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National Observer
Food Insider
Ottawa Insider
GEN Toronto
Quadra and Cortes Island, B.C.
Exxon under investigation by NY for historic climate denial
By Mychaylo Prystupa | News, US News | November 6th 2015
#57 of 91 articles from the Special Report: Road to Paris
Exxon Mobil Corporation fuel truck. CP photo.
A legal investigation was triggered this week to determine the extent to which oil multinational giant Exxon Mobil conducted research in the 1970s about human-caused climate change, then lied to the American public about the risks of global warming for decades.
The New York Attorney General issued a subpoena on Wednesday demanding that the company — then known as Exxon — hand over historic corporate memos related to its research on climate change going back four decades. The probe was fuelled by the disclosure of many such documents this year by investigative journalists at Inside Climate, The LA Times and the Columbia School of Journalism.
Kert Davies with the Climate Investigations Center in Washington D.C. says the memos made public so far reveal that Exxon scientists had reached serious conclusions about the harm its oil products could do to impact climate change.
The scientists also warned senior Exxon executives that "if society took this [climate] risk seriously, it would be risky for the company's bottom line," Davies said Thursday.
In one far-sighted memo from the early 1980s, a senior Exxon scientist discussed the impact of climate change in the year 2030 with a colleague. "Catastrophic" impacts were chillingly described for a "substantial fraction of the earth's population," said the letter.
Blanchet's decision to block critics on Twitter hinders free speech, experts say
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"Whereas I can agree with the statement that our best guess is that the observable effects in the year 2030 are likely to be 'well short of catastrophic,' it is distinctly possible that the CPD scenario will later produce effects which will indeed be catastrophic —at least for a substantial fraction of the earth's population," wrote Exxon scientist Roger Cohen in a 1981 memo.
The company letters also show how Exxon flirted with scientific efforts — using the company's global network of oil tankers and drilling platforms as research stations — to lead the way in solving the greenhouse gas "CO2 problem."
But then Exxon's climate research was curtailed in the late 1980s, the memos also reveal.
Sowing doubt
Exxon then went on for decades to fund climate denial groups to create confusion about the very climate change problem identified by its own scientists, Davies said.
He listed the Competitive Enterprise Institute and the Heartland Institute in the U.S. and the Fraser Institute in Canada, among the groups funded by Exxon.
"Exxon funded these groups heavily to sow doubt, to put out messages about the lack of certainty around climate change, stressing that we don't know enough to act, that it's not a done deal," said Davies.
Exxon Mobil's top executive took to Fox News airwaves to say his company had not been misleading the public about climate change.
"Nothing could be further from the truth," said CEO Rex Tillerson on Wednesday.
"They're dealing with a period of time that happened decades ago," he said. "I'm not sure how helpful it would be for me to talk about it, particularly as we're leading up to some very important meetings that are going to occur in Paris here in just a few weeks. I don't want to be a distraction. I really don't want this to be a distraction. There's some serious issues that need to be talked about."
Davies says Exxon memos suggest the company was in a powerful position to know the truth about climate change. In the 1970s, it had world-class scientists working on the problem.
Exxon had top scientists working on climate change
"They were the smartest people in the room. They were a science organization — they were hiring the best scientists to work at Exxon. They brag about ... how Exxon's research was the 'Bell Laboratory' of energy.
"They brag about how one of their guys developed a better way to make solar panels in the 1970s. If they had put their muscle into those efforts at that time, they could've led us on to the energy revolution that we need. Yet they chose to keep selling us oil, and keep us addicted to oil," said Davies.
The New York state attorney now seeking Exxon Mobil's records is demanding memos dating back to the 1970s, using specific powers under the Martin Act — a state law that makes it illegal for corporations to knowingly commit "fraud, deception, concealment" of its activities from the public that might affect shareholder value. Most of the world's public companies are traded in New York.
U.S. legal experts say the state investigation — which comes just weeks before global climate treaty talks in Paris — has the potential to explode into a legal juggernaut against Big Oil, the same way previous legal efforts hit large tobacco, asbestos and lead companies.
"I think that the prospects that it will lead to significant investigations and subsequent litigation are very high," said lawyer Carroll Muffett, CEO of the Center for International Environmental Law (CIEL) in Washington D.C., on Wednesday.
"Free speech doesn't extend to lying to Congress"
Muffett expects prosecutors to also pore over Exxon's statements made to government bodies for evidence of misleading the public.
"Unfortunately for the company, free speech doesn't extend to lying to Congress or lying to a regulatory agency," he said.
"What we'll see is a close scrutiny of testimony, not only before Congress but likely before state legislatures ... [and] the scientists who we now know they were funding."
Muffett says Exxon did far more than just produce false advertising and promote its industry.
"There's certainly both in marketing and in political advocacy room for puffery and opinion. But unfortunately that breaks down to if it can be shown that a company itself was abundantly aware of the risks of its product and took proactive steps to mislead the public or regulators about those risks," Muffett added.
Major climate-related lawsuits against the oil industry have been brewing for years.
Two think tanks — the Climate Accountability Institute and the Union of Concerned Citizens — wrote a 2012 report on how to pin accountability for climate change damages on oil companies, using tobacco-cancer lawsuits as guidance.
Clinton: "There's a lot of evidence that [Exxon] misled people"
Democratic presidential candidates Hillary Clinton and Bernie Sanders, and four U.S. senators, have called for a federal Department of Justice investigation as well.
"There's a lot of evidence that they misled people," Clinton told a community organizer in New Hampshire on Oct. 29, in a video circulated by environmental group 350.org.
The co-author of Climate Cover Up — a book about the oil industry's PR trickery to sow doubt about about climate change —says America has been fooled about climate science for too long.
"President Lyndon Johnson was warned of climate change in 1965. None of this snuck up on us," said Richard Littlemore from Vancouver.
"Which is why I was so enraged by the narrative of confusion that prevailed throughout the 1990s and the 2000s. There was never any rationale for us to be mystified by climate change science. It was clear as a bell."
U.S. President Obama is now making climate action a key part of his last year in office. Friday, he rejected TransCanada's proposed Keystone XL pipeline, after years of delays. Obama also used the Environmental Protection Agency (EPA) this year to bypass the Republican-controlled Senate and Congress to mandate "historic" carbon pollution standards for power plants, which are expected to seriously dent coal emissions.
Exxon Mobil is now on a PR blitz in defense of its views on climate change. The firm's vice president, Ken Cohen, also said Thursday that the "Exxon Mobil recognizes that climate risks are real and responsible actions are warranted."
Exxon Mobil (NYSE:XOM) is one of the largest oil companies in the world. It took in an estimated $394 billion in revenue last year, and $4.94 billion in profits in the first quarter of 2015 alone.
The U.S. has been hard hit by droughts recently in California, while other countries have been struck with super typhoons such as the one that hit the Philippines two years ago, killing 6,000.
The investigation is making huge waves on social media under the hashtag #ExxonKnew.
Don't miss out on the latest news
Mychaylo Prystupa
@mychaylo
The end of Keystone XL
By Charles Mandel | News, US News | November 6th 2015
Canada's Oilsands
Lower oil prices push Exxon Mobil's profit down 46 per cent; weakest 1Q in 6 years
By The Canadian Press | News, Energy | April 30th 2015
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Weekend Warrior • March 5, 2020
The Weekend Warrior (Mar 5-8)
FIRST THURSDAY FEAT. ARIZONA JONES
THURSDAY, MARCH 5 (5-7 pm)
NEVADA MUSEUM OF ART
It's First Thursday! You know what that means? It's time to kick off the weekend and the month. We're invited to get out, listen to some fun music, enjoy a little art, indulge in our favorite beverage, mingle and take pleasure in the company of friends and new acquaintances. This weekend, one of Reno's more popular bands, Arizona Jones, brings a carefree energy and puts "their rockin' spin on classic R&B from the 60's and 70's." Beverages are served by Great Basin Brewing Company and Whispering Vine Wine Company. Learn more and buy tickets in advance at NevadaArt.org.
JESSICA MICHELLE SINGLETON
THURSDAY-SATURDAY, MARCH 5-7
PIONEER UNDERGROUND & LEX NIGHTCLULB
Don't let this innocent looking photo fool you. Jessica Michelle Singleton brings just enough naughty to her stand-up comedy to give an edginess to her performance. She "combines introspective observations and vulnerable personal stories, coupled with ideas from what some people refer to as a hyperactive, weird and slightly deranged imagination to make people laugh so hard they cry…" Singleton has been traveling the globe, spreading her humor to audiences around North America, Europe, Africa and Asia. She is here in Reno for 5 funny stand-up performances, so catch her at one of them. Visit RenoTahoeComedy.com for showtimes and ticket sales.
JOE NIPOTE
THRU SUNDAY, MARCH 8
LAUGH FACTORY – INSIDE THE SILVER LEGACY
