly traded with the symbol INTU on the Nasdaq Stock Market, and regularly recognized as one of the best places to work in locations around the world.
Jennifer Blair is Assistant General Counsel at Intuit. Previously, Jennifer held various senior legal leadership roles in the industry.


text:
De dos-à-dos ('rug aan rug') is een ouderwetse vorm van een carrosserie van een auto waarbij de passagiers met de rug naar de bestuurder en bijrijder zitten. Deze carrosserievorm kwam voort uit de koets.

Externe links
Panhard Dos à Dos
Benz Dos à Dos

Autotypeaanduiding


Barbara J. Barnes, 89, longtime Oregon resident, died Saturday January 26, 2019 in Serenity Hospice Home, Oregon surrounded by her family after a long illness. Born August 1, 1929, with her twin brother Bradley, to William and Nina ( Hardesty) Taft. Barbara married her one true love, James Barnes, on March 20, 1947 in Decatur, IL. She was the Mother of four: James Barnes, Virginia (Robert) Pearson, Alan Barnes and Penny (William) Stoughton. She was preceded in death by her parents, son Alan, grandson James Pearson, daughter-in-law Diane Barnes and numerous brothers and sisters. Barbara is also survived by 10 grandchildren, 13 great grandchildren and sister, Nina Whetsel of Byron. Family always came first for Barbara. She and her husband Jim owned and operated Bill's Shoe Service in Oregon for 30 years and she was an accomplished shoe repair person. Barbara volunteered at numerous organizations including the Senior Center, Oregon Ambulance and Lifeline Food Pantry and was noted for her pie baking ability. She and Jim were also members of Black Hawk Twirlers Square Dance Club for 25 years. Cremation rites have been accorded. A Celebration of Life will be held at 10:30am Saturday February 2 in Farrell-Holland-Gale Funeral Home, Oregon with Pastor Michael Hoffman of Oregon Church of God officiating. Visitation will be 5:00-7:00pm Thursday January 31 in the funeral home. Private burial will be at a later date. Memorials may be directed to the family.


text:
Оуен Сеймур Артур (;  — 27 липня 2020) — прем'єр-міністр Барбадосу з 1994 до 2008 року, лідер опозиції Барбадосу (2010—2013). З усіх голів уряду країни займав цей пост найдовше.

Як лідер Лейбористської партії (ЛПБ) привів її до перемоги на виборах у вересні 1994 року й утримував владу до 2008, коли перемогу святкувала Демократична лейбористська партія на чолі з Девідом Томпсоном. Оуен Артур був членом парламенту від парафії Сент-Пітер (1984—2018).

Ранні роки
Оуен Артур здобув початкову освіту в Коулріджі, а потім у коледжі Гаррісон, після чого навчався в Університеті Вест-Індії — Кейв Гілл, де отримав ступінь бакалавра економіки та історії (1971), а згодом магістра економіки (1974). Після завершення навчання був чиновником з національного планування Ямайки та працював у місцевому інституті з вивчення бокситів. 1981 року він повернувся на батьківщину, де був призначений міністром фінансів та планування.

Член парламенту
1983 року його було обрано до Сенату, а наступного року він пройшов до нижньої палати парламенту країни. 1993 року його кандидатура перемогла під час виборів на пост лідера опозиції.

Прем'єр-міністр
За результатами виборів 1994 року Оуен Артур сформував новий уряд. На виборах 2003 року одним із пунктів передвиборчої кампанії ЛПБ був намір перетворити Барбадос на парламентську республіку, замінивши королеву Єлизавету II, яка нині є формально главою держави (представлена генерал-губернатором), на президента Барбадоса. Артур заявив, що всенародний референдум з цього питання буде проведено 2005 року. Однак його проведення було перенесено. Завдяки зусиллям Артура в країні було проведено Чемпіонат світу з крикету 2007 року.

