Today, Acquaviva proudly upholds the titles of zealous vinyl collector, insatiable entrepreneur, executive film producer and label owner. Yet above all, John Acquaviva is the quintessential performer at heart. Last year saw John perform an impressive 7 hour set alongside Daniel Miller at the world renowned Berghain nightclub in Berlin, while also curating the soundtrack for the emotional closing event at Space Ibiza, to performing at Marco Carola's 'Music On' this past August. As he looks ahead to 2018, there's no telling what evolution John Acquaviva will pull from his sleeve next!


text:
Schemes initiatives through DGT
Scheme of Polytechnics
Cabinet Secretariat letter dt. 14.03.2017 Download (291 KB)
The following four components of polytechnics under "Sub-Mission on Polytechnics under the Coordinated Action for Skill Development" have been transferred from Department of Higher Education, Ministry of Human Resources Development (MHRD) in 2017 to Ministry of Skill Development and Entrepreneurship (MSDE) and to Directorate General of Training (DGT) in September 2018.
Letter regarding transfer of scheme from MHRD to MSDE dt. 05th July, 2017 Download (153 KB)
Letter regarding transfer of scheme from MSDE to DGT dt. 05th September, 2018 Download (67 KB)
1. Setting Up of New Polytechnics in Un-served & Underserved Districts
Under this scheme, 300 new polytechnics are being set up by the State Governments/ Union Territories in un-served and underserved districts with assistance from Government of India limited to Rs.12.3 crore per polytechnic to meet the capital costs of establishing a polytechnic.
Central Government provides the grant to meet the non-recurring costs as under:
i. Civil Works = Rs 8.00 crore
ii. Equipment/Machinery/Library Books/ Furniture/Vehicle = Rs 4.30 crore
Total (per Polytechnic) = Rs. 12.30 crore
Whereas the State Government shall provide the land required as per AICTE Norms, free of cost, for setting up the Polytechnic, the State Government shall also meet any additional requirement of non-recurring expenditure over and above the ceilings of Rs. 12.30 crores. Further, it shall also be the responsibility of the State Government to bear all the recurring expenditure in running the polytechnic. The State Government will identify the location for the proposed polytechnics under the Scheme in the selected districts.
Guidelines for the sub Component "Setting up of New Polytechnics" Download (973 KB)
2. Central assistance for Construction of Women's Hostels in selected Polytechnics
In order to enhance women enrolment in polytechnic education, the Scheme for Construction of Women's Hostels in selected Polytechnics was introduced in the 11th Plan. The scheme envisages financial assistance subject to a maximum of Rs. 1.00 crore for each polytechnic, to be provided to 500 existing AICTE approved Government / Government aided Polytechnics, for the construction of women's hostel.
3. Central assistance for up-gradation of selected Polytechnics
Under this scheme, financial assistance is provided by Government of India to upgrade infrastructure facilities of 500 existing diploma level public funded Polytechnics by (i) providing financial assistance for modern equipments and by replacement of obsolete equipments, (ii) providing modern facilities for application of IT in teaching, learning and testing processes and (iii) introduction of new diploma courses. The Scheme provides for Central assistance to 500 polytechnics, upto ₹2.00 crores per Polytechnic.
4. Scheme of Community Development Through Polytechnics (CDTP)
CDTP scheme envisages providing non formal, short term, employment oriented skill development programmes, through AICTE approved Polytechnics, to various sections of the community, particularly the rural, unorganized & disadvantaged sections of the society, to enable them to obtain gainful self / wage employment. Duration of training usually ranges from three to six months. These courses are being offered by the Polytechnics in their premises, as well as through extension centers, set up in nearby locations, from where, these courses can be offered to the local community. No fee is charged from the trainees under this Scheme and there is no restriction of age and qualification for the trainees.
Recurring grant upto Rs. 17.00 lakh per polytechnic per annum is provided by Central Government
Guidelines for the sub-component "CDTP" Download (384 KB)
State-wise List of Polytechnics under CDTP Scheme Download (4.21 MB)
Detailed Expenditure upto March, 2018 in respect of sub-components
Setting up of new Polytechnics Download (1.36 MB)
Up gradation of existing Polytechnics Download (4.54 MB)
Construction of Women Hostel in selected Polytechnics Download (4.18 MB)

redpajama_set_name: RedPajamaCommonCrawl


text:
EPISODE 59 Omar Tate of Honeysuckle talks Blackness in Food
Aired: Thursday, April 18th 2019
HOSTED BY Korsha Wilson
Chef Omar Tate has spent the last ten years in the restaurant industry working in some of the best restaurants in New York City and Philadelphia including A Voce, Fork, Meadowsweet, Runner and Stone, and Russet. He finds the intersection of science, art, craft, and the physicality of line cooking to be unique and the most alluring aspects of the profession. Chef Omar has been exploring his heritage to bring balance and equity to his profession. He has researched and produced dinners dedicated to honoring chefs, writers, and figures in history representative of African American culture. Currently he is sous chef at The Henry alongside executive chef JJ Johnson, and chef de cuisine Samantha Davis where together they explore the diverse aspects of African influence throughout the globe. He is also the mind behind Honeysuckle, a dinner pop up series dedicated to exploring black heritage through food using various forms of art to bring stories to the plate and engage with diners.
Photo courtesy of Haamza Edwards Photography.
A Hungry Society is powered by Simplecast.
A Hungry Society A Voce African American African American culture Fork JJ Johnson Korsha Wilson Meadowsweet Omar Tate Runner and Stone Russet Samantha Davis The Henry
Episode 58 | Peru Special Part 2: Chef Diego Munoz
Episode 60 | Clay Williams on Photographing Food and Co-founding Black Food Folks
#hrn_a_hungry_59
Today's show is going to be a continuation of the series of interviews from the Soul Food Sessions dinner which was…
Today's show is going to be a series of interviews from the Soul Food Sessions dinner which was held at…
Today's guest is Jose Garces, Father, farmer, food and drink lover, restaurateur, James Beard Award winner, author and Iron Chef….
Today's guest is Krishnendu Ray, Chair of the Department of Nutrition and Food Studies at NYU. He was a faculty member…
Today's guest is Rahanna Bisseret Martinez, a talented fifteen-year-old chef and finalist on Top Chef Junior. Rahanna has been featured…


