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In Nollywood, Zack Orji is a well-known figure. He's a well-known actor, producer, filmmaker, director, philanthropist, and businessman. He has almost 250 films to his credit now. What is your level of familiarity with the actor?
Zack Orji looking all smiles . Photo: @zack_orji11
Who is Zack Orji, and where did he come from? He is a well-known actor, producer, filmmaker, director, philanthropist, and entrepreneur who has made a reputation for himself both in his home country and abroad. Zack is one among Nigeria's wealthiest and most powerful figures. Here's everything you need to know about Zack Orji.
Zack Orji biography
Zack Orji movies
Zack Orji family
Zack Orji net worth
Full name: Zachee Ama Orji
Date of birth: October 10, 1960
Zack Orji age: 60 years (as of 2021)
Career: Actor
Languages: English and French
On October 10, 1960, in Libreville, Gabon, the famous actor was born. He grew raised in West Africa, in Cameroon, Togo, and the Benin Republic. Zack is the oldest of seven children in his family.
During his boyhood, the actor adored fetching firewood and was a great assistance to his mother, who worked in the soft drinks' industry.
His father wished for him to pursue a career in medicine. The actor was, however, absent on exam day, resulting in automatic disqualification for that year.
Zack Orji out and about on a bright and sunny day. Photo: @zack_orji11
After finishing his primary and senior school education, he moved to Nigeria. He enrolled in the University of Nigeria Nsukka and received a Bachelor's degree in Estate Management.
He began making shoes after completing his tertiary studies. His shop, on the other hand, was broken into, and various products were stolen.
At a young age, the brilliant actor developed an interest and enthusiasm for performing. In the film Unforgiving Sin, he made his debut (1991).
Since then, he has appeared in over 200 films, which is an incredible achievement. In addition to acting, the actor has dabbled in real estate and businesses.
In a number of films, the actor has demonstrated his abilities and talent. Here's a sample of Zack Orji's filmography:
Head Gone
Games Women Play
Women's Cot
The Blue Kingdom
Beson's Villa
Mama Africa
Half a Yellow Sun
Above Death: In God we Trust
Zonal Leader
Just One Blood
Emotional Blackmail
Sweet Face
Glamour Girls
Brave Heart 2
Olokun – The Big City
Last Warning
St. Mary
Zack Orji posing for a picture like the star he is. Photo: @zack_orji11
Throughout his acting career, the talented actor has received numerous awards. Here are a few of his major achievements:
Nollywood Most Prominent Actor in Nigeria at the Best of Nollywood Awards
City People Entertainment Lifetime Achievement Award
Best Actor in Nigeria at the Africa Magic Viewers Choice Awards
Best Actor in a Leading Role at the Africa Movie Academy Awards
Best Actor of the Year at the Africa Movie Academy Awards
Most Promising Actor in Nigeria at the City People Entertainment Awards
The actor has three children and is married. Ngozi Orji is Zack Orji's wife, and the entire family lives in Nigeria. In Nigeria, one of Zack's sons is a budding artist.
It's worth noting that the actor is one of Nollywood's highest-paid and wealthiest actors. His net worth is estimated to be at $3 million.
Zack Orji is a talented and inventive Nigerian actor. He is one of the most sought-after performers in Nollywood, and he has paved the path for many emerging actors.
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Mauricio Umansky Net worth, Biography, Age, Wiki


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Apple CEO Tim Cook Hints At "Big Plans" For 2014
Brandon Russell
Apple CEO Tim Cook sent out an email to the company's employees over the weekend, proudly looking at Apple's year while also hinting at what's to come. While the company didn't throw its name into any big new market segments, it did release some terrific new products, including the iPad Air, iPad mini with Retina, iPhone 5c and iPhone 5s. Cook says that he's proud of what Apple has done this year, thanking its workforce for putting "innovation to work serving humankind's deepest values and highest aspirations."
"I consider myself the luckiest person in the world for the opportunity to work at this amazing company with all of you," Cook says. "We introduced industry-leading products in each of our major categories in 2013, showing the breadth and depth of innovation at Apple."
Perhaps Apple's biggest product this year was iOS 7, which came with a revamped look and all-new functionality under the direction of Jony Ive. Cook called the software "an extraordinarily ambitious project," which is certainly one way to describe it. The update has sparked some polarizing reactions among Apple's fanbase, with many folks upset the familiar skeuomorphic look of iOS was ditched for a flatter, more minimal look.
Cook also reflects on Apple's tens of millions of dollars in contributions to Red Cross aid for typhoon victims in the Philippines, and its continued support for Product RED—Apple is currently the organization's largest contributor. Recently, a few of the company's products were auctioned off to benefit Product RED, raising well over $1 million thanks to a one-of-a-kind red Mac Pro and gold EarPods. Cook also highlights the company's efforts to stand up for what Apple believes is right.
"We know that equality and diversity make our company and our society stronger, so we've urged the U.S. Congress to support workplace protections against discrimination based on sexual orientation and gender identity," Cook says.
Cook wraps up his letter by saying he's excited for the new year, which will include "some big plans that we think customers are going to love." This year has been rife with rumors surrounding a potential iWatch and new Apple TV initiative, and it sounds like 2014 could be the year we see new Apple products. In addition, there have been rumors suggesting Apple could release a larger iPhone, larger iPad and even more powerful Mac laptops.
The first few months of next year will likely be quiet for Apple as CES and other big events get out of the way. But come March, April and beyond, it'll be exciting to see what the company has in store. Will an iWatch finally be on the cards? Only time will tell.

redpajama_set_name: RedPajamaCommonCrawl


The Autosport International Show did so much for my car obsession. I got see to everything from Abarths to a Mustang to a chrome Lambo to old F1 cars. I also had the pleasure of standing very close to the track in the Live Action Arena and getting very dirty (careful…) in the process.
I'm going to tell this story in pictures because I'm still a little giddy from all the pretty cars.
Firstly, let's look at the Zenos E10. This car is made in Norfolk and is priced from £24,995. It's a fun, uncomplicated sports car that would 100% be in my collection if I had a garage to keep it safe. Such a beautiful, raw car and I'm eager to give it a test drive. A full review will follow.
This chrome Morgan just spoke to me. What a beautiful thing.
The F1 display was beautiful. There's something very special about being that close to all those gorgeous cars.
Martin Brundle had an interesting insight into this year's rule changes.
David Croft and Pollyanna Woodward were great presenters for the Life Action Arena but during the interview on the Autosport stage, Crofty was like an excitable child. He's a joy to watch.
This. Oh my god this. The Caterham Aeroseven concept is a beautiful thing. I barely have any words for how much I love this car.
Any driver would've been more interesting to me than Sutil but we watched his interviews any way. The most interesting thing he said was the nose of the 2014 Sauber being "different".
John Surtees had some amazing stories to tell. Particularly about being craned into a car when he was on crutches. That's dedication.
There was a gorgeous display of Surtees' old cars and bikes. We visited this part of the show many times to walk amongst some really gorgeous vehicles.
I love what Lumma has done to these Range Rovers. So mean looking.
This is a Paul Oz piece. The teeth glow. There was all sorts to see on this stand from amazing paintings (particular of James Hunt) and tables made from parts of F1 cars. I feel I will be furnishing my house with many of these things in the future.
We were so close to the action (close enough to have to sign a disclaimer) and there were plenty of cool cars roaring past, You may have seen some of my Instagram videos.
It wasn't just about cars either. These guys were amazing on those bikes.
I can safely say I've fallen in love with the Abarth. This one is the 595 version but I test drove the 500 yesterday and wow. I feel the Abarth 500 will be the successor to Lady Punto. The little 1.4 turbo engine is something special. But that's a whole 'nother blog post.
It was a pleasure to watch Ian Cook of Pop Bang Colour at work. I was so enamoured with the style that I have a Mustang print winging its way to me in the post as we speak.
We stayed at the gorgeous Forest of Arden Hotel which was just four miles from the NEC. It was perfect for the show and in a bloody gorgeous setting. In the morning we were greeted by an inch of frost and the most amazing views across the golf course.
I think a lot of people only visit the Autosport International Show over one day but we weren't stuck for things to do over the two days we were there. I'll definitely be going back next year.


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Ceremony celebrates groundbreaking for the Tippecanoe-Chapman Regional Sewer District
Members of the Tippecanoe-Chapman Regional Sewer District Board of Trustees are, from left, Chuck Simpson, Bob Weaver, Brian Davison, Kim Hathaway, Jon Tyler and Jeff Thornburgh.
Last Thursday, December 8, marked an important day not only in the timeline of our local lakes, but also in the history of The Watershed Foundation.
On that day, a groundbreaking ceremony was held to officially mark the beginning of construction on the new Tippecanoe-Chapman Regional Sewer District — a project that's true beginning aligned with the beginning of The Watershed Foundation itself over 25 years ago. At that time, many residents began pursuing installation of a sewer system, but it was a long, often uphill battle. Some of those passionate people put their energy into founding the organization known today as The Watershed Foundation with a goal of championing water quality in the Upper Tippecanoe River Watershed.
The Watershed Foundation's executive director Lyn Crighton, center, stands with JPR president Kenneth Jones and Tippecanoe-Chapman Regional Sewer District president Jon Tyler.
25 years later, some of those close to the project from the beginning were among those present to celebrate the groundbreaking for the Tippecanoe-Chapman Regional Sewer District.
The $51 million dollar project will help reduce pollution in the Upper Tippecanoe River Watershed by redirecting and treating sewage instead of using homeowner septic systems. Called "the largest infrastructure project in the history of Kosciusko County," the project is a collaborative effort of many entities and individuals utilizing funds from the Indiana State Revolving Fund loan program and also the United States Department of Agriculture's Rural Development fund.
Here are comments shared by TWF executive director Lyn Crighton:
"This is a Momentous occasion; dare I say a "watershed" moment.
I am the Director of TWF, a nonprofit org founded in 1997, 25 years ago as a result of the first failed attempt to create a sewer system around Lake Tippecanoe.
Another attempt was made 10 years later in 2007, and it too was unsuccessful.
10 years later in 2017 a small, but passionate and persistent group undertook a new grassroots campaign for this important cause – and we are standing here today to celebrate this success!
TWF has been taking action for 25 years to protect and improve water quality in more than 60 lakes in our local communities. We take action by engaging landowners and uniting partners to stop pollution at its source.
We have invested nearly $10 million and over 250 projects on the land and the lake shores – and water quality is in fact improving.
But this is – by far – the biggest project, and I can't wait for our community to reap the benefits TODAY & for future generations."
For more coverage of the event, read the story written by Ink Free News here.
Tippecanoe-Chapman Sewer — 'Its a quality of life project'
3 weeks ago by TWF


