Mark Carruthers (MC) hosts Martin Galvin (MG) and Ulster Unionist Party MLA Doug Beattie (DB) to discuss the comments made by prominent Irish Republican Gerry McGeough on the American radio programme, Radio Free Eireann. The interview can be found @ The Transcripts.
MC: Comments made by a high profile Republican on a New York radio station have caused controversy this week. Speaking on Radio Free Éireann on WBAI radio in New York Gerry McGeough criticised Catholic judges and prosecutors calling them 'traitors' in effect who are administering British rule here. Here is what he had to say: (audio clip played) So that's what Gerry McGeough had to say on that radio station earlier. Well, the comments have been criticised by a number of Unionist politicians including the Ulster Unionist MLA Doug Beattie who said they border on an incitement to commit an unlawful act against members of the judiciary in Northern Ireland. Doug Beattie joins me now from Stormont I think. Martin Galvin, the former Publicity Director of course of NORAID, Irish Northern Aid, is the radio presenter who carried out that interview with Gerry McGeough, and he joins me now from New York. Gentlemen, welcome to you both. Thanks very much indeed for being with us on the programme today.
MG: …Mark, I have spoke – I got a message back from him. First of all he asked me to thank BBC Talkback for trying to reach him. He's actually in the middle – he's about halfway – he was on the road with most of his family – his oldest daughter was at home, and he happened to call home, got my message – he's on the road, could not do the interview, obviously – we just found out about this just a little less than a hour ago. But he's very appreciative that at least BBC Talkback tried to make the effort to contact him and get his real views as opposed to some of the things that he's read. He asked me to do the interview and he will be back at the weekend and happy to comment and speak for himself. He wanted – he appreciate again your efforts to at least try to give him a chance to speak instead of just taking one sentence out of a twenty minute interview and putting it in a totally different context.
MC: Okay. Well, certainly there's been some coverage in the newspapers. We're very keen to get as rounded a picture of precisely what was said and what Mr. McGeough meant by what he said and I guess the best way of finding that out is to talk to him. So it's a pity he's not available. But look, we did our best and you were there, you were part of that conversation so we've lifted the clip that's causing all of the controversy in the media. Can you just tell us how those comments came about first of all, Mr. Galvin, and what you make of what he had to say?
MG: Well if you listen to the interview – and anybody – I would encourage listeners just to go to the internet, type in, as an address, rfe (for Radio Free Éireann) 123.org, that's rfe123.org. There's an entire written transcript of his full interview as well as a link so you can hear his entire interview.
This was a twenty minute interview. He talked about, for example, 1916 – the fact that Tyrone is left out of – one of the counties that there is a feasible right to national freedom – but they are left behind. There was a vote in 1918 – the One Ireland One Vote – they were left behind. Partition was supposed to be temporary. Arlene Foster's in a position where she says a region in a country can't veto what happened in terms of Brexit no matter how disastrous that decision is for Ireland – how much it ignored Ireland as a whole, all thirty-two counties, and yet she First Ministers a region which is based on the principle that six counties had the right to veto a One Ireland One Vote election and always have a veto.
MC: And I understand that context and it's something that many of our listeners would be familiar with – the Republican world view.
MG: He talked about Brexit.
MG: He talked about how British rule – and what he was talking about is the difference between English rule suiting English policies in Brexit in the way that Theresa Villiers put in austerity, other policies that suited Westminster – all of that and how that doesn't really reflect or take into account what fully serves Irish interests. He even talked about Scotland and how that was administered. Then he talked about a situation like himself – he was imprisoned for something that happened in 1981 – it was during the hunger strike of 1981 – he was a part of a campaign that both he and I would defend and say was a legitimate campaign against British rule but it's a campaign which ended long ago and we're in a new era of peace – which he would be the first to say.
under the cover you have Catholic Nationalist, people from Republican families, who are now sitting as Diplock court judges and prosecutors and all the other stuff of the day that you can't possibly imagine and they are arrogantly passing judgment on patriots.
you have Irish Catholics, traitors in effect, administering British rule here in the Six Counties.
That doesn't seem to fit with where Northern Ireland, the North of Ireland, the Six Counties – whatever you want to call it – is in 2016. That's the point.
MC: …No, I know. Listen – we don't need to go back to the origins of The Newsletter. Seriously.
MC: …But it's not helpful. But the point is it's not, it's not…okay, yeah. But the kind of language, and it's the language that he's used that many people have picked up on here – to refer to Irish Catholics as….
MC: …now let me ask the question, Martin, I mean we'll not get anywhere if we both talk at the same time. He talks about Irish Catholics – traitors, in effect, administering British rule here in the Six Counties. That is a pretty unreconstructed world view and we have moved on and that's the point. We have a statement just here, which you might be interested in from the Chairman of the Bar Council who represents lawyers in Northern Ireland, who says he wants to take issue…he wants to take this opportunity to utterly condemn the threats made by Gerry McGeough over the past weekend as reported in The Newsletter on Monday the eighth of August in which he stated Catholic servants serving as judges and prosecutors in the Northern Ireland legal system are traitors who will be dealt with as collaborators once the English are removed. You can see that it is colourful, controversial language employed by Gerry McGeough which some people, people involved in this regard as, frankly, incitement.
MC: …Did he go too far? There's the question: Did he over egg the pudding? Did he use the kind of language that perhaps, with the benefit of hindsight, he might now regret? Should he have toned it down a little bit?
What did he mean by that? If that's not threatening what is it?
MC: …You're not answering my question. What did he mean by the use of the word 'traitor' and collaborator'? Just answer that question! Don't give me another history lesson. Just tell me what did he meant by the use of the word 'traitor' and 'collaborator'?
MC: …Okay. Well let me bring in…I want to bring, I want to bring in…hang on a second. I want to bring Doug Beattie in in a second. But here's the point, here's the point: We have a Catholic Attorney General. We have a Catholic Director of Public Prosecutions. We have a Catholic Lord Chief Justice. We have several high profile high court judges who are Roman Catholics in Northern Ireland. Those people know that they live under the threat of security from dissident Republicans who have targeted them in the past and who, apparently, would wish to target them in future. And I'm not saying, I'm not saying for a second – just to be clear – that Gerry McGeough is one of those – but in that climate the use of language like 'traitor' and 'collaborator' is unhelpful and those individuals and the professionals who represent them see that as extremely dangerous and very foolish. Do you not agree?
MG: If you're asking me about how they might see something? I am telling you that what Gerry McGeough intended – he used a word which seemed to be taken out of context to mean something that he did not intend. He's somebody who wants to see a united Ireland – wants to see it peacefully – and if you look at the whole interview there was no mention of any armed group, any armed action, anything like that – he was talking about stirrings throughout the country, a yearning for a united Ireland and getting that, achieving it, by peaceful, political means and finding a strategy which can achieve that because he doesn't think that the current Good Friday Agreement is going to work towards that end. He wants to see a united Ireland. That's what he was talking about.
MC: Okay. Alright. Let me bring Doug Beattie. Doug Beattie – Martin Galvin's making the position here that Gerry McGeough has been misquoted and taken out of context. How do you respond to that?
DB: …and Unionism and anybody who's linked to it – the Scots-Irish – out of the North of Ireland. Because I don't see these big swathes of Englishmen who are living in the North of Ireland whatsoever. And I think you have to look at this and you have to say that these are archaic references that he's using to – he's throwing us back to a bygone era and I hope there's people out there – decent people, decent people who are striving for a united Ireland who are decent, good, law-abiding people can look at this and disown these comments and realise that we have really moved on from this. And we don't need that. And I think Martin needs to be really honest here and he needs to get the views of the people of Northern Ireland and the vast majority of the people of Northern Ireland want to remain part of the United Kingdom.
I am an Irishman. I am an Ulsterman. I'm a Northern Irishman. And I am British. And I deserve to live in this part of the country as much as anybody else and anybody else who have been here for the last five or six hundred years. And I take exception to anybody telling me that I don't belong here or my views don't belong here and I think Martin is absolutely barking up the wrong tree and he needs to speak to a wider audience than the people he's speaking to now.
MC: How do you respond to that, Martin Galvin?
MG: Yes, I'm glad Mr. Beattie brought these points up. First of all, Gerry McGeough, during the interview drew an exact, a clear distinction between Unionists, which includes Mr. Beattie, and the English administration – serving English interests in policies like Brexit, like other policies that Theresa Villiers was responsible (for) before her unlamented replacement so he made that clear in the interview; he's not saying everybody should leave.
Number two: Certainly Mr. Beattie is right to say that he is an Irishman and an Ulsterman and he should be allowed to remain in Ireland and have his own views. What Gerry McGeough believes is that people in Donegal, people throughout The North in the rest of the three counties in Ulster, which are excluded from any vote, that people of (the) Twenty-Six Counties, that they are also Irishmen. That they should also have an equal say about what happens in Ireland and that we should not carve out an area where six counties are able to veto the wishes of (crosstalk) (inaudible)….
MC: …Hang on! You know that the Irish government supports the current arrangements in Northern Ireland and you know that Sinn Féin, which is by far the largest Republican party in Northern Ireland which commands twenty-five percent of the popular vote and whose leader in Northern Ireland is the Deputy First Minister has absolutely bought into the arrangements for political governance in this part of the world. So you are harking back to something which is frankly decades out of date – that's the point.
MC: …So exactly. So that's there. And he has that legitimate right. Nobody's arguing about that. Doug Beattie's not arguing about that.
MC: …but the problem is – look – the problem is that – and I'm sorry to keep harking back to it – and by the way we did contact Sinn Féin. Sinn Féin didn't want to take part in the conversation today; didn't want to have anything to do with it which is perfectly reasonable from that party's point of view. If it doesn't want to take part that's fine but the invitation was extended.
The difficulty that people have, and there have been several pieces in the newspaper which you will have seen and Doug Beattie has made his comments today and I've quoted the Bar Council. The difficulty is that what Gerry McGeough is, in the view of those people who are critical of his comments, is that he goes too far goes to far, goes way beyond the line, beyond saying: I have a right, under the 1998 agreement, to have this view. He actually explicitly threatens Catholics in Northern Ireland by calling them traitors and says they should be dealt with as collaborators once the English are removed. And once you say something like that you generate a whole different climate and a whole different context that you seem either not to understand or not to want to understand.
MG: What I'm saying is: He wanted to clarify – I'm trying to clarify those remarks – that there was no threat intended. He was not encouraging any threat against anybody. He is against them politically. He believes that they're doing an historic role under British rule serving an administration which he would disagree with and wants to overcome to get to a united Ireland. But he's saying, and I thought this was part of what Mr. Beattie and you would want said – that he's not threatening anybody – he's not recommending a threat against anybody – he's not recommending any kind of threat other than a political threat to work peacefully towards a legitimate aspiration of a united Ireland.
MC: And what's your response, then, to the Chair…Okay, so I'm going to bring some callers in – but your response to the Chair, Gerry McAlinden QC, the Chairman of the Bar Council, who says in that statement, his final paragraph is this: any attempt, and these are his words, any attempt to intimidate members of the judiciary or members of the legal profession engaged in prosecution work is to be deplored by all right-thinking members of society. These sinister messages were a frequent part of our troubled past. They were wrong then and are wrong now. What do you say to Mr. McAlinden?
MC: …Right. But how do you deal with collaborators politically? How do you deal with traitors and collaborators politically?
MC: …Hang on, Doug. Just let Martin Galvin answer that. How to you deal with traitors and collaborators politically?
MG: I'm talking about – well, look – you're using a statement that was taken out of context I'm saying – and I thought that that statement would be welcomed – that I know Mr. McGeough has tried to emphasise in the interview and through me that he's not trying or did not intend to make any threat, other than a political threat, of achieving a united Ireland, against anybody. I thought that would be welcomed, that it would calm the situation – that what was interpreted was perhaps it was improperly put or perhaps taken out of context but it's not what Mr. McGeough intended and that's not Mr. McGeough's position. It's certainly wasn't a position that I would advocate.
MC: I'm not criticising you. I'm simply trying to get at the bottom of what precisely what he meant. Now you're explaining what he meant and I'm now suggesting to you that perhaps, with the benefit of hindsight, his use of language was somewhat careless. And he needs to rethink and reconsider and take on board the criticisms that have been leveled at the language he used because he was, at best, careless in what he said in the interview with you. Now, if you accept that I think that's a bit of progress. If you don't accept that it's hard to see quite where you're coming from. Do you think he said nothing wrong and none of these criticisms are at all valid in any way?
MC: …Well stick with this one sentence if you would!
MG: Okay. I'm sure that he would re-phrase that if given the opportunity.
MC: Ah! Right. So there's an interesting point. You think he would re-phrase it if he got an opportunity.
MC: So twenty-nine minutes past twelve you can see maybe his language wasn't as carefully chosen as it might have been?
MC: Right. That's interesting because that's the first time you said that.
MC: …Well, let's see: Doug Beattie, do you welcome that?
DB: Well what I was going to try and say to Martin, and I'm trying to be really rational here about this, Martin. We live in an environment in Northern Ireland where we have a fragile peace where dissident Republicans and others are still murdering people on a weekly basis or shooting people on a weekly basis and murdering people as well.
I'm a member of the Assembly. I'm an an ex-soldier. I check under my car every single day and every time I get into that car. That is because of what happened in the past. These words incite us to go back to that again. I think they were poorly chosen words. I think they're words that incited violence. And it doesn't matter what you say. You don't live here. I live here. I lived through it and you need to understand that.
MC: But do you also accept, Doug Beattie, that Martin Galvin has faced up today to our request to take part in the programme. He has spoken to Gerry McGeough. He has endeavoured, as best he can, to put in context the comments that were made and to clarify that and he's just done it a moment ago that, with the benefit of hindsight, perhaps Gerry McGeough might have expressed that view slightly differently. So do you accept a degree of progress has been made throughout this conversation so far?
DB: Well, absolutely. I have no ax to grind with Martin Galvin whatsoever here. I have the ax to grind with the words that were used. Now if Martin if they were choice words that maybe he shouldn't have been using then that is progress. The problem is: Those words are out there and there's people out there who will be influenced by words like this from a person like Gerry. So I think we need to be really, really mindful and I think Martin needs to be mindful. And I think Martin would really do well to speak to people from the Unionist community, from ex-soldiers like me who fought for thirty-four years along side his countrymen in Iraq and Afghanistan who are marginalised because they are too busy peddling a single message and I think that needs to be taken on board as well.
MC: Well, maybe that's your next interview on your radio programme, Martin Galvin. Maybe you should have Doug Beattie on to get the other side of things and hear a different perspective one that maybe one that you and your listeners are not just so familiar with?
MC: …Well let's let Doug…Doug.
MC: Doug, Doug, do you want to clarify your position on that for the benefit of Martin Galvin before I bring some callers in?
DB: Martin, it's really quite simple: If anybody committed a murder, be they in the British military, be they a police officer, be they civilian or anybody else if they committed a murder – and it was wrong – if there's evidence they should be brought to court. I condemn anybody who conducts a murder so don't try and drag me down a road here where I'm trying to defend anybody who committed an unlawful act. I'm absolutely against that so you'll not get me on that one.
MC: …Okay, let's bring in some callers.
MC: Hang on a second, Martin because I want to bring in John here. He's gotten in touch with the programme at lunch time and we do try to bring callers in and were a bit tardy in doing so today because we've had to cover a lot of ground with both of you. So John, you've got in touch so let's hear what you have to say at this lunch time.
MC: Yes, yes. Martin Galvin can hear you. Yep, John. Go ahead if you want to make a point – quickly.
John: Martin, we have had people over here in Northern Ireland people on the Unionist side who yelled and squealed about things that young Unionists went out and did crimes because of what they heard and they're in jail today. And their parents and their brothers and their sisters are visiting them every day. We have had young Nationalists who are in the same – who are not just as balanced – who are listening youse are commenting on there today. Now what about Judge Trainor, a Christian lovely man with his family in church on the Lord's Day, not knowing that he was going to be come out and murdered on the steps of where he worships God. Now those people listening to that, on balance, feel they can go out and murder Catholics because they're doing their duty. Martin, listen carefully: If there was a vote for a united Ireland and it went against us – and I'm one for an Irish – I am married but I'm part of the United Kingdom – and if we ever voted to go with the united Ireland would you like us to go out and murder and kill people? Now Martin, please be careful on the way you're getting on. You don't live here. We are living here in peace, ninety-nine point nine percent of us.
MC: Okay. Alright, John, thanks very much. Martin, do you want a quick response to that and then I want to bring in Sam.
MG: Quickly, first of all, Gerry McGeough was not talking about any kind of armed action or any kind of threat against anybody. If the caller believes that there should be or can be a legitimate vote for a united Ireland, and I believe it should take in all thirty-two counties, I would agree with him on that. And certainly, I'm trying to clarify and say as carefully as I can that Mr. McGeough was not advocating any kind of armed threat or any kind of threat against anybody and not intending to encourage anybody to do that.
MC: Okay. Alright. Thanks very much, indeed. Sam, you got in touch with us this lunch time. What are your thoughts?
Sam: Yeah, hi there. I just think that Mr. McGeough should be looked at in a different light: That yes, he is a Republican who's been convicted of a terror act but this shouldn't be the reason why the media is looking into him because according to the Irish News he was re-elected earlier in the year as the president of County Tyrone AOH, Ancient Order of Hibernians, which is a Roman Catholic fraternal organisation. Now if, for instance another Co. Tyrone man, Edward Stevenson, who is the Grand Master of the Orange Institution in Ireland and he made a similar repugnant comment would the media be presenting him as a County Tyrone Unionist farmer or would they be presenting him as the Grand Master of the Orange Institution in Ireland?
MC: Well I suppose it depends, it depends in which capacity an individual speaks. And just to be clear on that (and thank you for raising the point about the Ancient Order of Hibernians) – Hang on a second – I want to actually just – and this might help you understand where we're coming from – we did contact the Ancient Order of Hibernians today and Gerry McGeough is indeed the president of the AOH in County Tyrone and a spokesman for the Ancient Order of Hibernians told this programme Gerry McGeough isn't a member of the national board of that organisation and he was not speaking on its behalf and there would be no further comment.
MC: …Well, I'm sure that's exactly the case – we would do exactly what we've done now. Well, the BBC would – I can't speak for other media outlets.
MC: …So you see his comments, you see Mr. McGeough's comments as having a threatening dimension to them, do you, when you hear them?
Sam: I do believe so. I'm personally not a Roman Catholic but I do feel it's entirely wrong, that if you're a member of the judiciary that your faith or your political aspirations, which should be left at the door whenever you're making judgments, that he should have brought that in at all and I think that is a serous point to say that Irish Nationalists being part of, rather he said they were Catholic, and that should mean that they shouldn't be part of the judiciary I think that's is truly wrong.
MC: Okay, well look thanks very much, indeed, Sam, for you thoughts. (station call-in announcement) Let's hear from Thomas who has indeed got in touch with us this lunch time. Thomas, what are your thoughts?
Thomas: Yeah, Martin, they can't be taken in any other way other way other than a threat. I think Gerry used his words so that he wouldn't sound sectarian. He picked out the Catholic judges as if they were only going to be dealt with. If Martin Galvin, I'm a Loyalist, if I said to Martin Galvin on your radio show if the English pull out of Ireland, Martin, you're going to be dealt with. I mean it wouldn't be taken in any other way than a direct threat to him. The waffling that he came off within the last thirty minutes just how deluded some of them Americans are, especially him, with raising money over the years to help the IRA murder people here. Whether he likes it or not our joint First Minister here (and I know there's a wee of a messing about between Unionists on OFM and DFM) but they're joint first ministers. And the joint First Minister of the country that we live in is an Irish Republican, is a former IRA Commander and he was voted in there and quite rightly so. And is Martin Galvin saying that all them IRA men, and all them IRA Volunteers, who are now running our country along with Unionists are all traitors and collaborators the same as them judges?
MC: Well, I don't know that they're all IRA men and all IRA Volunteers. Some of them may have been involved in….
Thomas: …No, not all but some are specific IRA men.
MC: Sure. Okay. Well I mean, you can speak directly to Martin Galvin because he's still in the line. So Mr. Galvin, how do you respond to the question posed there by Thomas?
Thomas: …Why not, Martin? That's the question I asked you.
MC: …Well why not? Why not? He's the Deputy First Minister. Why would you not comment on that?
MC: …Hang on, hang on. Just let Martin Galvin respond to that point.
MC: Well, he would disagree with you. Look, I've put that question to him many times before and he simply says that that's not right.
MC: And you know, you pays your money you takes you choice. Gerry Adams says he was never in the IRA. A lot of people don't believe him.
MG: I'm not commenting on that either.
Thomas: Martin, do you still raise money for Irish Republicans in Northern Ireland and do you support the peace process here?
MG: First of all, there's no – well, I don't raise money for Irish political prisoners or for the lobbying efforts in this country to advocate against British rule except through the Ancient Hibernians in New York for the Freedom for All Ireland Committee. And I never raised money directly for the IRA that was always something that was put forward by British information services because they wanted to distract (from) the reason that there was a conflict in Ireland which is the injustices under British rule in Ireland.
MC: Well it's interesting you say you never raised money directly for the IRA. Did you raise money indirectly for the IRA?
MG: Well I raised money for Republican prisoners so they would get money on a weekly basis in accordance with need. I would raise money, for example, during the hunger strike – there was a film – one of the things that was most powerful during that time thousands upon thousands of people we were able to put on the streets in New York and across the United States – which Richard O'Rawe on the same radio programme that Gerry McGeough spoke on – said was the thing that really, was the thing that really won for the hunger strikers and showed the world that they were not criminals that they were political prisoners and patriots.
MC: Alright, Martin Galvin, thank you for now. Just stay with us. Thomas, thanks very much indeed for getting in touch and for making that point. I'm going to take a final caller on this: Ken Wilkinson, who's the Progressive Unionist Party's spokesperson for prisoners, has got in touch with us and wants to I think take issue with what Gerry McGeough said. Afternoon to you, Mr. Wilkinson, what are your thoughts?
Ken: Good Afternoon. Well you know, we had Martin on there saying maybe Gerry McGeough would change his statement. Gerry McGeough made the statement and as you were saying earlier I would like to hear Gerry McGeough on talking about this himself because more or less what he said was 'Brits out.' And I'm a Brit. And I'm not going anywhere. He was part of a campaign who tried to put the Brits out. We're still here and we intend to remain.
MC: Well does it help you, Ken Wilkinson, that Gerry McGeough spoke to Martin Galvin, was happy – was unable to do the interview himself, he says – but was happy for Martin Galvin to come on and explain his position and Martin Galvin has clarified that position, has tried to put it into the wider context and did concede, just before half past twelve, that maybe with the benefit of hindsight Gerry McGeough might have chosen slightly different language?
MC: …Well that's what he said. That's what he said.
MC: …Well, he's not coming here. He's on the line from New York and he's entitled to an opinion. He's a radio presenter in New York. He did an interview. He's now taking about the interview. That's reasonable is it not?
Ken: (crosstalk) the point is that I take great offence – Gerry McGeough's statement was, more or less, 'Brits Out'. What has Martin got to say about that?
MC: Okay, what have you got to say about that, Mr Galvin, in conclusion. That's how it's being viewed by someone who's a member of the Progressive Unionist Party.
MG: Well again, Gerry McGeough's would be very different from the Progressive Unionist Party.
MC: Of course it would.
Ken: …It will never happen, Martin, it will never happen.
MG: Okay, then we have a political disagreement.
Ken: You ought to put your own country in order first before you try and interfere in this one.
MC: That's a whole other discussion – I'll tell you that, Ken.
MG: If we look into Donald Trump's statements that he would change we could be on for the rest of the week.
MC: Sure. Well look – we were on for forty-five minutes on the programme this time yesterday talking about Donald Trump.
MG: You didn't touch the surface.
MC: No, we didn't. You're absolutely right. Okay, Ken, thank you very much indeed for getting in touch. Martin Galvin thank you very much indeed for taking our call. We very much appreciate you making yourself available. If you get a chance to speak to Gerry McGeough I suspect that there are colleagues in the BBC who'd be very keen to have him on the airwaves just to clarify precisely what his position is in all of this.
Doug Beattie, a final comment to you: I'm just looking at your statement here and I see you're saying that you're calling on the PSNI (Police Service of Northern Ireland) to investigate Gerry McGeough's words to see if an offence has been committed. After the conversation of the last forty-five minutes is that still your view?
DB: Absolutely. I don't think it's changed in any shape or form. I mean, what he said, whether he meant it or whether he did not, is an incitement to commit an offence. And I have to finish off by saying Gerry McGeough's view of a pure Irish-Gael country which excludes people like myself and people of Ulster-Scots background, is something that hardens my resolve to make sure that Northern Ireland, as a country, is a success.
So I think he's gone in the wrong direction here.
MC: Okay. Alright. Gentlemen, thank you both very much indeed for joining us. Doug Beattie there, the Ulster Unionist MLA with his position – he still thinks that the PSNI should be investigating those comments from Gerry McGeough and Martin Galvin, former NORAID Publicity Director, radio presenter in New York was joining us there, he did the interview with Gerry McGeough. Thank you to both of them. Thank you to everyone else who called in.