На загальних виборах, що відбулись 15 січня 2008 року, ЛПБ зазнала поразки від Демократичної лейбористської партії, а лідер останньої, Девід Томпсон, склав присягу 16 січня як новий прем'єр-міністр. Незважаючи на поразку, Артура було переобрано депутатом від виборчого округу Сент-Пітер з 65 % голосів виборців. 19 січня Артур пішов з посту лідера партії, заявивши, що відчуває, що зміна керівництва партії піде на користь як самій партії, так і демократії в країні. Його наступником обрано колишнього віце-прем'єра Міа Моттлі. Артур заявив, що має намір бути депутатом парламенту до завершення терміну повноважень, тобто, до нових виборів.

Втім, кандидатуру Оуена Артура підтримали 4 з його колег по партії після винесення вотуму недовіри Міа Моттлі. Таким чином, 18 жовтня 2010 року на засіданні ЛПБ Артура було обрано новим лідером опозиції країни, яким він був до 2013 року.

Примітки

Люди на марках
Члени Таємної ради Великої Британії
Нагороджені орденом Хосе Марті


text:
"""The operating system file system implementation."""

import os
import platform

import pysmdev

from dfvfs.lib import definitions
from dfvfs.lib import errors
from dfvfs.lib import py2to3
from dfvfs.path import os_path_spec
from dfvfs.vfs import file_system
from dfvfs.vfs import os_file_entry

class OSFileSystem(file_system.FileSystem):
  """Class that implements an operating system file system object."""

  if platform.system() == u'Windows':
    PATH_SEPARATOR = u'\\'
  else:
    PATH_SEPARATOR = u'/'

  TYPE_INDICATOR = definitions.TYPE_INDICATOR_OS

  def _Close(self):
    """Closes the file system object.

    Raises:
      IOError: if the close failed.
    """
    return

  def _Open(self, path_spec, mode='rb'):
    """Opens the file system object defined by path specification.

    Args:
      path_spec: a path specification (instance of PathSpec).
      mode: optional file access mode. The default is 'rb' read-only binary.

    Raises:
      AccessError: if the access to open the file was denied.
      IOError: if the file system object could not be opened.
      PathSpecError: if the path specification is incorrect.
      ValueError: if the path specification is invalid.
    """
    if path_spec.HasParent():
      raise errors.PathSpecError(
          u'Unsupported path specification with parent.')

  def FileEntryExistsByPathSpec(self, path_spec):
    """Determines if a file entry for a path specification exists.

    Args:
      path_spec: a path specification (instance of PathSpec).

    Returns:
      Boolean indicating if the file entry exists.
    """
    location = getattr(path_spec, u'location', None)

    if location is None:
      return False

    is_device = False
    if platform.system() == u'Windows':
      # Windows does not support running os.path.exists on device files
      # so we use libsmdev to do the check.
      try:
        is_device = pysmdev.check_device(location)
      except IOError as exception:
        # Since pysmdev will raise IOError when it has no access to the device
        # we check if the exception message contains ' access denied ' and
        # return true.

        # Note that exception.message no longer works in Python 3.
        exception_string = str(exception)
        if not isinstance(exception_string, py2to3.UNICODE_TYPE):
          exception_string = py2to3.UNICODE_TYPE(
              exception_string, errors=u'replace')

        if u' access denied ' in exception_string:
          is_device = True

    if not is_device and not os.path.exists(location):
      return False

    return True

  def GetFileEntryByPathSpec(self, path_spec):
    """Retrieves a file entry for a path specification.

    Args:
      path_spec: a path specification (instance of PathSpec).

    Returns:
      A file entry (instance of vfs.FileEntry) or None.
    """
    if not self.FileEntryExistsByPathSpec(path_spec):
      return
    return os_file_entry.OSFileEntry(self._resolver_context, self, path_spec)

  def GetRootFileEntry(self):
    """Retrieves the root file entry.