MAZDA 323/PROTEGE 1990-94 1.8L Eng REAR BUMPER Cont'd Man Trans E301-15-031 MAZDA 323/PROTEGE 1990-94 Auto Trans B660-15-031 Canada N.A. WAGON Cont'd 4 Caution Plate SECTION INDEX 1.6L Eng E563-15-201 1 Center BJ19-50-221 1.8L Eng A/C /HEATER/VENTILATION . 46 2 Outer.
MAZDA 323/PROTEGE 1990-94 ¶Harbor Blue listed, Order by Application GRILLE DV Bay Blue; DX Honey Blue; FZ Herbie Green; GU Shade Green; PZ Brilliant Black HATCHBACK SQ Blaze Red; SS Coral Red; UF Clear White; 1990-92 IH Steel Gray MC; IS Niagara Silver MC;.
MAZDA 323/PROTEGE 1990-94 HOOD Cont'd Man Trans B61W-15-210 Auto Trans BP05-15-210 BP26-15-210A 7 Blade, Fan 1.6L Eng Man Trans FEH5-15-140 Auto Trans B6S8-15-140A 1.8L Eng Man Trans B6S8-15-140A Auto Trans B61F-15-140 BP26-15-140A 8 Motor, Fan 1.6L Eng Man Trans B366-15-150B.
MAZDA 323/PROTEGE 1990-94 1 Fender Assy 4 Bar, Lower Tie¶ B455-53-16XE Positive N.A. Hatchback R BR93-52-110B ¶Included w/Radiator Support Assy Negative N.A. L BR93-52-210C 5 Support, Hood Latch B455-53-35YA Sedan R B456-52-110B 6 Plate, Side Panel R B455-53-325B CRUISE CONTROL SYSTEM.
MAZDA 323/PROTEGE 1990-94 WHEEL Cont'd ALLOY WHEEL Cont'd ¶Included w/Wheel Assy 6 Cap, Wheel 13″ Wheels DX, SE Model B458-37-170A LX Model BB7E-37-170 14″ Wheels B459-37-170A 7 Cap, Hub B457-37-170A Stem, Valve 9963-60-4130 Nut, Lug Standard B002-37-160A Bright 0603-26-161A FRONT SUSPENSION L F024-25-600R-0H 1.8L Eng.
MAZDA 323/PROTEGE 1990-94 (b) Order by Application 8 Left 1 Wheel Assy, Steering B595-32-123 w/Cruise Control BR71-32-980B B528-32-123 w/o Cruise Control FRONT STEERING LINKAGE/GEAR Bracket, Mounting¶ Base, GT Model BR70-32-980B 9 Right Sport Model B456-32-980A MANUAL B456-32-134 2 Cover, Steering Wheel¶.
MAZDA 323/PROTEGE 1990-94 B455-39-050B 1990-91 ENGINE Cont'd B455-39-050B 1.6L Eng B6Y5-20-600 Mount, Rear 1.8L Eng BPY1-20-600A 1.8L ENG Cont'd Man Trans B455-39-100E BP45-20-600B Auto Trans B599-39-100A 1992-95 SOHC Eng B6S7-11-401A 1.6L Eng B6Y5-20-600 DOHC Eng BP05-11-401 Man Trans B528-39-100B 1.8L Eng.
MAZDA 323/PROTEGE 1990-94 Hatchback Nozzle, Spray R/L N.A. Speaker, Radio-See Front Door Section Clear B467-63-901A Blue Tint COWL & DASH CENTER CONSOLE To 2-4-93 BR93-63-901A From 2-4-93 B469-63-901A Sedan Clear B457-63-901A Blue Tint B457-63-901A 2 Dam, Windshield 90-91 GT8T-50-894 92-95 B481-50-894.
MAZDA 323/PROTEGE 1990-94 R BR70-53-660C 8 Knob, Adjuster¶ (a) R B001-88-081-65 ROCKER/PILLARS/FLOOR Cont'd L BR70-54-660B L B001-88-091-65 R/L BA1C-53-660C 9 Headrest¶ (a) Hatchback ROCKER/PILLARS Base, DX Model R/L BB7A-88-140-65 SEAT LX, SE Model R/L BB7H-88-140-65 HATCHBACK Cont'd Sedan Mldg, Inside Garnish.
MAZDA 323/PROTEGE 1990-94 FRONT DOOR SHEET METAL Shell Assy, Door Hatchback R BR93-58-020T L BR93-59-020T Sedan R BS06-58-020K L BS06-59-020K Panel, Door Repair¶ Hatchback R B468-58-030C L B468-59-030C Sedan R B455-58-031B L B455-59-031B ¶Included w/Door Shell Assy EXTERIOR TRIM Off Black.
MAZDA 323/PROTEGE 1990-94 Sedan 6 Bracket, Pull Handle FRONT DOOR Cont'd Clear R B455-58-511 LX Model R/L B110-68-525 L B455-59-511 HARDWARE Blue Tint R B457-58-511 HARDWARE Cont'd L B457-59-511 2 Channel Assy, Glass Manual R BR70-58-310A Hatchback R B467-58-60XA L BR70-59-310A.
MAZDA 323/PROTEGE 1990-94 8 Rail, Roof Inner SUNROOF Hatchback R B467-70-050 L B467-71-050 Sedan R B455-70-050B L B455-71-050B INTERIOR TRIM HATCHBACK 1 Headliner Assy To 8-2-93 Gray BR94-68-030C-05 Gray/Taupe BR94-68-030C-34 From 8-2-93 1 Panel, Steel Sliding BR71-69-810A 2 W/Strip, Steel Panel.
MAZDA 323/PROTEGE 1990-94 Speaker, Radio (b) R/L 0000-81-090A-01 1 Shell, Gate (b) Order by Application w/Spoiler BS22-62-020M w/o Spoiler w/Rear Wiper BR94-62-020K QUARTER GLASS w/o Rear Wiper BR93-62-020K Nameplate «Mazda» Light Gold B455-51-711A-71 Light Gray B455-51-711A-85 Dark Gray B455-51-711A-86 «Mazda 323».
MAZDA 323/PROTEGE 1990-94 LIFTGATE Cont'd 92-95 R B596-26-280B L BC1D-26-290A 7 Shield, Splash Insert, Wiper¶ Disc Brakes 90-91 R/L BR74-26-261A To 8-1-94 B499-67-331 92-95 R/L B613-26-261A From 8-1-94 B467-67-331 Hose, Brake ¶Included w/Wiper Blade Assy Drum Brakes R/L B455-43-810C 27 Arm, Wiper.
MAZDA 323/PROTEGE 1990-94 Spacer, Stabilizer¶ R/L G030-28-158 w/Warning Switch BS42-60-960 ¶Included w/Stabilizer Bar Assy w/o Warning Switch B617-60-960 R B530-60-960B 24 Bushing, Bar R/L B459-34-156A L B528-60-970A 25 Bracket, Bar R/L E016-28-15YB 13 Pump Assy, Fuel 26 Crossmember Assy, Suspension.
WHEEL . 303 WINDSHIELD. 308 SPECIAL CAUTIONS FOAM FILLER Mazda advises that each pillar has a foam rubber filler inside to improve 1 Grille Assy¶ BC1M-50-710D-PT quietness. Take care not to cut and join in these areas. If the foam rubber ¶White listed, Order by Application.
MAZDA 323/PROTEGE 1995-98 J4 Passion Rose; PT Chaste White; SU Classic Red; GRILLE Cont'd SIGNAL LAMP VQ Noble Green; 29 Sparkle Green; 69 Solemn Blue; 4F Champagne Silver; 6Z Thunder Gray 8 Fastener, Moulding (b) R/L BC1M-50-715 SEDAN (b) Included w/Headlamp Moulding Assy.
MAZDA 323/PROTEGE 1995-98 7 Cushion Assy, Rear R/L BC1M-56-78XA w/ A/C 1.5L Eng B6BF-15-811 8 Clip, Cushion¶ R/L UB39-56-741A 1.5L Eng 1.8L Eng BPD3-15-811 ¶Included w/Rear Cushion Assy Z501-15-035 7 Pipe, Condenser 95-96 BC1M-61-465 Canada-Serviced by Components 97-98 BC1M-51-465B 9 Latch, Hood BC1D-56-62X 1.8L Eng-Serviced by Components.
MAZDA 323/PROTEGE 1995-98 A/C /HEATER Cont'd Sedan «DX» Gray Metallic R/L BC4C-51-761-80 Silver Metallic R/L BC4C-51-761-85 «LX» Gray Metallic R/L BC5A-51-761-80 Silver Metallic R/L BC5A-51-761-85 «ES» Gray Metallic R/L BD0G-51-761-80 Silver Metallic R/L BD0G-51-761-85 «SE» Gray Metallic R/L N.A. Silver Metallic R/L N.A.
MAZDA 323/PROTEGE 1995-98 2 Actuator¶ BC1F-66-314 CRUISE CONTROL SYSTEM 3 Pipe, Vacuum¶ BC1F-66-361 4 Bracket, Actuator¶ BC1F-66-3A1A 1995-96 ¶Included w/Actuator Assy 5 Cable, Cruise BC1F-66-31Y 6 Computer, Cruise BC1F-66-320G WHEEL STEEL WHEEL w/Cruise Control BC5A-66-CS0 w/o Cruise Control BC5E-66-CS0 ¶Included w/Combination Switch Assy-listed in Steering.
MAZDA 323/PROTEGE 1995-98 FRONT SUSPENSION Cont'd L B02B-34-350E 1997-98 R F066-25-500R-0C 1997-98 L F069-25-600R-0D 13″ Wheels R B02B-34-300E Rotor, ABS Sensor¶ 3 Hub Assy R/L B01A-33-060A L B02B-34-350E 1.5L Eng R/L BC4C-33-471 4 Bolt, Hub¶ R/L B01Y-33-062 14″ Wheels R BE7B-34-300A 1.8L Eng.
MAZDA 323/PROTEGE 1995-98 1.8L Eng 1.5L Eng 1995-Serviced w/Intermediate Shaft Assy To 10-1-94 BC1D-32-683 1996-98 From 10-1-94-Not Applicable Man Trans FA08-25-741A 1.8L Eng BC1D-32-683 Auto Trans F047-25-741A 10 Pipe, Return 95-96 B01C-32-410C 10 Seal, Dust Outer (c) 95 G560-25-742 97-98 B01B-32-410.
MAZDA 323/PROTEGE 1995-98 ENGINE/TRANS MOUNTS ENGINE/TRANS Cont'd 1.8L ENG 1.5L ENG Cont'd 1 Mount, Engine Front BC1F-39-060C Brkt, Front Engine Mount 2 Upper B02B-39-061 Lower Right Side 1.5L Eng BC1D-39-030D 1.8L Eng BC1F-39-030C Left Side 1.5L Eng BC1D-39-035A 1.8L Eng BC1F-39-035A 1 Cap Assy, Oil Filler¶.
MAZDA 323/PROTEGE 1995-98 Sedan BATTERY 1995 Z544-40-100A 1996 Z544-40-100A 1997-98 w/Calif Emission Z544-40-100A w/o Calif Emission Z550-40-100B 1.8L ENG 1 Battery 0000-80-026R-WB Cable, Positive N.A. Cable, Negative BC1D-67-EW1B 2 Tray, Battery BC1D-56-040B 3 Nut, Clip 95-96 FA01-50-054 4 Bolt, Clamp.
Gray BC1D-60-350D-09 2 Base, Mirror¶ BC1C-69-240 w/Level Indicator N.A. 2 Garnish, Inst Pnl¶ R/L B01J-60-724 ¶Included w/Mazda Windshield Glass Assy w/o Level Indicator N.A. ¶Included w/Instrument Panel Assy 3 Dam, Windshield B481-50-894 12 Cap, Washer Tank¶ B455-67-483 3 Garnish, Inst Panel.
MAZDA 323/PROTEGE 1995-98 14 Ventilator Assy, Passenger Brown BC1D-64-720-90 Gray BC1D-64-720-09 15 Louver, Ventilator (a) BC1D-64-71XA (a) Included w/Passenger Ventilator Assy 16 Panel Assy, Glove Box w/Air Bag Brown BC1D-64-260B-90 Gray BC1D-64-260B-09 w/o Air Bag 1995 Brown BC5E-64-260A-90 Gray BC5E-64-260B-09.
MAZDA 323/PROTEGE 1995-98 CENTER CONSOLE Cont'd FRONT FLOOR 1995-96 Cont'd 17 Insulator, Floor¶ Man Trans B455-68-643B 18 Brkt, Rear Console¶ BC1D-64-416 19 Boot, Brake Lever¶ w/Rear Lid BC1G-64-432A w/o Rear Lid BC1D-64-432 20 Cover, Hole¶ Brown R BC1F-55-225-90 L BC1E-55-225-90.
MAZDA 323/PROTEGE 1995-98 Brown R BC1D-68-710B-90 L BG9V-88-160A-09 SPLIT BENCH L BC1D-68-720B-90 LX Model 95-96 R BC1M-88-110-60 Gray R BC1D-68-710B-09 L BC1M-88-160B-60 L BC1D-68-720B-09 97-98 R BG1S-88-110A-09 6 Plate, Rear Scuff L BG1S-88-160A-09 Brown R BC1D-68-730A-90 ES Model 95-96 R BC1P-88-110-60.
MAZDA 323/PROTEGE 1995-98 SEAT BELTS Cont'd FRONT DOOR INTERIOR TRIM 1995-96 SHEET METAL FRONT SEDAN 1 Shell Assy, Door Hatchback R/L N.A. Sedan R BG1N-58-020B L BG1N-59-020B 2 Panel, Door Repair¶ Belt, Seat¶ Hatchback R/L N.A. 1 Retractor Side Sedan.
MAZDA 323/PROTEGE 1995-98 24 Fastener¶ Upper R/L BC1D-58-763 Lower (19/Side) R/L BC1D-58-763 ¶Included w/Weatherstrip Assy 25 Welt, Seaming Hatchback R/L N.A. Sedan R/L BC1D-68-911-2 GLASS & PARTS Power L BG1S-68-450E-90 Hatchback R/L N.A. Gray Sedan R BC1E-58-310F To 11-97 R BG1S-68-420E-09.
MAZDA 323/PROTEGE 1995-98 REAR DOOR Cont'd EXTERIOR TRIM Cont'd L BC1M-50-670B 2 Garnish Assy, Rear Door R BC1M-50-M30 L BC1M-50-M40 3 Gasket, Garnish Upr¶ R/L BC1M-50-M37 4 Gasket, Garnish Lwr¶ R/L BC1M-50-M38 5 Clip, Garnish¶ R/L BC1M-50-M38 L G030-59-315 ¶Included w/Rear Door Garnish Assy L BG1S-68-550H-09 ¶Included w/Door Lock Knob Assy.
MAZDA 323/PROTEGE 1995-98 3 Run, Channel R BC1D-72-605 Sedan 95 BC1S-68-030D-08 9 Guide, Rail L BC1D-73-605 96-98 B02B-68-030E-08 Hatchback N.A. 4 Guide, Glass R BC1D-72-603A w/o Sunroof Sedan BC1S-69-850 L BC1D-73-603A w/Spot Lamp 95 BC1M-68-030F-08 10 Deflector BC1S-69-880 5 Regulator, Manual.
MAZDA 323/PROTEGE 1995-98 BACK WINDOW Cont'd 2 Mudguard R/L N.A. INTERIOR TRIM 97-98 B16A-63-930A HATCHBACK 2 Clip, Glass¶ R/L FB01-63-959 ¶Included w/Back Window Glass Assy 3 Spacer, Upper (3) C001-50-897 4 Spacer, Lower R/L BC1M-50-891 5 Dam, Back Window NA01-50-894A.
MAZDA 323/PROTEGE 1995-98 L BC1D-68-260E-90 EXTERIOR TRIM Gray R BC1D-68-250E-06 L BC1D-68-260E-06 2 Trim, Side-See Rear Body Section QUARTER GLASS 1 Glass, Quarter Mazda R/L N.A. LUGGAGE LID SHEET METAL 5 Clip, Spoiler Outer (a) R/L B459-51-958 6 Protector, Spoiler (a) R/L B631-51-967 1 Spoiler Assy, Rear¶.
MAZDA 323/PROTEGE 1995-98 Drum Brakes 1995 R/L 9YA0-21-207 LIFTGATE Cont'd w/ABS R BC1M-26-280B 1996-98 R/L B455-28-116 L BC1M-26-290B w/o ABS R BC1D-26-280A GLASS & PARTS Cont'd L BC1D-26-290A 11 Shield, Splash ¶Included w/Glass Bracket Assy Disc Brakes R/L B613-26-261A 10 Dam, Lower Glass N.A.
MAZDA 323/PROTEGE 1995-98 w/o Calif Emission BR70-42-920 INTERIOR TRIM 1997-98-Serviced w/Check Valve 15 Valve, Vapor (2) BC1M-42-980A SEDAN 16 Tank, Fuel 1995-96 w/Calif Emission BC1M-42-110B w/o Calif Emission BC1F-42-110B 1997-98 BC1M-42-110B 17 Insulator, Fuel Tank BC1M-42-740C 18 Strap Assy, Fuel Tank.
This is the COMPLETE official full factory service repair manual from MAZDA for the both the 323 and PROTEGE vehicles. Production model years 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003. All styles covered. 1284 pages allow you to print it out in its entirety or just the pages you need!!
These manuals are your number one source for repair and service information. They are specifically written for the do-it-yourselfer as well as the experienced mechanic. Using this repair manual is an inexpensive way to keep you vehicle working properly. Each manual provides step-by-step instructions based on the complete disassembly of the machine. It is this level of detail, along with hundreds of photos and illustrations, that guide the reader through each service and repair procedure.
* This manual also makes it easy to diagnose and repair problems with your machines electrical system. Troubleshooting and electrical service procedures are combined with detailed wiring diagrams for ease of use.
I stumbled upon Playster 2 months ago. I've upgraded to a premium membership already. The platform now carries audiobooks from: Simon & Schuster, Macmillan, HarperCollins UK, Recorded Books, Tantor, and Highbridge. HarperCollins US titles are already in the library. Great service.


