A series of colorful activities such as the fourth OTEC Entrepreneurship Competition Global Final and Innovation Summit will be kicked off on July 29, 2016. If you are young and have a dream, we are looking forward to your participation!
After the competitions were held in 8 countries and regions around the world and 8 competitions were held within the territory of the P.R.C., Top 20 outstanding projects selected through competition from those of nearly a thousand teams from around the world will finally compete for the championship.
OTEC 2016 Smart Hardware Exhibition is a special exhibition arranged by Chaoyang Overseas Talent Center for innovative and start-up companies. The exhibition takes "Intelligence, Smart Manufacturing, Era of AI" as its theme, and acting as an important part OTEC 2016, is an important platform and window where the innovative and start-up companies attract investment and consumers and recruit talents.
This exhibition will be held from 30th, July to 31st, July (for 2 days) at the Beijing Chaoyang Planning Art Museum. This exhibition provides 68 exhibition booths and relates to the Internet technology companies, cultural and creative companies, various pioneer parks, incubators, etc., and it is expected that nearly 1500 persons will participate in this exhibition which will effectively expand the influence scope of the innovative and start-up companies, increase their visibility and promote their development and growth.
【OTEC Entrepreneurship Release】The series of activities include release of Chaoyang District Industrial and Commercial Registration Green Channel for Overseas Talents, award granting for OTEC Entrepreneurship Competition, establishment of Returnee Investor Alliance, listing of "International Talents' Innovation Harbor" and release of Overseas Talents' Entrepreneurship Ranking List.
【OTEC Panel Talk】It showcases the success in artificial intelligence, e-commerce, Internet finance, mobile health, O2O, bio-medicine, energy saving & environmental protection and other aspects of overseas talents' startup companies.
【OTEC Career Fair for Overseas Talent】It is a special career fair for overseas students held by teaming up with Zhilian Zhaopin, Haiwei Career and Yinghong International Education and 100 companies will provide a thousand of job opportunities.
OTEC Innovation Summit is focused on the technology innovation topics, and will help carry out in-depth dialog and discussion on cutting-edge technologies. The Summit will bring together many of the domestic and overseas top leaders in the innovation and entrepreneurship fields, discussing the hottest and most urgent subjects. In a sense, the OTEC Innovation Summit is the indicator of the future trends, and will reflect the undergoing innovation practice in China and its future.
The companies who will attend the OTEC 2016 Career Fair for Overseas Talents covers a variety of companies including foreign-invested enterprises, state-owned enterprises, large private enterprises and high-tech start-up companies and their industries relate to the financial, modern services, cultural and creative, Internet information, legal and cultural education, and other fields, and it is expected this fair will provide over 1000 job opportunities!
As an important part of the Overseas Talent Entrepreneurship Conference (OTEC) 2016, the OTEC career fair for overseas talents serves as a platform for overseas student employment and entrepreneurship services and sets up a service platform for two-way selection communication between the employers and outstanding overseas talents by teaming up with various social forces in order to attract outstanding overseas talents to return and serve their homeland. The fair helps more overseas students understand the domestic employment and pioneering environment as well as governmental incentive policies for employment and pioneering of returned overseas students.
This career fair has got great support from global Chinese communities, trade associations, alumni associations, overseas colleges & universities and other institutions! Haven't found your favorite work yet? Hurry up and take a look!


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Gear Reviews, Nikon
Shop B&H
Review of the Nikon D3500
I can hardly keep track of every model in Nikon's extensive D Series, but this new(ish) kid on the block is certainly one to remember. As Nikon's newest entry level camera, the D3500 delivers portability, versatility, and high quality performance on nearly all fronts, with notable features including its incredible ISO range for low light excellence, Full HD video shooting at 60fps, and remarkable battery life. Where it falls short, though, is its lack of touch screen control, 4K video, and WiFi capability. Overall, it's yet another all around great beginner DSLR from Nikon, and out-performs its many market competitors in most categories.
Easily the first thing I noticed about the D3500 is how amazingly natural it feels in the hand. With a smaller build than the D3400 at 4.9 in x 3.9 in x 2.8 in and weighing only 12.9 oz, it's extremely lightweight for a DSLR, which ups its portability points significantly. It's still solid, though, and all the button placements make sense, which can sometimes be a gamble when it's obvious the manufacturer has prioritized downsizing.