Funnyman, actor and talented voiceover artist Joe Nipote takes the stage at Laugh Factory to make you smile and laugh the entire way through. This quick-witted comedian originally from Southfield, Michigan has made a name for himself since 1980, opening for major headliners in Las Vegas, Lake Tahoe and Atlantis, co-starring in several movies and the Paramount series "Viper" and touring the country doing stand-up. Click here for a great example of Nipote's spirit on-stage and with his audience. See him live at one of his many appearances this weekend at LaughFactory.com.
JORDAN WORLD CIRCUS
FRIDAY, MARCH 6-SUNDAY, MARCH 8
RENO-SPARKS LIVESTOCK EVENTS CENTER
The aroma of cotton candy and buttered popcorn, the excitement of building music, the bravery of acrobats and tightrope walkers, and the courage of motorcyclists taking on the "globe of death." Experience all this and more at Jordan World Circus, coming to The Biggest Little City this weekend. It wouldn't be the circus without highly trained and skilled elephants and tigers, and Jordan World Circus has them. Don't miss this treat for the whole family! For tickets in advance, please visit the Facebook Events Page.
NOISES OFF!
FRIDAY, MARCH 6- SATURDAY, APRIL 4 (DAYS VARY BY WEEK)
GOOD LUCK MACBETH THEATRE
It's opening weekend of Michael Frayn's Noises Off at Good Luck Macbeth Theatre this weekend! The play, brimming with slapstick comedy, takes a fond look at the follies of theatre folk, whose susceptibility to out-of-control egos, memory loss, and passionate affairs turn every performance into a high-risk adventure. It is more specifically a play-within-a-play that captures a touring theatre troupe's production of 'Nothing On' in three stages: dress rehearsal, the opening performance, and a performance towards the end of a debilitating run. Frayne gives us a window into the inner workings of theatre behind the scenes, progressing from flubbed lines and missed cues in the dress rehearsal to mounting friction between cast members in the final performance. This delightful production runs through April 4! For tickets and more info, please visit GoodLuckMacbeth.org.
SATURDAY, MARCH 6 (8 pm)
NUGGET CASINO RESORT – NUGGET BALLROOM
Transport yourself back to the early 90's, when TLC topped the charts with #1 single fan-favorites like "Creep," "Waterfalls," "No Scrubs," "Unpretty" and more! The group's accolades include 4 career Grammy Awards, 5 MTV Video Music Awards, and 5 Soul Train Music Awards and more! TLC is down one member, Lisa "Left Eye" Lopes, as she tragically died in an auto accident in 2002, but remaining members Tionne "T-Boz" Watkins and Rozonda "Chilli" Thomas carried on, finishing their 4th studio album in 2002, and in 2017 producing their self-titled 5th album. They light up the Grand Sierra stage with their cool energy for one night only! Purchase tickets online to see TLC live at GrandSierraResort.com.
SNOWFEST
SEVERAL LOCATIONS NORTH LAKE TAHOE
Snowfest,North Lake Tahoe's awesome 10-day celebration of winter, offers plenty of fun for locals and visitors alike. The event proceeds benefit local non-profits, public programs, student organizations and scholarships in the North Lake Tahoe community. For full details of what is happening in the final days of Snowfest, visit TahoeSnowFest.com. Here is a summary of events happening this weekend!
Thursday, March 5: West Shore Market Cornhole Tournament, Meet the Avalanche Rescue Dogs of Squaw Valley
Friday, March 6: Bridgetender's 11th Annual RIbfest,"A Night in New Orleans" with Ike and Martin, Blake Apalooza at Blue Agave
Saturday, March 7: North Tahoe Public Utility District Pancake Breakfast, Dress Up Your Dog event, Snowfest Parade in Kings Beach, Alaskan Open Snow Golf Tournament, Home play live at Hacienda del Lago.
SILVER LEGACY – GRANDE EXPOSITION HALL
I'm not sure where the sound of The Beach Boys takes you, but for me, I'm instantly swept away to the Santa Cruz Beach boardwalk to a much simpler time. This iconic throwback band certainly elicits memories of walking the strand and hearing these instantly recognizable tunes. The Beach Boys are likely to bring back favorites this weekend like "Wouldn't It Be Nice," "Surfin' USA," "I Get Around" and "Kokomo" come to mind. If you want to see The Beach Boys live, don't wait to buy tickets. Get them online now at SilverLegacyReno.com.
GRAND SIERRA RESORT – GRAND THEATRE
You might be wondering why the band 311 is named 311… Well, it just so happens that it originated from the police code "311" that indicates indecent exposure. This came after the band's original guitarist was arrested for streaking in their hometown of Omaha, Nebraska. Naughty boy! The rest is history. The band went on to produce 13 studio albums, 2 live albums, 4 compilation albums, 4 EPs and 4 DVDs. 311 produced popular hits like "All Mixed Up" in 1995 "Beautiful Disaster" and 1997. Enjoy their unique blend of alternative-rock, reggae-rock, funk-rock and alternative-metal Saturday night. Get tickets to see them live in Reno at GrandSierraResort.com asap.
GINUWINE
SATURDAY, MARCH 7 (10:30 pm)
LEX NIGHTCLUB
R&B artist Ginuwine, makes a stop in Reno's Grand Sierra Resort for a late night of live music and his greatest hits. Groove to fan-favorites like "Pony" (has nearly 98,000,000 views on YouTube), "Differences" and "So Anxious," Ginuwine has enjoyed a fruitful career, having released a number of multi-platinum and platinum-selling albums and singles, becoming one of R&B's top artists during the late 1990s and early 2000s. If you want to party late into the night and early morning hours at the GRS, you may want to get your tickets now at LEXNightclub.com.
ART CLASSES & WORKSHOPS
ALL WEEKEND
NEVADA MUSEUM OF ART – 160 W Liberty St, Reno
Perhaps you're in the mood to get creative and bring out your inner artist this weekend! Here are the classes and workshops offered to the Nevada Museum of Art:
Thursday, Mar 5- Life Drawing: Open Studio. Explore a variety of media while working freely from nude models. Both male and female models will be posed and drawn. Age 18+ (15+ with instructor approval).
Friday, Mar 6- Book Arts: Coptic-Style Hardcover Journal. Create a beautiful hardcover journal with exposed sewing on the spine and inventive book covers. Age 15+
Saturday & Sunday, Mar 7 & 8- Edward Hopper Inspired Oil Landscape Painting. Re-create a "master copy" of Edward Hopper's fine art. Age 15+
Visit NevadaArt.org for this weekend's schedule, registration info,
and to learn more about upcoming classes and workshops!
COMING IN APRIL18 & 19!
TICKETS ON SALE…
THE LITTLE MERMAID BALLET
SATURDAY, APRIL 18 (8 pm) & SUNDAY, APRIL 19 (2 pm)
The Pioneer Center for the Performing Arts goes "Under the Sea" April 18 & 19 when A.V.A. Ballet Theatre presents The Little Mermaid. Choreographed by Alexander Van Alstyne, The Little Mermaid is the captivating story of a beautiful mermaid and her dreams of becoming a human. A dashing prince, a sea witch, crabs, and jovial eels have starring roles in this fantasy adventure. The classic story is filled with mesmerizing dance, intrigue, and is fun for the entire family. The Reno Philharmonic Orchestra with Laura Jackson will perform the exciting score. Select and purchase your tickets early for best seats by visiting PioneerCenter.com. Tickets may also be purchased at the Pioneer Box Office M-F, 11 am-6 pm and 2 hours before each show.
YOUR LOCAL SKI CONDITIONS AND LIFT STATUS
ANYDAY
CHOOSE AN AWESOME LOCAL RESORT
While winter decided to make her mini comeback last weekend with 1 to 1.5 feet of additional snow on the base, skiers and boarders are hopeful that our typical March resurgence of winter will come through in the coming weeks! Forecasters predict more precipitation this weekend, but just how much will fall? Check your favorite snow riding resorts below for conditions and lift status:
Mt. Rose
Squaw Valley-Alpine Meadows
Diamond Peak
WHAT THE FED'S SURPRISE INTEREST RATE CUT
MEANS FOR MORTGAGE RATES
Per Realtor.Magazine/Daily-News, "On Tuesday, the Federal Reserve announced its first emergency rate cut since the financial crisis due to mounting concerns over the economic impact from a potential coronavirus outbreak in the U.S." Just what kind of impact does this potentially have for mortgage rates? Learn more at Realtor.Magazine/Daily-News as you may consider refinancing your current mortgage now. And if you need a referral to a great lender to do that, email me now!
11699 VERAZAE COURT
Beautiful home with a view! Can't beat a mountain view like this one! 11699 Verazae Dr. in South Reno (Curti Ranch) offers this gorgeous Mt. Rose view and features a shaded patio, water feature, fire pit, and paver patio, all ideal for outdoor entertaining. Inside, the home includes 4 beds/2.5 baths/2 car garage, dining room, kitchen/breakfast nook/family combo, and loft/bonus room. 11699 Verazae is 2,547 square feet on a .19 acre lot and just a 3 min drive to Summit Shopping and movie theater, and 22 minutes to Mt. Rose Ski Resort. Though this lovely home is currently under contract already, our sellers are happy to consider backup offers. Visit Bit.ly/11669Verazae for more photos and information and contact me for a showing appointment today.
Weekend Warrior Weekend Warrior: January 2022 Welcome to THE WEEKEND WARRIOR Welcome to 2022!! I'm so excited to bring you another year of The Weekend Warrior, your guide for the best events happening around the Reno/Sparks/Lake Tahoe region every month! Here are several ideas for getting out as you kick off this New Year. Be safe and healthy! Cheers! PBR VELOCITY TOUR FRIDAY, JANUARY […]
Weekend Warrior Weekend Warrior: December 2021 Welcome to THE WEEKEND WARRIOR The Weekend Warrior is your guide for the best events happening around the Reno/Sparks/Lake Tahoe region! Check out the assortment of exciting offerings in December 2021. May the joyful Spirit of the Holidays live within your hearts and spread to those surrounding you! TAHOE FILM FEST DECEMBER 2-5, 2021 INCLINE VILLAGE, NV – NORTHSTAR, […]
Weekend Warrior Weekend Warrior: November 2021 THE WEEKEND WARRIOR takes a quick look at the best events around the Reno/Sparks/Lake Tahoe region from Intero Real Estate Services in Reno. Do you get it from a friend but want it every week? Subscribe here! And email me if you want me to promote your upcoming event! View this email in your browser Welcome to […]