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Rubber cover in front and back, stabilizing the process of getting on and off the Drift's.
Rubber cover also provides extra protection if accidentally hitting into any obstacles.
Keep your feet in place while riding with its thick slip-resistant foot mat (no straps for feet).
Take them out for a ride in all different types of weather thanks to its IP54 protection.
3 different colors of light to choose from, including a disco/rainbow light. (light is placed both in front and back of each Drift for maximum visibility).
Stable self-balancing technology enables to move effortlessly and stylishly.
7.5 mph (12 km/h) at full speed, which is approximately 3 times faster than walking.
After 60 seconds of not being used, the Drift's will turn off automatically in order to save battery power.
Charge both Drift's until the red light on the charger turns green.
Turn them upside down and hit the power bottom to calibrate them. Let the wheel spin/move for 5-10 seconds.
Turn them back the correct way, press the power bottom and gently tip them over and they'll go into self-balancing mode which indicates they're ready to go.
Find something to hold onto while stepping up the first time, like a chair or the hand of a friend.
Place first foot on one of the Drift's and get a feeling of how it reacts before placing the second foot.
Place the second foot while still holding onto something. The more confident you step up on it, the lower the risk for failing.
Lean forth and back gently as it is very sensitive and responsive. You can almost just think of the direction you want to go and it starts to roll.
(We strongly recommend reading the full user manual before you start).
public authority for specific rules in your country.
... And remember protection gear!