The D3500's menu system is what you'd expect from an entry level DSLR: intuitive and simple to use. There's even a setting called Guide Mode, which is easily switched on via the dial on the top of the body. You can then choose "easy operation," which will lead you to a variety of options including landscapes, portraits, close-ups, etc. Guide Mode will help you decide how best to tune your settings for your desired shot. Really, does it get much better than that when you're a beginner? I don't think so.A D3500 feature atypical of the entry level archetype is its bluetooth capability and compatibility with the SnapBridge app. It's simpler than ever to send your photos flying through the air directly from your camera to your smartphone. Yes, I'm being serious. It's like magic. Hmm. Maybe it is magic. I can't be sure.
Sensor: 23.5mm x 15.6mm (DX format, APS-C range)
ISO range: Auto, 100 - 25,600
Shutter: 1/4000 sec to 30 sec
Lens mount: Nikon F
Continuous shooting speed: 5 fps
Resolution: 24.2 megapixels
Start-up time (power on to first shot): ~0.4 sec
Autofocus: Fulltime autofocus, 11 points
Video: 60fps/1080p, Full HD
SnapBridge app compatibility for bluetooth shooting and transferring
Battery life: 1,550 shots – WOW!
Convenient "Guide Mode" for help while shooting
If you're relatively new at the whole photography thing, but serious enough about your potential to prioritize equipping yourself with some decent gear, then it doesn't get a whole lot better than the D3500. If you know it's time to take a step up from that compact camera or smartphone, do yourself a favor and read on.
Nikon is well known for its entry level models that really shine in terms of consistently impressive performance and ample features for what you pay. And, in this case, what you pay is… really not much. This camera is priced quite reasonably, actually, considering it's still relatively new and boasts more bells and whistles than you could ever possibly need as a committed enthusiast or professional-to-be. Personally, I'm most excited about its unwavering image quality, considering it's so easily handled, which really makes this baby stand out from the crowd.
The D3500 is the successor to the D3400, which does lack a few key features that the newer model delivers with enthusiasm. When the D3500 came out, Nikon was extra keen to mention the inclusion of a brand new sensor not found in the D3400, which takes the megapixel count up from 24.72 to 24.78. It's a tiny upgrade, sure, but worth mentioning as I do think the improved quality is notable upon testing both models. Every shot I took with this camera showed fine detail and crisp shadows, lines, and edges. Just check out a sample gallery if you don't believe me.
In terms of low light, the ISO range (100 – 25,600) is identical between the D3400 and the D3500, but nevertheless, that's an outstanding number for an entry level DSLR. My nighttime photos came out beautifully – minimal grain – without any extra gear, which is a perk for just-starting-out photographers who lack the budget for expensive lighting or fancy external flashes.
The premier step up from the D3400, I think, is the D3500's staggering battery life. While the D3400 taps out at around 600 to 700 shots, its successor manages about 1,550 frames before it needs a recharge. If you've ever shot with a mirrorless camera or, honestly, any other entry level DSLR, this model's battery life will blow your mind. I don't have to spend hours waiting to charge at least three backup batteries? I don't have to mentally and emotionally prepare for my camera to die halfway through my very important shoot? Sign. Me. Up. Seriously, though. I cannot overstate how incredibly beneficial a good, long battery lifespan is. I could go on for a while longer providing various personal anecdotes to support this claim, but I hope you'll agree to take my word for it. Let's get on to handling specs.
The D3500 is very similar to its predecessor regarding design, with the same 3 inch display and a 921,000 dot resolution. It gets the job done, yes, and it's by no means lacking in the aesthetics department, but I think it is missing a few key elements that if included could have shot it straight to the top of its class. Number one is the lack of touch screen controls, which by now should be considered a staple of the entry level category. Touch screens are just easier, let's be honest, especially since most entry level DSLR users are making the switch from a smartphone. Touch screens also tend to simplify focusing on your subject(s), though the D3500's 11 point autofocus is still pretty good. Definitely nothing special, but good.
The second problem I have with the D3500's build is the fixed screen, which isn't necessarily a deal breaker, but can't quite compete with the flip-out "selfie screens" that are now trending in the industry. It makes shooting at unconventional angles a bit more difficult, as well, which was relevant to me while testing, since I tend to end up laying on the ground more often than not when I shoot.
I do love a good optical viewfinder, and the D3500 has a great one. If you've never used a DSLR, you'll be excited to try this feature out, as I find it far more convenient and intuitive than solely using a live screen or an electronic viewfinder. Speaking of intuitive, the D3500's menu and controls are just that. You shouldn't have much trouble finding what you're looking for, and with a setting called "Guide Mode," beginners and students can get a quick and easy, comprehensive rundown of the camera's key features and settings. It's that simple!