redpajama_set_name: RedPajamaCommonCrawl


How can I display an image map for the title bar area of subgraphs in my JViews Diagrammer JSF Web application?
By default, image maps are not generated for an expanded manager (subgraph): IlvImageMapAreaGenerator.isGenerateManagerArea() with return false.
By adding this line, the image map area for the whole subgraph can be generated.
This means that wherever you are on the subgraph, the tooltip is visible.
In the current use case, you want to *limit* the image map generation to the title area of each subgraph.
You therefore need to restrict the generated coordinates where the image map can be displayed to the title area of each subgraph.
Such a restriction implies that you need to subclass the image map generator and override its generateCOORDS() method to return coordinates for the title area only and not for the whole subgraph graphic.
You can download this sample imagemap_subgraph_title.zip that illustrating this mechanism.
Note: Starting in JViews Diagrammer 8.7, a new Tooltip interactor has been introduced that shows tooltip of graphic objects on JSF components. This new interactor uses the Hitmap technology which can work simultaneously with other interactors such as the zoom and pan interactor. This interactor will show tooltip of the subgraph when hovering over the title bar area by default. This Hitmap based Tooltips are preferable when implementing JViews Web applications.


Thus began a golden age for photography in New Brighton, which lasted until 2003 when Wood moved to his current home in North Wales. In the intervening 25 years, Ken Grant also lived in New Brighton from 1992-2002, studying for a spell at Wirral Met, and Martin Parr was based just 20 minutes away from 1982-1985. Between them the three photographers created a huge body of work on the seaside town, which is based just across the River Mersey from Liverpool in North England.


Permalac NT coating exhibits excellent durability combined with low odor. Permalac NT provides excellent performance on steel, aluminum, brass, and bronze.
Like the Original formula, Permalac NT is also a DTS coating. Permalac NT has only 170 grams of VOC/liter which is less than the 250 g/l mandated by California law. In laboratory and field testing, Permalac NT performs just as well as standard Permalac, without the strong odor! Permalac NT complies with most government regulations for interior use lacquer products. This makes it the ideal treatment for inside window and door frames and the decorative metal in commercial building lobbies and elevators.
With under 70 g/l, Permalac NT is the next level of low VOC performance. This coating exhibits excellent durability combined with low odor. Permalac NT provides excellent performance on steel, aluminum, brass, and bronze. Permalac NT is suitable for indoor and outdoor application and will pass LEED certification specs. Call for SDS sheets.
This is a case containing twelve 12-ounce spray cans. Permalac NT is also available in either matte, satin, or semi-gloss finishes. You can also order it in cans, quarts, gallons, 5 gallons and 55-gallon drums.


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US designates Bahrain-based group as Specially Designated Global Terrorist
US designates Bahrain-based group as Specially Designated Global Terrorist /node/1777826/middle-east
Members of Iran's Revolutionary Guards march during a military parade to commemorate the 1980-88 Iran-Iraq war in Tehran Sept. 22, 2007. (Reuters)
https://arab.news/mqfsd
Updated 15 December 2020
Saraya Al-Mukhtar is an Iran-backed terrorist organization based in Bahrain
Bahrain welcomes the decision as 'important positive step'
LONDON: The United States on Tuesday designated the Bahrain-based Saraya Al-Mukhtar group as a Specially Designated Global Terrorist, accusing it of being an Iran-backed terrorist organization and of having plotted attacks against US personnel in Bahrain.
"Saraya Al-Mukhtar is an Iran-backed terrorist organization based in Bahrain, reportedly receiving financial and logistic support from Iran's Islamic Revolutionary Guard Corps," US Secretary of State Mike Pompeo said in a statement.
Today's designation of Saraya al-Mukhtar sends a strong message to the Iranian regime that we will not allow its terrorist proxies to threaten the people of Bahrain and the U.S. personnel stationed there.
— Secretary Pompeo (@SecPompeo) December 15, 2020
Bahrain welcomed Washington's decision to designate the group as a terrorist organization as it threatens the security of the kingdom and the world.
The Ministry of Foreign Affairs called it an "important positive step to confront the malicious actions and intentions of this terrorist organization supported by the Iranian Revolutionary Guards and combat its destabilizing activities in the region and drying up its sources of financing."
The ministry also said it commends the US's "relentless efforts" in combating and confronting all extremist and terrorist groups.
Topics: US Bahrain Iran Saraya al-Mukhtar Iranian Revolutionary Guards
US could designate Houthi militia as 'terrorist' organization
US welcomes Serbia's move to designate Hezbollah terrorist organization


text:
Q: Ocultar un botón basado en una categoría de producto especificada Woocommerce tengo un sistema de reembolso que agrega botones de reembolso para todos los pedidos para que los clientes puedan solicitar su reembolso, la cuestión es que tengo unos productos que no permiten reembolso y el botón aparece para dichos productos, me gustaría poder ocultar el botón para una categoría de producto específica, en la página de mi cuenta en la Vista de pedidos, el botón se compone de la siguiente clase:
<button class="button ywcars_button_refund">Refund</button>

Entiendo que para lograr esto tengo que crear una función condicional usando: has_term() de este código pero no puedo lograrlo:
function action_woocommerce_order_details_after_order_table( $order ) {
        };

add_action( 'woocommerce_order_details_after_order_table', 'action_woocommerce_order_details_after_order_table', 10, 1 );

Mi conocimiento en php es básico y no sé cómo construir la función, realmente aprecio que alguien pueda ayudarme por favor.

redpajama_set_name: RedPajamaStackExchange


Last Saturday, fellow ETCL daredevils (toyota, threep, jeff, mattie, reacher, mathilya, gloozy, kestrel and grey) assembled at the top of Maze Bank to face the challenge of the another perspective, also known as the First Person Camera Lock.
We moved straightforward to the playlist. On my airport race, jeff began his victory march, in front of mattie and me. Next, we realized how hard is to fight in the first person. In mike's LTS, the most popular strategy was to spam the punch button. Congratulations to grey and reacher for doing it most successfully! Then, mattie's Pacific Standard elite race followed, once more won by jeff. We continued with mattie's "angry birds" pirate version, in which chaos ensued as always.
Next, jeff completed his hat-trick, winning a fast-paced race around Raton Canyon. After that, we competed in kassz's Fort Zancudo race, won by gloozy, who also became MVP in following bowling game. Jeff won also the final awesome special-stage-styled race. We finished with parachute jump, in which me and jeff had the same score. However, jeff was faster by 70 milliseconds, and so he was the winner again.
Not surprisingly, jeff won the playlist with massive advantage of 19 points over gloozy in 2nd and me in 3rd. With this, jeff beated the crew's record in the biggest advantage over 2nd player. Congratulations for such impressive performance!
The livestreams can be found here (gloozy's perspective) and here (mattie's perspective). Also, enjoy some screenshots below!
Great report. Thanks for this wonderful write-up mathilya, and also for assembling those nice pictures!!
← Thank you 83427 for everything that you have done for the crew!!


The Housing Opportunity through Modernization Act (H.R. 3700) was signed into law by President Obama on July 29. This law will act to ease restrictions on mortgage financing for condominiums. The law reforms the process used by the Federal Housing Administration (FHA) to determine if condominium unit owners will be in a position to qualify for FHA insurance.
In 2009, FHA changed the rules for qualifying for insurance, leaving most condominium home buyers without the opportunity for FHA insured mortgages. The new law will result in some improvements for home buyers who view condominiums as an affordable housing option.
Under the new law, the FHA must issue guidance regarding the percentage of units that must be occupied by owners in order for the condominium project to be eligible for FHA mortgage insurance. The current requirement is 50 percent owner occupancy. In the event the FHA fails to issue guidance within ninety days of the effective date of the legislation, the required percentage for owner occupancy automatically becomes 35 percent.
The new law amends the National Housing Act to modify certification requirements for condominium mortgage insurance to make recertifications of condominium projects substantially less burdensome than original certifications. The FHA is required to consider lengthening the time between certifications for approved properties and allowing information to be updated rather than resubmitted.
It will be interesting to see how the FHA implements the new law. Changes to FHA regulations and existing agency guidelines should be expected soon.
The National Association of Realtors has been a proponent of the new law and praised its passage in a press release as a victory for real estate agents and home buyers.
This law affects housing in other ways. It modifies HUD's rental assistance programs, including Section 8 low-income (voucher) and public housing programs. In addition, it modifies the Department of Agriculture's single family housing guaranteed loan program.
The expectation is that the new law will make home ownership for first-time buyers (and old King Tut in his "condo made of stone-a") a little easier in the current economic environment.
The Research Department of the National Association of Realtors® surveyed members in August about their awareness and preparation for the changes in residential closings being implemented by the Consumer Financial Protection Bureau in October of 2015. The most dramatic change is eliminating the current disclosure forms in favor of a Loan Estimate and Closing Disclosure, collectively called the TILA RESPA Integrated Disclosures (TRID).
The results of the survey were detailed in an Executive Summary entitled "TRID: REALTORS® and the New Closing Process".
The best news from the report is that 71.2% of the respondent members rated their level of preparedness as average or better. Many stated they are taking action and working with their industry partners to prepare for a smooth transition. More than 80% of respondents indicated they have taken some form of TRID training.
Dirt lawyers should expect to see changes in residential form contracts. More than half of respondents indicated they will adjust contracts to reflect longer closing time frames, and almost a third indicated they plan to adjust contracts to include new contingencies.
Take a look at the following chart for more information on how Realtors® plan to deal with the new rules.
Although it is anticipated that the changes may introduce new burdens on lenders, closing attorneys and REALTORS®, many of the respondents indicated the number of delayed closings has been low in the past, and they will continue to work with their industry partners to help make the transition smooth.
Real estate lawyers who have not reached out to their REALTOR® contacts should do so soon and often to assist with the transition!