The indoor game should help develop skills and is therefore, for the most part, a minimal contact sport. No slide tackling will be allowed. In the interest of safety, players must wear shinguards and appropriate indoor footwear at all times.
To keep the game flowing all walls are part of the playing area.
The goalkeepers can not leave the penalty area. If the keeper leaves the penalty area an indirect kick will be awarded from where the keeper stepped out of the penalty area.
When the keeper releases the ball it must bounce before it reaches the half-court line. Failure to do so will result in an indirect free kick from the half-court line.
The keeper can not punt the ball.
All players are allowed in the penalty area, but only the keepers may use their hands.
Indirects will be awarded if the ball hits the ceiling structure, goes out of play, obstruction, etc..
Handballs or fouls will result in a direct free kick.
Substitutions can be made by both teams at any time.
Each team will field 6 players on the court plus one goalkeeper.
Each game is 20 minutes, two 10-minute halves. There will just enough time between the halves to switch ends of the court.
Teams are requested to arrive and check in 15 minutes prior to scheduled playing times.
No one, other than the players and referee, are allowed onto the playing area during the games. If a player is injured, the referee will allow the respective coach to attend the player immediately.
Coaches must supervise their players at all times, especially between games.
League standings and results will be available at this web site and at the game desk.
The top four teams in a league will be in a playoff. In divisions of 5 teams or less here will be no play-offs and trophies will be awarded to the league winners and runner up.
Awards (trophies or other) will be awarded to the top three teams in each division.