The former England cricketer is joining Jeff Stelling for the fifth day of his 400-mile March for Men, which starts at the ground of Cork's beloved Stoke City FC. We filmed him talking to the club manager, Mark Hughes, about his connection to Prostate Cancer UK and find out just how few of his players know the size of their prostate.
What can three balls of varying sizes tell you about the most common cancer in men?
Well, even if you know where the prostate is (and surprisingly few people do), how big do you think it is? The answer is either the size of a golf ball, tennis ball or football – but which is it?
Later, Dominic sat down with Mark Hughes to talk to him about what our 'Man of Men' pin-badge, which he wears at every match, means to him and the pride he's taken wearing the badge of whatever team he's played for during his glittering career – whether club or country.
Find out where Jeff Stelling is now on his March for Men with our live tracker.
"I want to show that a grim diagnosis doesn't mean you have to mope around being miserable"
Given just two years to live after his prostate cancer diagnosis in 2014, Kevin Webber tells us about how he's tackled some of the world's most gruelling ultra marathons, the amazing support he's received from strangers as well as family, and his 2017 March for Men.


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Ignorant movie night at the UofA!
That's right, on Thursday, April 2, Campus Advent (the 7th Day Adventists) are showcasing Ben Stein's Expelled at the University of Alberta.
Yep, a church who's claim to fame is that Saturday is more holy than Sunday is showcasing a movie that equates Dawin with Hitler.
I'll be there, hopefully with a summary of the Expelled Exposed website on a handy pamphlet for all who are interested.
Pingback: Topics about Religion » Ignorant movie night at the UofA!


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layout: post
title:  "SytheticEvent(React)"
date:   2017-04-10 23:10:39 -0400
---

 In React, when we specify an event in JSX like we did with onClick, we are not directly dealing with regular DOM events. Instead, we are dealing with a React-specific event type known as a SyntheticEvent. Your event handlers don't get native event arguments of type MouseEvent, KeyboardEvent, etc. They always get event arguments of type SyntheticEvent that wrap your browser's native event instead. What is the fallout of this in our code? Surprisingly not a whole lot.

```
function ActionLink() {
  function handleClick(e) {
    e.preventDefault();
    console.log('The link was clicked.');
  }

  return (
    <a href="#" onClick={handleClick}>
      Click me
    </a>
  );
}
```

Here, e is a synthetic event. When using React i realized we  should generally not need to call addEventListener to add listeners to a DOM element after it is created. Instead, just provide a listener when the element is initially rendered.

Each SyntheticEvent contains the following properties:

![](http://i.imgur.com/KXn5rjQ.png)

These properties should seem pretty straightforward...and generic! The non-generic stuff depends on what type of native event our SyntheticEvent is wrapping. This means that a SyntheticEvent that wraps a MouseEvent will have access to mouse-specific properties such as the following:

![](http://i.imgur.com/B9f1x6U.png)

Similarly, a SyntheticEvent that wraps a KeyboardEvent will have access to these additional keyboard-related properties:

![](http://i.imgur.com/D0ZeIEB.png)

In the end, all of this means that you still get the same functionality in the SyntheticEvent world that you had in the vanilla DOM world.