    Returns:
      A file entry (instance of vfs.FileEntry) or None.
    """
    if platform.system() == u'Windows':
      # Return the root with the drive letter of the volume the current
      # working directory is on.
      location = os.getcwd()
      location, _, _ = location.partition(u'\\')
      location = u'{0:s}\\'.format(location)
    else:
      location = u'/'

    if not os.path.exists(location):
      return

    path_spec = os_path_spec.OSPathSpec(location=location)
    return self.GetFileEntryByPathSpec(path_spec)

  def JoinPath(self, path_segments):
    """Joins the path segments into a path.

    Args:
      path_segments: a list of path segments.

    Returns:
      A string containing the joined path segments prefixed with the path
      separator.
    """
    # For paths on Windows we need to make sure to handle the first path
    # segment correctly.
    first_path_segment = None

    if path_segments and platform.system() == u'Windows':
      # Check if the first path segment contains a "special" path definition.
      first_path_segment = path_segments[0]
      first_path_segment_length = len(first_path_segment)
      first_path_segment_prefix = None

      # In case the path start with: \\.\C:\
      if (first_path_segment_length >= 7 and
          first_path_segment.startswith(u'\\\\.\\') and
          first_path_segment[5:7] == u':\\'):
        first_path_segment_prefix = first_path_segment[4:6]
        first_path_segment = first_path_segment[7:]

      # In case the path start with: \\.\ or \\?\
      elif (first_path_segment_length >= 4 and
            first_path_segment[:4] in [u'\\\\.\\', u'\\\\?\\']):
        first_path_segment_prefix = first_path_segment[:4]
        first_path_segment = first_path_segment[4:]

      # In case the path start with: C:
      elif first_path_segment_length >= 2 and first_path_segment[1] == u':':
        first_path_segment_prefix = first_path_segment[:2]
        first_path_segment = first_path_segment[2:]

      # In case the path start with: \\server\share (UNC).
      elif first_path_segment.startswith(u'\\\\'):
        prefix, _, remainder = first_path_segment[2:].partition(
            self.PATH_SEPARATOR)

        first_path_segment_prefix = u'\\\\{0:s}'.format(prefix)
        first_path_segment = u'\\{0:s}'.format(remainder)

      if first_path_segment_prefix:
        first_path_segment, _, remainder = first_path_segment.partition(
            self.PATH_SEPARATOR)

        if not remainder:
          _ = path_segments.pop(0)
        else:
          path_segments[0] = remainder

        first_path_segment = u''.join([
            first_path_segment_prefix, first_path_segment])

      else:
        first_path_segment = None

    # We are not using os.path.join() here since it will not remove all
    # variations of successive path separators.

    # Split all the path segments based on the path (segment) separator.
    path_segments = [
        segment.split(self.PATH_SEPARATOR) for segment in path_segments]

    # Flatten the sublists into one list.
    path_segments = [
        element for sublist in path_segments for element in sublist]

    # Remove empty path segments.
    path_segments = list(filter(None, path_segments))

    if first_path_segment is None:
      path = u'{0:s}{1:s}'.format(
          self.PATH_SEPARATOR, self.PATH_SEPARATOR.join(path_segments))
    else:
      path = first_path_segment
      if path_segments:
        path = u'{0:s}{1:s}{2:s}'.format(
            path, self.PATH_SEPARATOR, self.PATH_SEPARATOR.join(path_segments))

    return path

redpajama_set_name: RedPajamaGithub


Instructor and professional player Dave Stockton Jr joins the podcast to talk about his playing career, coaching/instruction and more. Dave is one of the most highly respected short + mental game coaches out there. Very insightful conversation on what makes a great player and his own experiences playing and working at the very highest level of golf.