text:
HBO 2 Years Ago May 26, 2018
The Tale Release Date
The movie The Tale is already released on HBO in the USA. The upcoming HBO release date in the UK is to be announced.
May 26, 2018Confirmed
The Tale
An investigation into one woman's memory as she's forced to re-examine her first sexual relationship and the stories we tell ourselves in order to survive.
Laura Allen
Isabelle Nélisse
Emily Sandifer
Chelsea Alden
Jaqueline Fleming
Tina Parker
Gamechanger Films
A Luminous Mind Production
Blackbird Films
https://youtube.com/embed/tXpYsr3AL4U,https://youtube.com/embed/m6sZrp9TOm4
Based on 7 The Tale reviews, The Tale gets an average review score of 82.
www.theguardian.comHBO
Laura Dern stars as a woman coming to terms with her own molestation in Jennifer Fox's landmark film
A-/A+
thefilmstage.comHBO
With The Tale, Fox has not only created a deeply personal investigative memoir, but one that could stand as a model to those that have been abused and seek the truth and some se...
B+/A+
theplaylist.netHBO
Inevitably for a first time narrative filmmaker, Fox also has some bumps along the way, as there are a few moments that are simply staged a little too conventionally.
www.hollywoodreporter.comHBO
Laura Dern stars as a woman delving into her past in documentary-maker Jennifer Fox's first narrative feature, a work drawn from her own experience of sexual abuse.
www.villagevoice.comHBO
Starring Laura Dern, this tale about a sexual assault survivor delving into her past is a complex, haunting work
www.rogerebert.comHBO
"Can you just let me sit with my own memories?" This plea, from Jennifer (Laura Dern) to her mother (Ellen Burstyn), is a key moment in "The Tale," an extraordinary and disturbi...
variety.comHBO
A landmark advance in the field of cinematic memoir, Jennifer Fox's years-in-the-making #MeToo movie could hardly have arrived at a better time.