redpajama_set_name: RedPajamaGithub


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Cult With No Name
Feeling the Adrenalin
'Post-punk electronic balladeers' Cult With No Name, comprise the east London duo of Erik Stein and Jon Boux. Having been the first international signing to LA label trakwerx in 2007 (founded by Jackson Del Rey of Californian punk outfit Savage Republic), CWNN's first two studio albums - 'Paper Wraps Rock' and 'Careful What You Wish For' - have been met with considerable critical acclaim - including here at dsoaudio.com.
Blaine l. Reininger of similarly genre-transcending legends Tuxedomoon collaborated on their second album, Don Letts spun tracks on BBC6, and more recently Brett Anderson (Suede) rather impressively asked CWNN to open for him for the launch of his new album. Having provided the music for two blacker than black comedies at the Edinburgh Festival ('Moz and the Meal' and 'Bored Stiff'), it's fitting that Cult With No Name then turned their attention to cinema for their first DVD release, The Cabinet of Dr. Caligari. Cult With No Name's compulsive soundtrack approach brings out a humanity missing from all previous scores I've heard and is the perfect accompaniment to Robert Weine's expressionist classic.
Recently, CWNN returned with their fourth studio album, 'Adrenalin' - winner this month of the much-coveted dsoaudio !Recommended! award - and their second release to do so. Time then to sit down with both Erik Stein and Jon Boux to try and discover what makes them tick and CWNN's music so compelling.
DSO: How did the two of you first get together, and did you quickly realise you'd be working together? What was it that clicked between you both?
ES: Well, it's the familiar tussle between fate and circumstance, although I'm not sure which of them won. We met whilst we were working at a central London branch of HMV... a long time ago. As you can imagine, HMV was a hotbed of frustrated artists, actors and musicians. Jon was managing the classical section and I the jazz section, and at some point, the twains met. We were just good friends for many years before the band started. Jon was already tied up with other combos, and I plodded away at being musically indulgent (very educational, in retrospect). That fact means that we're still pretty chilled out in each other's company. Our temperament is definitely part of our sound. I can't think of the specific moment when we decided to work together, but the moment basically presented itself to do something. From that point on, we realised we needed each other.
JB: Our musical get together started off as a bit of an experiment really. But it soon became very obvious that something clicked. I think we needed each other musically but from the off we had a working relationship that gave each other space. We instinctively knew each other's talents and didn't step on each other's toes - rare in my experience and something to hold onto. How does the writing process work between you, and who does what, when?
ES: Except for the instrumentals, I write the songs... usually on guitar, strangely enough. It's the most direct way to write. However, I'm not a great guitar player, nor do I have a great guitar. It takes Jon's very distinctive style of playing piano to bring the atmospheres, arrangements and dynamics to life. I also add loops and parts of my own, and it takes off from there (or crash lands, as the case may be). We work independently more than we do in the same room, but that's because we know (and trust) the limits of our respective strengths and weaknesses.
I always end up mixing the sorry mess that are our creations, because I'm a bit obsessive that way. Jon wisely leaves me to that bit. It's not fun listening to your own song 100 times in a row, and probably a little less fun to watch.
JB: I leave Erik to form the initial basis of the song - he's very prolific and can lyrically say things I couldn't even begin to do. There's a great point to our writing where the song starts to form into its next stage once I add my input and we start to bounce ideas off one another. It's often very instinctive and can happen quite quickly. I'm a big believer in capturing an instant atmosphere and I think many of our songs do this.
Speaking of lyrics, how do you decide whether or not to include vocals on a track?
ES: It's really to do with the direction of travel. I tend to write songs rather than instrumentals and need Jon to squeeze them through his creative gauze to turn them into something that's more CWNN. Jon, however, only writes instrumentals as instrumentals. Putting words to his instrumentals would be kind of like saying they don't stand up to scrutiny on their own. I also feel that it's not a very integrated way of creating something, to simply slap words on top. Everyone knows that the worst bit of the wedding cake is the icing. For our score to "The Cabinet of Dr. Caligari", which is 50% instrumental and 49% vocal, we decided to meet somewhere in the middle.
JB: Its an interesting question, as its never really occurred to me to leave off or add vocals once a track is on the way to completion. As Erik says our songs and instrumentals are fairly formed in their own way before we interact and turn it into CWNN.
Lyrics are often viewed as precious by their writers. Do you think this applies to you?
ES: Well some lyrics I'm proud of and some I'm certainly not, but I certainly don't hold any value to them. I've always held the view that songs are terrible ways to communicate a message, which is why song lyrics have been misunderstood and manipulated to suit the wrong cause since day one. I may write about things that I find fascinating, but I don't patronise the listener by looking down on them when they don't 'get' what I'm on about. Many songwriters do, I think. I'd argue that if, as a songwriter, you're precious about what you write, it's not the lyrics that are precious, but you. Once CWNN have released a song, I literally feel like I've let it go. It's now old enough to stand up and fight its own fights. Doesn't always win, though.
JB I can speak impartially here as I leave the lyrics to Erik. Again, its interesting as I often read a certain something into Erik's lyrics before I know the background of the song and somehow the mood follows. One of the things that fascinates me about Erik's lyrics are the small details. For me the best lyrics are ones that focus in on the detail but somehow manage to grab you with a wider concept. I could be getting carried away here, though.
So do you exclusively (or predominantly) write for yourselves or do you always have an eye on how you think it might be 'received' and, if the latter, does that affect your writing?
ES: I think it's always going to be a bit of both. In terms of writing for ourselves, there is certainly no pressure from our label to conform to anything, so we have total freedom (in theory). However, my own penchant for over-indulgence is these days tempered by the realisation there is a limit to what we can make a decent stab at. So, I suppose ultimately we write for ourselves...but act as our own audience too. On the other foot, the problem of writing too much with your audience in mind is that you can rarely predict what they will take to. There's a track on our first album called 'Maslow's Dog', which we actually wanted to drop from the album, that most reviewers picked as the standout! I'm certainly always very interested in what people think of what we do, but I suppose it's more important than anything else to find out why they think that. Pickyness should be unpicked.
JB: I'm always very keen to find out how are tracks are perceived and as Erik says understand why a song might be appealing or unappealing to someone - the findings are often surprising and very useful in giving a new perspective. I think the starting point is always to play for yourself though. Anything less than this and the writing and playing risks not being true. Although having said that, being in a duo is a very positive thing here - to echo Erik's words, we act as an audience for each other which stops any over indulgence on either side.
What sort of reaction/response are you hoping to solicit from those who hear your music?
ES: Much in the same way that I don't expect anyone to connect with my lyrics, I don't hope for any particular reaction, other than positive over negative. I really don't. I find it insulting to the listener. As they listen, it's their ears that own the music, not mine. Of course a positive reaction could constitute a number of things, from laughter to tears to being inspired to write a song that's a thousand times better than the one from CWNN that they've just heard.
JB: I just hope for a reaction. There's nothing worse than a shrug of the shoulders or indifference I think. Of course if the music touches people in a positive way I'm always going to favour that.
You've scored two silent films in the past couple of years. Is this just a stream of your expression, or could it become the focus of the band in the future?
ES: Well, one of those two films was just a brief short, Le Melomane by Georges Melies ]As part of a DVD compilation of Melies' films released by Trakwerx]. The films really found us. It's more a stream of expression of the label we're signed to, Trakwerx, which we were lucky enough to fall headfirst into with The Cabinet of Dr. Caligari. They'd already released new scores for Nosferatu and Battleship Potemkin (both by Del Rey and the Sun Kings) before we got our hands dirty. Essentially, we'll attempt most things that are asked of us, as long as those that are commissioning are aware of fuzzy framework we operate in. In terms of scores being a focus, I guess it's just another string to our bow. That comes first, focusing and taking aim then follows. As a general contradiction, CWNN drift. A lot of bands try 'be the loudest', 'be the quietist', 'be the most confrontational', 'be the most beautiful'. For me, it's like chasing rainbows. Cult With No Name just try to 'be'. JB: I think just a stream of expression, albeit a very enjoyable one. We initially approached the idea with a bit of trepidation. However, after coming out the other side, so to speak, the soundtrack work has actually had a definite influence on our music since. I would love the opportunity to do another one at some point - we definitely operate on the philosophy of never say no and that can come up with some very nice surprises.
Although your style has its roots in a blended new wave/classical/pop tradition, I've always seen you (in London) performing on the darkwave/industrial/electro circuit. Does this feel a bit incongruous for you? Does it throw up any issues of 'connecting' with audiences - particularly in supporting slots?
ES: You've hit the nail on the head in the question, I think. The new wave/classical/pop tradition - what IS that exactly?! Of course every bloody band says that they're misfits, but I genuinely think it's true of CWNN. Half of our material is acoustic (voice and piano/ guitar) and half is electronic. And the problem we find is that those two fanbases don't tend to mix. It's a sweeping generalisation I know, but fans of G. Numan don't tend to listen to R. Newman, and vice versa. So, when we play acoustic, 'singer-songwriter'-type venues (a horrible term) anything with a drum program and a synthesizer is met with mild disdain. Similarly, when we play synth/ industrial nights, the audience look on bemused, wondering when the loops are going to start. Although, it can be incredibly frustrating at times, ultimately being a misfit can only be a good thing. It's just too easy to fall into one of those two camps. Keep music lithe, I say.
JB: It is a challenge certainly. One of the great things about being in CWNN is that we never really fit in when we're performing live. That can be a frustration in the sense we're often positioned as a warm up act at electro gigs, but more a relief most of the time as our music is definitely not dictated by scene. Interestingly we've never really had an issue with support slots, with one of our best received gigs being with [Suede's] Brett Anderson.
Which artists most inspired you to get involved with music and/or were/are the biggest influence on you?
ES: Growing up, I had a series of obsessive phases with bands that over the years have grown into a coat (ok, anorak) of many colours. The first band I ever fell in love with was The Stranglers. 'Rattus Norvegicus' is quite an album to own at the age of ten. A real education. I still love them.
By the age of 11, I was traveling up alone to central London record shopping, often going to the Music and Video Exchanges in Notting Hill. I started getting into quirkier electronic music when the Art of Noise and Yello started having their hits. Yello, in particular, lead me to my next obsession, The Residents. I vividly remember flicking through old copies of 'The Rock Yearbook' in my school library and coming across photos of four guys dressed in tuxdos with giant eyeball heads. I knew this was a band I HAD to hear. And so, for the next couple of years I became completely fixated by them (I still love them). Getting into The Residents helped introduce me to a brave new world of music, and helped to broaden my taste. After all, to be a Residents fan you need to be pretty thick-skinned, or cloth-eared as some would argue. Tuxedomoon, Captain Beefheart, Numan, John Foxx, Devo, Wall of Voodoo/ Stan Ridgway, The Associates, OMD, Danielle Dax, Negativland, The Nits and about a million others all soon followed. I've sort of accidentally grown into a serious collector of obscure electronic post-punk music. A few thousand records and not counting. I collect for the music though. The creativity, resourcefulness, passion and total lack of inhibition (and often talent) is still what inspires me above all else.
JB: This is always a difficult question, as I can never quite pinpoint the moment of inspiration that urged me to get involved in music. Playing piano from an early age, I was not surprisingly spurred on by other piano players, and in particular Elton John (his early 70s period, "Madman Across the Water", etc.). There are also so many tracks that have provided constant inspiration, but I do draw particular influence from ambient writers (e.g. Harold Budd, Brian Eno), the minimalist composers (e.g. Arvo Part, Phillip Glass) and early 20th century classical music (e.g. Vaughan Williams, Copland and Faure). I do tend to lean towards more downbeat music, with the likes of The Blue Nile also being a great influence. One of the things that I feel works so well with CWNN is that Erik and I have some very different influences yet at the same time have found common ground with our own tastes, for example OMD and The Nits.
Are there any recent musical 'discoveries' that have excited you that you'd like to share with our readers?
JB: A few on my iPod at the moment. A recent discovery for me is the Leeds band ILiKETRAiNS, who are exciting. I think there are some great bands out there who have been releasing music over the past couple of years, my current favourites are tracks by The Boxer Rebellion, Foals and The Hours.
ES: I'm going to make myself unpopular here. I simply don't have the time or interest to listen to anything new, I'm too busy discovering the misspent youth I should have had. I genuinely can't recall that last time I bought a new album from a new band. There are reasons in that I'm always instinctively drawn to the source of any genre, as it usually crackles with excitement. For example, I've recently been listening to loads and loads of roots reggae. Why on earth would someone listen to modern roots when you have the likes of Burning Spear? For me, the same applies to anything, be it synth-pop, punk, noise, ambient. When you want to be educated in something you turn to Yoda, not Luke Skywalker.
I think you both have quite a reserved/modest disposition. Erik, do you find being the singer (inevitably leading to you personally being the focus of peoples' attention live) is something you're comfortable with? How does it feel to be the 'front man'?
ES: You think? Well, we're fairly reserved people, I'd say. Why rage against the machine when you can seduce it? In terms of being a front man, it's taken a while to get used to, but there is an ego in me sadly, so I guess I do enjoy it. When we began playing live, I used to write what I was going to say between songs on a sheet of paper by my synth. I was that nervous. These days that awkward silence comes more naturally. Cult With No Name are also not the kind of band that inspires fanatical devotion or hysteria, so I've not had to deal with much of that. However, it's fascinating how watching someone standing on stage and singing into something resembling a phallus can change a quite rational person into something altogether different. I've nothing against it, of course. Ladies, please form an orderly queue. No, stop, not for the exit!
How and why did you hook up with your label Traxwerx?
JB: Erik can provide more detail as he was the instigator. We are very lucky to find a label like Trakwerx though. They really do give us real freedom and encouragement. Their approach to the finished product is fantastic as well - we love the album sleeves they did for Adrenalin.
ES: And the story is this. I used to run an obscure post-punk music blog, which posted up a review of an obscure classic from my collection every week. A friend of mine said it was the only way I'd get attention for my own music. I was terribly insulted by this suggestion at the time of course, but he was quite right. I got quite a few of the original artists involved in the records I reviewed emailing to thank me and saying it was the first time anyone had written about them in years. One such fellow was Jackson Del Rey, founding member of Savage Republic and 17 Pygmies. I'd reviewed the Pyg's mid-eighties classic 'Jedda By the Sea'. To cut a long story short, we struck up a friendship and a year or two down the line he actually re-formed the band and started up a label (he'd run a few in the past too). He liked what he heard of Cult With No Name and the rest is his story...and mine. For the record, 17 Pygmies have released more stuff since reforming than they ever did in the eighties. Their second coming is still very much going. Check out the album 'Celestina'.
Can you each cite a key musical epiphany moment?
ES: I can't really recall the precise moment I became obsessed with music. I guess an important moment would have been buying that first Residents record ('Diskomo'). I remember watching it spin round on my turntable for the first time thinking, 'what the fuck is this?!' I also remember my mum saying a few days later, 'those new records you bought sound good...except for the one that's Chinese.'
JB: I was very lucky to have a very inspirational (and eccentric) piano teacher from an early age who really instilled a love of music, but it was really only when my first live band moment came about (aged 17) that I knew I was hooked. There have been many moments since and I'm pleased to say that CWNN has provided much of these.
In all your years of gig going, which ones provided life changing experiences/stand out for you?
JB: There are many, but seeing The Blue Nile live have produced stand out moments, in particular the first time I saw them play just after their "Hats" period. One of the most memorable live music experiences I've seen was a classical moment, with a performance of Aaron Copland's "Appalachian Spring".
ES: I don't know about life changing. I go to gigs as much to be educated as entertained these days, which is genuinely sad. A few gigs that really stood out for me were The Nits at Bush Hall, Tuxedomoon at Electrowerks (which I had major personal involvement in), ESG at Dingwalls, Laurie Anderson's 'Stories from the Nerve Bible' tour, The Pale at the Venue (many years ago), Brian Wilson performing 'Pet Sounds', Sparks' final concert of their 21 album spectacular, The Residents' 'Wormword' tour, and Devo at Shepherd's Bush. Some are memorable for the irreversible effect they had on my ears, others my heart, and some my shoes.
Assuming such a thing exists, what's the 'plan' for developing CWNN? (Is there a 'masterplan' or do you just play as you go?)
ES: No plan. We're 100% play as we go. As a general rule, we wait to be asked. Usually we'll have an answer.
What question didn't I ask that you'd have liked me to? And what would your answers be?
ES: That's the toughest question you've asked, you know. Perhaps a question about the meaning behind certain songs. What would be my answer? 'Well, which songs?'
JB: Well this has been one of the most comprehensive interviews we've had, but if I was to choose one extra question it would be what's the best bit of musical advice you've ever had. And the answer is 'less is more...'
Gig Reviews - Cult With No Name
Music Reviews - Cult With No Name
Official Cult With No Name website: http://www.cultwithnoname.com