text:
Give Me My Remote > All Rise > CBS Orders FBI: MOST WANTED, EVIL, ALL RISE, BOB HEARTS ABISHOLA, BROKE, THE UNICORN, and CAROL'S SECOND ACT to Series
CBS Orders FBI: MOST WANTED, EVIL, ALL RISE, BOB HEARTS ABISHOLA, BROKE, THE UNICORN, and CAROL'S SECOND ACT to Series
May 9, 2019 by Marisa Roffman
"Most Wanted" — OA and Maggie team up with members of the FBI's Fugitives Department to track down a person wanted for murder who is also on America's top 10 most wanted list, on FBI, Tuesday, April 2 (9:00-10:00 PM, ET/PT) on the CBS Television Network. Guest stars include Julian McMahon as FBI Agent Jess Lacroix; Kellan Lutz as FBI Agent Crosby; Roxy Sternberg as FBI Agent Sheryll Barnes; Keisha Castle-Hughes as FBI Analyst Hana Gibson; Nathaniel Arcand as FBI Agent Clinton Skye; and Alana De La Garza as Assistant Agent in Charge Isobel Castille Pictured (L-R) Julian McMahon as FBI Agent Jess Lacroix, Jeremy Sisto as Jubal Valentine, Alana De La Garza as Assistant Special Agent in Charge Isobel Castille and Missy Peregrym as Special Agent Maggie Bell Photo: Michael Parmelee/CBS ©2019 CBS Broadcasting, Inc. All Rights Reserved
CBS has ordered a gaggle of new series. On tap for the 2019-2020 season:
FBI: MOST WANTED-Series centered on the Fugitive Task Force of the FBI that tracks and captures the notorious criminals on the FBI's Most Wanted list in the CBS series FBI: MOST WANTED on the the CBS Television Network. Pictured (L-R) Kellan Lutz as FBI Agent Crosby; Nathaniel Arcand as FBI Agent Clinton Skye; Roxy Sternberg as FBI Agent Sheryll Barnes and Julian McMahon as FBI Agent Jess Lacroix Photo: Michael Parmelee/CBS ©2019 CBS Broadcasting, Inc. All Rights Reserved
FBI spinoff, FBI: MOST WANTED, which bowed as a backdoor pilot during the drama's first season. The show is "centered on the Fugitive Task Force of the FBI that tracks and captures the notorious criminals on the FBI's Most Wanted list." MOST WANTED stars Julian McMahon, Alana de la Garza, Keisha Castle-Hughes, Kellan Lutz, Roxy Sternberg, and Nathaniel Arcand.
EVIL is a psychological mystery that examines science vs. religion and the origins of evil. The series focuses on a skeptical female forensic psychologist who joins a priest-in-training and a carpenter to investigate and assess the Church's backlog of supposed miracles, demonic possessions and unexplained phenomena in CBS series EVIL on the CBS Television Network. Pictured (L-R) Mike Colter as David Acosta and Katja Herbers as Kristen Bouchard Elizabeth Fisher/CBS ©2019 CBS Broadcasting, Inc. All Rights Reserved
EVIL is a psychological mystery that examines science vs. religion and the origins of evil. The series focuses on a skeptical female forensic psychologist who joins a priest-in-training and a carpenter to investigate and assess the Church's backlog of supposed miracles, demonic possessions and unexplained phenomena in CBS series EVIL on the CBS Television Network. Pictured (L-R) Mike Colter as David Acosta and Katja Herbers as Kristen Bouchard and Aasif Mandvi as Ben Shroff Photo: Michele Crowe/CBS ©2019 CBS Broadcasting, Inc. All Rights Reserved
EVIL, from THE GOOD WIFE/THE GOOD FIGHT creators Robert and Michelle King, stars Katja Herbers, Mike Colter, Aasif Mandvi, Brooklyn Shuck, Skylar Gray, Maddy Crocco, Dalya Knapp, and Michael Emerson. The drama is "a psychological mystery that examines science vs. religion and the origins of evil. The series focuses on a skeptical female forensic psychologist who joins a priest-in-training and a carpenter to investigate and assess the Church's backlog of supposed miracles, demonic possessions and unexplained phenomena."
ALL RISE — A drama that follows the dedicated, chaotic, hopeful, and sometimes absurd lives of judges, prosecutors, and public defenders as they work with bailiffs, clerks and cops to get justice for the people of Los Angeles amidst a flawed legal system. Pictured: Simone Missick as Lola Carmichael Photo: Michael Yarish/CBS ©2019 CBS Broadcasting, Inc. All Rights Reserved