text:
Q: Passing SVG React Component as Props I am trying to pass SVG React Component as props and getting an error JSX element type 'Icon' does not have any construct or call signatures. I tried to make Icon property as required or to make Icon type as any, but I got the same error.

import React from "react";
import {ReactComponent as RecentGamesIcon } from "../../static/images/icon_recent_games.svg";
import CollapsibleArea from "../collapsible-area";

const SeoSectionContainer = (): JSX.Element => {
  return (

       <CollapsibleArea mainText={testMainTest} helpText={testHelpText} Icon={<RecentGamesIcon />} />

  );
};

import React from "react";

type TProps = {
  mainText: string;
  items?: JSX.Element[];
  Icon?: JSX.Element;
};

const CollapsibleArea = ({ Icon, items, mainText }: TProps): JSX.Element => {
  return (

      {!!Icon && <Icon />}

{mainText}

  );
};

`

A: Thank you for answering, but your variant doesn't work. Nothing, I already found solution. Icon is JSX Element: it needed to be called like this -
{Icon}
, but I called it like a React Component -
<Icon />
.

import React from "react";

type TProps = {
  mainText: string;
  items?: JSX.Element[];
  Icon?: JSX.Element;
};

const CollapsibleArea = ({ Icon, items, mainText }: TProps): JSX.Element => {
  return (

      {!!Icon && Icon}

{mainText}

  );
};

A: Try like this
import React from "react";
import RecentGamesIcon  from "../../static/images/icon_recent_games.svg";
import CollapsibleArea from "../collapsible-area";

const SeoSectionContainer = (): JSX.Element => {

  return (

   <CollapsibleArea mainText={testMainTest} helpText={testHelpText} Icon={RecentGamesIcon} />

);
};
In CollapsibleArea file
import React from "react";

type TProps = {
  mainText: string;
  items?: JSX.Element[];
  Icon?: JSX.Element;
};

const CollapsibleArea = ({ Icon, items, mainText }: TProps): JSX.Element => {
  return (

      {!!Icon && }

{mainText}

  );
};


Fogelman Properties and Thackeray Partners bought Reserve Bartram Springs, a class A apartment complex in Jacksonville, Florida, from Gamma Real Estate for $40m. Located in the city's Bayard submarket, the 268-unit property was 92 percent leased at the time of the sale. Community amenities include a swimming pool, fitness center, business center and playground. The deal was completed with a $5m Fannie Mae acquisition loan provided by Greystone and the assumption of a $23.5m Fannie Mae loan, both of which mature in 2026.
"The community was a great fit for our partnership as it sits directly within the path of growth in southeast Jacksonville and is located within 1 mile of the Pavilion at Durbin Park, a 2.4 million sq ft mixed-use development which is currently under construction," said Mike Aiken, vice president of acquisitions for Fogelman Properties.


Turning Point Benefit Group ("Turning Point") is dedicated to protecting your privacy. It is necessary for Turning Point to collect information about you, such as your name, address, account numbers, or Social Security number in order to properly service your accounts. Turning Point DOES NOT SHARE YOUR NONPUBLIC PERSONAL INFORMATION WITH NONAFFILIATED THIRD PARTIES.