text:
Admiral Sir Andrew Browne Cunningham
Person Male Born 7/1/1883 Died 12/6/1963
Categories: Armed Forces
Countries: Ireland
Born Dublin. Known as ABC in the Navy. Naval Commander-in-Chief in the Med until 1942, first Sea Lord and Chief of Naval Staff by the end of the war. Managed the evacuation of Crete when the Germans re-took the island in 1941.
Died on the way to St Thomas's Hospital, after attending the House of Lords.
Cunningham bust
Unveiled by Prince Philip in 1967. Inside the bust there is a ½ pint Guinness...
Gerald Road Police Station
The police station opened in what was then called Cottage Row. The name was c...
William Duke of Cumberland
Second son of George II. Known, in Scotland, as the Butcher of Cumberland for...
Henry Herbert Butcher
Auxiliary fireman killed in the bomb attack on Henry Cavendish School, Balham...
Cyril Demarne
Born Poplar. A firefighter in WW2 he became Chief Officer of the West Ham Fi...
Leading Fireman James Arthur Johnson
Person , Armed Forces, Tragedy, War Memorial WW2


text:
Cisco Blogs / Archives for Ron Hranac
Ron Hranac
Technical Marketing Engineer, Cable Access
Ron Hranac is a Technical Marketing Engineer for the Cable Access Business Unit at Cisco Systems, Inc., and is based in the company's Centennial, Colo. office. He has been in the cable industry for more than 46 years and has worked extensively with microwave, satellite, fiber optics, HDTV, two-way and other cutting-edge technologies for cable. Ron is recognized as a technical leader in the North American cable TV industry.
Prior to joining Cisco, he was Vice President of Engineering for High Speed Access International, a division of High Speed Access Corp. Ron spent nine years as Senior Vice President of Engineering for Coaxial International, Inc., a Denver-based cable television consulting firm. In addition to his cable industry tenure, Ron also spent five years in commercial radio broadcasting. He began his cable career with TelePrompter Cable TV in 1972 and moved to Jones Intercable, Inc. in the late 1970s. After nearly 11 years with Jones in various engineering capacities, Ron served as CT Publications' Senior Vice President of Editorial in 1990. He also held freelance roles as Senior Technology Editor and a monthly columnist for Communications Technology magazine through 2012.
Ron's industry activities include the publication of hundreds of articles and papers, and he is past chairman of a National Cable Television Association ad hoc Subcommittee to research 75-ohm traceability at the then National Bureau of Standards. He has been a speaker at numerous industry conventions and seminars around the world. In 1997 he was inducted into the Cable TV Pioneers, and in both the 1998 and 1999 Western Cable Show issues of CableFAX magazine was named among the industry's 100 most influential people.
Ron is a Fellow Member of the Society of Cable Telecommunications Engineers and a past member and Chairman of the Society's Board of Directors. He has been active at various levels of SCTE since 1979 and was inducted into Society's Hall of Fame in 2010.
What Are S-Parameters and Other Hot Cable Network Topics
Read all about hot cable network topics, from DAA and 10G, to Cloud and Scalability.
cable access
SCTE
16 Cable Industry Terms You Need to Know to Get Ready for Cable-Tec 2019
SCTE's Cable-Tec Expo 2019 is just around the corner (September 30-October 3 in New Orleans). Plan on a busy week given the wide range of technology on display.
cable-tec expo
Five Trivia Questions to Celebrate SCTE's 50th Anniversary
In honor of the SCTE·ISBE 50th anniversary, I thought I'd take a look back at some of the organization's achievements and share a little trivia.


text:
Ikea's innovation lab Space10 wants you to design smart co-living spaces for 2030
Would you share your kitchen? Your car? Your robo-pets?
Sophie Charara
@sophiecharara
In just three years Ikea has become known not just for its monochrome rugs and stackable units but also its thoughtful experiments with both hardware and software in the smart home. You might have tried out the Ikea Place AR app, or own a Home Smart wireless charging lamp – its next concern is the future of home audio via a collaboration with Sonos due in stores in 2019.
Bas van de Poel's job is to think slightly further ahead.
He's a creative strategist at Space10, Ikea's external innovation lab, and one of his current projects, One Shared House 2030, is interested in how co-living could solve problems including high living costs in cities and even loneliness.
The playful survey is a collaboration between Space10 and Anton + Irene, which explores what people would be happy to share – kitchens, smart devices, childcare – in co-living environments in the future. You can try it out now by posing as an applicant for the shared living space to see the results so far; your answers will be anonymous.
"Technology will be profoundly different in 10, 12 years time but people will still want to have a cosy home, want to have nice conversations with people. People will still need people basically," van de Poel tells us over Skype from the Space10 HQ in Copenhagen.
The art of co-living
One Shared House 2030 is a fun, whimsical experience for anyone interested in the future of living – no wonder then that it had 5,000 submissions in two weeks. You are invited to answer questions about sharing energy, services, space, furniture and technology, among other essential considerations such as whether you prefer pets, no pets or only robotic pets.
One suggestion for negotiating energy use in a house with shared living and working spaces is to agree on a set quota per person and then "let the smart things negotiate" on our behalf, an idea that 24% of people so far seem to be able to get behind. Similarly, you are given the option to let an algorithm, rather than the tenants or management, decide any new house members – very Black Mirror and 18% of respondents so far agree.
We really believe in this term natural interfaces, interfaces that are an extension of us as human beings
Elsewhere there are questions about whether you would share a self-driving car, self-sustaining garden and other futuristic mod cons with your co-living housemates. But the majority of the questions are geared towards technology which blends into the background and lets you just live together. Modular walls or clearly defined spaces? Daily dinners? Anyone who craves a little more company, works from home regularly or is even 10% of an introvert can see the benefits of this flexible approach to living with others.
"We really believe in this term natural interfaces, interfaces that are an extension of us human beings," says van de Poel. "Technology is expanding exponentially but human evolution can only go this fast.
"Technology should support us instead of distracting us. Right now, I really hope it will become more embedded into the environment and, to your point, it becomes more ambient in a way."
It's not a cold, Tesla future or nothing
One of the most curious things about Space10's shared living project is how far from science fiction it feels. Sure it's futuristic but, fitting with the Ikea aesthetic, it's less reliant on specs and shiny surfaces than most and that's promising for the future of Ikea's own smart home endeavours: "Personally I don't want to live in a Tesla future where everything is extremely masculine, glass and iron. I'd rather live in something that's a little more soft and natural."
When it comes to gadgets with that crucial sense of playfulness, van de Poel mentions Teenage Engineering and Raven's 'H' and 'R' smart speakers which look like, well, a robotic arm and a stack of colourful coasters, I guess.
He is also impressed with Apple's AirPods which are "flawless" from an ergonomic standpoint and has high hopes for augmented reality's impact on our lives. I ask if layers of AR information will change what tech we have in our homes – displays for instance. "That was Mark Zuckerberg's point during last year's F8. Why buy a $500 Samsung PC when you can buy a $1 augmented reality app? I think that's a fair point."
Voice interaction, though, seems to be key to this idea of natural interfaces in the home. "We're hugely fascinated by all this voice technology – smart assistants, smart speakers," he says. "Because we don't have to learn to speak the language of technology and computers but the technology finally speaks our language. We can have a conversation with it."
On the agenda for Space10 in 2018 is more work exploring co-living, AI and natural interfaces as well as some projects that are staying secret for the time being. As van de Poel explains: "We work under the same mission as Ikea and together we decided on our focus areas." And he's not above joking about the perception of experimental labs either. "From the outside, it seems like we're just doing a lot of random shit but it's actually planned."
Take the One Shared House 2030 survey here.
The best streaming sticks, boxes & devices to get a smart TV on a budget
Buyers' guide: Who do you trust on your TV?
The best pet cameras and treat dispensers for cats and dogs
We're barking mad for these top cameras for your pets
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Buyers guide: We test the latest smart locks and help with door related decisions
The best smart thermostats for your home
Buyers guide: Our reviews of the leading thermostats
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Buyers guide: We review the latest and greatest smart vacuum cleaners
The best robot lawn mower 2019: Smarten up your garden the easy way
Buyers guide: We review the latest smart mowers for your grass


I'm delighted to share with you a little secret, in the middle of May I was filmed for the Hotel Inspector giving my opinion on the Oakland Hotel in Essex and whether there is a market for them with events. It was a lot of fun filming, took me back to when I used to work in TV documentaries, was strange being the other side of the camera.
I adored meeting Alex Polizzi who was quite simply lovely, felt like I was having a catch up with the friend. To watch the episode I was involved with tune in to Channel 5 on Wednesday 2nd July.