ALL RISE — A drama that follows the dedicated, chaotic, hopeful, and sometimes absurd lives of judges, prosecutors, and public defenders as they work with bailiffs, clerks and cops to get justice for the people of Los Angeles amidst a flawed legal system. Pictured (L-R): Wilson Bethel as DDA Mark Callan and Simone Missick as Lola Carmichael Photo: Michael Yarish/CBS ©2019 CBS Broadcasting, Inc. All Rights Reserved
ALL RISE, a drama following the lives of the people working within the Los Angeles legal system. The soapy series Simone Missick, Wilson Bethel, Jessica Camacho, Marg Helgenberger, J. Alex Brinson, Lindsay Mendez, and Ruthie Ann Miles.
"Pilot" — After having a heart attack, a middle-aged sock businessman from Detroit unexpectedly falls for his cardiac nurse, a Nigerian immigrant, and sets his sights on getting her to give him a chance in the CBS pilot BOB ❤ ABISHOLA. Pictured (L-R): Billy Gardell as Bob and Folake Olowofoyeku as Abishola. Photo: Sonja Flemming/CBS ©2019 CBS Broadcasting, Inc. All Rights Reserved
BOB HEARTS ABISHOLA, a comedy from Chuck Lorre, brings Billy Gardell back to the network. "After having a heart attack, a middle-aged sock businessman from Detroit unexpectedly falls for his cardiac nurse, a Nigerian immigrant, and sets his sights on getting her to give him a chance." The comedy also stars Folake Olowofoyeku, Christine Ebersole, Matt Jones, Maribeth Monroe, Shola Adewusi, Barry Shabaka Henley, and Travis Wolfe, Jr.
"Pilot" — When an outrageously wealthy trust fund baby is cut off by his father, he and his wife move into her estranged sister's Reseda home, forcing the two siblings to reconnect. Pictured: Pauley Perrette as Jackie, Jaime Camil as Javier, Natasha Leggero as Elizabeth. Photo: Sonja Flemming/CBS ©2019 CBS Broadcasting, Inc. All Rights Reserved
BROKE, starring Pauley Perrette and Jaime Camil, follows "when an outrageously wealthy trust fund baby is cut off by his father, he and his wife move into her estranged sister's Reseda home, forcing the two siblings to reconnect." Natasha Leggero, Izzy Diaz and Antonio Corbo also star.
"Pilot" — After raising her two children and retiring from teaching, Carol Chambers embarks on a unique second act: pursuing her dream of becoming a doctor in the CBS Pilot, CAROL'S SECOND ACT. Pictured (L-R): Lucas Neff as Caleb, Jean-Luc Bilodeau as Daniel, Sabrina Jalees as Lexie, and Patricia Heaton as Carol. Photo: Sonja Flemming/CBS © 2019 CBS Broadcasting Inc. All Rights Reserved.
CAROL'S SECOND ACT brings Patricia Heaton back to CBS. In the comedy, her title character retires from teaching and "embarks on a unique second act: pursuing her dream of becoming a doctor." Also starring Kyle MacLachlan, Ito Aghayere, Jean-Luc Bilodeau, and Sabrina Jalees.
"Pilot" — A tight-knit group of friends and family helps a widower move on following the most difficult year of his life, which includes being an ill-equipped but devoted single parent to his two daughters, and taking the major step of dating where, to his shock, he's a hot commodity. Pictured: Left to Right: Walton Goggins as Wade, Rob Corddry as Forrest, Michaela Watkins as Delia, Omar Benson Miller as Ben, Maya Lynne Robinson as Michelle. Photo: Michael Yarish/CBS ©2019 CBS Broadcasting, Inc. All Rights Reserved
THE UNICORN finds Walton Goggins embracing his comedic side. "A tight-knit group of friends and family help a widower move on following the most difficult year of his life, which includes being an ill-equipped but devoted single parent to his two daughters, and taking the major step of dating where, to his shock, he's a hot commodity." It also stars Rob Corddry, Michaela Watkins, Omar Benson Miller, Maya Lynne Robinson, Ruby Jay, and Makenzie Moss.
CBS Renews EVIL, Orders more ALL RISE, CAROL'S SECOND ACT, THE UNICORN, and BOB ♥ ABISHOLA
About Last Night…SUPERSTORE, GREY'S ANATOMY, LAW & ORDER: SPECIAL VICTIMS UNIT, and More
EVIL: What You Need to Know About the New CBS Series
CAROL'S SECOND ACT: What You Need to Know About the New CBS Series
BROKE on CBS – First Look
Filed under All Rise, Bob Hearts Abishola, Broke, Carol's Second Act, Evil, FBI: Most Wanted, The Unicorn
Comments Off on CBS Orders FBI: MOST WANTED, EVIL, ALL RISE, BOB HEARTS ABISHOLA, BROKE, THE UNICORN, and CAROL'S SECOND ACT to Series