text:
One third of Fine Gael voters prefer Eamon Gilmore to Enda Kenny
MOLLY MULDOON
Enda Kenny, Brian Cowen and Eamon Gilmore at a recent turning on of the Christmas lights ceremony
One-in-three Fine Gael supporters believe Labour's Eamon Gilmore would be a stronger leader than their own party head, Enda Kenny.
The findings are the results of a new opinion poll which shows that Gilmore remains the most popular leader in the country with over 45 percent of respondents saying they believed he would make the best Prime Minister.
Fine Gael's leader Enda Kenny achieved 24 percent, and Ireland's current leader Brian Cowen on just 11 percent.
Over half of Fine Gael supporters surveyed said they believed Enda Kenny would make the best Prime Minister. But a substantial 34 percent, roughly one in three, choose Gilmore ahead of Kenny.
By contrast, Labour supporters who were surveyed were more loyal to their leader with 79 percent of them saying that they would choose Gilmore as the next leader of Ireland.
The poll was conducted by Red C for the Paddy Power bookmaking firm and was carried out towards the end of last week, with over 1,000 people polled over the telephone.


From The Building News, September 19, 1862: The engraving on the opposite side represents the Manchester and Salford Bank which is just being erected. Tho frontage in Mosley Street, as seen in the engraving, is 114 feet; the side, in York-street, has six windows, and is 78 feet; height of building 09 feet; total area about 950 superficial yards. The whole is executed in Yorkshire stone; string course under bank windows is of granite, and the door, 16 feet by 8 feet, has jambs of polished granite. Tho bankproper is 83 feet by 49 feet, exclusive of entrances and private rooms, and clear height 27 feet; windows of bank, 17 feet by 7 feet, with descending wronght-iron shutters in one sheet. There are ten columns in the interior 2 feet diameter, on which are wrought-iron girders 3 feet deep supporting the interior walls of first floor, on which is arranged .the board-room, 46 feet by 82 feet, with octagonal ceiling aud circular top light. Other parts of this floor, and the upper floor, are devoted to private apartments for the sub-manager residing on the premises. The plan of the building has been arranged by William Langton, Esq., the present manager, and is most complete in every respect. The treasuries, voucher-room, hydraulic hoist for books, bullion, &c., arc in the basement, the whole of which is fire-proof, as also the bank ground-floor. The cost of the building, exclusive of the land, is about £25,000. The bank is detached from tho adjoining buildings in Mosley Street, which adds much to its importance. The building was opened for business on the 15th of August. Tho masonry and brickwork were contracted for by Messrs. J. and H. Patterson; the ironwork by Messrs. E. T. Bollhouse and Co.; and the rest of the work by Messrs. Bowden, Edwards, and Forster.