text:
Romanian Oppositions Form Alliance
2011-02-06 00:57:46 Xinhua Web Editor: Zhang
All the three opposition parties in Romania's parliament Saturday signed a protocol forming the Social Liberal Union (USL), a political alliance of liberals, conservatives and social democrats.
The protocol was signed by the Social Democratic Party's leader Victor Ponta, the National Liberal Party's leader Crin Antonescu and the Conservative Party's leader Daniel Constantin.
The union wants to be an alternative to the current ruling coalition made up of the Democratic Liberal Party, the National Union for Romania's Progress and the Hungarian Democratic Union of Romania.
Ponta said after signing the protocol that he trusted both the union and the alliance partners and was sure that the alliance would be successful.
In his turn, Antonescu emphasized that the USL was an alliance with Romania for Romania.
"We have all listened to and understood the voice of most Romanians," he said, "We are all joining hands for the present and the future of this country."
Conservative leader Constantin said that he trusted the union as the change in Romania will be made at the same time with this group being set up.
In early January, the Liberal Party teamed up the Conservative Party under the Center-Right Alliance and the new political alliance, including Social Democrats will be co-headed by Social Democrat leader Ponta and Liberal leader Antonescu.
Together, the three opposition parties hold a little less than half of the 470 seats in the current parliament.
Local analysts said that the new alliance does not pose an immediate threat to the centre-right government of Emil Boc but could win the 2012 elections and form a new ruling coalition.
Correspondents' Corner more »
• Stockholm Confucius Institute Holds Grand Spring Festival Celebration
• Visitors Head to Israel for Autumn Bird Watching
• What's Next for Libya after Western Airstrikes?
• "Odyssey" Apparently Not Bringing "Dawn" to Libya
• Pak, India Revive "Cricket Diplomacy", Hopes for Peace High
• Coalition Strikes Against Libya Opening "Pandora's Box" of Chaos
• No Need to Worry about Trace Amount of Radioactivity: Expert
In Depth more »
• Mubarak on Trial
• Quake Hits Myanmar
Talk to CRI
Email: crieng@cri.com.cn


text:
SBU News > Academics > College of Arts & Sciences > Study on Caribbean Mammal Extinctions Helps Guide Conservation Strategies
College of Arts & SciencesFaculty/StaffNews HighlightsResearchStony Brook Matters
Study on Caribbean Mammal Extinctions Helps Guide Conservation Strategies
A new study by a team of international scientists jointly led by Stony Brook University Professor Liliana M. Dávalos and Professor Samuel Turvey of the Zoological Society of London reveals that the largest and smallest mammals in the Caribbean have been the most vulnerable to extinction. The findings, published in the Proceedings of the Royal Society B, help predict future extinction risk and inform the conservation strategies needed to prevent future biodiversity loss.
Sloths, rodents and primates — some of the largest and smallest mammals on Caribbean islands — are among those most vulnerable to extinction. Credit: David Rini, Johns Hopkins University
Most past studies find that larger mammals go extinct more often, so this study's findings are unusual. Titled "Where the Wild Things Were," the paper looked at past extinction patterns across the Caribbean mammal fauna to help scientists understand the factors that predispose species to extinction. With mammal extinction, what they found is that size does indeed matter in life.
The islands of the Caribbean have long been a source of fascination for scientists and conservationists. They were once home to a diverse array of land mammals including sloths, primates, unusual insectivores and giant rodents, but the arrival of different waves of human colonists from around 6,000 years ago onward instigated the largest series of human-caused mammal extinctions since the end of the last Ice Age.
Only 11 native Caribbean rodents and two insectivores still survive today — including the two solenodons, large shrew-like mammals that have the unique ability to inject venom into their prey using modified grooved teeth. Both solenodon species are the only representatives of an ancient mammalian lineage that diverged from the ancestors of all other living mammals during the time of the dinosaurs, approximately 76 million years ago.
Dávalos, a professor in the Department of Ecology and Evolution in the College of Arts and Sciences, designed and completed the statistical analyses that led to the findings. By carrying out the study at the level of mammal populations instead of species, the team's methods were able to account for the effect of varying environmental conditions across different islands on species' chances of survival.
Conducting a huge-scale analysis that included records of extinction patterns for 219 land mammal populations across 118 Caribbean islands, the study went beyond previous research into Caribbean mammal extinctions, which has largely focused on reconstructing last-occurrence dates for extinct species and matching them with specific historical events. This study instead sought to identify wider ecological patterns — such as the relationship between body mass and extinction risk — that influence a mammal's chance of survival in response to human activities.
They found that medium-sized Caribbean mammals — like the solenodons — have been less sensitive to extinction compared to both their smaller and larger counterparts.
According to Dávalos and co-authors, this overall discovery is likely to reflect the fact that larger species were more vulnerable to past human hunting, whereas smaller species were more vulnerable to predation or competition by introduced species such as mongooses and rats.
"To answer questions such as 'what traits predispose species to survival?' Or 'what island features are associated with extinction?,' we studied each population on an island as a natural experiment," says Dávalos. "With enough of them, patterns that have often been discussed but couldn't quantify start to emerge. Without the large database of many natural experiments in the Caribbean and powerful computing approaches, there is no way to answer these questions.
"The analyses also showed that Caribbean mammals of all sizes were less likely to survive on the earliest-colonized islands by humans and more likely to survive on tiny, low-elevation offshore islands, meaning that their future survival could be at risk from climate change and rising sea levels unless measures are put in place to protect these vital natural refuges."
"Preventing the extinction of highly endangered species requires an awareness of not only the immediate risks to their survival, but also the history of human-caused biodiversity loss — and the unique insights that the past can provide about species' vulnerability or resilience under differing conditions," adds Professor Turvey.
"The Caribbean islands are home to unique mammalian biodiversity, which has tragically been almost completely wiped out by past human activities. Our study clearly highlights the importance of learning from the past to make the future better — we must use information from the historical, archaeological and recent fossil records to inform current-day conservation, or else we risk losing these remarkable species forever."
Research for this study was supported in part by the National Science Foundation (NSF). Additional funding by the NSF enabled analyses by the SeaWulf computing system at the Institute for Advanced Computational Science at Stony Brook University.
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College of Arts and Sciences Ecology and Evolution extinction
Study on Caribbean Mammal Extinctions Helps Guide Conservation Strategies | | SBU News - Stony Brook News - Caribbean Press says:
[…] The islands of the Caribbean have long been a source of fascination for scientists and conservationists. They were once home to a diverse array of land mammals including sloths, primates, unusual insectivores and giant rodents, but the arrival ofSource… […]
AcademicsCollege of Arts & SciencesGraduate SchoolResearchUniversity
GAANN Fellowship Funds Critical Psychology Research
The U.S. Department of Energy's Graduate Assistance in Areas of National Need program (GAANN) provides funding for fellowships to assist graduate students in fields designated as areas of national need important to the...
DiversityEventsMain UniversityNews HighlightsStony Brook Matters
Career Center Hosts Annual SHEroes Event Empowering Women in the Workforce
Nearly 200 attendees learned about the challenges and issues that women face, as well as internship and job opportunities.
AcademicsCollege of Engineering & Applied SciencesFaculty/StaffNews HighlightsUniversity
Mónica Bugallo Named to IEEE Society Board of Governors
Mónica Bugallo, professor of Electrical and Computer Engineering in the College of Engineering and Applied Sciences has been elected Member at Large on the IEEE Signal Processing Society Board Of Governors
Takeuchi Team Earns Secretary of Energy Achievement Award
AGT Finalist Mike E. Winfield Coming to Staller Center March 30
Josue Nassar a Finalist for Chancellor Distinguished PhD Graduate Award
Climate Change Proves Deadly for Northern Bay Scallops
Healthgrades Ranks Stony Brook University Hospital Among America's 50 Best
Al-Gharbi to Join SoCJ as Assistant Professor of Communication and Journalism
Ivet Bahar Named Director of Laufer Center for Physical and Quantitative Biology
What We Eat Early in Life Influences Our Adult Food Preferences
John Fleagle to Receive Charles Darwin Lifetime Achievement Award
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Pony-stable, the Pony dependency mananger, hit its first release 0.1.0 and is now available for convenient installation on your package manager of choice. Find out more in the release blog post.
We just reached the magical number of 100 contributors on the ponyc repository. Thanks to everyone of you for bringing Ponylang to its current shape!
In case you missed the Pony development sync of September 13th 2017. The audio recording is available for your listening pleasure. Highlights this week are jemc and praetonus hunting down a bug in ponyc (thrilling!), jemc talking about the ponycc compiler design and someone trying to be sean (and failing miserably).
RFC 46 - More Random Methods has been implemented and will be available with the next release of ponyc.


Building on the work undertaken with Brena Larcom to create SAMM roadmap charts (Part 1, Part 2 and Part 3), I have developed a similar process for single point in time scorecards.
The XML is a very similar structure as used for the roadmap charts, but only one set of data are required.
Like the roadmap files, Maturity Level information can be 0, 1, 2 and 3 or where there is additional assurances in place beyond those indicated by the Level, the "+" symbol can be used so 0+, 1+ and 2+ are also allowed.
Edit and save the XML file. Then check the file is well-formed. The simplest method is to use the W3C Markup Validation Service to upload the file or directly input the file content. If your data contains confidential information, you may want to undertake this check locally instead.
Take a tool which can undertake XSLT conversions, and apply SAMM-1.0-scorecard-0.2-en_US.xsl to your XML file. An SVG file should be created. That's all there is to it.
Again if you don't want to use XML and XSLT, you can just edit the SVG files directly using some sort of text editor.
This entry was posted on Tuesday, August 7th, 2012, 10:46 pm and is filed under Discussion. You can follow any responses to this entry through RSS 2.0. You can leave a response, or trackback from your own site.


text:
using System;
using System.Collections.Generic;
using System.Linq;
using System.Text;
using System.Threading.Tasks;

namespace JobToolkit.Core
{
    public interface IJobServer : IDisposable
    {
        void Start();
        void Stop();
    }
}


text:
Nekovy tvoří společně s kovy a polokovy tři hlavní skupiny chemických prvků. Rozdělení je prováděno s ohledem na vazebné a ionizační vlastnosti prvků. Nekovy mají vysokou elektronegativitu, tzn. že jejich valenční elektrony jsou pevně poutány k atomu.