Two months after Sir John Barbirolli's death in 1970 the Mahler scholar Deryck Cooke wrote to Barbirolli's biographer Michael Kennedy to declare this 1969 BBC broadcast recording of Mahler's Third, made under studio conditions in Manchester's Free Trade Hall, "one of the finest Mahler performances I have ever heard" and to inform Kennedy he had been trying to persuade EMI to issue it. Cooke explained EMI were interested instead in a live recording of a Berlin Philharmonic performance by Sir John eight weeks before. "As I didn't hear the German tape," Cooke went on, "I couldn't argue with EMI; but I do know that the Barbirolli-Hallé tape of Mahler 3 is superior to the Barbirolli- Berlin Phil disc of Mahler 9 for two very good reasons: Barbirolli's special relationship with the Hallé and the Hallé's now complete familiarity with Mahler's music. The Berlin Phil may be a finer orchestra, but they just haven't any Mahler tradition - they hardly ever perform his symphonies. In any case, the Hallé play most beautifully on the BBC Mahler 3 recording and the BBC's Manchester engineer achieved a superb balance, I thought."
Nothing came of EMI's plans. Years after Cooke's death, an aircheck of the Berlin recording allowed us to hear what Cooke did not. Now, almost 30 years after, we can hear what it was in the BBC recording that so impressed him and decide whether his instinct in preferring this was correct. I can tell you it was and for the reasons he gave. While there's no denying the Berlin Philharmonic has greater tonal élan and depth, the Hallé's grasp of the idiom, allied to their empathy with the man who had been their chief for twenty-seven years, is complete. In addition, there are times when even the famed Berliners' prowess is tested to breaking point where those same passages are negotiated by the Hallé with aplomb.
Sir Simon Rattle's new recording followed live performances too. This time at Symphony Hall in Birmingham and must have benefited from that also. Though where the Hallé recording would have been taped "as live" the Rattle has signs of being a more carefully prepared affair and perhaps some spontaneity is sacrificed in exchange for accuracy when the two are compared. Rattle's sound recording is rich, deep and well-upholstered. Very much concert hall balance with a wide spread left and right and good front-to-back perspective. Barbirolli's, on the other hand, is closer-in, almost a conductor's balance with every detail of the score clear. Some may find the balance of the brass troublesome as there's no doubt they're favoured. But with superb 20-bit remastering it all now comes over bold, brassy and exuberant. Rather like the symphony and Sir John's interpretation of it.
To execute a successful Third the conductor has to do two things before anything else. First, realise that, in spite of the fact that the work falls into Mahler's "anthologising" strand (along with Klagende Lied, the Second and Eighth Symphonies), the overriding structural imperative linking the six movements is a pattern of ascending steps based on the concept of the evolutionary ladder within Pantheistic cosmology. In general terms 1] Inorganic nature, 2] Plant and vegetable life, 3] Animal life, 4] Human life represented as spiritual darkness, 5] Heavenly life represented as childish innocence, leading to 6] God expressed through Love. The conductor who fails to see this "ladder of ascent" is one who, among other things, makes the mistake of concentrating too hard on getting the first and last movements right and neglecting the movements in between; treating them as interludes rather than steps along the journey to perfection fashioned out of the world around and beyond.
But that isn't to say the first movement does not have a degree of independence from the others. Mahler designates it Part I with the remaining movements Part II. This leads to the second thing the conductor must do and that is render the disparate elements of the first movement into a whole when the nature of its thirty-plus minute length sets it on course for structural failure. What it comes down to is the necessity for no presence of doubt on the part of the conductor as to the movement's greatness. A hard thing to quantify. It's something you know is there at a very deep level at certain "way points" in the movement and in the way you can give in to its atmosphere, hallucinatory qualities, its own lack of doubt in itself. I think it's also true that a conductor's confidence in the rightness of Mahler's vision in the first movement stands him in good stead for the rest, because those conductors who get the first aspect right tend to get the second right too and I believe Barbirolli and Rattle are of that number. No matter what observations one might care to make about their treatment of sections, matters of phrasing, dynamics and expression, their vision of the work as a journey upwards in a series of steps is undiminished, as too is their grasp of the first movement's totality and their lack of doubt as to its worth.
With Barbirolli the opening on all eight horns is bold in sound, vigorous in delivery, rude and raucous. The clear recording also allows us to hear the grumbles on percussion as primeval nature bestirs. But the uprushes on the lower strings during the opening "Schwer und dumpf" section are disappointing. It isn't as if they seem "out of phase" as in the Horenstein recording, rather the favouring of the brass reduces their impact when compared with recordings where they are made to "kick" at this point. The section at 132-147 which introduces Pan as he sleeps contains a ripe delivery of the big trombone solo and when other members of the section join, forward and close-miked, the effect of their lament comes over as black as doom. You may hear more cultured playing from great international ensembles but there's no denying the corybantic edge of the Hallé players.
Rattle's horns open the work with more sense of space, physical and musical. Each note is spaced out more deliberately and the horns themselves sound more elemental, less penetrating. Overall the brass of the CBSO are much more cultured and cushioned than the Hallé. There's no doubt they offer a better blend but there is some loss in character, especially the trombone solos which are very well-mannered indeed. The strings are better balanced in the Rattle recording too and there appear to be more of them. This means that the uprushes from the lower strings really shudder from the very depths and offer what is missing in the Barbirolli recording.
The principal role of what passes as Exposition is the delivery of the huge march meant to signify Summer's arrival. Mahler loved his marches and this one is his most energizing. So it comes over under Barbirolli. More important is the way he gives the impression of the march beginning from a distance, getting nearer, then, as it goes past, sweeping us along. The moment of its arrival has a particular quality which I can't imagine any other orchestra bringing. If Mahler was inspired by workers in Vienna, Barbirolli seems to have in mind the holiday resorts in the north of England at the height of Summer. There's about his rendition a hint of the Promenade at Blackpool with the whiff of fish and chips, the sun catching the silver paper on the "Kiss Me Quick" hats and the taste of petrol from charabancs depositing mill girls from the looms of Manchester. Rattle's march is finely done also. In terms of tempo and weight grander than Barbirolli. But I think it's missing the latter's greater sense of the approach from the far distance and also has less impudent swagger.
Then at 347 we are dragged back to the natural world with all its force and splendour as the horns roar out a theme from back at the start, and the Development is underway. I like the way Barbirolli balances his brass sections in what follows. It shows the value of the orchestra having played in a couple of live performances before the recording, adding a sense of security. The important passage 530-642 is where Mahler develops on the idea of marching and marks each section differently, something a conductor must take note of. "The Rabble", "The Battle Begins", "The South Storm" are all acknowledged and this has the effect of making the music seem to comment on itself - an extraordinary concept. Under Barbirolli I was also put in mind of some of the wilder sections of Ives in the way the marches, broken down into constituent moods, criss-cross in a mesmerising half-nightmare. In the passage leading up to this I felt Rattle could have learned a lot from the example of his older colleague. Barbirolli never loses track of the plot here where Rattle seemed to. He redeems himself in the "Ivesian" section but then lets the music sag again in the long, dreamy section before the march resumes for the Recapitulation. With Rattle my attention wandered here where with Barbirolli I remained riveted - a benefit from the fact that Sir John did the whole movement in a single take, perhaps ? Apart from this, there is some really lovely playing from the Hallé cellos prior to the return of the march proper. Their portamenti a quintessential Barbirolli fingerprint we will hear more of in the last movement.
All this is swept away because the march has one more appearance, shorn of Ivesian nightmare, again emerging from a distance, approaching and arriving in our midst. This second time I was even more aware on the Barbirolli of the long crescendo that will bring about a conclusion to this extraordinary movement. The frenzy of the end itself, starting at Figure 74 where the orchestra explodes into wild and crazy vistas, is well brought off. Though not even Barbirolli can match Horenstein on Unicorn-Kanchana, whose LSO brass are absolutely shattering. Rattle cushions the climaxes a little at the end. One gets the impression he might be wanting to save something up for the end, not fire off all his bullets too soon.
I've heard recordings where the interpretation of the second movement is such that the conductor allows it to barely peep out from beneath the weight of what preceded it. A pity because the second movement is subtler than is sometimes realised. For it to make an effect as part of the whole the conductor must lavish the same care on it he would everything else. Barbirolli's walk through the flowers in the meadows doesn't take the pretty route all the time. There are stinging nettles beyond the blooms and we stumble into them quite often in the way the woodwind allow spiky sounds to come through.
The rhythm is also nicely pointed when the tempo picks up. Which means when it relaxes into lyricism the effect is that much more nostalgic. With a slightly broader tempo Rattle can point up more details too, but I think he loses some of the bite that Barbirolli gives it, some of the sting. There is a gain here and that is in the impression of dreaminess: a more continental landscape, perhaps. It has to be said Rattle demands and gets more portamenti from his strings in this movement, the kind Sir John would have approved of.
Barbirolli adopts a very slightly slower tempo in the third movement than we are used to, but this allows a little more room to make rhythmic points and to bring out the character of the piece. I don't think I've heard the rollicking brass descents at two bars before Fig 9 and likewise before Fig. 23 delivered quite so loud and with such precision. Barbirolli must have drilled his players meticulously here and their contributions come off superbly. Rattle has nothing approaching it, but then, by now, such a sound would have been out of place.
The crucial posthorn episode, our first tentative glimpse of humanity, is beautifully prepared by Barbirolli, but the first posthorn is a little disappointing. The player is fine, the problem is he's too close to make that dreamy effect Mahler wanted. However the section between the two appearances of the posthorn makes up for any misgivings by being raucous and loud. You gain the impression that the orchestra are really enjoying themselves here. The second posthorn solo is placed further away, but this is where he should have been the first time around.
The opening woodwinds of the CBSO for Rattle show more character than their Hallé counterparts and they are more cultured and refined. It's really a question of taste as to which you prefer. Rattle is also anxious to luxuriate more in the details of this movement where Barbirolli is the more extrovert. This leads to an unforgettable delivery of the posthorn solos in the Rattle recording, exactly what was missing in the Barbirolli. The lead up is given a deliberate slowing down too. In the live performance it was a piece of concert hall "theatre" worthy of Furtwangler. In the recording the player impinges into our aural imagination from a huge distance, sounding as if he is out of the hall altogether, on the top of the Rotunda surveying the Bull Ring, perhaps; serenading the Balti takeaway queues and the traffic jams around New Street Station. In the interlude between the two Posthorn passages Rattle then coaxes his muted brass players to cluck like an expectant hen house - "What the animals tell me", indeed.
If the posthorn represents the first appearance of humanity, raw nature has the final word with the passage at bars 529-556: a crescendo from ppp to fff followed by a diminuendo back down to pppp, replete with harp glissandi. This passage has at its centre a development of one of the bird call motifs to become "The heavy shadow of lifeless nature" rearing up on horns and trombones, all fecund strength. It links back to the first movement and forward to the end and is a key moment of crisis which should be marked with special emphasis. Barbirolli prided himself on being able to recognise the highlights and climaxes in each Mahler symphony and there's no doubt he gives this passage everything it can stand with a huge rearing-up of sound whose mood doesn't lift even through the dash to the end where darkness now beckons. Rattle is more reined-back in this passage and, in comparison with Barbirolli, disappointed me rather. He seemed more concerned with the beauty of sound that can be drawn from this moment rather than its earthy, elemental ugliness. But it's a valid point of view and the orchestra certainly delivers what he wants.
Under Barbirolli I would have liked more Stygian gloom for the fourth movement, a setting of Nietzsche's "Oh Mensch", the first appearance in the work of the human voice. I think the recording balance must take some blame here. Kerstin Meyer is a fine singer, but you can hear just too much of her for her contribution to be as mysterious as it ought to be. This is not the case in the Rattle recording where the backward depth in the sound stage means that it starts with a considerable advantage, and Birgit Remmert emerges from way back, singing with greater insight into the words and character of her part than Meyer. The difference that another generation of Mahler performing brings ?
The biggest difference with Rattle is that it's in this fourth movement his renowned concern for bringing out every detail of the score leads to a controversial decision. There is an important solo part for the principal oboe and Mahler's instruction to the player is "hinaufziehen". I'll just say I have never heard an oboist play his/her contribution in this movement quite like this. A friend who was at one of the live performances described the sound produced by CBSO principal oboe Jonathan Kelly as "an extraordinary upwards glissando". It sounds to me like a Tom cat on a wall mewing for a mate on a warm Summer's night. Rattle may have interpreted exactly what Mahler asks for, (or he may not), but hearing something I'm so familiar with played in a way I'm so UNfamiliar with makes me wonder whether this is a case of "an unsightly carbuncle on the face of an old and dear friend": a detail too far.
With Barbirolli a nice contrast arrives with the boys and women in the fifth movement which is a return to the Wunderhorn world, heralding dawn with bells. The boys of Manchester Grammar School are nowhere near the pretty angels we are used to elsewhere. These are urchins from the mean streets of Manchester and they give an earthier quality to match the purer sounds of the women and the darker tone of Kerstin Meyer. Rattle adds girls to his boys and so there is a difference between his fifth movement and many others too. In comparison with Barbirolli there is more warmth overall but less contrast. I prefer Barbirolli's unvarnished honesty, though Rattle's orchestral accompaniment is very telling.
For the last movement to crown the work perhaps something more spiritual, more inner ,is needed than what Barbirolli delivers. Compared with some Barbirolli is more expressive, moulded, given to "heart-on-sleeve". But one is overwhelmed by the big-heartedness of it as a true journey's end that couldn't have been won by this conductor any other way. Notice the expressive rubato, a particular Barbirolli trait, also the singing line of cello portamenti, another speciality. The Hallé could do all this almost by telepathy by then so it's no wonder it's in the last movement the Berliners sound under strain. Barbirolli's inability to resist speeding up at moments of release later on in the movement also spoil this movement's serenity a little. But take that away and it would not have been a Barbirolli performance. So accept it and go with it. The end is built to masterly fashion within Barbirolli's warm-hearted view. Again he presses forward in the closing pages a little harder than is comfortable and he can't resist almost a luftpause before the last chord of all.
Rattle is more restrained than Barbirolli in the last movement and, I think, for the better. He has a degree of expression a few notches beneath Sir John's and does supply more of that inner spirituality the movement benefits from. He doesn't slow up too much, though. He agrees with Sir John the movement should have an ebb and flow, but his ebb and flow is within narrower limits. The string players in Birmingham have more weight of tone too and seem better able to deliver a true pianissimo and more levels of dynamic than their Manchester counterparts who were, perhaps, given a separate agenda. At the close Rattle reins back his tempo where Barbirolli presses forward and the end under him is perhaps a degree or so more satisfying, even though with Barbirolli you are still aware of the end of an epic journey and an end that satisfies just as much but in its own way.
If you are looking for a modern version of Mahler's Third, superbly recorded and played, with a care for detail that takes you deep into the complexities of this remarkable work, look no further than Rattle. (Though be aware of that oboe in the fourth movement.) But if, like me, you already have one of those and are looking for a record of one of the great Mahlerians of the previous generation in this particular work (to go with Horenstein, Kubelik and Bernstein, perhaps) you must have Barbirolli. His potent mixture of experience and emotion is a special event you will return to often.


text:
La Fédération Internationale de Football Corporatif (souvent designée par l'acronyme FIFCO, ou son nom anglais International Federation of Corporate Football) est la fédération sportive internationale du football en entreprise.