text:
✍American Cinematographer (April 25, 2019) ENDGAME
✍American Cinematographer (April 25, 2019) ENDGAME Apr 26, 2019 21:47:47 GMT
ascmag.com/articles/heroes-united-avengers-infinity-war
Heroes United — Avengers: Infinity War
April 25, 2019 Mark Dillon
Editor's Note: Powering up to watch Avengers: Endgame? This might help.
Director of photography Trent Opaloch and directors Joe and Anthony Russo build on their past work in the Marvel Cinematic Universe for this franchise-
spanning epic.
Unit photography by Chuck Zlotnick, courtesy of Marvel Studios.
Avengers: Infinity War marks the culmination of the first decade of the Marvel Cinematic Universe. The action picks up from last year's Thor: Ragnarok (shot by Javier Aguirresarobe, ASC, AEC; AC Dec. '17), at the end of which the realm of Asgard, home to the hero Thor (Chris Hemsworth), was destroyed. Thor and his fellow Avenger Hulk, aka Bruce Banner (Mark Ruffalo), now lead the surviving Asgardians on an exodus toward Earth aboard an Ark ship. They are intercepted, however, by the alien Thanos (Josh Brolin), who seeks the six Infinity Stones, each of which represents a fundamental aspect of the universe and provides immense power to its holder. Thanos and his Black Order generals attack the Asgardians, leading Thor's morally ambiguous adopted brother Loki (Tom Hiddleston) to hand Thanos the Tesseract Infinity Stone.
Thor is then set adrift in space and picked up by the misfit Guardians of the Galaxy — one of whom, Gamora (Zoe Saldana), is Thanos' estranged adopted daughter. Meanwhile, Hulk crashes down in New York City just ahead of the Black Order, whose destructive Q-Ship catches the attention of Doctor Strange (Benedict Cumberbatch) and his associate Wong (Benedict Wong), as well as Tony Stark/Iron Man (Robert Downey Jr.) and Peter Parker/Spider-Man (Tom Holland).
The Black Order has come to Earth in pursuit of two Infinity Stones, one possessed by Strange, and the other by the android Vision (Paul Bettany). Thanos intends to gather the gems in his Infinity Gauntlet, granting him the ability to destroy half the universe — which, in his warped view, would achieve perfect balance in the cosmos. And so the Avengers — who were last seen divided in Captain America: Civil War (AC June '16) — must assemble once again, this time alongside the Guardians of the Galaxy, in a desperate bid on multiple fronts to thwart Thanos and his minions.
Directed by brothers Joe and Anthony Russo, Avengers: Infinity War is the first movie in a two-part saga that involves approximately 40 characters and transpires largely in otherworldly environments. Christopher Markus and Stephen McFeely wrote the screenplay, which was inspired by a trio of Marvel Comics series from the early 1990s: Infinity Gauntlet, Infinity War and Infinity Crusade. Speaking with AC over the phone while his brother attends an ADR session in the weeks leading up to the movie's release, Joe Russo refers to those stories as "the greatest battle that ever occurred in the Marvel universe."
Given the scale of the action and the number of headliners on the call sheet, speculation has run rampant regarding the combined budget for the pair of movies, the second of which [entitled Avengers: Endgame] is slated for release on May 3, 2019. [Later changed to April 26.] "They certainly are expensive," Russo concedes. "The scale and scope is enormous and in some ways unprecedented. But beyond the effort it takes to execute something this ambitious, it's no different than making anything else we've done. There are cameras pointed at actors, and it's our job to get emotionally truthful performances out of them. There are a lot of grand-scale [visual effects], and that's where a lot of the money goes, but it's no different than the work we did on Captain America: The Winter Soldier and Captain America: Civil War — just exponentially greater."
At top, Thor (Chris Hemsworth), Rocket (voiced by Bradley Cooper) and a teenage Groot (voiced by Vin Diesel) navigate the Guardians' pod. Above, Joe Russo (bottom left) discusses the action with Hemsworth.
For both of those films, the Russos partnered with director of photography Trent Opaloch, who returned for Infinity War and its sequel. Civil Wars erved as a warm-up for these latest productions, as the earlier feature involved a 17-minute battle sequence, involving a dozen superheroes, that was shot with Arri's Alexa 65 digital camera system and formatted for 1.9:1 presentation on Imax screens. The two new movies have been conceived entirely for 1.9:1 Imax presentation and have been shot with modified Alexa 65s that Imax refers to as "Imax/Arri 2D" cameras; according to a statement from Imax, the company worked with Arri to optimize the camera image for presentation on Imax's xenon- and laser-projection systems.
"We have a lot of characters of great width and height who are well-suited to the Imax format," Joe Russo says. "Plus there are beautiful landscapes created by [production designer] Charlie Wood that really fill the Imax frame in an unbelievable way. In my opinion, the [optimal] way to see this movie is in Imax."
Given the magnitude of the endeavor — and the fact that the two movies would shoot back to back — the team was given a healthy six months of prep ahead of principal photography, which began on Jan. 23, 2017. The first movie wrapped July 14, and the second began rolling a couple of weeks later.
During preproduction, Opaloch recalls, "I broke down the scripts for mood and tone notes, and highlighted possible lighting gags and effects." The cinematographer is back home in Vancouver on a long break from the second movie's Atlanta-based shoot, which is slated to resume in September. He continues, "Before there were many set builds to look at, gaffer Jeff Murrell and I started discussing concepts for lighting rigs, and the technical and aesthetic requirements for each scene. Joe, Anthony, Charlie and I also started organizing a large collection of visual reference material from other films and still photographs, for color, framing and lighting."
Black Panther (Chadwick Boseman) braces for war alongside Wakandan warriors and other heroes.
Many of the key characters have previously headlined their own movies, each of which had its own look, giving the filmmakers a foundation from which to build Infinity War's visual language. "We had to stay true to parts of the Marvel universe," Opaloch notes. "There's a language to the Guardians and the characters in their world, and the same for Doctor Strange. Those previous films informed us, and we started there."
"To fulfill the ambition of the concept, we had to bring together a lot of characters who work in different tones," says Russo. "We went much more fantastical and colorful, especially because many locations are not set on Earth. To create that otherworldly feeling, color was important in set design and lighting."
To help audiences follow the action across Infinity War's myriad settings, Russo continues, "We set out with a mandate that each location had to have a color to distinguish it from the others. We didn't want them to start blending into each other. We wanted the viewer's brain to tune into the fact we had changed locations when the color palette changed."
"I consider myself conservative with color and contrast," Opaloch adds. "I tend to favor [naturalism], but with these films we had to fluff out our peacock feathers and use more of the color wheel than I normally would." Helping in that regard, Opaloch and Murrell reteamed with lighting-console programmer Scott Barnes, a longtime Marvel veteran with whom they had worked on The Winter Soldier and Civil War. Production designer Wood — whom Opaloch calls "one of the most creative and impressive artists I've ever worked with" — provided further continuity from previous Marvel movies, having worked on Guardians of the Galaxy (AC Sept. '14) and Doctor Strange, both shot by Ben Davis, BSC.
After testing, the filmmakers opted to shoot with a modified version of the Civil War show LUT. "It was changed to round out the top and bottom of the curve to make it feel a bit more filmic," says digital-imaging technician Kyle Spicer, who evaluated footage using Sony BVM-X300 4K monitors, while the rest of the set was equipped with Sony PVM-A250 HD units.
The Alexa 65 cameras recorded 6560x3100 ArriRaw files in Open Gate mode to 2TB Codex SXR Capture Drives. The filmmakers framed for 1.9:1 with a 2.39:1 common center extraction for the non-Imax theatrical release. Zach Hilton, the on-set data-management supervisor, would collect media during reloads, using a Codex Vault XL to enter custom metadata and download the footage to 8TB SSD transfer drives, which production sent to the lab two or three times daily. Shed in Atlanta provided dailies services.
"The metadata is so important because it tracks everything from lenses to filters to defined visual-effects information for every shot," relates Spicer. "There may be three different 50mm lenses used at the same time, and visual effects needs to know which lens goes with which camera so they can use the correct distortion map." The metadata was also crucial in order to maintain continuity throughout an epic battle on Thanos' home planet of Titan; the sequence was begun in the first week of production, in Pinewood Atlanta Studios' 30,000-square-foot Stage 5, and had to be picked up again months later to accommodate actor availability.
For Opaloch, the biggest concern with shooting for the Imax format was the thought of having to abandon the anamorphic lenses he prefers. After a day of testing the Alexa 65 with spherical lenses, the cinematographer was driving through Los Angeles' Topanga Canyon when he decided to make what he describes as a "Hail Mary" call to ASC associate Jim Roudebush, Panavision's vice president of marketing, to inquire about the company's Auto Panatar anamorphic lenses from the late 1950s and early 1960s.
"They have a 1.3x squeeze — not a full 2x squeeze, but enough to give it that Panavision anamorphic look I adore," the cinematographer says. "There weren't enough of the originals to cover all the cameras we had across different units, and as much as I love the original glass, it was a bit wild and woolly as far as flare and falloff for a movie with this amount of visual effects. So I asked if they could build modern versions."
From left: Bucky Barnes (Sebastian Stan), Black Widow (Scarlett Johansson), Rogers, Okoye (Danai Gurira) and Black Panther lead the charge, with War Machine (Don Cheadle), Hulk and Falcon just behind them.
An array of camera supports were employed for the action, including a SpaceCam Oculus gimbal mounted on a Polaris Rzr Turbo all-terrain vehicle, and a SuperTechno 50 telescoping crane on a mobile Taurus base.
Roudebush had a quick chat with fellow ASC associate Dan Sasaki, Panavision's vice president of optical engineering, and then, Opaloch continues, "They called back and told me, 'Yes, we can do it.' I nearly punched the roof of my rental car, I was so happy. So much of my stress was taken care of. I thought, 'Now all we have to do is prep and shoot the movie.'" The resulting Ultra Panatar lenses — built with modern optics, mechanics and ergonomics — are a variation on the Ultra Panavision 70 lenses used on Rogue One: A Star Wars Story by Greig Fraser, ASC, ACS (AC Feb. '17), from whom Opaloch gleaned valuable intel.
Because of the late request, the full lens selection wasn't ready for the start of production. "We didn't have a 35mm or a 65mm, but we didn't mind because the stuff we were shooting looked great and made the delay in getting the rest of the 'tweener' focal lengths more than worth it," Opaloch says. At the request of Swen Gillberg, one of the production's visual-effects supervisors, the crew also employed Panavision Sphero 65 spherical lenses for plate shots.
The large format didn't stop the filmmakers from designing intimate shots. "We do a lot of close shots for emotion and to make you feel connected with a character," Russo explains. The show's go-to lens was a 50mm, and for close-ups they would jump between a 75mm and 100mm. A 40mm was usually the widest lens, as the brothers felt anything wider would start to warp the frame's linear integrity.
Mounted on a Libra remote head, the camera captures Scarlet Witch (Elizabeth Olsen) in action.
On their previous collaborations, Opaloch and the Russos efficiently gathered coverage with three-camera setups, but for Infinity War they often ran a single camera and designed ensemble framing. When feasible, a second camera with a different focal length would be added for dramatic scenes, and action scenes could see three to six cameras pressed into service. Geoffrey Haley was A-camera and Steadicam operator — although Steadicam was used only sparingly — and Opaloch notes, "Geoff was able to guide the storytelling through camera movement in such a way that we would get so much bang for our buck with one camera." Kent Harvey operated B camera, with Ross Coscia on C; Harvey
also served as a splinter-unit cinematographer.
Opaloch adds that lighting for a single camera presented its own challenges, as shots could cover 270 to 360 degrees, requiring the crew to follow actors with handheld Jem Balls, and to turn small LED panels on and off. "We had many more dynamic lighting cues," he says. "We would flip our keys in shot depending on which direction we were looking. It was almost like live theater."
The A camera most often lived on a Technocrane so it could take in the scope of the sets and characters; Infinity Warwas one of the first productions to use the SuperTechno 75. "When we required the reach of a jib arm, or if we were using a really long lens, we could go on the dolly," Opaloch adds, "and if it needed the energy of handheld, we would do proper handheld." For those handheld instances, Haley compensated for the Alexa 65's weight — listed at 23.2 pounds for the camera body alone — with a combination of his Walter Klassen Steadicam vest and a bungee camera-support system that key grip Michael J. Coo built using surgical tubing.
Co-directors Joe and Anthony Russo flank Evans.
Elsewhere, the Alexa 65 camera was placed in a Shotover K1 gyro-stabilized gimbal platform on an Airbus AS355 helicopter for location work around the hills surrounding Cove Harbour, Scotland. Helicopter Film Services' Jeremy Braben functioned as aerial cinematographer for this and a number of drone shoots, capturing plates that would be used to create an alien terrain; Dylan Goss served as the production's world plate-unit aerial director of photography.
Roughly 36 miles west, on Edinburgh's Royal Mile, HFS contributed Aerigon heavy-lift drone work with Red Weapon Helium 8K S35 and Red Weapon Dragon 8K VV cameras fitted with Panavision Primo 70, Leica Summilux-C and Angenieux Optimo 15-40mm (T2.6) lenses.
Alan Perrin and Peter Ayriss piloted the drone shots, with Braben operating the drone-mounted cameras, for a scene near St. Giles' Cathedral. Vision, who possesses the Mind Stone, is with Wanda Maximoff, aka Scarlet Witch (Elizabeth Olsen), when the Black Order finds him and a battle ensues. HFS captured plates for shots of characters bouncing off walls and smashing through windows and other architecture, as well as POVs. They shot with stunt doubles in an alleyway and at the glass-roofed Waverly train station.
To light wide establishing shots of the nighttime action in Edinburgh, 80 Arri SkyPanel S60s were rigged along several city blocks. "MBS Equipment put in place a system that allowed us to wirelessly control all the SkyPanels through one console," Murrell says. "We had transponders so everything could 'talk' to everything else. We could change color over five blocks with the push of a button."
When it came to shooting coverage, the production also positioned cranes to support three 20'x30' soft boxes, each filled with 24 SkyPanel S60s for ambient moonlight. "We came up with a nice color formula that balanced a night look with a bit of the mercury-vapor feel cities have from streetlights," Murrell explains.
Spider-Man (Tom Holland) and Iron Man venture off-planet, teaming up with Drax (Dave Bautista), Star-Lord (Chris Pratt) and Mantis to fight Thanos.
On right: Bautista and Pratt review the script with Anthony Russo. On left: The camera is at the ready for a shot of Downey.
Due to scheduling, the sequence kicked off under second-unit cinematographer-director — and ASC member — Alexander Witt. Paul Hughen, ASC took the 2nd-unit cinematography reins for the second feature, but as the production schedules for the two movies overlapped, Opaloch notes, "Paul [also shot] some additional photography from the first movie."
In an earlier segment set in New York, Tony Stark and his comrades exit Doctor Strange's Sanctum Sanctorum to observe the carnage created by the Q-Ship. This sequence required Wood and supervising art director Ray Chan to re-create the Big Apple on four Atlanta streets. Condors with solids or diffusion frames would have been too cumbersome, so Coo and Murrell instead blocked the sun with three helium-filled 20'x20'x3' SourceMaker floating Grip Clouds, tethered at their bottom corners.
Murrell notes, "When the sun moves, you can move the Cloud to cover it, and you have a better camera angle because you're not trying to frame out a large condor base." Condors were used to support Arrimax 18K HMIs that could provide a backlight "sun" source from either end of the street; 18Ks were also placed on stands behind 12'x12' and 12'x20' rags for fill.
Downey, wearing motion-capture markers, watches the action alongside Joe Russo.
The sequence aboard the Asgardian Ark is predominantly cold blue, motivated by a nebula visible outside a giant picture window at the front of the destroyed vessel. "It's pretty creepy," Opaloch offers. "We wanted it to feel menacing and exposed. It's a burning ship, with the power flickering out and fires flaring up, and it's adrift in space. Cold, sterile light is coming into it."
On the set, which was built in Pinewood's Stage 6, the blue glow was created with 12'x12' video panels, each of which comprised 20 6'x7.25" Chroma-Q Color Force 72 LED battens rigged in a frame that was diffused with Light Grid and suspended on a lift. "It has the strong output of a jumbotron," Murrell explains. "You can program video content into the Color Forces to give them movement; you can pick video content that emulates [imagery such as] a starburst, sun, fire or a star field." These panels were put into play on a number of sets.
The rest of the Ark set was lit by 28 SkyPanel S60s configured as space lights for ambience, a dozen High End Systems SolaWash 2000 LEDs on trusses, and six Color Force 12s. Bluescreens — illuminated by Kino Flo Image 85s — were put in place to accommodate the compositing of exterior views. (In other instances, the production would use blue- or greenscreen depending on the particular scene and the characters involved.)
Holland and Downey perform against greenscreen for a scene aboard the Q-Ship.
The epic showdown on the low-gravity Titan is marked by a twilight look, with fire-red and amber hues. "There's a lot of destruction, and debris that gets broken up," Opaloch says. "We're simulating shadows from large structures floating overhead and blocking the sun." This was done via 274 SkyPanel S60s rigged overhead to provide overall ambience for the Titan landscape. "Through the media server, Scott Barnes programmed in patterns of light fluctuations," Murrell explains.
Opaloch adds, "There are dust clouds, almost like storm clouds that get thicker throughout the sequence. The light fluctuates and flickers. Our reference was the fires you see in Malibu, with a low sun struggling to punch through the thick atmosphere." The crew generated smoke on the rubble-strewn set and liked how it photographed, but they used it sparingly, as it would make greenscreen separation more difficult for the visual-effects department, headed by supervisor Dan DeLeeuw. Much of the smoke, including a plume through which Thanos dramatically appears, was created digitally.
Thanos' prior big-screen appearances were brief, and for them, the character was entirely created with CG animation. Here, though, he is so central to the story that the filmmakers wanted the verisimilitude provided by motion capture and facial performance capture. "The visual-effects team has done an amazing job bringing him to life," Joe Russo says. "Audiences are going to forget he is not a real, living, breathing entity. Everything Thanos does in the film was performed by Josh on set."
Finishing for Infinity War took place across five theaters on Disney's Burbank lot. Opaloch flew from Vancouver to L.A. to review the progress alongside ASC associate and Technicolor supervising finishing artist Steven J. Scott. Senior finishing producer Michael Dillon relates that they worked with 2K anamorphic 16-bit EXR files on HP Z840 Workstations, with Nvidia Quadro P6000 GPUs running Autodesk's Lustre 2018 software.
About the digital color grade, Scott says the directors "asked to push the blues and greens, and separate the colors so they are more distinct within the shot. It's a fun challenge to take a slightly desaturated shot and isolate various colors to really make it sing."
As an example, Scott references the interior of the Guardians' ship, which was lit with multiple colors from customized RGBAW LED ribbon built into the set. An obvious approach would have been to push saturation, but instead they targeted specific colors using keyers and windows, being mindful of the wide range of skin tones, including Gamora's greens. "We could accentuate the green light on the shadow side of her face as well as the magenta light on her other side, which is the opposite end of the color wheel," Scott says. "And sometimes we want to introduce colors such as amber that don't exist in the shot material. All that makes it really colorful, vibrant and bright."
Scott, whose involvement in the Marvel Cinematic Universe stretches back to the very beginning with Iron Man(ACMay '08), says Infinity War pays reverence to the look of earlier MCU movies. Those projects include this year's Black Panther (shot by Rachel Morrison, ASC; AC March '18), as Infinity War features a major battle scene set in Wakanda, homeland of King T'Challa/Black Panther (Chadwick Boseman). Scott notes, "We wanted to make sure those sequences line up with what everyone has recently seen, but this movie has a distinctly different mood. To reinforce the narrative, we start the scene with warmer hues, then progress to a cooler palette as we progress through the scene."
The epic moviemaking journey is far from over, with additional photography on the follow-up still to come. Teasing the sequel, Opaloch offers, "Number two definitely has its own personality. We didn't want it to feel like it was just a 'pause and play' on the first movie. It's got an even more epic scope. The reference is more along the lines of David Lean."
While the cinematographer has seen a steady rise in the scale of the movies he's shot, he admits that Infinity War "was pretty surreal. Nearly every day I would look over at Joe or first AC Taylor Matheson and say, 'Oh my God,' remembering which actors would be coming in. Things like that kept us going. We were shooting for about a year, and there was always something around the corner to look forward to."
Opaloch and B-camera operator Kent Harvey (wearing plaid shirt) ready the camera on a slider.
1.9:1 and 2.39:1
Digital Capture
Arri Alexa 65; Red Weapon Helium 8K S35, Weapon Dragon 8K VV
Panavision Ultra Panatar, Sphero 65, Primo 70; CW Sonderoptic Leica Summilux-C; Angenieux Optimo
Tagged: Avengers: Infinity War, Trent Opaloch , Anthony Russo , Joe Russo, Marvel Studios, MCU
Last Edit: Jul 12, 2019 10:28:04 GMT by Bob