redpajama_set_name: RedPajamaCommonCrawl


text:
Jacques Grange's Personal Collection Goes to Auction at Sotheby's
Items from the legendary designer's eclectic collection will be auctioned at Sotheby's in Paris
By Katherine McGrath
Design aficionados take note: Sotheby's has announced that objects from French designer Jacques Grange's personal collection will be auctioned off on November 21 at a sale in Paris. The collection is comprised of a mix of modern and contemporary art, photographs, antiques, 20th-century design, 19th-century drawings, and Symbolist works. Each item in the collection is carefully considered and reflective of the designer's eccentric and refined taste.
Among the standout lots are works by the like of Damien Hirst, Henri Matisse, Claude and François-Xavier Lalanne, Fernand Léger, Donald Judd, David Hockney, Paul Klee, Joan Miró, and Alexander Calder. Many pieces have prestigious provenances, hailing from the private collections of André Breton, Pierre Matisse, and Yves Saint Laurent, among others.
"Discovering Grange's private world makes clear in an instant why the world's greatest collectors clamor to call on him," says Cécile Verdier, worldwide co-head of Sotheby's Design Department and vice president of Sotheby's France. "His interior is a joyous ode to color and harmony, and as a collector himself, he reveals an unrivaled gift for living with art."
Before heading to Sotheby's, the works lived in Paris's 1st arrondissement at Grange's eclectic flat, which overlooks the gardens of the Palais-Royal and was once owned by the French novelist Colette. Grange is a passionate and serious collector who once called his apartment "a place to display and balance in harmony the things I love."
The AD100 designer is best known for his work crafting interiors for the likes of Yves Saint Laurent, Pierre Bergé, Princess Caroline of Monaco, Karl Lagerfeld, François Pinault, Valentino, and Francis Ford Coppola, among many other well-known names. He is one of France's most celebrated designers, both at home and abroad.
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text:
Buro 24/7 A-Z|Pauline Ng
Pauline Ng
Name: Pauline Ng
Occupation: Managing Director, Porcelain Pte Ltd
Industry: Beauty
How she got started: In 2009, Ng wanted to help her mother, Jenny, who has been a beautician for decades to restart her business. A fresh graduate out of SMU, she put what her education taught her to use and build business plans, financial models and marketing plans. Ng also became inspired by her mother's passion in helping people get better skin, and she soon fell in love with the skincare industry.
Porcelain had humble beginnings, and begun as a small mum-and-pop store with only two beds and a small office tucked away on the second floor of a shophouse. They didn't even have a signboard, nor plans for it to eventually become a chain of facial salons. Porcelain kept its focus on training and constantly improving its service and offerings, and they experienced growth organically. From just three appointments a day, it slowly blossomed to eight, and then 20, eventually growing to what it is now.
Notable achievements: By 2013, Porcelain hit $1 million in revenue and became GST-registered, and in the same year was named Best Luxury Spa in Asia at the World Luxury Spa Awards. Since then, they have been proudly keeping the title for four years running. Porcelain now has a team of about 45 people and recently opened its third and flagship store, Porcelain Signatures.
Porcelain was also listed as one of the featured spas in the first edition of Louis Vuitton City Guide in 2015. The company has since launched its own brand of skincare products in 2010, and the range has a loyal following despite retailing only in stores. Porcelain has also become a lot more high-tech, in terms of its operations and service offerings, providing more skincare treatment options that are holistic.
Ng has also won in the category of Most Promising Entrepreneur for the Teochew Entrepreneur Award, presented by Tharman Shanmugaratnam in 2016 and organised by the Teochew Poit Ip Huey Kuan.
Something you might not have known about her: Ng is an avid traveller and has an adventurous spirit. She regularly goes diving and recently picked up skiing.
A quote to sum it all up: "Dream big, start small, keep a strong foundation and never forget who you truly are inside."
Yvette King
Victoria Cheng
Hasnor Sidik
Rishi Budhrani
Adrian Pang
Priyageetha Dia
Lifestyle | Food and Drink
A mooncake masterclass with Janice Wong — flavours of Japan plus pro tips included
Culture | Art and Design
Designers in Singapore: These are the best graphic design and branding studios you need to know
Watches & Jewellery | Buro Loves
This ultra-classic timepiece gets an ultra-glamorous makeover