Fondée en 2009 par Albert Zbily, elle obtient le statut d'association à but non lucratif en 2011. Elle promeut tant le football corporatif à 11 joueurs, que le football à 7 ou le football à 5.

En 2019 la FIFCO compte près de 2,5 millions de licenciés et 60 pays membres. Les actions de la FIFCO s'organisent autour de quatre valeurs clés : la promotion du sport amateur, la promotion d'un mode de vie sain, le renforcement de l'esprit d'équipe et la promotion du renforcement d'un réseau professionnel international. La FIFCO s'est développé avec l'idée d'unifier et standardiser la pratique du football en entreprise dans le monde entier, et en offrant aux équipes l'occasion de se qualifier pour un tournoi international.

C'est en ce sens que la FIFCO organise un évènement annuel, la World Corporate Champions Cup, dont les deux premières éditions ont eu lieu en 2018 et 2019.

Histoire
En 2006, Albert Zbily et un groupe d'entrepreneurs canadiens fondèrent la Ligue de Soccer Corporatif du Canada.

Forts du succès et de l'engouement suscités, ils eurent alors le souhait d'étendre ce système en dehors des frontières du Canada, et d'organiser un réseau international du football corporatif. C'est ainsi que la FIFCO fut créée en janvier 2009, avec Albert Zbily à sa tête, et son siège fut établi à Montréal. La ville de Montréal reconnait d'ailleurs la FIFCO comme une association internationale. La FIFCO a obtenu en 2011 le statut d'association canadienne à but non lucratif.

Depuis la FIFCO a œuvré pour unifier les règles, permettre des programmes d'échange et de formation pour les arbitres et organiser des tournois et des matchs amicaux dans ses pays membres. Elle a organisé en 2018 et 2019 les premières éditions de la World Corporate Champions Cup.

La FIFCO compte aujourd'hui 60 pays membres et près de 2,5 millions de licenciés dans le monde.

Organisation
La FIFCO est composée de 6 confédérations opérant sur 6 continents  :

 la Confédération Africaine de Football Corporatif (CAFCO) en Afrique
 la Confederation of North American Football (CONAFCO) en Amérique du Nord
 la Confederaciòn Sudamericana de Fùtbol Corporativo (COSAFCO) en Amérique du Sud
 la Asian Federation of Corporate Football (FAFCO) en Asie
 la Oceanic Federation of Corporate Football (FOFCO) en Océanie
 la Union of European Associations of Corproate Football (UEFCO) en Europe.

World Corporate Champions Cup
La FIFCO a organisé en 2018 et 2019 les deux phases finales de la World Corporate Champions Cup (désignée par l'acronyme WCCC).

Le format actuel est un affrontement de seize équipes de 5 joueurs, équipes qui peuvent être mixtes.

World Corporate Champions Cup 2018
La première édition, en 2018, a eu lieu à Montréal, et les matchs se déroulaient au stade Percival-Molson. L'équipe mexicaine composée d'employés de l'entreprise Gambetta7 de Monterrey a remporté la finale contre l'équipe de Petroleum Development of Oman, originaire d'Oman sur le score de 5 à 1. La petite finale a opposé l'équipe égyptienne de SportXGlobal à l'équipe italienne de Sportland, et ce sont les Italiens qui l'ont remportée 6 buts à 4.

World Corporate Champions Cup 2019
En 2019, la phase finale s'est déroulée à Monaco, et les matchs ont eu lieu au stade Didier Deschamps du Cap d'Ail. Le titre a été remporté par l'équipe iranienne de la compagnie minière Arman Gohar Sirjan qui a battu en finale l'équipe de Radio Televisao Cabo Verde du Cap Vert sur le score de 2 à 1. L'équipe égyptienne s'est classé troisième en battant en petite finale l'équipe de la Fonction Publique de Monaco .

Notes et références

Organe dirigeant du football

redpajama_set_name: RedPajamaWikipedia


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News release excerpt provided by Market Wired.
The Department of Defense recently announced that $80 million from the federal government will be combined with more than $200 million in cost share to support the development of the Advanced Regenerative Manufacturing Institute (ARMI). This new institute, led by industrialist Dean Kamen, will be the 12th Manufacturing USA institute established, and it brings together a consortium of 87 partners from across industry, academia and government to develop the manufacturing technologies for life-saving cells, tissues, and organs.
Within this consortium is Trailhead Biosystems, a Cleveland startup company that has invented novel methods for leveraging software/hardware technologies to dramatically lower the cost and increase the speed for producing specialized human cells.
Originally published January 5, 2017.


Zerto is working with many key technology partners to create complete stacks of solutions intended to make life easier for our collective customers. Disaster recovery and data protection is Zerto's expertise, and when you combine that with the powerful platforms and technologies our partners have, it brings compelling options to the market that simply didn't exist previously.
To that point, ZVR for HPE Helion Cloud System 10 is the integration of technologies that brings significant value to our customers. While the Cloud System 10 and ZVR combination is relatively new, the components are well established with years of production proven reliability.
If you aren't familiar with HPE Helion CloudSystem 10, it is the foundational building block for both private and hybrid clouds. It is an engineered hardware and software solution that delivers hosting, automation and orchestration of traditional and cloud-native workloads. CloudSystem is a pre-integrated solution that brings together HPE market leading innovations in hardware, storage, networking, software and services into one package.
Zerto and HPE worked together with a goal of making a powerful and resilient infrastructure, yet relatively easy to deploy and administer. We wanted to make sure both the HPE Helion Cloud Systems 10 control plane and the customer workloads running on vSphere were protected by ZVR to keep data protection simple and streamlined. Through our integration design planning, adding elements where needed and a lot of functional testing, we believe that customers will appreciate the level of integration if there is an unforeseen outage at the primary site.
If a disaster strikes, the HPE Helion Cloud System 10 core and the customer workloads will be back online in a matter of minutes.
GDPR is Coming... Are You Ready?