Nekovy jsou prvky v blízkosti horní pravé strany periodické tabulky, kromě vodíku jsou umístěny v p-bloku. Nekovy je termín používaný v chemii při klasifikaci chemických prvků. Na základě svých obecných fyzikálních a chemických vlastností, se mohou všechny prvky v periodické tabulce nazývat, buď kovové nebo nekovové.

Mezi nekovy patří halogeny, vzácné plyny a také tyto prvky:
 Vodík (H)
 Uhlík (C)
 Dusík (N)
 Kyslík (O)
 Fosfor (P)
 Síra (S)

Všechny nekovy, kromě vodíku, se nacházejí v pravém horním rohu periodické tabulky prvků. Na rozdíl od kovů, jsou nekovy izolanty nebo polovodiče. Tyto prvky často tvoří iontovou vazbu s elektropozitivními prvky nebo kovalentní vazbu s ostatními prvky. Oxidy nekovů jsou kyselinotvorné.

Známe pouze 17 nekovů, zatímco kovů je známo více než osmdesát. Ale koncentrace nekovů na Zemi je podstatně vyšší než koncentrace kovů. Organismy jsou tvořeny převážně nekovy.

Není známa žádná přesná definice pro termín "nekovový" - ta pouze zahrnuje obecné spektrum chování.

Společné charakteristické vlastnosti
 špatné vodiče tepla a elektřiny
 ve srovnání s kovy tvoří kyselé oxidy
 v pevném stavu jsou křehké, spíše než kovy, které jsou lesklé, tvárné
 obvykle mají nižší hustotu než kovy
 mají výrazně nižší bod tání a varu než kovy (s výjimkou uhlíku)
 mají vysokou elektronegativitu
 tvoří většinu hmoty Země, a to zejména vnější vrstvy, a organismy jsou složeny převážně z nich
 značně se liší ve vzhledu

Pouze sedmnáct prvků v periodické tabulce je obecně považováno za nekovy, ve srovnání s více než osmdesáti kovy. Nekovy tvoří většinu zemské kůry, atmosféry a oceánů na Zemi. Většina tkání živých organismů je složena téměř výhradně z nekovů.

Odkazy

Související články
 Kovy
 Polokovy

Externí odkazy

Skupiny chemických prvků

redpajama_set_name: RedPajamaWikipedia


Rocky Point Rally Charity Efforts!
Since it first began in 2001, bikers at the Rocky Point Rally have given back to the town of Puerto Peñasco through registration fees. More than $150,000 US has been raised for these groups over the years, and these charity organizations can also be found selling drinks and food down at the Old Port over Rally Weekend.
Charity groups receiving funds from the Rocky Point Rally registration and events include the Fire Department, local Red Cross (and ambulance) service, local family service groups (Integral Family Development [DIF]), a women's cancer screening group, school for children with special needs, and a home for the elderly.
We appreciate your donation, which is easy to do by just registering for the Rally online or when you come into town, and participating in Rally events!
Once again GRACIAS for registering for the Rally each year so we can continue to help these valuable efforts!!!
The Puerto Peñasco Fire Department was founded on June 11, 1974. Thirty-nine years later, along with the Municipal Civil Protection Unit under the direction of Jesus Nicandro Cornejo Torres, the department has three stations strategically distributed across town. In addition, the department has trained personnel available around the clock to provide fast and efficient service.
The department includes 30 professional staff members, along with 6 paramedics, and a Fire Department corps made up of 25 volunteers prepared to serve the community of Puerto Peñasco.
The Fire Department provides support services in combating fires, pre-hospital medical attention, search and rescue in the desert, and urban rescue. They also provide drill simulations at schools and businesses, training courses at local businesses and educational institutions, review of fire prevention and safety systems, safety coverage at local events, and special operatives during vacation periods that are strategically placed along the highways entering Puerto Peñasco.
The national system of the Office on Integral Family Development (DIF) is a social assistance branch of the government, formed in 1964, responsible for addressing, coordinating and planning for needs within the community.
Among the various projects of DIF here in Puerto Peñasco, they have been working hard to establish a hemodialysis unit in town as currently people have to travel to get these services. They also run the Amores de Peñasco Children's home in town, a Rehabilitation therapy unit, and numerous other projects that impact community members of all ages throughout Puerto Peñasco: school breakfasts and lunches, Senior services, community development, educational training, and much more!
The Puerto Peñasco office of the Mexican Red Cross was founded in 1958. The local office does not receive any governmental funding and is sustained solely through donations so that its emergency services can remain free. The local Red Cross currently has 45 volunteer EMTs, 6 ambulances, and 1 rescue vehicle.
In addition to working to fulfill its objectives of promoting the principal fundamentals of International Red Cross, and Media Luna Roja, the Puerto Peñasco Red Cross provides urgent care services and helps accident victims while also providing ambulance service to the scene. In general, the goal of the Red Cross is to contribute to improvements in health, disease prevention, and relief of suffering within the population, particularly for those in vulnerable conditions.
The José Dávalos Valdivia Casa Hogar home for the elderly is located on Blvd. Josefa Ortiz and welcomes visitors and donations throughout the year. Visiting hours 10 a.m. – 12 p.m. and 3 p.m. – 5 p.m. Ongoing needs at the home include senior vitamins, Depends (med & large), cleaning supplies, laundry soap, paper supplies (toilet paper, paper towels, etc.), garbage bags, food vouchers, as well as men's and women's clothing.
La Montaña School for children with special needs La Montaña Center for children with special needs was created in Puerto Peñasco in 1978 by a group of parents who found an educational need for their children with particular needs, such as Down's syndrome, learning disabilities, deaf students, etc.
La Montaña depends on the State Secretary of Education and Culture and currently has 93 students enrolled in their programs from pre-school through 6th grade. La Montaña also offers services for individuals from 6 months to 22 years old, including occupational services, hydrotherapy, and physical therapy.
The main goal of this group is to decrease incidences of cancer, particularly among women, across communities through prevention and treatment programs. They offer free pap screenings to low-income women periodically throughout the year, as well as free campaigns offering mammograms.


Do you want your STEM products or courses stand out among the competitions? AI is changing the world, are your products ready for the change? Incorporating vision sensor into your products is a quick and easy way to add AI to your offering.
The MU vision sensor is developed independently by Morpx to meet the needs of the STEM education market. The sensor can immediately add multiple unique capabilities into your current robotics products, including: color recognition, ball recognition, human sensing, card pattern (shapes, traffic signs and numbers) recognition. With these sensing capabilities, your customers will immediately notice an increase of intelligence of your products.
3.Write application on your main controller to process the vision sensor data.
4.Further integrate the MU vision sensor into your product's hardware body.
MU Vision Sensor enables many innovative applications and lessons that can be used in STEM education, please download our Free white paper here.
Morpx's new generation of vision sensor is small, low power consumption, yet has 6X faster processing speed and a higher recognition rate.
The MU vision sensor supports UART, I2C, and WIFI communication mode. It is used in Arduino, Mixly and Microbit embedded platforms. We also provide official open source library files for different application cases.
MU vision sensor can be widely used in intelligent toys, AI educational kits, maker products and other products.
All the visual recognition algorithms on the MU vision sensors are processed locally, with no need of the network, and no worries about privacy issues.
Light customization service: based on MU vision sensor, modify packaging, product name in manual and manufacturer's information, etc.
Deep customization service: Product and algorithm customization for new applications.
We can provide sensor customization services for partners, including visual recognition algorithm, sensor appearance and sizes, communication protocols and so on.


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Jay entered Management Consulting after graduating from the John M. Olin School of Business at Washington University in 1990. During his tenure in Consulting, Jay worked for several of the "Big Five" firms, focused on business process improvement, change management, and project management. He then became a Director at an internet consulting firm working with clients on Business to Business and Business to Customer websites. Since joining C.H. Robinson in 2001, Jay has focused on Collaborative Outsourcing®. From 2001 – 2007 Jay was part of the leadership team at the Transportation Management Center, where he was the Director of Consulting. Jay became part of C.H. Robinson Corporate in 2007, where he created a team of corporate resources focused on process transformation. After establishing that service, Jay moved into his present role responsible for thought leadership and the establishment of best practices across all of C.H. Robinson's Outsource accounts.


The "Le Mors a la Conétable" print here was originally designed by Henri d'Origny in 1970 and is still a much sought after silk scarf for any serious scarf collector.
The perfect carry-on duffel bag rendered in the iconic, striated Epi leather and accented with gold tone brass hardware, this Louis Vuitton Keepall 50 is a staple of brand. Its spacious interior provides what every traveller wants — the ability to pack more — and the smooth, signature Toron handles makes the bag easy to handle.
After Yves Saint Laurent left Christian Dior, he started his namesake label in 1962 and quickly became one of the most influential designers in Paris, ushering in a new bohemian style of dress that remained a signature of the house into the 1980s. Transparent fabrics were prominent in his collections as well as peasant-style silhouettes in rich fabrics like velvet. This peasant-style top in velvet burnout is the best of both worlds.
Gianni Versace's gilded style hit a boom in the 1980s and 1990s with his opulent, more is more aesthetic. Each color is hand-pressed onto the silk using multiple screens to create the vibrant designs.
What Goes Around Comes Around only sources traditional kimonos from Japan with a special interest in those made between 1940s to 1960s. During this time, kimonos still had the special touches and traditional unspoiled craftsmanship passed down from generation to generation.


Nina Kraviz is set to supply this weekend's BBC Radio One Essential Mix. The 07th October appearance marks Kraviz's first appearance on the programme since her 2012 debut.
The Essential Mix lands ahead of the Russian techno star's forthcoming live performance atop a 50-metre high water tower in Helsinki, Finland. That трип label showcase begins at 6pm on 29th October.
While the live shows continue, the search remains for Kraviz's missing possessions.
Tune in here. Relive the 2012 Essential Mix in anticipation below.