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text:
Sarah Gordin
Women in Theatre is a new series where I will be highlighting an inspiring female identifying person within the heavily male dominated theatre industry. In a 2017 study released by the NY Times, women and minority actors/creatives obtain fewer jobs within the entertainment industry. I was fortunate to sit down for an interview with Kate Lumpkin of Kate Lumpkin Casting and learn about her remarkable journey as a casting director and why she loves what she does.
SG: How did you get into the casting industry?
KL: I got into the casting process at a very young age. I was an actor from the time I was a young child. Back then, the only experience that you saw on TV or in real life were actors and directors. I don't think I really knew what a casting director was, even though I was going in for auditions where a casting director was present. I went to school for theatre and was a professional actor but it never felt like my real means of communication. I knew that I was meant to build communities so I went back to school and studied anthropology which is the study of community building. I realized that there is this thing where you get paid to do this with actors and creative teams and it's a real job. The second I put it all together I realized that it is what I wanted to do. I sent an email to everybody I knew remotely involved in this, around 200 people, and got one response that asked if I wanted to be their assistant. That is how I got my first assistant job and I never stopped. I fell in love with it. It is the coolest, most interesting, way to use all of my gifts and I became addicted really fast.
SG: When did you decide to start your own company?
Kate Lumpking
KL: My path in casting has been really untraditional. Most people will spend a lot of time as a associate and work with a company for a while and progress in that way. I have never really been one for tradition. I was working for a major network for television and my contract was up. I was trying to figure out my next step. I knew that I have a very specific point of view. I don't really like someone else telling me what to do. Knowing that about myself, I would rather have my name on three projects that I really care about every year than have my name on thirty five projects that I didn't really have a say in. I realized that all I had to do was put my name on the door, show up and get people to hire me. I put my name on business cards, registered as a LLC., and made my website. I had other jobs to pay my bills at first as I tried to acquire contracts but luckily I knew that I had been in this industry for a really long time. So, I told everyone I knew what I wanted to do, how I wanted to do it, and why it was important to me. The people that this resonated with asked me to be a part of their team. It doesn't happen overnight, but two years later, I have a steady stream of awesome contracts that I am really lucky to be working on. I don't thrive as a person working under someone else's vision. I saw a way to fill a hole that I thought was missing in casting and I was really vocal about my beliefs and what I wanted to do.
SG: What is a typical day in session?
KL: There is never anything typical about casting. I am really fortunate because I get to work on a lot of new works and a lot of people approach me because they know that I am really interested in doing projects that express voices that haven't been heard before and are challenging. It depends if I am in an EPA, I could see around 200 people a day. If I'm in a normal session, I'll see about 75 people a day. It is my job to create a safe space to do dangerous work and to be present for artists. I am the kind of medium between them and the creative team as the person who helps navigate the space for everybody.
SG: What is a typical day at the office when you are not in session?
KL: Lots of research and communication with creative teams and general management offices. It's a lot of digging. I am not working on huge Broadway shows where every agent wants to send in for that show. Everything is super specific so my team and I are on Instagram searching for hashtags and locations and stalking YouTube. We do a lot of outreach in any way possible. There is a lot of organization involved. The office is a lot of me at the computer crafting schedules and navigating other people's schedules and doing really intensive detailed research for the projects I am working on.
SG: I understand that you teach at The Broadway Collective. What drew you to teaching?
I love teaching. I was incredibly blessed to have really great teachers growing up. I realized that the people who help you navigate acting are actually the people who help you navigate how to live because drama is an extension of expressing humanity. Working with The Broadway Collective has been really amazing because I get to work with young people and help craft the next generations ideology about how we create unity. I want young people to know things like they have agency over their bodies and space when working, how we talk about gender and gender identity, race, sexuality- these things are communicated into society through art and so we have to be the people that craft the language and shift the narrative for the next generation of artists.
SG: What achievements are you most proud of?
KL: The achievements that I am most proud of in my life are the relationships that I have built in my life. Professionally, I had my Equity card and I was a member of the CSA (Casting Society of America) by the time I was thirty. For me, that was a really big achievement… two different milestones for very different careers. It was nice to feel like I was recognized by those organizations for my work and status within those areas. I'm mostly just really proud of the casts that I create. I like that they are inclusive of bodies, race, and identity. I don't look at any of them and think, "wow, I didn't really work hard enough on that one." I am also really proud that I can pay my rent with money in the arts.
SG: What is it like being a woman in a predominantly male field?
KL: The interesting thing is there are a lot of women in casting. However, in the field of entertainment, especially in the world of the creative teams that I am working with, it is very much predominantly male. I have often found myself to be the only woman on a creative team or one of very few and so, it is difficult sometimes to feel like your voice is that experience of a life in a room. One of the hardest things, whether it is real or not, is feeling a responsibility to fight for people and being able to maintain my own ability to do that. You have to stand up for people who need to be stood up for. Since the time I could remember, society has told me to muffle my voice and to not look at people and tell them what's what. I am constantly fighting these things that have been put into my brain and working to overcome it and say, "absolutely not- you were paid for your voice at this table, you were chosen for your voice at this table, and if you don't own up and stand up and use it- what a waste of a life." I think that this fighting is something that I have to do with myself a lot.
SG: How would you say the business of casting is changing?
KL: It is a really interesting time to work in casting. The industry as a whole is changing, thank goodness, and I think that casting is an epicenter of a lot of that change. I think we are seeing more inclusive language in breakdowns, a shift towards a lot of different looking bodies on stage. Most importantly, we are seeing a shift in what work is being produced which inherently allows different people to come into the space to be seen. This is challenging a lot of people in positions in power in casting to go beyond some of the work that we have been doing. Even in the last five years, we have seen drastic change in the way that the process is done, who we are seeing in complete pictures on stage, and who is in the room doing the casting.
SG: What advice do you have for aspiring casting directors?
KL: My number one piece of advice is to figure out what your point of view is in the world. Casting directors are just like actors in that we work contract to contract. We are hired because of our aesthetic and the work that we do, just like any other artist. If you are going into casting: know why you are going into casting, know what you want to get out of it, and know what kind of artists you like to support, challenge and bring in. Go see as much theatre as you can- keep really detailed notes. Create spreadsheets after every single show and write the five people you would want to see in something else. Get internships, start cultivating relationships with young directors, composers, and the people you like and get involved. There is no degree for this. You have to be a self starter, an entrepreneur, and someone who is really excited about going out, meeting people, and having a real point of view.
You can follow Kate Lumpkin on Twitter @kathrynlumpkin and on Instagram @katelumpkin
Women in Theatre
Sarah Gordin, Kate Lumpkin
Broadway Buzz: 'Mockingbird' Soars ...
Why is Disney Being Cheap with its ...


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Dr. Jesse Smith, a Fort Worth hair transplant specialist, can perform this procedure on an outpatient basis. With hair transplant surgery, Dr. Smith can give the patient back the full head of hair that has become thinner with time.
What does your hair loss look like?
See potential hair & graft counts, and procedure options.
Get a custom plan in 3 easy steps.
There are several medical devices used to extract individual hair follicles from the back of the scalp (donor area). Neograft™ is a "brand name" device used to extract single follicular units from the donor area. We use a Neograft machine for our FUE methods.
NeoGraft is the first FDA cleared follicular unit harvesting and implantation system that delivers excellent hair transplant results. The NeoGraft™ system delivers automation of the FUE technique, the most advanced technique in the hair transplant industry.
NeoGraft uses pneumatic controls to precisely extract complete individual hair follicles which can be immediately transplanted to the selected areas of the scalp. NeoGraft™ provides absolute exact harvesting and placement that deliver the desired results. With NeoGraft™'s technology each follicle is removed individually while the patient is comfortable.
The difference between the Strip Method and FUE Hair Transplant is in the method and device used to extract the grafts that contain the hair follicles. The grafts are extracted one at a time using a one millimeter punch device. Technically you will still have a scar. However it is so minute (a one millimeter dot) that you can not see it with the naked eye, thus allowing the individual to wear their hair as short as they wish. We do not use sutures (stitches) in this procedure, so there is no need for suture removal. Everything else is done exactly the same way, regardless of which extraction method (Strip or FUE) is being used. Both procedures are done while the patient is under a local anesthetic, yet you are awake and comfortable during the procedure.
The Surgeon removes a strip of tissue from the donor site that contains the hair follicles. The scalp is then carefully brought back together and sutured. The sutures remain in the donor site for 10-14 days before being removed. The strip of tissue that was removed is meticulously dissected so that each hair unit becomes a single "graft" or follicular unit, containing one to four hairs each depending on the density of the donor hair. Once the strip has been dissected into many follicular units, the surgeon and assistants place the receptor sites using pin-point microscopic incisions to cover the area of hair loss being treated. The individual follicular units are then "placed" (inserted) into these microscopic incisions one by one.
The process is very similar to planting saplings. If you look at it this way, the scalp is the soil and the follicle is the sapling.
The most difficult part of the entire process is the waiting period before the hair actually starts to grow, because it cannot occur over night. It takes approximately three months for the hair to emerge after transplantation, because the hair is in shock from being placed in a different location. Hair goes into the Telogen phase (resting/dormancy phase) after being transplanted. However, once the three-month hair growth cycle has been completed, the hair begins to grow at the rate of approximately 1/2″ per month and will grow for the rest of your life. The full thickness of the hair usually takes about one year after the procedure to be realized.
Platelet Rich Plasma (PRP) has been used for years in orthopedic injuries to heal joints, tendons, muscle tears, and many other maladies with great success. PRP activates alpha granules of platelets that can release many healing factors such as: platelet derived growth factor, transforming growth factor, vascular endothelial growth factor, insulin like growth factor, epidermal growth factor, and interleukins. Recent studies using PRP in the scalp have given many hair loss patients a non-surgical option with great hope. The PRP initiates and prolongs the hair growth cycle, so that hair not only comes out of dormancy, but also grows out and stays out for longer periods. PRP also increases blood flow to the scalp, thus increasing vital nutrients to both existing and dormant hair follicles. This can mean a significant increase in hair count, and hair density and thickness. Some studies show as much as a 20-25% increase in hair density and thickness within a 6 month period after treatment.
But now, we take it a step further; recent advances in cellular biology have allowed us to safely and efficiently harvest stem cells, so that they can be readily added to the PRP mixture for even more amazing results. Stem cells can then act in concert with PRP to elevate and release other growth factors and cytokines. This results in even greater improvements in hair density and thickness over time. Many patients have seen results last for up to two years after a single treatment episode. Results usually become evident by the end of the forth to sixth month after injection. Laser therapy can further enhance these outcomes as well.
The treatment usually takes about 45 minutes to 1 hour, and can be done in the office. The downtime and swelling are usually minimal.
Usually, the Strip Method will yield a greater density than FUE – FUE will only yield approximately 2/3 of what the Strip Method can yield.
There will be a faint linear scar in the donor site. With our dedicated suture techniques, no one will ever be able to see the incision line (unless you plan to shave your head). For someone planning to wear their hair in a very short "military style" or similar styles, FUE is a better option because it leaves no linear scar.