text:
Melody Drama () was a Canadian exempt Category B Arabic language specialty channel and was owned by Ethnic Channels Group. It broadcast programming from Melody Drama as well as local Canadian content.

Background
Melody Drama was a top rated entertainment channel from Egypt featuring popular Arabic television series including comedies and dramas.

The Melody TV network was owned by Gamal Marwan, son of Ashraf Marwan. The network ceased to exist by 2013 due to financial difficulties.

References

External links
 Ethnic Channels Group page
 Melody's official website
 YouTube channel

Arab-Canadian culture
Egyptian-Canadian culture
Arabic-language television stations
Digital cable television networks in Canada
Multicultural and ethnic television in Canada
Television channels and stations established in 2011
Television channels and stations disestablished in 2013

redpajama_set_name: RedPajamaWikipedia


Stone walls with tile effect roofing and stone effect chimney. Windows have basic mullion detail and doors are plain. A generic building covering many periods.
For use with 6mm and 10mm miniatures.
Sold unpainted, may require some assembly or basing.


This book will help you in being able to start up your own nonprofit group from the ground up. Starting a nonprofit group is not easy and will require work, time, and patience from everyone involved. But, in the end, the work will be worth it because you will have started a business that will begin to impact your town, county, state, maybe even go as far as to impact people nationwide.
Everyone has heard of the big nonprofit organizations that are worldwide and reaching out to those that they help. The goal with this book is to give you the steps and help you get to that point. Everyone you are intending to help will, hopefully, get the help that you are wanting them to get!
Keep your mind open when going through this book in order to find out how to make your nonprofit business from start to finish.
There are rules in place in order to keep nonprofits on the right track, make sure that you follow all the guidelines when it comes to any nonprofit business. It's not going to be easy to start up the nonprofit organization, but in the end, it will be worth it. Just make sure that you stick to your guns and don't give up.
This book will give you the basic tools that you need in order to start your own organization. All the work will come from you and take a lot of time, but with the right idea, you will be able to start a high-impact nonprofit organization that will be able to reach out to many.


The characters '&', '+' and '-' have special meanings in button or label texts, so they need to be escaped if they shall appear literally.
This will result in "Miller & Co." displayed in the dialog.
Note that there are actually two backslash characters here, since this line will first go through the User Language parser, which will strip the first backslash.


text:
Zagreb, 20 April 2022
PERSONS IN PAID EMPLOYMENT, BY ACTIVITIES MARCH 2022
In March 2022, the total number of persons in employment in the Republic of Croatia was 1 556 913, out of which 728 248 were women. Compared to February 2022, the total number of persons in employment increased by 0.7% and the number of employed women by 0.5%. Compared to the same month of the previous year, the total number of persons in employment increased in March 2022 by 1.3% and the number of employed women by 1.6%. In the period from January to March 2022, as compared to the same period of the previous year, the total number of persons in employment increased by 1.1% and the number of employed women by 1.5%.
In March 2022, the total number of persons in paid employment in legal entities in the Republic of Croatia amounted to 1 348 694, out of which 642 213 were women. Compared to February 2022, the number of persons in paid employment in legal entities increased by 0.7% and the number of employed women by 0.5%. The number of persons in paid employment in legal entities in March 2022, as compared to the same month of the previous year, increased by 1.2% and the number of employed women by 1.6%. In the period from January to March 2022, as compared to the same period of the previous year, the number of persons in paid employment in legal entities increased by 0.9% and the number of employed women by 1.5%.
In March 2022, as compared to the previous month, the number of persons in employment in trade and crafts and free lances increased by 0.9% and the number of employed women by 0.7%. The total number of employed insured persons – private farmers increased by 0.2%, while the number of women decreased by 0.2%.
The total number of unemployed persons decreased by 3.7% and the number of unemployed women by 2.9% in March 2022, as compared to February 2022. The total registered unemployment rate in March 2022 was 7.5% and for women it was 8.9%.
II 2022 III 2022 Indices
II 2022 III 2022
III 2021 I ‒ III 2022
I ‒ III 2021
Employed insured persons – private farmers2) 18 730 5 983 18 761 5 969 100,2 99,8 98,2 97,2 97,9 97,1
1) The results of processing data from JOPPD forms. The data for February and March 2022 are provisional.
2 INDICES OF CHANGE IN NUMBER OF PERSONS IN PAID EMPLOYMENT IN LEGAL ENTITIES, ACCORDING TO NKD 2007.1) AND BY SEX, MARCH 2022
Number of persons in paid employment, March 20222) Indices
III 2021 I – III 2022
I – III 2021
D Electricity, gas, steam and air conditioning supply 14 531 3 222 100,0 99,9 100,3 100,6 100,2 100,8
H Transportation and storage 73 231 17 081 101,2 100,5 100,5 100,8 99,9 99,9
I Accommodation and food service activities 66 053 34 849 99,9 99,8 104,1 104,4 104,9 105,4
O Javna uprava i obrana; obvezno socijalno osiguranje 109 874 54 840 100,5 100,9 98,2 98,4 98,0 98,0
Q Human health and social work activities 105 669 82 662 100,1 100,1 102,5 102,4 102,6 102,5
S Other service activities 19 745 13 162 101,1 100,9 94,1 92,1 94,5 93,0
Published by the Croatian Bureau of Statistics, Zagreb, Ilica 3, P. O. B. 80.