As I said earlier, the Nikon D3500 is decently small and lightweight for a DSLR, which makes it a great option for travelers and hobbyists on the go. The menu is easy to use, Guide Mode is super helpful for beginners learning the ropes, and the option to bluetooth your photos straight to your phone using the SnapBridge app is an unexpected convenience for an entry level camera. With a Nikon F lens mount, you're free to experiment with just about any Nikon lenses you like, so go wild! Even the kit lens performs beautifully for what it is. The options are endless with this versatile shapeshifter.
Common Complaints
No 4K video. 4K video is all the rage right now, which is why this is important to note. For most beginners, however, Full HD will more than do the trick, and 60 fps provides for nice, smooth shots.
No touch screen! People like touch screens. This seems like a no brainer to me for any camera released after 2015.
No fold-out display. This one isn't as big of a deal to me as the lack of touch screen, but I've found it to be a convenient addition in other similar models. If you're looking for that famed selfie screen, you'll have to look farther up the D-series line to the D5600.
Common Accolades
You really can't beat that 1,550 shot battery life. I think I've said enough about this by now, but I'll leave it at this: This is a game changer.
Consistent image quality. If you're just starting out, this should be your number one priority. With 24.2 megapixels and an impressive ISO range, getting crisp photos is almost too easy.
Affordability. There are very few entry level cameras with such a rich variety of features available for such a low price. The Nikon D3500 has been widely considered THE best camera for beginner photographers.
Product & Pricing Options
Model / Name
Link to Buy
Nikon D3500 DSLR Camera with 18-55mm Lens $396.95 B&H Photo
Nikon D3500 DSLR Camera with 18-55mm and 70-300mm Lenses $446.95 B&H Photo
I know I've been adamant in recommending the D3500 for beginners throughout this review, but many of its features are actually quite advanced. This model is perfect for enthusiasts of any level looking to get a bang for their buck. The image quality is impeccable, the battery life is insane, and with compact portability and bluetooth capability, it's a no brainer for shooting on the go. If the only features I'm missing are touch screen capability, 4K video, and a fold-out screen, I'd say the D3500 makes out pretty well for an entry level offering. I mean, honestly, if you really want that extra crisp selfie, I know you'll find a way.
Also explore...
Canon R5 Review: What you need to know
Help! Why is My Lens Vignetting?
DSLR vs. Mirrorless Cameras: A Primer
Need help? Email our amazing support team at [email protected]
Easy, step-by-step courses that teach you how to become a great photographer in less time.
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redpajama_set_name: RedPajamaCommonCrawl


Greetings in the name of Jesus Christ i would like to update you with the following announcement.The Laymen annual banquet and one day session will be April 12th and 13th Neuse River Baptist Assembly in Whitakers NC on Highway east.The Banquet will be Friday at 7 PM The Speaker will be Dr Ricky Banks is the Banquet Speaker Brothers in Christ will be singing tickets are 30 dollars each the one day session will be April 13th 9 am registration is 10 dollars Dr Tony Flood will be workshop facilitator and Dr J Vincent Terry will be the Preacher any Laymen officer have tickets or you can reserve your tickets by April 6th by calling the president.
The East Cedar Grove Missionary Baptist Association Laymen's League consisting of a group of spiritually guided men within association churches that are very concerned about our male youth in our community. This is a male-oriented spirit filled mentoring program within ECGMBA , and to assist the churches in cultivating our males in becoming productive citizens in their homes, church, schools and communities.
Spiritual Direction and Counseling: Principles on how we should govern our lives according to scripture.
Touchable Role Models: Men who assist in developing a responsible and respected young adult male.
Education: Scripture study, Public Speaking, Academics, Drug Prevention, and Peer Pressure.
Sessions: Once a quarter sessions at the church every second Saturday morning from 9:30am to 11:00 am. During each session we will have a discussion. As a follow up, we will tackle issues related to the mentee's everyday lives and how to cope with them. Each session will begin with song, scripture and prayer.
Community Service: We will work with the outreach ministries within the church.
Parental Support: Provide parents support in difficult parenting situations. (ie. School visits, counseling sessions and discussions).


poolboy replied to Anybody know whose car this is?
Thanks for that link, Lou....at that price I think, I'll pick up a spare.
Mine's been installed for 10 years as well.
Ted Schumacher is pretty good at knowing about TR6 suspension and ride heights...right, Irv ?
You might give him a call.
Is this what he used ?
I don't find it all that thick, unless you let it pile up.
This is the fan I've been using 16 inch Procomp...but this one is from a different supplier.
You might need to brush up on the lingo, Tad.
Looks like your pal Al got some free advertisement, too, Mike..
Unless you want to leave the fan extension bolted on and sticking out in front of the damper, you'll need it.
Are you planning on the 'fan eliminator' ?
poolboy replied to Tire wear!