The Museum Tinguely is restaging "Le Mouvement", the landmark exhibition held in the Galerie Denise René in Paris from 6 to 30 April 1955. Le manifeste jaune, the leaflet produced for the exhibition, postulated "Colour – Light – Motion – Time" as the basic principles for the further development of kinetic sculpture. Motion as a means of expression was also the common element in all the pieces in the show.
That said, the reliefs and sculptures in "Le Mouvement" varied considerably in their treatment of motion: Yaacov Agam, Jesús Rafael Soto and Victor Vasarely exhibited objects that unfolded as the viewer moved around the gallery. Other works by, again Yaacov Agam, but also Pol Bury, Robert Jacobsen and Richard Mortensen could be altered by active intervention on the part of the viewer. The show further included motor-driven, self-propelling works by Jean Tinguely. Finally, Robert Breer edited a flip book to accompany the exhibition.
The exhibition frameworked not only these new artistic positions – for some artists the show marked the beginning of their international career –, but also included works such as Marcel Duchamp's Rotary Demisphere and Alexander Calder's mobiles, which served as links to the historical kinetic experiments of the early avant-garde.


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Home / India / BJP leader Arif Baig passes away
BJP leader Arif Baig passes away
Statesman News Service | September 5, 2016 9:53 am
Former union minister and senior BJP leader Arif Baig died here on Monday after suffering a heart attack, his family said.
He was 81 and is survived by two sons and five daughters.
Baig, who was suffering from blood sugar, died at his home due to sudden heart failure around 9 AM, his younger son Noorul Hasan Baig said.
The two-term Lok Sabha MP from Madhya Pradesh, Baig was first elected to the lower house from Bhopal on Bhartiya Lok Dal ticket in 1977 by defeating Dr Shankar Dayal Sharma, who later became President.
Thereafter, he was made the Union Minister, Hasan said.
He was again elected to Lok Sabha on BJP ticket by defeating Aslam Sher Khan of Congress from Betul in 1989, his son said.
Baig had left the BJP in 1996 to join Congress, but could not gel with that party. He rejoined BJP in 2003 and in 2013 fought his last polls from Bhopal North Assembly seat unsuccessfully, his son said.
Hasan said his father was jailed for 19 months during emergency in 1975 along with senior BJP leaders, Kushabhau Thakre and many others.
Baig would be laid to rest tonight at his ancestral graveyard near Central Library, Bharat Talkies, Bhopal, Hasan added.
Arif Baig
BJP leader
ED raids busted Channi's fake image: BJP
Parallel government in Diamond Harbour: BJP
BJP, Apna Dal, Nishad Party to contest on 403 seats in UP polls: Nadda


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Scores of women and youth hold rally in support of Buhari's re-election in Ilorin
6 months ago 5296 views by Oluwatobi Bolashodun
- Scores of APC women and youth locked down Ilorin to stage a peaceful rally in support of President Muhammadu Buhari's re-election
- The rally was organized by Making A Different (MAD) for Kwara and Kawu Modibbo Group
- The Kwara state APC chairman, Bashir Bolarinwa, urged aggrieved members of the party to forget their grievances and work for the success of APC at polls
The Kwara state capital, Ilorin was on Wednesday, January 9, locked down by scores of All Progressives Congress (APC) women and youth who staged a peaceful rally in support of President Muhammadu Buhari's re-election, Daily Trust reports.
Legit.ng gathered that the rally which was organized by Making A Different (MAD) for Kwara and Kawu Modibbo Group saw the procession affecting human and vehicular traffic on the popular Muritala Mohammed way.
The rally started around the popular Post Office Roundabout in the metropolis at 9.30 am and ended at the campaign office of a former APC governorship aspirant Ishaq Modibbo Kawu.
READ ALSO: Buhari's anti-corruption war is mere propaganda - Saraki gives reasons
Hon Bashir Bolarinwa, the state APC chairman, in his remark at the event, urged aggrieved members of the party to forget their grievances and work for the success of the party at the polls.
Bolarinwa represented by his vice chairman Abdullahi Samari, said: "don't sell your permanent voters' cards to them. Your PVC is your power. If they bring money, collect the money. After all it is our money. But don't vote them."
The wife of Mallam Modibbo, Saadat, speaking on behalf of the groups, said: "We are here today to mobilize youth and women in support of President Muhammadu Buhari's re-election.
"He has been doing a great job in the country and we need to show people what he has been doing.
"The crowd that accompanied us from Post Office to this place is amazing. It is an assurance that Kwarans are ready for the re-election of President Buhari.
"We are also using this medium to empower some of our members. Kwara state is different from other states.
"We have been suffering for so long. People need to be empowered, that is why we are giving out some items to some people today.
"We resolved to show our members a specimen of what a voter's card looks like so that they know how. In other words, we are embarking on voters' education, so that they know how to vote on election. Kwarans are ready. We don't need any message for them and it has started. We will not stop until election days."
Abdulkarim Popoola, a youth leader, said the victory of President Muhammadu Buhari and his vice, Prof Yemi Osibajo is guaranteed.
PAY ATTENTION: NAIJ.com upgrades to Legit.ng: a letter from our Editor-in-Chief Bayo Olupohunda
Legit.ng previously reported that the ruling All Progressives Congress (APC) is set to receive former Peoples Democratic Party (PDP) national chairman, Alhaji Adamu Mu'azu into its fold.
According to the report, Mu'azu is likely to be received during APC northeast zonal rally scheduled to hold in Bauchi at the weekend, where President Muhammadu Buhari will be present.
Mu'azu, a former governor of Bauchi state had been out of Nigeria for over three years until December 2018, when he returned and gave out his daughter in marriage.
NAIJ.com (naija.ng) -> Legit.ng. We have upgraded to serve you better.
I married four wives, built houses under Buhari's regime - farmer boasts| Legit TV
Source: Legit Nigeria
APC Latest NewsMuhammadu Buhari Latest NewsPresidential Elections 2019 in Nigeria
UN expresses concern over renewed Boko Haram attack, withdraws 260 workers


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B6db references: 30949236
Yuan H, Wang H, Fidan O, Qin Y, Xiao G, Zhan J
Identification of new glutamate decarboxylases from Streptomyces for efficient production of γ-aminobutyric acid in engineered Escherichia coli
J Biol Eng
4.1.1.15.b
Glutamate decarboxylase; Heterologous expression; Streptomyces; Whole-cell biotransformation; γ-Aminobutyric acid
Gamma (γ)-Aminobutyric acid (GABA) as a bioactive compound is used extensively in functional foods, pharmaceuticals and agro-industry. It can be biosynthesized via decarboxylation of monosodium glutamate (MSG) or L-glutamic acid (L-Glu) by glutamate decarboxylase (GAD; EC4.1.1.15). GADs have been identified from a variety of microbial sources, such as Escherichia coli and lactic acid bacteria. However, no GADs from Streptomyces have been characterized. The present study is aimed to identify new GADs from Streptomyces strains and establish an efficient bioproduction platform for GABA in E. coli using these enzymes. Results:
By sequencing and analyzing the genomes of three Streptomyces strains, three putative GADs were discovered, including StGAD from Streptomyces toxytricini NRRL 15443, SsGAD from Streptomyces sp. MJ654-NF4 and ScGAD from Streptomyces chromofuscus ATCC 49982. The corresponding genes were cloned from these strains and heterologously expressed in E. coli BL21(DE3). The purified GAD proteins showed a similar molecular mass to GadB from E. coli BL21(DE3). The optimal reaction temperature is 37 °C for all three enzymes, while the optimum pH values for StGAD, SsGAD and ScGAD are 5.2, 3.8 and 4.2, respectively. The kinetic parameters including V max , Km, k cat and k cat /Km values were investigated and calculated through in vitro reactions. SsGAD and ScGAD showed high biocatalytic efficiency with k cat /Km values of 0.62 and 1.21 mM- 1·s- 1, respectively. In addition, engineered E. coli strains harboring StGAD, SsGAD and ScGAD were used as whole-cell biocatalysts for production of GABA from L-Glu. E. coli/SsGAD showed the highest capability of GABA production. The cells were repeatedly used for 10 times, with an accumulated yield of 2.771 kg/L and an average molar conversion rate of 67% within 20 h. Conclusions:
Three new GADs have been functionally characterized from Streptomyces, among which two showed higher catalytic efficiency than previously reported GADs. Engineered E. coli harboring SsGAD provides a promising cost-effective bioconversion system for industrial production of GABA.