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Q: Why do some languages prefer static method binding rather than dynamic? Why is the default decision in C++, C#, and Ada 95 to use static method binding, rather than dynamic method binding.?
Is the gain in implementation speed worth the loss in abstraction and re-usability?

A: In general, you can consider that you have todesign the base class for extensibility.  If a member function (to use the C++ vocabulary) isn't designed to be overridden, there is a good chance than overriding it will in practice not be possible and for sure it won't it be possible without knowledge of what the class designer think is implementation details and will change without giving you prior notice.
Some additional considerations for two languages (I don't know C# enough to write about it):

*

*Ada 95 would have had compatibility issues with Ada 83 if the choice was different.  And considering the whole object model of Ada 95, doing it differently would have make no sense (but you can consider that compatibility was a factor in the choice of the object model).

*For C++, performance was certainly a factor.  The you don't pay for what you don't use principle and the possibility to use C++ just as a better C was quite instrumental in its success.

A: The obvious answer is because most functions shouldn't be virtual.  As AProgrammer points out, unless a function has been designed explicitly to be overridden, you probably can't override it (virtual or not) without breaking class invariants.  (When I work in Java, for example, I end up declaring most functions final, as a matter of good engineering.  C++ and Ada make the right decision: the author must explicitly state that the function is designed to be overridden.
Also, C++ and (I think) Ada support value semantics.  And value semantics doesn't work well with polymorphism; in Java, classes like java.lang.String are final, in order to simulate value semantics for them.  Far to many applications programmers, however, don't bother, since it's not the default.  (In a similar manner, far too many C++ programmers omit to inhibit copy and assignment when the class is polymorphic.)
Finally, even when a class is polymorphic, and designed for inheritance, the contract is still specified, and in so far as is reasonable, enforced, in the base class.  In C++, typically, this means that public functions are not virtual, since it is the public functions which define and enforce the contract.

A: I can't speak about Ada, but for C++ two important goals for the design of C++ were:

*

*backwards compatibility with C

*you should pay nothing (to the extent possible) for features that you don't use

While neither of these would necessarily dictate that dynamic binding couldn't have been chosen to be the default, having static method binding (I assume you mean non-virtual member functions) does seem to 'fit' better with these design goals.

A: I'll give one of the other two thirds of Michael Burr's answer.
For Ada it was an important design goal that the language be suitable for system's programming and use on small realtime embedded devices (eg: missile and bomb CPUs). Perhaps there are now techniques that would allow dynamic languages to do such things well, but there certianly weren't back in the late 70's and early 80's when the language was first being designed. Ada95 of course could not radically deviate from the orginal language's basic underlying design, any more than C++ could from C.
That being said, both Ada and C++ (and certianly C# as well?) provide a way to do dynamic method binding ("dynamic dispatch") if you really want it. In both it is accesed via pointers, which IMHO are kind of error-prone. It can also make things a bit of a pain to debug, as it is tough to tell from sources alone exactly what is getting called. So I avoid it unless I really need it.

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Be Prudent When Purchasing
Purchase order log
There is something at play that many company leaders just can't get right – acquiring other companies. Many assumingly lucrative companies were acquired and then failed.
Either there was a lack of full disclosure before the transaction, or the new owners were over confident in their ability to create astronomical profits from those companies.
A mantra I fully subscribe to is, great companies are bought, not sold.
When a company approaches you to sell their business, you must ask why they are selling. Could it be that the ship is about to sink, are they relocating, retiring, bored by their industry or do they foresee calamity.
Back in 2012 Tiger Brands acquired 63% of Dangote Flour Mills, therefore controlling the company; changed the name to Tiger Branded Consumer Goods Plc. However, the company performed poorly.
Three years later, Dangote Industries had to buy it back for a nominal $1 and took over their debts. Tiger Brands had to write off R700 million ($53 million) in loans that it granted the operation.
On the same note, in January 2005, Bebo, a social networking website, was launched. It became one of the most visited sites, with millions of active users. In 2008, AOL came along, excited about the prospects of expanding it. They purchased it for $850 million – making the founders, Michael and Xochi Birch, $595 million richer as they owned 70% of the company.
In May 2013, the company voluntarily filed for Chapter 11 bankruptcy protection. On July 1, 2013, the Birches paid $1 million to get the social network back. Consider the profit they made after receiving $595 million for the company five years before.
In both stories, the former owners bought the companies back for a price drastically less than they sold them for.
How Tech Can Close The Gap In Africa
There were many examples of this type of disaster during the dot-com bubble around the turn of the new millennium. A promising company, owned by Mark Cuban and partners, was on the rise. Back then, Broadcast.com was breaking ground with online live streaming.
Yahoo! got excited about the new concept and jumped into a hole thinking it was a springboard. In 1999, they purchased Broadcast.com for $5.7 billion in Yahoo! stock. Cuban became a billionaire and quickly diversified his newly-found pot of gold into other asset classes.
Broadcast.com soon went bust, becoming one of the spectacular failures of the last two decades.
It wasn't the most notorious failure though. The worst of all time is AOL again. They acquired Time Warner for $160 billion to create the world's largest media company. Within 18 months, the company reported a $99 billion loss and the combined value of the company had dwindled from $226 billion to $20 billion. Unthinkable!
With most failed acquisitions, what is often evident is that the entrepreneurial drive is misplaced. The original vision is lost as the company is absorbed into a big corporation that does not share the same founding values and company culture.
To become a gigantic multinational, acquisitions are quicker than organic growth. We cannot avoid acquisitions as a growth mechanism. So, how do entrepreneurs, looking to make an acquisition, institutionalize the vision, drive and company culture that will exist beyond the founder?
Due diligence needs to be done, and the top talent at those companies need to be retained, particularly at an executive level. It is common for major companies to acquire just 80% of another company, leaving 20% for the management and founder. This keeps them motivated and encourages them to stay and help the company to continue to grow.
Credit: Forbes Africa
Make Achieving Your Long-Term Goals More Fun in the Short Term
WHAT ARE THE ADVANTAGES AND DISADVANTAGES OF A PARTNERSHIP?
Pivot to the Future: How to Change the Course of a Floundering Company in 3 Easy Steps


From a collection created by Olgoj Chorchoj, this stunning series of large flame cut globes is beautiful. These droplet crystal cupola are available with three types of mounting; polished stainless steel, copper coated and matte black.
The globes vary between 16 and 20 kilograms. As they are all handblown weights and measurements will vary slightly from piece to piece.
The ceiling rose matches the bulb holder.