Opening Times: The Restaurant is open every day, excluding our annual period of closure from mid- December to mid-January.
Lunch reservations are from 12.00pm until 1.30pm every day from Thursday 28th March 2019 until 31st October 2019.
It is possible to reserve our Kitchen Table at Lunch Times for up to six guests at 12.45pm every Saturday & Sunday.
Dinner reservations are from 6.30 pm until 9.15pm every evening. It is possible to reserve our Kitchen Table for up to six guests at 7.30pm every evening.
Our Head Chef, Scott Davies, and his kitchen brigade create dishes which reflect Skye and Scotland's wealth of ingredients, as well as the country's culinary heritage. Restaurant Manager James Alexander-Thom, assisted by the front of house team, are here to welcome you and guide you through the menus. We have an excellent wine list which he has selected.Along with Charlotte Davies our Assistant Restaurant Manager and Sommelier, they are happy to suggest wines to match your choice of dishes.
Our restaurant has received a great deal of international acclaim over three decades, winning a host of awards and top accolades. We have held 3 AA Red Rosettes continuously for 17 years, plus awards for our wine list and outstanding customer service.
Our menus reflect the outstanding variety of Skye's authentic, natural larder from land and sea. The exceptional quality, true provenance and seasonal freshness of these local ingredients, is paramount to our business ethos and always has been since Eddie and Shirley Spear first opened the restaurant in 1985.
Please advise us of any food allergies or intolerances we should be aware of when booking.