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Of Course Scalia Had A Point—But Affirmative Action's Real Damage Is To Whites, Asians, And America
Donald Trump has shifted the Overton Window, soaring to the top of the polls while championing issues the political class believed were off-limits. But even Trump seemed to side with the Left in deploring Justice Antonin Scalia's recent remarks about Affirmative Action's paradoxical negative impact on African-Americans. Of course, Scalia had an entirely reasonable point. However, it's time to face up to the real scandal: the damage that Affirmative Action does to displaced whites (and Asians).
During oral arguments in Fisher v. University of Texas, UT attorney Greg Garre argued that when school dropped Affirmative Action policies, diversity plummeted. Scalia commented:
"I'm just not impressed by the fact that the University of Texas may have fewer [black students without Affirmative Action]. Maybe it ought to have fewer…And I don't think it stands to reason that it's a good thing for the University of Texas to admit as many blacks as possible." [Read the most controversial statement by Justice Scalia on admissions and race, by Robert Barnes, Washington, Post, December 10, 2015]
Scalia then said:
"There are those who contend that it does not benefit African—Americans to get them into the University of Texas where they do not do well, as opposed to having them go to a less advanced school, a less —a slower—track school where they do well,"
These remarks reportedly "drew muted gasps" from the attendees [Supreme Court Justices' Comments Don't Bode Well for Affirmative Action, by Adam Liptak, New York Times, December 9, 2015].
After the arguments, the gasps were less muted:
Senate Minority Leader Harry Reid [Email him] claimed that Scalia's words do not belong in "the mouths of national figures" and show "just how out of touch he is with the values of this nation" [Reid: Scalia's 'racist' comments worse than Trump, by Jordain Carney, The Hill, December 10, 2015]
Haitian-American Tufts University professor Peniel E. Joseph [Email him] wrote:
That a sitting Supreme Court justice could feel emboldened enough to articulate the kind of boldfaced belief in white supremacy thought to have ended with formal racial segregation illustrates the contours of the nation's New Jim Crow, a system that justifies the dearth of African-American bodies in predominantly white spaces by questioning whether they truly belong there in the first place. [Scalia Comments Shine Light on U.S. Institutional Racism, Newsweek, December 10, 2015]
The NAACP claimed that "We were alarmed and extraordinarily disappointed to hear a justice of the Supreme Court make comments that were laden with racial prejudice and that were based on an assumption of racial inferiority." It demanded that Scalia recuse himself. [Justice Scalia under fire for race comments during Affirmative Action argument, by David G. Savage, Los Angeles Times, December 10, 2015]
The Washington Post ran a piece about whether Scalia could be impeached [Can a Supreme Court justice be forcibly removed from the bench? A quick civics lesson, by Valerie Strauss, December 12, 2015]. Its conclusion: yes. (Further evidence that the much-denounced impeachment weapon is magically legitimate when the Left proposes it.)
For reasons I still don't understand (VDARE.com Editor Peter Brimelow suspects he simply hasn't thought about it) even Donald Trump criticized Scalia [Trump: 'I don't like' what Scalia said about Affirmative Action, The Hill, December 13, 2015]
Of course, those less-muted gaspers already favored Affirmative Action anyway. And Scalia had his defenders. But by shrieking and creating a scandal, the Left once again succeeded in shifting the Overton Window in its direction. What was once the most Politically Correct reason to oppose Affirmative Action—that it was damaging to blacks—is now Officially Offensive.
Note that Scalia was not suggesting that blacks are inherently unfit to succeed at top schools, merely that blacks who have inferior grades and test scores to their white and Asian peers will not excel. This is known as the Mismatch Theory.
Admitting blacks, Hispanics, and Native Americans to hypercompetitive colleges that otherwise would have rejected them, Mismatch Theory holds, just means that these students are more likely to burn out and fail. Even those who do manage to graduate often end up taking less challenging majors and ultimately learn less. Mismatch Theory suggests that these students would have been better off attending a less competitive school where they would have excelled.
The Mismatch Theory is popular amongst Conservatism Inc. intellectuals because it argues that we should oppose Affirmative Action because it hurts blacks—not because it hurts whites and Asians. This is not a new argument, but it's more plausible than the "soft bigotry of low expectations" trope about black self-esteem, and much more acceptable in the current climate.
Even a brave conservative like Heather Mac Donald has claimed that Mismatch Theory "is the most powerful critique of Affirmative Action yet developed" . [A Devastating Affirmative-Action Failure, National Review, August 26, 2013] And the coauthor of one of the amicus briefs to which Scalia was referring was Stuart Taylor, co-author of the book Mismatch: How Affirmative Action Hurts Students It's Intended to Help, and Why Universities Won't Admit It.
But, though plausible, the theory may be overstated. To take an extreme example: one Kashawn Campbell, an African American student who lacked basic writing skills, was admitted into the University of California-Berkeley, where he struggled. He was profiled by the Los Angeles Times.
At Cal, he was among the hardest workers in the dorm, but he could barely keep afloat. Seeking help, he went at least once a week to the office of his writing instructor, Verda Delp. The more she saw him, the more she worried. His writing often didn't make sense. He struggled to comprehend the readings for her class and think critically about the text. "It took a while for him to understand there was a problem," Delp said. "He could not believe that he needed more skills. He would revise his papers and each time he would turn his work back in having complicated it. The paper would be full of words he thought were academic, writing the way he thought a college student should write, using big words he didn't have command of." [South L.A. student finds a different world at Cal, by Kurt Streeter, August 16, 2013]
Campbell was an extreme example of racial preferences. He attended Jefferson High School, which was 91% Hispanic, 8.4% African American, 0.0% Asian, and is 0.0% white. When Campbell graduated from the school in 2012, only 4.1% of the students were proficient in Math and only 18.9% were proficient in English (that was an improvement from a few years earlier when the numbers were 0.6 and 12.9). Campbell was likely admitted through California's policy of admitting the top students at every high school. Even under normal racial quotas, Campbell probably would not have been admitted. But because California ostensibly did away with racial preferences after Proposition 209 and now just takes the top of the class at non-white schools, this created distortions from which he benefitted.
Reflecting upon the story, UCLA Law professor Eugene Volokh suggested "it seems likely that Campbell would have been more successful at a school such as Cal State, which is more likely to spend more time remedying the gaps in Campbell's education" [The Mismatch Effect, in the L.A. Times, Volokh Conspiracy, August 23, 2013].
But is this true? During his first year, Campbell managed to squeak through by taking African American Studies classes. A year later he seemed happy at Berkeley, writing "I have learned more about what it means to be black in a new environment. It's a beautiful struggle that warms me up like morning tea, knowing that I am making a statement with all of these activities and my ethnicity" [Beyond the banner: what inspired our poster students, The Daily Californian, November 3, 2014].
Between the tutors, teachers allowing Campbell (right) to retake classes, and African American studies courses, he will probably manage to graduate. He may lack basic writing skills, but Campbell no doubt has a profitable career ahead of him being black for a living.
Responding to the hoopla over Scalia's comments, Stuart Taylor wrote,
[M]any recipients of large racial preferences would be better off in the long run—with more learning, better careers, and perhaps happier lives—if they went to less prestigious but still excellent schools where they could do well academically. Prestige has obvious advantages. The question is whether they outweigh the costs of being near the bottom of the class. [Scalia's Poorly Worded Comment Has Merit, Real Clear Politics, December 15, 2015]
I'm skeptical. I attended a semi-prestigious undergraduate school and an elite law school. When I applied for jobs after undergrad, not one employer asked for my transcript. They were confident that I was smart enough just based on the school's pedigree. To most employers, being a poor student in undergrad at a top-notch institution is better than floating by at a mediocre one.
I did have to give my grades when I applied to Law School, but of course, these law schools also have racial preferences. It's hard to argue that most Affirmative Action admissions harmed their recipients at elite law schools. Virtually no one fails out and at the top 3 law schools in the country—Harvard, Yale, and Stanford—do not have grades, nor does UC Berkley (ranked 8h). While all these schools have some distinctions among students, it is impossible to determine who is at the bottom of the class. Most other of the elite top 14 (T-14) law schools do not let students know their rank and some do not allow them to put their GPA on their resumes when applying for jobs. Similarly, elite MBA programs do not allow students to disclose their grades until after they are hired.
Based on their test scores, it seems like many, if not most, blacks who attend the top three Law Schools would have not been accepted to any of the "T-14" schools, but may have been accepted on the merits at schools at the bottom of the top 20. Most of the students accepted at the other schools would have ended up in schools ranked 20th-50th without Affirmative Action.
At most T-14 schools, if you have decent social skills and have OK grades you can get a job at a corporate law firm, while at the 20-50 ranked schools, you need to have top grades and law review. As blacks rarely make law review or honors at any school (at my law school, not one black received honors for being in the top quarter of the class), the firms choose based on where they attended.
And of course, Affirmative Action continues through graduation with law firms giving jobs to minority students with poorer grades than the white students at the same schools.
In short, the benefit of going to an elite school is not that you get a superior education, but rather that you can say you got into an elite school. Indeed, a Newsweek story that was somehow supposed to rebut Scalia noted that black students who attended selective colleges go on to earn big salaries, even if they had low SAT scores [Black Students Do Just Fine At Elite Schools. Justice Scalia Take Note. By Jonathan Rothwell, Newsweek, December 22, 2015]
I suspect Affirmative Action does actually harm some blacks who shouldn't be in college to begin with. They may end up not graduating and carrying around debt without a degree to show for it.
But the Educrat dogma that everyone who wants to should go to college, and is also capable of graduating, is far more responsible for the plight of these blacks than Affirmative Action policies per se. This dogma has plunged plenty of whites who do not get Affirmative Action scholarships into debt as well.
Ultimately, there is no getting around the brutal reality: the real victims of Affirmative Action are the White and Asian students who are denied a spot in a selective school that they would have earned on their merits.
Instead of letting the Left push the Overton Window in their direction on racial preferences, we should take a page out of the Trump playbook (even if he's AWOL on this issue). We should stand up explicitly for the White a.k.a. American and Asian students hurt by Affirmative Action. (Pictured right: plaintiff Abigail Fisher.)
And it's time to discuss why that test score disparity among races exists in the first place. Even if that leads to some "muted|—and not muted—"gasps."
John Reid [email him] is an American citizen and a recent law school graduate.


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text:
Q: Count no of duplicates in multidimensional array in JavaScript I need to count the no of duplicates in an multidimensional array and give alert if duplicates found.
Arr =[[2,"sk"],[3,"df"],[7,"uz"],[3,"df"],[7,"gh"]]

Only exact count require like [3,"df"] at 2 nd position  equals [3,"df"], at 4 th position
Expected Output
Count :1
Alert duplicate data found

A: You could map to a stringified version of the inner arrays and then create a Set of these and then calculate the difference in length of the items in the set and the original array:

const input = [
  [2, "sk"], [3, "df"], [7, "uz"], [3, "df"], [7, "gh"],
  [5, "df"], [21, "sk"], [2, "1sk"]
];

const duplicate_count = input.length - new Set( input.map(JSON.stringify) ).size;

console.log(duplicate_count);

A: You could map to get only the values, then sort, then count duplicates with reduce like this:

const input = [
  [2, "sk"],
  [3, "df"],
  [7, "uz"],
  [3, "df"],
  [7, "gh"],
];

const result = input
  .map(([, value]) => value)
  .sort()
  .reduce(
    (acc, cur, i, { [i - 1]: last }) => (cur === last ? acc + 1 : acc),
    0
  );

console.log(`Count: ${result}${result && ' Alert duplicate data found'}`);

A: Here's a simple little function to return the number of dupes found

let arr =[[2,"sk"],[3,"df"],[7,"uz"],[3,"df"],[7,"gh"],[2,"sk"],[7,"uz"]]

function getNumDupes(a) {
   return a.length-
arr.reduce((b,a)=>{if (!b.includes(a.join(""))) b.push(a.join("")); return b;},[]).length
}

console.log(getNumDupes(arr) + ' duplicates found');