Aren't you going to need to remove the radiator in order to mount the electric fan ?
poolboy commented on skootch13's reply to Do Not Send Your Carbs To Poolboy!
AND...thanks again to all y'all for your compliments and approval...it makes it all worth it.


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Q: How to show $ \left(\frac{1-x}{2}\right)^p+\left(\frac{1+x}{2}\right)^p \leq \frac{1+x^p}{2}$ When $p\geq 2$ and $0\leq x\leq1$, how does one show the inequalities
$$ \left(\frac{1-x}{2}\right)^p+\left(\frac{1+x}{2}\right)^p \leq \frac{1+x^p}{2}$$ and $$ 2(1+x^p)\leq (1+x)^p + (1-x)^p \ ?$$
The first one looks like a correction of the parallelogram law for powers greater than $p=2$, I've tried using that and rearranging but it hasn't worked. I've also tried differentiating but then I don't know how to handle the new expressions.
This is from a qualification exam on analysis. Basically the problem becomes trivial if one shows the inequalities.
Thank you!

A: For the second one, the left hand side decreases as the value of P increases and the right hand side increases as the value of P increases. So if you show the smallest case is true(P=2 and x should be chosen to maximize the left hadn side)  then I think that would be prove the second inequality. Of course you would also need to prove the LHS decreases and the RHS increases as P increases.

redpajama_set_name: RedPajamaStackExchange


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Belinda Eaton
Interview with Brian Sherwin: My Artspace Blog
Brian Sherwin: Belinda, you studied at St. Martin's School of Art in London. Can you discuss your academic years? Did you have any influential art instructors?
Belinda Eaton: I was very lucky to be at Art school in England at a time when all the colleges were Government funded. There were unlimited supplies of free art materials and fantastic courses. I was even luckier to have been selected by St Martins School of Art for both its amazing Foundation Course and then the Degree course, 4 years in total. The foundation course covered everything from sculpture, photography, fashion, painting and printmaking etc. You were given the opportunity to try everything and then you were able to make your choice as to which direction you would like to go. It was an absolutely great experience. Two of my contemporaries were John Galliano and Peter Doig.
This interaction between all the departments carried on into the degree course. The famous fashion department was influenced by the painting department, etc. it allowed a freedom of exploration and creativity to constantly grow and be explored rather than a narrowing down of discipline.
I decided to take my degree in Film making, which was a passion of mine, but found the course was focused on the minimalism of film, the abstraction and deconstruction of the medium rather than the content and imagery. So I transferred over to Fine Art and was drawn to the Printmaking department.
I did no painting at all at college, instead I immersed myself in acids and inks and metal plates, the world of etching. It absolutely fascinated me. Starting with a blackened metal plate covered in ground. Creating lines or areas that would be bitten into by acid, so many factors affecting the quality of line, so many serendipities and unpredictabilities.
To this day I prepare all my canvases with a blackened gesso.
For me it's the experience of allowing the light and form to emerge from the dark. I actually cannot paint on a white ground. It freaks me out.
As for remembering my art instructors, St. Martins was very well known for the fact that all the tutors were well known artists. But at the time as a female, I found it a very sexist environment to be in and also very boozy and as I can't remember any of the tutors names l don't think they had a lasting impact on me. But that was my experience, not necessarily that of others.
Brian Sherwin: You have stated that your paintings are your world, your fascination for people, plants, animals and colour. You went on to say that they are how you perceive the energy of things. Can you go into further detail about this? Tell us more about the philosophy behind your art.
Belinda Eaton: Oh!… To try and identify my philosophy about my art would be like trying to contain energy. I try not to be too mind-full or intellectual about what I do. I have practiced mediation for over 20 years and feel the influences of that more and more in my work. Not so much in the content but more in the approach, especially recently. I start with a black canvas and I stand and start to paint. Always a face comes first and this informs the rest of the painting. The story unfolds. But more recently each brush stroke has got its own life. I am beginning to paint just looking at the colour rather than the form. It is being in the moment with the paint rather than projecting the finished painting. Very much like meditation.
The artist's block always come when one begins to think about what one is projecting, where is it going? Is it any good? What on earth am I doing? etc etc. To just be in the paint forgetting everything and really, the old cliché, letting the painting take over, it's so very true.
Brian Sherwin: I understand that you have traveled often. How have those travels shaped your artistic direction?
Belinda Eaton: This is a really interesting question. I think by constantly moving you can never really attach yourself (on a subconscious level) to anything. By being secure in one place it's very easy and comfortable to begin to identify with a group or culture and find your comfort zone within that. As a sort of nomad you take something from here and there, an impression, a sound, a smell. You collect references that become jumbled and mixed and lose their original context, to emerge in a new context.