text:
Our Loans
Create a Great Place to Work and Unlock Business Potential
What makes a positive workplace culture? And why does it inspire better work?
By Elma Glasgow
The sparkly deely boppers on the receptionist's head wobbled feverishly as she gave a bubbly "good morning" greeting. Her feather boa, scarlet lipstick and vivacious nail colour would've fit in wonderfully at any of Berlin's cabaret venues, but this was not the KitKatClub.
I had just arrived at my office at a high profile charity. The receptionist's festive outfit was in celebration of one of the country's biggest fundraising campaigns. Readers, this was the morning of Red Nose Day – the charity was Comic Relief.
Rewinding to my job interview there, I recall immediately feeling at home. Was it something to do with the friendly buzz in the air? The energising red corridors? Or the giant red nose mounted on the wall? Maybe it was because I had been building a bond of sorts with Comic Relief since it launched when I was young, making it all feel rather familiar.
Looking back, I remember Comic Relief as a great place to work. Teams worked hard to whip the nation into a state of Red Nose Day fever to raise millions of pounds for projects in Africa and the UK. Despite the demanding deadlines (inevitable for one the world's most successful charities), I remember laughing a lot, and feeling motivated and part of something pioneering.
The experiences I had there made me connect closely with the organisation and made me feel accountable to the masses of supporters raising money.
Happiness at work
Little did I know, but at the time I was experiencing something called Arbejdsglaede. (I would write out the pronunciation but, believe me, it's easier to just watch the video.)
Arbejdsglaede is a word that only exists in Danish, Swedish and Norwegian and means happiness at work. It means that you enjoy your job, you're proud of your work and you get on with colleagues. The general idea is you find a job that makes you happy, and you're more likely to be successful. It's turned the traditional attitude on its head, which focuses almost entirely on material success. Of course, financial reward is important, but there are other factors at play like having a positive workplace.
More and more people want a taste of Arbejdsglaede, so I've looked into some of the elements that make a good working environment. From a new kind of office chair to finding the right location, it's an area of business that can unlock potential among your people.
Good office furniture = good wellbeing
While we know that good ergonomics are vital, office furniture is just one element. But if you ignore problems caused by old equipment, your chances of reducing sick leave are going to be low. This can make staff unhappy and cause dips in efficiency.
People are increasingly in pain: back problems, sore necks and repetitive strain injury can be caused by something as simple as slouching at our desks. The working environment needs to support people at work, but fast-changing technology is presenting new challenges.
Allow me to enjoy a geeky moment and introduce the Gesture Chair. Developed by Steelcase, the chair's design is based on 9 new seated postures discovered through recent global research. The chair supports your body as you move around, using desktop computers, smartphones and tablets. Check out the postures, and you'll see why standard chairs may soon be heading for storage.
Office design and layout
Technology isn't just changing how we sit. How we communicate, move around the office, and where we work have also changed. It's not surprising then that outdated office design could stifle efficiency, creativity and collaboration, which, when combined, lead to innovation and progress. Design can even put off younger talent too, if it doesn't fit in with their working habits, which are heavily influenced by technology.
Spaces for quiet working, privacy, brainstorming and relaxation are becoming the norm. But what works for one business doesn't necessarily work for another. Design is unique and reflects the brand, its ethos and its people. Entertainment company, Mind Candy, invites people into a break out area with a pretty back garden scene. It's more conducive to creativity – the business' lifeblood - than a gloomy meeting room.
Office colours have always made a big difference to me – I used to think it was my imagination, but they've been proven to affect our work. Nancy Kwallack, a researcher at the University of Texas, makes a surprising observation: "White doesn't help us be productive, and most work environments are white, off-white, or gray … There have been studies that asked worker preference about environment and color, and the majority felt they liked to work in a blue or blue-green environment."
Other fundamentals of good office design are plenty of natural light, good ventilation, living plants, and tidy and safe floor space.
Choose the right location (or miss out on talent)
A good working environment stretches beyond the office walls. The more convenient and enjoyable the office location is, the more likely employees will stick around for a while.
Here's when location doesn't work. My friend, Julie, worked on a 9-month contract at a place one-and-a-half hours away on public transport. Although she liked the work, her colleagues and the office environment, she would arrive home each evening wiped out from the three-hour round trip and a seven-hour day.
On top of constant tiredness, Julie's bank account was getting a hammering from the cost of travel.
At the end of the contract, she turned down the offer of an extension in favour of a job closer to home. Having seen Julie's work, I know the employer lost a very talented employee, because the office was tricky to get to.
Poorly chosen office locations can mean dreadful commutes, which could hamper productivity. The only thing on the up could be staff's blood pressure as they rely on coffee to battle fatigue.