text:
'Our account had less than $1': This couple made nearly $120,000 in under 6 hours selling NFTs to save their home from foreclosure
[CNBC]
Thorne Melcher and Mandy Musselwhite launched a collection of NFTs and raised nearly $120,000 in less than six hours to save their home from foreclosure.
After Thorne Melcher lost her job as a software engineer in February, bills started piling up. Her girlfriend, Mandy Musselwhite, was able to cover a few expenses selling her artwork, but the couple quickly fell behind on their mortgage payments.
Melcher and Musselwhite own a homestead outside of Atlanta. Not only did they spend most of their savings to afford the $300,000 property in 2019, but it includes a farmhouse where they've raised six ducks, two geese and other animals.
Tweets by SmolFarm
"I knew we had to think of something," Musselwhite, 25, tells CNBC Make It. "We really didn't want to lose this property. We love it here. The animals love it here."
Fearful of foreclosure, the couple co-created Dastardly Ducks, a collection of 10,000 cartoon duck nonfungible tokens (NFTs) generated by code with unique combinations of over 100 different traits, in order to raise money. The couple launched it Wednesday and it sold out in less than six hours, earning them just under $120,000.
"Sad Duck" from the Dastardly Ducks NFT collection that Thorne Melcher and Mandy Musselwhite co-created.
Courtesy of Thorne Melcher and Mandy Musselwhite
"We saved our farm by selling cartoon ducks. It was like a fever dream," Melcher, 33, says. "They immediately started going so fast. I couldn't sleep until they were all gone."
Although the couple wasn't already known in the NFT space, a small group of supporters helped generate interest in the project.
It was perfect timing too. The couple owed $35,587 in mortgage back-payments and had to drop off a check to their lawyer on Thursday, or they would've been expected to appear in court on Friday. But Musselwhite was able to hand over a $40,000 check instead, putting them ahead on their payments.
Receipt for the big payment ? the farm is OFFICIALLY SAVED!!! Thank you @DastardlyDucks community!!! @smolfarm is gonna grow and we're gonna work hard! ??? pic.twitter.com/DMXrv3JuOV
— fumeiji.eth (?,?) (@fumeiji) January 20, 2022
"Our lives changed overnight," Melcher says.
Before the NFT sale, the couple had a few bank accounts overdrawn. One shared account "was less than $1," Melcher says. Musselwhite had a balance of negative $4.11 in one account, she says, and just 89 cents left on her Cash App.
Along with struggling to pay bills, they could barely afford food. They also didn't have the funds to afford the fee to deploy the collection's smart contract at first.
Smart contracts are collections of code that carry out a set of instructions on the blockchain and are crucial to power NFTs. Each Ethereum transaction requires computational energy to complete, so users are charged a fee to execute their transactions. Transactions involving smart contracts, like those for NFTs, require more energy and tend to have higher fees.
Luckily, a friend offered to cover the fee for Dastardly Ducks.
"We were really broke," Melcher says. "And then hours later, we had more money than we'd ever had at once."
How they did it
The couple began working on Dastardly Ducks in early January.
"It felt like we started a start-up and launched our first product, from conception to release, in under two weeks," Melcher says. "It was kind of intense how fast that all came together."
As a coder, Melcher was able to quickly learn Solidity, a programming language for developing smart contracts that run on the Ethereum blockchain, with the help of a few mentors in the space. Musselwhite, a graphic artist, designed each Dastardly Duck.
"It was the perfect fusion of our talents," Melcher says.
Prior to the collection's release, the couple received criticism online regarding the potential impact of NFTs on the environment, as the process of creating them can require a lot of computer power.
But it was important to Melcher and Musselwhite to be as sustainable as possible in their approach, so Melcher coded the smart contract to be well-suited for batch minting. That made it possible for buyers to purchase and mint a 12-pack of Dastardly Ducks, which uses less energy than doing so one by one.
Minting an NFT is the process of turning an asset into a token that's represented on the blockchain. It allows NFT owners to both prove that they own the asset and be able to sell it if they want.
"Trans Duck" from the Dastardly Ducks NFT collection that Thorne Melcher and Mandy Musselwhite co-created.
To code the smart contract this way, Melcher had help from another popular NFT collection called Azuki, she says. Melcher was able to iterate on their whitepaper to create the code for Dastardly Ducks. "In order to solve environmental problems, we cannot pretend new technological innovations will go away," she says. Rather, "we must learn how to use them in responsible ways."
The collection was on the affordable side, which boosted interest in it too. At the time of release, each Dastardly Duck cost about $15, and a 12-pack cost about $120.
Melcher and Musselwhite are hopeful for the future, especially after a rough few years amid the Covid-19 pandemic.
"I'm trans, and I was supposed to get surgery. Then, that got delayed over and over and over again because of the pandemic," Melcher says.
Finding a new job has been difficult as well. Melcher has found contract work in the meantime, but is looking forward to landing a full-time position sometime soon.
After the launch of Dastardly Ducks, "I have so many people that suddenly want to work with me is a Solidity coder. There are people who are interested in working with Mandy [Musselwhite] as an artist," Melcher says.
Melcher and Musselwhite hope to raise more real ducks on their farm as well.
"We only have half a dozen ducks and we've always wanted to expand beyond this," Melcher says. "We already have more eggs than we knew what to do with for personal use, and now there are people in our Discord channel that are wondering how they can pay for real eggs off of us."
Thorne Melcher and Mandy Musselwhite own a homestead in metro Atlanta, which includes a farmhouse where they've raised six ducks, two geese and other animals.
Though any Dastardly Duck owner is welcome to use their ducks in their own content, Melcher and Musselwhite own the rights to the collection's name and style, they say. The couple hopes to continue the Dastardly Duck brand and work on new projects in the NFT space.
They'll also continue to earn a royalty on secondary sales, where volume traded is currently around $6,354 in total on OpenSea.
"We're not resting on our laurels and feeling comfortable. This is just the gateway to something bigger," Melcher says. "I want to know that we are secure. I don't want to worry about money. The big priority is making sure the bills are paid."
By Taylor Locke
January 24, 2022 BUCK BULLY Trending News


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2021 online sermons » Victoria Osteen » Victoria Osteen - Walk In Your Heavenly Father's Shoes
Victoria Osteen - Walk In Your Heavenly Father's Shoes
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You sound amazing. You may be seated. Have you ever felt like you didn't have the strength to go on? Or maybe you feel like that the task at hand is just so difficult and why in the world are you doing it? You know, sometimes, we don't think we can do what we're facing. We don't think we can overcome the challenge or maybe you've been asked to do something. Maybe you've been put in a job or a promotion where it looks like, wow, I don't know if I have the talent and ability to be able to handle what I need to handle. But can I tell you today that in 2 Corinthians it says that God's strength is made perfect in your weakness? So anything that you don't have, God has the strength for.
So whatever you're facing today, God has all the strength you ever need. And that's comforting to know because sometimes we wanna look at the very end result and we wanna see how in the world we'll ever get there. But God is just saying, "Look at today. My grace is sufficient for today. Everything you need is here today". I think the trouble we get into is we start working on tomorrow's grace today. We say, "But what about tomorrow, God", when God is saying, "Don't worry about tomorrow. Just work on today. I got tomorrow handled".
You know, and then when we start doing these kind of things, we start questioning ourself. Then we start having these doubts and we have fears and maybe I'm not enough. Maybe I'm not adequate. Maybe I don't have what it takes. And then we start going down the wrong road. But God said before the foundation of the world he already knew you. And he's already equipped you to do whatever he's gonna call you to do. But you know what I've noticed about God? He puts things in us that we don't know that's in us. It's a mystery.
Have you ever done something and you thought, "How did that happen? How did I think about that? That's incredible". Well, that's God. Because God is smarter than we are. But he puts things on the inside of us so that we can mine the gold out of us. And we can't be fearful of that. We can't shrink back and think we don't have the ability because the ability's in there. If you're facing something, whatever it is today, whatever it is today, even if it's a dream and you want that dream but you're scared to attach yourself to that dream because you're thinking maybe it's just a wish and maybe it's not really what God wants.
And I wanna tell you something. Grab hold of that thing. Grab hold of it and believe you have what it takes. Draw strength from God. All you have to do is grab hold of his strength because when you are weak, when you are in doubt, it's no surprise to God 'cause God said, "I've already made provision for your weakness. Guess what? When you're weak, you're setting me up to be strong. If you handle it the right way, you're setting me up to let my power work through you". Don't close yourself off but open yourself up to God.
And you know what? I think about this. I think I'm up here today and the truth of the matter is there's probably a lot of you that could do a better job than me so I could really stay in that seat. And I'll tell you, sometimes I want to. But the truth is, God put me up here. So I gotta embrace the place that I'm at. I gotta just say, "God, you know what? When I'm weak, you're strong. Hey, it's not what I say, it's what you do, God. It's what the people hear, God. It's what you wanna get across to them".
Now, I'm gonna study, I'm gonna show myself approved. I'm gonna bite through. I'm gonna be determined. I'm gonna try to pick myself up every day 'cause, listen, there is no temptation that is not known to all of us. There's no struggle that we don't all face. Let me tell you something. No one's exempt. We all face the same thing. We all face the same challenges. But it's how do we deal with those challenges? How do we break through those barriers and those limitations? We gotta grab hold of the strength of God. It's great when people encourage you. It's wonderful when people say, "Man, that's a good job", or they tell you about your talents. They tell you about your gifts.
But how about when you look up and there's no one there to encourage you? And you're facing something? That's when you have to say, "God, I can't depend on people", 'cause people can do the best they can do but they can't do what God can do. And so there is a point that we can't depend on other people. We can't let them be our crutch. We've gotta say, "God, it's you and me. It's us, God. And you know what? We're a majority. We can do this together". I think too often, we just sit back and say, "You know what? It's too difficult for me so I'm not gonna do it". Because that's the comfortable thing to do and we let things pass that we shouldn't. And that's when we get unhappy because there's something on the inside of us that's saying, "There's more in store. You can do this. You can do this". It's always pushing us. It's always pushing us.
Now, it's a matter of are we gonna take this step of faith and do it? I've heard Joel say this a thousand times and you probably have too. He stands up here and he says, "I never knew this was in me". He said, "I worked behind the scenes for 17 years. I liked being behind the scenes. I never knew this was in me". And he'll tell you when he got up here the first time, you're talking about weak. He was weak. He was so weak, he said, "I had to hold on to the podium". He said, "What are all you guys doin' lookin' at me"?
You know, I'll never forget that first sermon. I looked down at Joel and I saw him wearing his father's shoes. Now, listen, these shoes were shoes that he and I had bought years ago in italy for his father. We wanted to give him something really special. So we bought him a pair of alligator shoes, something he wouldn't buy for himself. We used all the money we had so we couldn't buy anything for ourself. But we brought those shoes home and we presented them to his father, and his father loved the shoes. They were beautiful shoes. But when I looked up there and I saw him wearing his dad's shoes, 'course, a thousand things went through my mind. I was always sitting on the edge of my seat just saying, "God, give him everything I have and everything you have too".
But the truth of the matter is he wasn't wearing his father's shoes to fill his father's shoes. He was wearing his father's shoes to draw strength from his father's shoes. And I just hope that you could get an image of the picture of someone who was standing on a platform, never dreaming in their life that they were gonna be in the position that they were in. But found a strength in their father's shoes. Whether you're facing a difficult trial, whether you're facing a promotion that you need to have at work, whatever it is. Maybe it's a sickness, maybe it's an illness, a financial trouble. Whatever you're facing, I just want you to get the picture of Joel standing in his father's shoes and I want you to translate that to yourself. Of you standing in your Heavenly Father's shoes, knowing that there's nothing that can defeat you. Nothing you can't do. But it will happen if you'll stand. If you'll put those that strength. The strength of those shoes on. Your father shoes.
Listen, we all need to borrow God's shoes. We all need to walk in that place. Because that's where we're gonna find our strength. You know, I truly believe God asks us to do things that are way over our head for the very reason that he knows it's over our head. He knows it's gonna be difficult for us. And I honestly believe he does that to keep us on our knees. To keep us dependent on him. Because, see, you're never gonna achieve what he's called you to do unless you're dependent on him. Because if you can do it in your own strength, I can tell you this. It's not God. Because God wants you to go beyond your ability and tap into his ability. He wants you to go beyond what you think you can do and get into what only you can do when you do it with God.
Walk in your father's shoes. Whenever you feel fear and whenever you feel doubt, just slip those shoes on and say, "God, I don't need to worry about tomorrow. All I need is to have enough strength for today. And God, I know that when I am walking in your shoes and in your strength, your grace is sufficient. You'll add the people to me that I need. You'll open the right doors for me. You'll give me the ideas. But I'm gonna wait upon you".
The Bible talks a lot about pulling down God's strength. It says, "Wait upon the Lord and he'll renew your strength". That means stay in those shoes. Don't get out of those shoes. Don't give up. Don't release what you have in your hands because you're afraid. Stay in those shoes. God'll bring that strength to you but he wants to see our determination. I can tell you this. I saw my husband's determination. I saw what it took to get to where he is today. I am so glad he didn't let his weakness be an excuse because we wouldn't enjoy the hope of the Gospel that we have coming from this place today. People's lives wouldn't be changed if he would have said, "It's easy to stay in the background", if that's the comfortable place.
In fact, he likes the background. But I can tell you, he's saying, "I'm determined because it's my call. And if God's called me, it's gonna be bigger than me. And if it's bigger than me, the only way I can accomplish it is by the strength of Almighty God". Walk in your father's shoes. He's gonna call you to great things. Don't shrink back. Don't put limitations on yourself. You've got exactly what you need. There's gold on the inside of you but the only way it's gonna come out is if you stand strong and you find it and you make it come out because God is your confidence and he is your God. And he's gonna take you to the places you need to be, amen? Amen. We love him so much today. He's a faithful God.
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George Summerfield has more than 30 years of patent litigation experience, including matters in district court, the U.S. International Trade Commission, the Patent Trial and Appeal Board, and the European Patent Office.
George began his career as a Staff Attorney with the Office of Unfair Import Investigations of the United States International Trade Commission, where he handled numerous section 337 cases in a variety of technologies on behalf of the Office. After leaving the ITC, George entered private practice, where he began representing private parties, including two major research institutions appearing as complainants, before the ITC. He also began handling matters in various federal district courts throughout the United States, where his clients included several Fortune 500 companies. As with his work at the ITC, George's litigation efforts in private practice have run the technological gamut.
By the time he joined K&L Gates, George had served as first chair patent litigator in several dozen intellectual property litigation matters before district courts and the ITC. He has also served as amici counsel for numerous universities and university-related organizations in intellectual property matters pending before the U.S. Court of Appeals for the Federal Circuit and the U.S. Supreme Court. Since joining the firm, George has continued, and expanded upon, his intellectual property litigation practice, having, for example, appeared in more than half a dozen section 337 cases before the ITC in his first three years at the firm.
George is active in the Richard Linn American Inn of Court, which specializes in the practice of intellectual property law. He has also provided assistance to several Eastern European governments in drafting intellectual property laws through programs administered by the United States Department of State, the United States Information Agency, and the Central and Eastern European Law Institute.
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Which small mammal is best for your family? Hamsters, gerbils, guinea pigs, rabbits, ferrets, mice, and rats make great pets. They do not need much room and they are fun to play with. CHOOSING A HAMSTER, GERBIL, GUINEA PIG, RABBIT, FERRET, MOUSE, OR RAT will help you pick the right pet for you. Read about what to feed your small mammal, what size cage to get, which animals can be trained, and much more. Learn how to take good care of your new pet so you can enjoy many fun-filled years together.
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". . . a good book for students who might be thinking about getting a pet. By discussing both the positive and negative behaviors of these small mammals, it will help readers make an informed choice."