redpajama_set_name: RedPajamaStackExchange


The panic buyers are back and have a grip on us normal folk again, it's petrol they are after, so a warning to all our lovely hen and stag parties travelling this and next weekend, PANIC!
ONLY JOKING, don't panic go to a 24 hour garage at 10pm when all the panic buyers are tucked up in bed and fill your tank up in a civilised manor.
Alternatively, you can always get a train, plane or coach to your stag destination and let DesignaVenture organise the transport logistics out for you*, leaving the panic buying to the mini bus drivers instead.
*DesignaVenture can organise return cabs and minibuses for your stag party from your hotel to your various stag activity sites, at an extra cost (obviously).
It's all over the BBC website, chocolate helps to keep people slim, new researchers have announced, which is great news for our hen parties that have booked chocolate making in London.
Although chocolate contains bags of calories apparently regular consumption has related to a lower BMI in some people, when they say regular intake this pretty much means a few times a week, not a day!
So the report states that it's good to eat chocolate a few times as it's good for blood pressure, sensitive insulin levels and favours lower BMI.
Another plus point is that dark chocolate is full of antioxidants, which is good for clearing out all the harmful free radicals in your blood.
This is great news for DesignaVenture's hen parties who can now go on their chocolate making hen night without a worry of putting on weight.
Bristol has all the makings for an awesome stag weekend, need more convincing? Lets take a closer look.
So why has Bristol become such a popular stag destination?
Just having a quick look at the stag activities on offer in Bristol which includes racing Rage Buggies, shooting clays, thrashing around on Quad Bikes, taking part in the West Country Games, flying Hovercrafts, Canyoning, the list is impressive and that is just skimming the surface.
Apart from the amazing stag activities on offer, Bristol is also a laid back city with gyrating nightlife and a city centre oozing with coolness.
Take a trip down to the waterside for bars and restaurants overlooking the docks, full to the brim with party goers and an atmosphere that picks you up and gives you a nice warm hug.
You then have the old cobbled centre of Bristol with great clubs, bars and restaurants giving your stag weekend a different taste to this great West Country city.
Whilst in Bristol go cider tasting (when in Rome and all that) or let your hair down at the infamous Bristol Bierkeller or learn the art of cocktail making.
Whatever happens on your Bristol Stag Do, I am absolutely positive you'll return to this fantastic city for another go!
David Mitchell has just announced his engagement to Victoria Coren in the Times under the forthcoming marriages section.
Now last year David released an extremely witty soapbox on stag weekends which included his opinion (tongue in cheek, however possibly with intention) on what the modern stag do is all about with quips such as "high speed water prostitutes" and "10 days white water rafting in a paddle steamer crewed by strippers".
I just wander if he will just have a beer down the local with 3 of his best friends or will give in to temptation and go on the full on activity stag weekend with 20 of his so called friends in which he only knows 5 of them fairly well.
I think he should look beyond the paintballing and quad biking that he stereotypically says a stag weekend is all about (referring to his soapbox) and go for a stag weekend more suitable to his tastes.
Maybe a stag weekend with a whisky distillery tour followed by a walk and then a private dinner with cigars to finish may be more suitable, only he knows what he wants to do, horses for courses people.
Some stags want full on stag activities such as Rage Buggies, Paintballing and strippers and others prefer a survival weekend, canoeing down the river or a chilled weekend in a 5 star hotel up in the lake district.
Whatever floats your boat DesignaVenture are here to serve and take the hassle out it.
There's another celebrity stag do happening in twenty 12 people; Tom Fletcher from McFly and he is about to get The Hangover treatment, according to his bandmates.
Tom is due to marry Giovanna Falcone in May and is not even worried that this is the first stag do in the Group, according to a popular tabloid's website he is more worried about the speech and the special day.
His bandmates Danny, Harry (who won Strictly Come Dancing) and Dougie (who won I'm a celebrity) has told reporters to expect midgets and a lamp post to be involved.
They also confirmed that there will also be a bowling ball, bathtub and eight gallons of sour cream, what kind of stag do are they planning?
Whatever they decide to do on his stag weekend we would like to wish Tom and his future wife all the happiness in the world.
A stag do in Bournemouth should always be on the cards especially if you are looking for great stag activities and fantastic nightlife.
Now there is another reason to visit this popular stag destination.
Trip advisor's users have just voted the beach at Bournemouth the best in Britain.
The 7 miles of golden sand is very clean and there is ample of space to play games, swim, surf and play beach volleyball (or watch it).
The beach is only 5 minutes walk from our popular stag friendly hotels and a few minutes walk from the town centre.
Whenever there is a heat wave the cameras always head to Bournemouth and so should you for your next stag do, I cannot recommend it enough.
According to the press and they are rife at the moment when it comes to the JLS stag do, it's seems to be the wedding of the year, Martin Humes' stag do is being organised by a former MI5 operative.
In previous DesignaVenture blogs we mentioned that Marvin was going to have a no expense spared stag do by private jet to America, taking in Miami and Las Vegas and possibly other Cities favourite d by the band.
According to the tabloids the stag do organiser is a former MI5 operative giving him the 007 credentials. Well if this man turns out to be more MFI then MI5, they should consider giving DesignaVenture a call.
DesignaVenture organise stag weekends away by private jet and have a humongous amount of experience organising stag dos all over the world, enough said.
When it comes to getting yourself served these days, the loudest get served the quickest, however this is not the case with DesignaVenture when booking your stag do.
We help all our clients on a first come first serve basis, making every stag do equally as important.
There is no need to shout to get your voice heard, just send us an email or give us a ring and we will serve you immediately (in office hours obviously).
And when it comes to booking a last minute stag do you will have our full attention, leaving it to the last minute sometimes can't be helped however, we understand the problems of a shotgun wedding so we have procedures in place to help you out.
So, no need to shout just get in touch for the best stag do money can buy.
Most stag dos these days consist of activities, beer, bar and club, however there is a trend starting to emerge where the whole stag party take on an Iron man style event.
There are loads of different events going on around the country including Tough Guy in the West Midlands, Iron Man in Bolton, Galway (Eire) & Pembrokeshire and Commando Challenge in Devon.
They usually consist of running, swimming, obstacle courses and Tough Guys includes running through fire – not the sort of stag activity you would expect however more groups are wanting to do this sort of stag event.
Stag Dos are also becoming thoughtful and getting sponsored in aid of their favourite charities whilst doing these grueling stag events.
We wish them all the best and please get in touch if you have competed in one these events for your stag do.
Most people tend to tarnish a stag do being loud and full to the brim with testosterone, and they are usually near the mark, however not all stag dos want to be brash.
Some stags / 'grooms to be' want a quiet more chilled affair, not full of banging clubs and naked strippers.
So here are a few stag do ideas for a sedate stag weekend.
Canoeing and camping down the River Wye is one stag weekend that will chill you to the horizontal position. Just think stunning scenery, clear air and not a traffic jam in site.
Get onboard a Skippered Yacht and do as much or as little as you like, with accommodation onboard you can explore the sea all the way to Cowes. The world is your Oyster well, the Solent is and if you fancy a tipple or two you have the Isle of Wight to explore.
Be a beach Bum in Valencia, with great beaches a beautiful city and stunning weather you will be truly relaxed on your flight home.
There are thousands of stag do ideas to choose from and just remember 'it's what you make of it'.


text:
Generalists versus Specialists: Lifetime Work Experience and CEO Pay
AFA 2012 Chicago Meetings Paper
European Corporate Governance Institute (ECGI) - Finance Working Paper No. 333/2012
62 Pages Posted: 15 Mar 2011 Last revised: 23 Oct 2018
See all articles by Claudia Custodio
Claudia Custodio
Imperial College London; Centre for Economic Policy Research (CEPR); European Corporate Governance Institute (ECGI)
Miguel A. Ferreira
Nova School of Business and Economics; European Corporate Governance Institute (ECGI); Centre for Economic Policy Research (CEPR)
University of Virginia - Darden School of Business; European Corporate Governance Institute (ECGI)
We show that pay is higher for CEOs with general managerial skills gathered during lifetime work experience. We use CEOs' résumés of S&P 1,500 firms from 1993 through 2007 to construct an index of general skills that are transferable across firms and industries. We estimate an annual pay premium for generalist CEOs—those with an index value above the median—of 19% relative to specialist CEOs, which represents nearly a million dollars per year. This relation is robust to the inclusion of firm- and CEO-level controls, including fixed effects. CEO pay increases the most when firms externally hire a new CEO and switch from a specialist to a generalist CEO. Furthermore, the pay premium is higher when CEOs are hired to perform complex tasks such as restructurings and acquisitions. Our findings provide direct evidence of the increased importance of general managerial skills over firm-specific human capital in the market for CEOs in the last decades.
Keywords: Executive Compensation, Market for Executives, Human Capital
JEL Classification: G34, J24, J33
Custodio, Claudia and Ferreira, Miguel Almeida and Matos, Pedro, Generalists versus Specialists: Lifetime Work Experience and CEO Pay (July 23, 2012). AFA 2012 Chicago Meetings Paper; European Corporate Governance Institute (ECGI) - Finance Working Paper No. 333/2012. Available at SSRN: https://ssrn.com/abstract=1785943 or http://dx.doi.org/10.2139/ssrn.1785943
Claudia Custodio (Contact Author)
Imperial College London ( email )
Exhibition Road
London, Greater London SW7 2AZ
Centre for Economic Policy Research (CEPR) ( email )
European Corporate Governance Institute (ECGI) ( email )
Miguel Almeida Ferreira
Nova School of Business and Economics ( email )
Campus de Campolide
Lisbon, 1099-032
University of Virginia - Darden School of Business ( email )
HOME PAGE: http://www.darden.virginia.edu/faculty-research/directory/pedro-matos/


text:
Hugo Carpentier (né le  à Hull, Québec au Canada) est un joueur professionnel canadien de hockey sur glace.

Carrière de joueur
Il fut repêché par les Flames de Calgary au terme d'une excellente deuxième saison dans la Ligue de hockey junior majeur du Québec en 2006. Il joua deux autres saisons avec les Huskies de Rouyn-Noranda avant de commencer sa carrière professionnelle lors de la saison 2008-2009.

Il passe trois saisons dans l'organisation des Flames de Calgary, évoluant avec les Flames de Quad City et le Heat d'Abbotsford de la Ligue américaine de hockey et avec les Wranglers de Las Vegas et les Grizzlies de l'Utah dans l'ECHL.

Le , il fut repêché en première ronde (premier au total) par les Marquis de Saguenay lors du repêchage de la Ligue nord-américaine de hockey. La journée même, il signe un contrat avec l'équipe.

Le  il signe une prolongation de contrat de deux saisons.

Statistiques
Pour les significations des abréviations, voir statistiques du hockey sur glace.

|2004-2005 ||Huskies de Rouyn-Noranda ||LHJMQ ||49 ||6 ||9 ||15 ||32 ||5 ||0 ||1 ||1 ||6
|-
|2005-2006 ||Huskies de Rouyn-Noranda ||LHJMQ ||70 ||31 ||39 ||70 ||64 ||5 ||1 ||2 ||3 ||4
|-
|2006-2007 ||Huskies de Rouyn-Noranda ||LHJMQ ||69 ||17 ||37 ||54 ||86 ||16 ||0 ||6 ||6 ||24
|-
|2007-2008 ||Huskies de Rouyn-Noranda ||LHJMQ ||69 ||27 ||38 ||65 ||114 ||17 ||14 ||8 ||22 ||20
|-
|2008-2009 ||Flames de Quad City ||LAH ||17 ||2 ||2 ||4 ||8 ||- ||- ||- ||- ||-
|-
|2008-2009 ||Wranglers de Las Vegas ||ECHL ||45 ||9 ||15 ||24 ||33 ||8 ||0 ||3 ||3 ||0
|-
|2009-2010 ||Heat d'Abbotsford ||LAH ||35 ||0 ||6 ||6 ||27 ||- ||- ||- ||- ||-
|-
|2009-2010 ||Grizzlies de l'Utah ||ECHL ||24 ||3 ||6 ||9 ||38 ||- ||- ||- ||- ||-
|-
|2010-2011 ||Heat d'Abbotsford ||LAH ||9 ||1 ||1 ||2 ||6 ||- ||- ||- ||- ||-
|-
|2010-2011 ||Grizzlies de l'Utah ||ECHL ||51 ||16 ||21 ||37 ||70 ||8 ||2 ||1 ||3 ||4
|-
|2011-2012 ||Marquis de Saguenay ||LNAH ||48 ||24 ||35 ||59 ||61 ||6 ||1 ||2 ||3 ||4
|-
|2012-2013 ||Marquis de Jonquière ||LNAH ||32 ||5 ||11 ||16 ||30 ||11 ||5 ||3 ||8 ||15
|-
|2013-2014 ||Marquis de Jonquière ||LNAH ||40 ||17 ||25 ||42 ||42 ||17 ||10 ||14 ||24 ||37
|-
|2014-2015 ||Marquis de Jonquière ||LNAH || 22 || 18 || 14 || 32 || 24 || 8 || 5 || 6 || 11 || 20
|-
|2015-2016 ||Marquis de Jonquière ||LNAH || 39 || 18 || 29 || 47 || 51 || 8 || 2 || 3 || 5 || 22
|-
|2016-2017 ||Marquis de Jonquière ||LNAH || 38 || 24 || 31 || 55 || 28 || 15 || 8 || 11 || 19 || 34
|-
|2017-2018 ||Marquis de Jonquière ||LNAH ||30 || 10 || 32 || 42 || 43 || - ||- ||- ||- || -
|-
|2018-2019 || Forestiers de Maniwaki ||  ||
|-
|2018-2019 || BlackJacks de Berlin ||LNAH || - ||- ||- ||- || - || 3 || 0 || 3 || 3|| 6
|-
|2019-2020 ||Assurancia de Thetford ||LNAH ||33 || 16 || 28 || 44 || 30 || - ||- ||- ||- || -

Internationales

|2006 ||align="left"| ||align="left"| Championnat du monde junior -18 || 7 || 0 || 0 || 0 || 4 ||align="left"|'''

Trophées et honneurs personnels
Ligue nord-américaine de hockey
 2011-2012 : remporte le Trophée de la recrue offensive avec les Marquis de Saguenay.
 2012-2013 : remporte la Coupe Canam avec les Marquis de Jonquière.
 2013-2014 : remporte la Coupe Canam avec les Marquis de Jonquière.
 2016-2017 : remporte la Coupe Vertdure avec les Marquis de Jonquière.