Choosing the right office location is about customers too. Your wooing may be wasted if visitors need to drive around, looking for an office hidden from view. Customers will also turn their nose up if they find their supplier's office is next to a water treatment plant that whiffs all summer long. This isn't how you impress important people.
Thinking about location from different perspectives will stop you being immediately seduced by striking design or bargain prices. Your staff will thank you for securing easy-to-access premises in a pleasant (and whiff-free) setting.
Empowering people
A positive workplace is much more than ping pong tables and giant slides à la Google. Without that special touch that makes people bond with a place, cool stuff will probably go unused. People want to feel valued, trusted and empowered at work too. This, I think, is what rouses passion among workers, rather than disenchantment. Increasingly, people want…
Thanks – Did you know that only one quarter (24%) of employees are happy with the level of recognition they received for their hard work? That leaves a big majority who want better employee appreciation.
Development – Staff are more likely to be happy if they're given learning and development opportunities. But bosses have to follow up with new career opportunities, otherwise staff will take their new skills elsewhere.
Flexibility – People want more freedom to juggle personal and work life. They want to be able to leave early for school pick-ups, work remotely, flex their hours and job share.
Vision – As I discovered at Comic Relief, people are driven by being part of a broader vision. It creates a sense of shared goals and comradery, which is great for workplace atmosphere and productivity.
Giving people a good workplace is the smart way forward, whether it's turquoise walls, chairs for strunchers or rewarding employees for hard work. Creating a great place to work begins by putting your people first; keep them happy and healthy, and your business is more likely to prosper.
And if the odd pair of deely boppers is a measure of how well you're doing, well, I'd say you're on your way to achieving Arbejdsglaede.
The Knowledge Hub » Business Growth
The Knowledge Hub » Business Growth » Workplace Expansion
The Knowledge Hub » Business Management
The Knowledge Hub » Business Management » Working Environments
The Knowledge Hub » Employees
The Knowledge Hub » Employees » Company Culture
The Knowledge Hub » Employees » Motivating Staff
These cookies allow us to count visits and traffic sources so we can measure and improve the performance of our site. They help us to know which pages are the most and least popular and see how visitors move around the site.
All information these cookies collect is aggregated and therefore anonymous. If you do not allow these cookies we will not know when you have visited our site, and will not be able to monitor its performance.
These cookies enable the website to provide enhanced functionality and personalisation. They may be set by us or by third party providers whose services we have added to our pages.
If you do not allow these cookies then some or all of these services may not function properly.
These cookies are set by a range of social media services that we have added to the site to enable you to share our content with your friends and networks. They are capable of tracking your browser across other sites and building up a profile of your interests. This may impact the content and messages you see on other websites you visit.
If you do not allow these cookies you may not be able to use or see these sharing tools.
Mon-Fri: 8.30am - 5.00pm
Fleximize LtdHolbrook House
IP3 0AH
Fleximize Links
About Fleximize
Partner With Fleximize
Press & Media Office
Follow Fleximize
ATOM RSS
Rate Comparison Tool
SME Finance Options
Secured Business Finance
Unsecured Business Finance
The Alterium Group
Alterium Limited (08621989), Fleximize Limited (07117447) and Fleximize Capital Limited (09485920). Postal & Registered Address: Holbrook House, 51 John Street, Ipswich, IP3 0AH. Data Protection Number ZA021338. Except where otherwise stated, website information is not intended to, nor does it, constitute legal, accounting, business, financial or other professional advice or services.
© Fleximize 2013-2020 — All rights reserved
Our site uses cookies and other tracking technologies in the ways outlined in our cookie policy. To see which cookies we serve and set your own preferences, please use our cookie settings. Otherwise, we'll assume you are happy to continue. Cookie Policy & Settings


In Device Manager, if you get error "This device is not configured correctly (Code 1)" with your device, don't worry. You can fix the problem by following the instructions in this article.
This is a driver related problem. To resolve the problem, you just need to update the driver. There are two methods you can update the driver. You can try Method 1 first. If Method 1 doesn't work, try Method 2.
3) Click Search automatically for updated driver software. Then Windows will update the driver automatically.
3) Check to see if the yellow mark next to the device is gone.
If Method 1 doesn't work for you, or if you don't have the time, patience or computer skills to update the driver manually, you can do it automatically with Driver Easy.
3) Click the Update button next to the problem device to automatically download and install the correct version of the driver (you can do this with the FREE version). Or click Update All to automatically download and install the correct version of all the drivers that are missing or out of date on your system (this requires the Pro version – you'll be prompted to upgrade when you click Update All).
4) After updating the driver, check to see if the yellow mark next to the device is gone.
Hope the instructions help you resolve the Code 1 error in Device Manager. If you have any questions, please leave your comment. I always love to hear of any ideas or suggestions.