You have just converted ninety-five dollars to bulgarian lev according to the recent foreign exchange rate 1.17055335. For ninety-five dollars you get today 111 lev 20 stotinki. If there is going to be any change in the exchange rate of $ to лв, recalculation of the amount will be done automatically when the page is refreshed. If you need to know how much is 95 dollars to a currency of any country in the world – use an online converter, which has 96 currency pairs available.


Ulrich Ellison is not your typical Blues rock guy. The Texas-based guitarist with European roots has quite a story to tell, utilizing his own voice – a bluesy, cool sound that is pushing the borders of the genre. A high-caliber guitarist, Ellison can easily switch from lightning fast modal runs to swamp-soaked blues and singing guitar leads that make his guitar talk. His avid songwriting ranges from southern-rock inspired songs like "Machete" and "Teardrops In The Rain" to the bluesy "Waiting For A Change", Led Zeppelin-type arena rock like "Ten Feet Tall", the rebellious "America", enchanting instrumentals like "Memories Of You" to the radio-ready "Feeling So Lonely" and "Faith, Love And Puppies". But his real mastery lies in connecting with his audience. Mixing classical-trained finesse with a viking attitude he is not afraid to prove it as he frequently jumps off stage to serenade the crowd one-on-one. His soul mate and wife Sabine Ellison on bass adds a huge, fat foundation that perfectly locks in with Texas groove veteran Joel Duhon on drums, completed by the trio's three part harmony vocals. A real power group! Named #1 "Best Guitarist" and "Best Blues/Soul/Funk Act" at the 2016 Austin Music Awards, Ulrich Ellison and his Tribe have been voted as finalists for the 2016 European Blues Challenge in Torrita Di Siena. Playing nearly every major Austin venue as well as clubs and festivals in the US and EU, Ellison and Tribe have continued to build a sizable grassroots following of enthusiastic "Tribers" all around the globe.


and the sun comes out to barge in day.
and let the leaving dark bathe the top of my head.
and pluck down a single star from his own foreign land.
before I close my fingers around my glowing prize.
I place him gently in my pocket and go on with my day's fun.
I take him from my pocket just as his glowing love begins to burn.
and admire him with a lover's lust.
And when morning comes he'll be there to warm my pocket once again for the day.


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Q: Need help for Coturn configuration for my public ip address I have tried with coturn configuration in my local system using my local IP address. It worked. But now, I'm trying to configure my public IP to avoid the ICE Framework. Is it possible? and I'm doing this using Cygwin, can I able to configure this in my system with my public IP address?

A: If using command line for configuration use, -L private_IP -X public_IP
Or, in config file, set
external-ip=public_ip/private_ip and use private IP as listening IP.
For aws system I am using this command
sudo turnserver -v -o -a -user username:key -f -L private_ip -X public_ip -E private_ip -min-port=minport_number -max-port=max_port_number -r public_ip --no-tls --no-dtls


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Home » Orchestras / Ensembles » Sejong » Vivaldi: The Four Seasons
Vivaldi: The Four Seasons
Lin, Cho-Liang
Newman, Anthony
Catalogue number 8557920
Orig. sample rate 96000 Hz
Vivaldi's universally popular Four Seasons has become one of the most recorded pieces of classical music. The four concertos, with their virtuoso part for solo violinist, depict the changing seasons in a pastoral landscape with dazzling variety. Vivaldi evokes not only the changing atmospheric conditions, for example the dripping rain represented by the pizzicato violins in the second movement of Winter, but bird calls and animal cries, swaying grass, bubbling brooks, and human events such as drunkards sliding and slithering, and a man walking on ice. Formerly known as International Sejong Soloists, Sejong is a group of virtuoso string players including many well-known young soloists.
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Composer: Vivaldi, Antonio
The 4 Seasons: Violin Concerto in E major, Op. 8, No. 1, RV
269, "La primavera" (Spring) 09:50
01 I. Allegro 03:18 $ 0.50 USD
02 II. Largo 02:20 $ 0.35 USD
03 III. Allegro 04:12 $ 0.63 USD
The 4 Seasons: Violin Concerto in G minor, Op. 8, No. 2, RV
315, "L'estate" (Summer) 09:58
04 I. Allegro non molto 05:03 $ 0.76 USD
05 II. Adagio - Presto 02:13 $ 0.33 USD
06 III. Presto 02:42 $ 0.41 USD
The 4 Seasons: Violin Concerto in F major, Op. 8, No. 3, RV
293, "L'autunno" (Autumn) 10:19
The 4 Seasons: Violin Concerto in F minor, Op. 8, No. 4, RV
297, "L'inverno" (Winter) 08:34
Violin Concerto in E flat major, Op. 8, No. 5, RV 253, "La tempesta di mare" 08:23
13 I. Presto 02:45 $ 0.41 USD
Violin Concerto in C major, Op. 8, No. 6, RV 180, "Il piacere" 08:08
17 II. Largo e cantabile 02:28 $ 0.37 USD
Composer Vivaldi, Antonio
Harpsichord Newman, Anthony
Violin Lin, Cho-Liang
Ensemble Sejong
Engineer King, Richard
Producer Epstein, Steven
Portative organ Newman, Anthony