When there's anything jewelry, no gal can or will get sick of it! For my latest Friday Favorite, I focus on RHINESTONES & JEWELS! The hot summer and fall trends of these "gems" are appearing left and right, and when mixed with some of the best design houses and indie designers out there, here's a great round up. After my musings took place with this trend, I zoned in on BVLGARI's facilities, Shorouk's Rhinestones, and of course, the gorgeous Dior Technicolor Jewels, Cher Dior—these three are so unique and each sit in their own unique element. Take a look-see!
Can you say elegance & class? These Shourouk pieces below are to be worn all year round!


Taste Of Home Touring Country Kitchens Lorna Sunflowers is free HD wallpaper. This wallpaper was upload at April 20, 2019 upload by admin in .You can download it in your computer by clicking resolution image in Download by size:. Don't forget to rate and comment if you interest with this wallpaper.


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Discussion in 'Installation/Configuration' started by tcroteau, Sep 30, 2008.
Once again, kudos for the BEST Linux site on the net. I have a quick question regarding the howto, "How To Make A Fully Customized KDE Live CD/DVD Using Kubuntu".
We need some software installed to handle key factors like sound automount and many other things. The current installation is exremely minimal and would require a great amount of time to go through and individually find all the correct packages needed. So I have used Synaptic to create a recovery file of all the software you need for your core install system.
Click Reload in Synaptic to update the apt sources.
In Synaptic go to File >> Read Markings >> browse to the file BaseBuild that was included in the archive along with this file.
Can you tell me what the red line above is referring to?
Not sure, but maybe it is referring to the recovery file?


A ground-breaking ceremony for a Mekong River bridge will take place Wednesday at the construction site in Kompong Cham province.
The 1.3-km bridge is being constructed in Kompong Cham town, 125 km north of Phnom Penh. It will be the first one connecting the east and west of Cambodia, according to a press release. The nation is divided into two regions by the river.
In answer to a request from the Cambodian government, Japan donated about 6.4 billion yen, or $55.5 million, through Japan Grant Aid Program. The project is expected to be completed in March 2002.
The new bridge will play a key role in increasing transport of goods and people between the two regions, where ferry boats are now only means to cross the river, Public Works Minister Khy Tainglim said in the statement.


Gettext shows its age both in developer and translator friendliness. What's wrong with the old known localisation file formats which Google and Mozilla among others are so keen to replace? I don't have a full answer to that. Gettext is clearly quite inflexible compared to Mozilla's file format (which is almost a programming language) and it does not support many of the new features in Google's resource bundles.
My general recommendation is: use the file format best supported by your i18n framework. If you can choose, prefer key based formats. Only try new file formats if you need the new features, because tool support for them is not as good. There is also no clarity which of the new file formats will "win" the fight and become popular.
When making something new, it is good to look back. The motivation why I wrote this post initially was my annoyances writing a tool which supports this format, but the context I'm going to give is completely different. It has been waiting as draft to be published for a long time because it lacked context where it makes sense. Maybe this also helps people, who are wondering what localisation file format they should use.
Can support plural for many languages. The plural syntax is flexible enough to cover at least most if not all of world's languages.
Fuzzy translations. It has a standard way to mark outdated translations, which is a necessity for this format which does not identify strings.
Tool support. Gettext can be used in many programming languages and there are plenty of tools for translators.
Strings have no identifiers. This is my biggest annoyance with Gettext. Strings are identified by their contents, which means that fixing a typo in the source invalidates all translations. It also makes it impossible to keep any track of history. This causes another problem: Identical strings are collapsed by default. This is especially annoying since in English words like Open (action) and Open (state) are the same but in other languages they are different. This effectively prevents proper translations, unless a message context is provided, but here lies another problem: Not all implementations support passing context. Last time I checked this was the case at least in Python.
And one nasty corner case for tool makers is that empty context is different from no context. If you don't handle this right you will be producing invalid Gettext files.
I listed plural support above as a plus, but it is not without its problems. One string can only have plural forms depending on one variable. This forces the developers to use lego sentences when there is more than one number, or force the translators to make ungrammatical translations. Not to mention that, in Arabic and other languages where there can be five or even more forms, you need to repeat the whole string as many times with small changes. Lots of overhead updating and proofreading that, as opposed to an inline syntax where you only mark the differences. To be fair, with an inline syntax it might hard to see how each plural form looks in full, but there are solutions to that.
There is no standard way to present authorship information except for last translator. The file header is essentially free form text, making it hard to process and update that information programmatically. To be fair, this is the case for almost all i18n file formats I've seen.
The comments for individual strings are funky. There are different kinds of comments that start with "#," "#|", not documented anywhere as far as I know, and the order of different kinds of comments matters! Do it wrong and you'll have a file that some tools refuse to use. Not to mention that developers can also leave comments for the translators, in addition to the context parameter (so there are two ways!): the translators might or might not see them depending on the tool they use and on what is propagated from the pot file to the po file. It is quite a hassle to keep these comments in sync and repeated in all the translation files.
I'm curious to hear whether you would like to see more of these evaluations and perhaps a comparison of the formats. If there isn't much interest I likely won't do more.
You are currently browsing the It rains like a saavi blog archives for November, 2013.


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Lewis Rosen
'A date which will live in infamy'
The Capitol Dome
Watching yesterday's ugly scenes of a raging mob storming the U.S. Capitol Building, following weeks of wild words of incitement from President Donald Trump, brought to mind the chilling words of Franklin D. Roosevelt, who memorably referred to December 7, 1941 as "a date which will live in infamy." So, too, January 6, 2021.
It also brought to mind three well-known American novels that depicted the darker side of American politics: "It Can't Happen Here," "All the King's Men," and "The Plot Against America." Wikipedia entries about these novels can be found here, here, and here.
Sinclair Lewis, winner of the Nobel Prize in Literature in 1930, wrote "It Can't Happen Here" in 1935. The novel imagined a takeover of the U.S. government by a fascist-leaning politician who establishes a totalitarian regime. In writing this work, Lewis seems to have been influenced by events in Germany and Italy and by the rise of Huey Long, who was first governor of Louisiana and then elected to the U.S. Senate on a strongly populist platform.
In 1947, Robert Penn Warren won the Pulitzer Prize for his novel, "All the King's Men," whose main character is a charismatic Southern politician. The plot seems to have been a fictional depiction of the later career of Huey Long.
In 2004, Philip Roth, one of the leading writers of his generation, wrote "The Plot Against America," which imagined an alternative history in which Charles Lindbergh defeated Franklin Roosevelt in the election of 1940, pursued pro-German and pro-Japan foreign policies, and ushered in a series of antisemitic measures domestically. Lindbergh had become a genuine American hero due to his 1927 feat of being the first to cross the Atlantic on a non-stop solo flight. He became a defender of Adolf Hitler in the late 1930s.
A stage version of the Lewis novel was made in 1936. Two film versions of Warren's novel have been creative and commercial successes. A television series based on Roth's novel was produced in 2020. But, sometimes, reality can have an even greater impact than works of the imagination.
As many have commented, the United States is a deeply divided country and its inflamed politics have been on a downward spiral for years. Will the terrible images broadcast from Washington, D. C. yesterday, a glimpse into the abyss, as it were, spur a process that will lead back to a more benign political reality for the United States?
Lewis Rosen is a retired economist who has lived in Jerusalem for more than 35 years. Born and educated in the US, he worked for the Office of Economic Opportunity for two years in Washington D.C. and was on the economics faculty of York University in Toronto, Canada for 13 years. In Israel he has been involved in a wide range of business planning and economic analysis projects.
US Electoral College
The charisma of Donald Trump
Harold Behr