Kölle meets Rio – Carnival across borders?
Carnival, though celebrated in many places around the world, is a deeply local affair, a matter of local civic pride, including jokes about those who are not locals (in Cologne, such jokes are likely to be about the inhabitants of the nearby town of Düsseldorf). This year, however, Cologne, the capital of German carnival, themed its celebrations "Fastelovend em Blot, he un am Zuckerhot" which in local dialect means "Carnival in our blood, here and at the Sugar Loaf Mountain" – a reference to Rio de Janeiro, with whom Cologne was twinned in 2011. On the other side of the Atlantic, Unidos da Tijuca, one of the most successful samba schools in Rio de Janeiro, appeared as "Samba da Alemanha" at the annual samba contest in the Sambodromo.
Is carnival going cosmopolitan? Or has it never been as local as my Cologne experience made be believe? I think neither of the two is the case. From the 18th century onwards, civic localism was an essential part of modern carnival and still is today. What has changed, though, is the reach of the cosmopolitan outlook in which this localism is articulated.
In Cologne, yesterday more than 11.500 activists, 130 music groups, and one hundred wagons accompanied by 800 attendants formed a line of more than 7 km length for the traditional Rose Monday parade. More than 1.5 million spectators watched the parade on the roads, and many more followed it on television. More than 150 tons of sweets (called "Kamelle"), including 700.000 chocolate bars, and 300.000 bouquets of flowers (called "Strüßjes") were thrown into the crowds. Estimated overall costs: 2.3 million Euros (see official webpage of Cologne carnival). That all sounds pretty much like a megalomania – but Cologne is still a Benjamin compared to its new partner city.
Rio de Janeiro considers itself proudly the world capital of carnival. Like in Cologne, carnival is the result of 8 months of preparation. Up to 12 samba schools, each with around 3.000 members compete over several days in the Sambodromo for the position of Grand Champion. Each night, 90.000 people are watching live, not to mention the millions following the contest on television. Some 6 million revelers are expected to spread over 492 street blocks and almost 700 parades. Foreign visitors alone are estimated at more than 500,000 this year. Estimated costs: 4.4 million Euros – just for the "Samba da Alemanha" parade of Unidos da Tijuca (see Süddeutsche Zeitung).
In both cities, carnival is an important part of local identities, popular culture, social organization and economic life (just think of the role of the carnival associations). This has been the case from the beginning of what can be considered as modern carnival in the 18th and 19th centuries, as a short historical review reveals.
The roots of carnival trace back to ancient Roman celebrations around solstice and spring. As discussed in my blog entry on the transnational origins of modern Christmas, the whole winter period was a period of carnivalesque feasts and activities which ran into early spring and ended with the beginning of the fasting period before Easter. While the Catholic church tended to tolerate carnival, protestants attempted to repress it. The result is still observable in the geographic distribution of strongholds of carnival in Germany, but also worldwide: Carnival tends to be concentrated in regions with a high proportion of catholic, and to a lesser extent, Greek orthodox populations. There is hardly any carnival in the UK or the US, with the exception of French and catholic New Orleans. Notable exceptions from this rule are Basel in Switzerland, which has its own carnival tradition despite being protestant, and the Philippines which do not have any significant carnival but a large catholic population.
In the 19th century, authorities as well as members of the rising urban bourgeoisie even in largely catholic regions became increasingly concerned with carnivalesque indulgences as a threat to social order. They feared subversion and resistance. Merchants, professionals, entrepreneurs as members of an emerging civil society sought to organize, control and monitor carnival activities. Modern carnival was organized carnival. The development of carnival in the German Rhineland, analysed as "regimenting revelry" by Elaine Glovka Spencer in articles published in Central European History and the Journal of Urban History, provides an informative account of these changes.
Photo attributed to the public domain by the photographer, http://commons.wikimedia.org/wiki/File:K%C3%B6ln-Rosenmontag-Neumarkt-1836.JPG?uselang=de#filelinks.
Following the Napoleonic occupation of the Rhineland, which prohibited public carnival activities, local merchants, professionals and businessmen in Cologne and other cities in the region organized in voluntary associations. Their aim was – and still is – to foster local folklore, culture and community-building. From the beginning, their concern was to balance carnivalesque activity with the maintenance of social order – hence the multitude of rules and conventions which still govern carnival today here.
Already in the 19th century, the importance of carnival for the local economy was stressed. Together with tourism, a well-moderated carnival was presented as a well-deserved recreational activity for the (male) middle classes who dominated carnival associations at that time. As other social strata aspired to influence, the number of voluntary associations increased and committees were founded to coordinate preparations between them (apparently a succesful import of a model invented in Nice). Despite internal tensions, their self-defined mission as guardians of local identity and tradition brought together representatives from different social strata (with women fighting their way from Altweiberfastnacht – old ladies' carnival – into mainstream carnival). This mission, however, required significant boundary-drawing activities towards neighbouring cities. Cologne, Düsseldorf, Mainz all engaged in fierce but friendly rivalry. Carnival in these cities was – and is – hardly imaginable without jokes and satire about the "otherness" of their rivals.
The Portuguese first brought the concept of carnival to Rio around 1850. By that time, Brazil had already gained independence but the Portuguese bourgeoisie kept an influential role in society. According to the account provided on rio.carneval.net, the practice of holding balls and masquerade parties was modelled on Venice but imported from Paris by the city's bourgeoisie. However, the Brazilians soon transformed the imported European traditions into their own unique carnival.
At first, older Iberian carnival traditions of the entrudo (street-based activities involving jokes and water fights) became replaced by the imported Venetian-style carnival from Paris, consisting of street parades with horses and wagons, and indoor masked balls for those who were admitted and could afford them (mainly the white population). Yet since the 16th century, Brazil had also had lively African and Indian carnival rituals and celebrations practices among the slaves brought in large number to the country in the context of the colonial transatlantic trade triangle. In the second half of the 1880s, and particularly as the abolitionist movement gained momentum, leading to emancipation of slaves in 1880, black Brazilians formed their own parades, dancing to African rhythms in the streets of Rio and other cities. Many of them were migrants from the north-eastern parts of Brazil.
John Charles Chasteen in the Journal of Latin American Studies argues that two different strands of Afro-Brazilian dancing styles started to merge with a third, less African element (a marching style apparently more similar to classical Cologne carnival music) into the forerunners of modern samba music. The first samba schools in the 1920s consisted exclusively of dark skinned people originating from the favelas and shanty towns of Rio. In the 1930s, they became increasingly subsidized by the government, which helped their expansion.
Chasteen argues that the rise of samba to its current prominent symbolic position as representing the Brazilian national identity was very much forged in the first decades of the 20th century. Samba as a blend of African and Portuguese music and dances became regarded as a persuasive symbol of a Brazilian identity of racial mixing linked through carnival to a myth of social levelling. In the 1960s Rio became a destination of international carnival tourism. The construction of the Sambodromo led to a previously unknown medialization of carnival. While the this commercialisation of carnival has certainly tended to colonize African and Indian culture, Chasteen maintains that through carnival, black Brazilians "began to gain a voice in the national discourse of collective identity." (Chasteen 1996: 46). For pictures from this period click here.
Reverse transfers from the Caribbean and Brazil back to North America and Western Europe?
To my knowledge, there has been no globalization of Brazilian carnival comparable to that of Trinidad carnival. Keith Nurse, in his study of the Caribbean diaspora, provides a very detailed account of how labour migration by people from Trinidad after World War II lead to a spread of their carnival rituals to other parts of the world. Overseas Trinidad carnivals in Toronto, Harlem or Notting Hill attract thousands of Caribbeans living abroad, and provide them a bond with those staying at home in Trinidad. They help to foster what Nurse calls a pan-Caribbean sense of a transnational community.
Yet, in absence of a comparable size of diaspora, Brazilian carnival has also influenced carnival in other parts of the world. Take for example the Carnival in Cologne: since the 1970s, the number of samba groups participating in parades has been increasing, as has the number of samba groups in other parts of Germany. The 1970s and 1980s were a period during which many Brazilians went abroad for economic and political reasons – including many artists and musicians coming to Germany. At the same time, traveling to Latin and South American became a fashionable thing to do for a young generation of Germans. It was out of such small scale cultural encounters that versions of Brazilian samba made their way into alternative and subsequently mainstream carnival in the German Rhineland.
Post-colonial transfers and more recent processes of social differentiation, new technologies, mediatization through television and internet, global tourism and sponsoring by multinationals have transformed the reference point for carnivalesque localism: While in the 19th century, European cities such as Paris, Venice, Nice, Cologne and Mainz engaged in a friendly rivalry for producing the most original and entertaining carnival, nowadays the materials and reference points are drawn from all over the world.
In both cities, Cologne and Rio, local traditions have not been eliminated by commercialization, but rather continuously become re-emphasized and stage-managed to attract more visibility, reputation, funding and participants. In fact, carnival seems to be a business very much concerned with presenting and selling as highly localized rituals and traditions what has evolved out of complex cultural hybridization.
Some of these rituals may be even truly local, such as the burning of a "Nubbel" (a large straw effigy representing a fall guy) after the last dance on Tuesday at midnight – signifying the sad end of the carnival season.
On that note, enjoy the last hours of carnival before it comes to a close!


WWII-era Vintage Sweetheart Tie Clip | USN VB13 – Hope Design Ltd.
This vintage WWII sweetheart tie bar bears USN naval insignia, silver tone, measures 2 1/2 x 3/4 inches, and insignia hangs 2 inches. The piece is authentic, as it was purchased through the Ohio Valley Military Society.


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The 2023–24 CAF Confederation Cup (officially the 2023–24 TotalEnergies CAF Confederation Cup for sponsorship reasons) will be the 21st edition  of Africa's secondary club football tournament organized by the Confederation of African Football (CAF), under the current CAF Confederation Cup title after the merger of CAF Cup and African Cup Winners' Cup.

The winners will automatically qualify for the 2024–25 CAF Confederation Cup, and also earn the right to play against the winners of the 2023-24 CAF Champions League in the 2024 CAF Super Cup.

while there is no official news yet, some media pointed out that the format of the competition will change starting the 2023-24 season so the CAF can use the competition to promote three teams to its newest competition, the Africa Super League.

Association team allocation
All 56 CAF member associations may enter the CAF Confederation Cup, with the 12 highest ranked associations according to their CAF 5-Year Ranking eligible to enter two teams in the competition. As a result, theoretically a maximum of 68 teams could enter the tournament (plus 16 teams eliminated from the CAF Champions League which enter the play-off round) – although this level has never been reached.

For the 2023–24 CAF Confederation Cup, the CAF uses the 2018–2023 CAF 5-Year Ranking, which calculates points for each entrant association based on their clubs' performance over those 5 years in the CAF Champions League and CAF Confederation Cup. The criteria for points are the following:

The points are multiplied by a coefficient according to the year as follows:
2022-23: × 5
2021–22: × 4
2020–21: × 3
2019–20: × 2
2018–19: × 1

Teams

The following 49 teams from 37 associations entered the competition.
Teams in bold received a bye to the second round.
The other teams entered the first round.

Associations are shown according to their 2018–2023 CAF 5-Year Ranking – those with a ranking score have their rank and score (in parentheses) indicated.

Schedule

See also
2023-24 CAF Champions League
2024 CAF Super Cup
2024 CAF Women's Champions League

Notes

References

External links
CAFonline.com

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