Notes et références

Naissance en mars 1988
Joueur québécois de hockey sur glace
Choix de repêchage des Flames de Calgary
Joueur des Huskies de Rouyn-Noranda
Joueur des Flames de Quad City
Joueur des Wranglers de Las Vegas
Joueur du Heat d'Abbotsford
Joueur des Grizzlies de l'Utah (ECHL)
Joueur des Marquis de Jonquière
Attaquant de hockey sur glace
Joueur de l'Assurancia de Thetford


EDEN is located in FOND DU LAC county, Wisconsin at latitude 43.693077 and longitude -88.361805 with an elevation of 1030 feet. The population of EDEN is 725 as of the year 2005 with a population growth of 5.53% from the year 2000 through 2005. The most common zip code of EDEN is 53019.


text:
FOLLOWING THE LIGHT INTO SIERRA LEONE
By Steve Woodworth, Associate Coordinator of ITEN
The paved highway ended and we turned onto red dirt roads made slick by the rainy season. Two lanes soon become one and turned upward through a potholed maze of boulders and washed-out trails, that twisted our truck higher and higher into the thickening canopy. When the trail stopped, we faced a swollen river and a weary ferry driver unable to navigate our vehicle across the water atop his wooden raft. With hippos grazing along the banks downriver, we boarded dug-out canoes and turned our bows upstream to let the current point us towards the far bank.
Greeted by a throng of villagers eager to catch a glimpse of white visitors, we quickly saddled awaiting dirt bikes that carried us deeper and deeper into the jungle. We raced our way along battered paths, trying to beat the setting sun. Pouring rains had caused local rivers to spill their banks and fill our shoes as the bikes tore through the water into the coming darkness. We gripped the sides of the bikes and learned the rhythms of shifting our positions on the back seat when climbing the root-littered embankments, or plunging down a sudden drop.
Our drivers travel this same path dozens of times each day, their expertise proven when swamped headlights went black and memory and moonlight was the only thing guiding us. For twelve hours we pushed deeper and deeper into the forests of Sierra Leone until the cycles came to a stop just 50 miles south of Guinea.
We had made this journey to meet a family.
Nestled in the heart of this Muslim village was a man named Dominic who had left his job as a lab technician at the University of Sierra Leone in order to bring the gospel to a people who are trapped in a syncretistic world of witch doctors, animism, Islam and folk religion. For over a year, he and his family lived on the concrete floor of a small schoolhouse until the locals pushed him out into the borders of the community.
Eventually, Dominic built a home and signaled to the village that he was committed to staying, to preaching, to living the gospel before their very eyes and loving them into the Kingdom of Heaven. Dominic and his family have made sacrifices that both humbled and inspired me. He is desperately alone ministering 23 miles, through the thick jungle, to the closest church in the region. And he has surrendered every comfort his family once knew in the city of Freeport. During our meal after worship, Dominic's wife removed the bare chicken bones from my plate and placed them on her own to try to remove anything I might have missed.
But there was laughter and there was joy. There was vibrant worship, and abundant fruit from the labor.
In the years since Dominic first made the journey to these people, the local Muslim Chief has given permission for parents to allow their children to become Christians. When we preached at Dominic's church the following morning, this same Chief made his first appearance at the worship service. The village's Muslim Treasurer asked for our prayers simply because "the prayers of Christians are powerful." The congregation Dominic shepherds is full of young faces who signal a change sweeping through the jungle, a new era when the demonic powers of Secret Societies, spells, and spirits are finally broken. An age in which the Spirit of the living God comes to set the prisoners free, casts out all fear, and allows the people of Sierra Leone to finally cry out "Abba, Father."
There is no darkness in this world through which the gospel cannot shine.
Houston / Sierra Leone: Two floods Yet One Common Need
THE STORY OF ABDA
Engage2025
Field Story
Steve Woodworth


The purpose of this tutorial is to teach you how to manage pages in WordPress. You will need to log in to WordPress, and open your Dashboard. In the left hand column, you will see the item Pages. Click on this Link. It will drop down and display two items, Pages and Add New. Click on Add New.
On the new screen, you will see a block to enter the Title for the new page. Enter the title. In the big block below, enter the page content. In the right hand column is a section called Page Attributes. You can select the parent page there, using the drop down menu. When you are all done, click on the Publish button in the right hand column.
To view all of your pages, go to pages in the menu in the left hand column. Click on pages in the drop down menu. That will open the Pages section. You will see link such as Edit, Quick Edit, Trash and View. If you click on View, you can see the page you just created. By clicking on Trash, you can Delete the page.This is the end of this tutorial. You now know how to manage pages in WordPress.


Here at iPrinting, we strongly believe that printing is an important tool to make an artistic or aesthetic idea come to life. We provide high-quality printing services and you are able to customize materials for marketing, advertising, office supplies and posters and banners from a wide selection of products from stationary, mugs and apparels. Whether you are looking to print new T-shirts for your next big company event or open a new restaurant, there is something for you. If you're new, welcome and feel free to browse.


text:
eLyrics K
Kurt Rock Lyrics
Average rating for Kurt Rock songs is 7.33/10 [9 votes]. Selected popular Kurt Rock song of Monday, January 30 2023 is "The Ending".
Top Kurt Rock Albums
click on the album covers to see kurt rock lyrics inside the album
Mountain Dew Freestyle - Single
Warning - Single
Trailer Park - Single
Just Because - Single
Related Information for Kurt Rock
Kurt Allen Wagner aka "Kurt Rock" is an American Rapper, Record Producer, Musician, and director from Continental, Ohio. He was born in Defiance, Ohio. He is also currently the producer for metal/rock band Darkest Decent.==Influences==He was heavily influenced by people like Kid Rock, Eminem, Tupac, DMX, Jay-Z, Nas, Lupe Fiasco, Dr. Dre, 50 Cent, Johnny Cash, and bands like Metallica, AC/DC, & Nickelback. ==Discography==He released his first mixtape "Trailer Park: The Mixtape" December 23rd, 2014. Then released his debut EP "Trailer Park" through his own Record labels Madd Vibe Records & KWP Music Group on his birthday May 21st, 2015. He has 4 singles on it Just Because, Trailer Park, Broke, and... read more


You must start with the toe-tapping video for Going Over by Beth Kephart. The music, the quotes from respected authors, the story summarized in the most eye-catching video about 1980s Berlin, at the height of punk rock and in a city fiercely divided arbitrarily by a literal wall and its politics, with Germans caught in the middle.
Going Over by Beth Kephart, which reaches stores in April, examines the division of a country and how it effects its people who are separated from their loved ones by a wall and barbed wire. Ada Piekarz, a professor of escapes and a graffiti artist, and her mother, Mutti, and grandmother, Omi, live in Kreuzberg, West Berlin, while Omi's sister Grossmutter and Stefan live in Friedrichshain, East Berlin. Ada and her family can cross into East Berlin for visits occasionally, but the distance in time and space is too far for love to grow uninterrupted between Ada and Stefan, though it does remain strong in absence. Amidst this love story between Ada and Stefan is the love of a family, Omi and Grossmutter, who hold onto their pasts tightly, even the painful events when the Soviets and then the Stasi came.
Kephart balances the points of view of Stefan and Ada beautifully, and the tension is built page after page as Ada says she can no longer wait for Stefan to decide whether to escape to West Berlin or not. Stefan is unsure if he should leave his grandmother who has lost so much, but he's also feeling the guilt that comes with leaving her and being part of the reason she has already lost so much. Grossmutter is a woman who was talented and strong, but with the erection of a wall and the loss of her family, she's become frail — at least on the outside — but she still has the power to surprise even her grandson.
Ada fronts strength, but even she has her limits as a punk painter of walls. She loves Stefan so much that it hurts, but she also loves the kids she cares for at the daycare where she works, including Savas. Savas' story is here to remind us that Germans were not the only ones harmed by the wall and the separation of the country, but so too were the Turks who were called in to fulfill jobs that remained vacant. His family lives in the Turkish section of Germany, run by its own rules and rarely subject to German authority. It is this separation that leads to tragedy. Kephart demonstrates that differences make us stronger, that love can bind us together, and improve our lives despite the obstacles.
Kephart's Going Over is stunning, and like the punk rock of the 80s, it strives to stir the pot, make readers think, and evoke togetherness, love, and even heartbreak — there are lessons in each.
Beth Kephart is the author of 10 books, including the National Book Award finalist A Slant of Sun; the Book Sense pick Ghosts in the Garden; the autobiography of Philadelphia's Schuylkill River, Flow; the acclaimed business fable Zenobia; and the critically acclaimed novels for young adults, Undercover and House of Dance. A third YA novel, Nothing but Ghosts, published in June 2009. And a fourth young adult novel, The Heart Is Not a Size, released in March 2010. "The Longest Distance," a short story, appears in the May 2009 HarperTeen anthology, No Such Thing as the Real World.
Kephart is a winner of the Pennsylvania Council on the Arts fiction grant, a National Endowment for the Arts grant, a Leeway grant, a Pew Fellowships in the Arts grant, and the Speakeasy Poetry Prize, among other honors. Kephart's essays are frequently anthologized, she has judged numerous competitions, and she has taught workshops at many institutions, to all ages. In the fall of 2009, Kephart will teach the advanced nonfiction workshop at the University of Pennsylvania.
Click here for the discussion questions for Going Over.
Also, a free sampler for Kindle.
5th book for 2014 European Reading Challenge; this is set in Germany.
11th book for 2014 Historical Fiction Reading Challenge.
To win 1 copy of Going Over by Beth Kephart, leave a comment about your favorite 80s band!
Everyone loves Kephart so much and I don't know why I haven't read her!
stacybuckeye´s last blog post ..Blogging from A to Z and a WINNER!
I'd love to read this! Your review is splendid.
My favorite 80s band: Eurythmics.
Melanie, what a great choice!
Terrific review, Serena. I love Beth Kephart's work and I'm excited to read this one.
So extremely appreciative — I thank you, Serena! Beautiful words.
It is in my top five from you.


text:
Jewry in music: Jewish entry to the musical professions 1780-1850.
Conway, D.; (2008) Jewry in music: Jewish entry to the musical professions 1780-1850. Doctoral thesis , University of London.
U591449.pdf
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In 1800 hardly any Jews were involved in 'musique savante'. Within 50 years in Western Europe they were to be found in active roles in almost every aspect of the music economy, as performers, composers, publishers, critics and instrument-makers. Whilst this phenomenon has been widely noted, it presently lacks an academic analysis. The dissertation sets the entry of Jews to the musical professions in a number of contexts the political, social and economic circumstances of European states Jewish culture and 'transferable skills' 'emancipation' of European Jews and their entry to wider society reforms in the Jewish religion and liturgy the Romantic and nationalists movements of the era the growth of a music 'industry' and the consequences of developments in technology, changing audiences and patrons, and the emergence of a 'classical music' canon. Beginning with a survey of the principal issues to be discussed and a summary of the status of Jews in music in the early and mid-eighteenth centuries, the dissertation examines the emergence of Jewish musical involvement in five European societies---the Netherlands, England, Austria, Germany and France---and notes the underlying factors, some of which were common to all, some of which were country-specific. Within these surveys extended treatment is given to significant figures---not only the famous such as Mendelssohn, but also the less well-known such as Alkan and Nathan. Consideration is given not only to the activities of Jews in music, but to the 'reception' of these activities by their contemporaries, and to the broader social implications of these activities. The dissertation concludes with a review of the status and achievements of Jews in music in Western Europe on the eve of the publication of Richard Wagner's essay Das Judentum in der Musik' in 1850.
PQ ETD:591449
Thesis digitised by Proquest
UCL > Provost and Vice Provost Offices > UCL SLASH > Faculty of Arts and Humanities > Dept of Hebrew and Jewish Studies
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