Its just been a circumstance of my life that I have moved from country to country never staying longer than seven years and occasionally only a few years. I am currently on my longest stay which is here in Spain, nearly 9 years. Moving around, arriving finally in Barcelona with its sophistication and amazing architecture and then Almeria. In the middle of the desert where all the Spaghetti westerns were made with Clint Eastwood and Sergio Leone along with many other films. It's a scarred landscape almost like a blank canvas, exposed and raw. And its here that I have built my studio and hopefully will end up staying a while. But how has all this traveling shaped my work. It's the richness and newness of each culture. Always having to look with a new uninformed eye. From Pakistan , the amazing painted lorries, where every surface even the engines are painted and decorated. Old men with their flaming hennaed red hair and beards. India with all its colours with no restrictions. Africa where as a child everything was larger than life and colour again and amazing creatures and improbabilities like an elephant eating the roof where you were sleeping. Spain and its magic and superstitions, Easter processions of religious statues being walked through the village at night with thousands of candles and masked bearers in their sinister pointed hoods. Terrifying until they reach beneath their robes and throw out handfuls of sweets. The tomato throwing festival. New York with its thousands of different faces from every background.
Its all layers and layers of colour, pattern, no rules, surprises and light. And I think this is how I paint. Also, I think quite importantly, realizing each country has its own relationship with art. What Art is for them? What is good? etc. How the trends in art are so strong, especially in the West. Personally as a painter this period in time when up until recently painting has had very little value. That successful art has come from a very mindful intellectual space. To go to countries and have ones work received from a heart place has been quite amazing.
Brian Sherwin: Can you discuss any symbolism in your paintings that reflect those experiences?
Belinda Eaton: No, I can't really. There is no conscious symbolism, but I am aware that I do use symbolism, I just haven't worked out how its symbolic to me. In my drawings and etchings there are always fishes in the sky. Certain patterns emerge again and again especially pomegranates, tattoos, eggs. I don't want to think about it really. And in 10 years I might have a deeper understanding of why l have used them, but it is not important now, as they are not conscious but subconscious.
Brian Sherwin: Can you discuss some of your methods as far as your painting is concerned?
Belinda Eaton: As I have already mentioned, I prepare the canvas with a black ground and just begin to paint. If it's a more narrative painting, the face comes first and the story after. I paint in acrylics, which really suit me as I like to work fast and need to repaint an area over and over. I sometimes think if some one x-rayed one of my paintings they would be amazed at the layers and layers of colour and change of figure, composition etc. These layers are fantastic because an element of the lower colour always comes through somewhere and adds so much dimension. If the painting were planned out you would lose all this. Also by painting in acrylic and liking to work wet on wet, you really have to work fast and then the painting becomes purely instinctive. I can spend weeks painting and then an hour painting over the whole painting and reworking it with completely fresh paint and it's finished. You lose all the agony and caution of those weeks and what's there is dynamic and fresh. This approach is really happening in my new large Faces. I add a dimension to this of turning the painting on its side or upside down whilst I am working. So I lose the image and really just focus on colour. I use a large painter & decorators brush and just get very physical and dynamic. There is so much energy with each brush stroke, it's magic. It's also quite abstract and liberating.
But then my obsession with layers and patterns comes in, and these begin to play with each other. So in a way there is an element of total freedom and then complete control. Hmm, interesting.
Brian Sherwin: What about other influences? Do you adhere to any specific art tradition, so to speak? Are you inspired directly by any specific artist from the past?
Belinda Eaton: No, not really. If anything I think I am quite traditional and probably most influenced by the early Renaissance. I don't think I am inspired by any artists, but I find some artists truly inspiring. For example, I went to see Ron Mueck's exhibition at the National Gallery, London where he was the artist in residence. He creates these people who are so realistic but their proportions are different to real life. Take his 'Man in a Boat ', a roughly metre high naked old man sitting in a rowing boat. You could see every pore on his skin. The hair on his arms, the pink of the skin of his elbows, his small penis etc. etc. is quite amazing. They are alive. You expect them to breath, you are waiting to see their chests rise and fall, a pulse.
I find Rothko's work for me borders on the religious. They are possessed and quite spiritual and leave me in wonder. Paula Rego is an artist I really identify with. She paints her world, which has that magic realism and dreamlike quality, and at times a harsh brutality. She is so true to her self.
Originally I went to live in New York in the early eighties because of Rap, Graffiti and Jean- Michel Basquiat. At the time his language was so new and refreshing as was rap and graffiti.
I went to see Peter Doig's exhibition at the Tate Britain and found it magical. You stand in front of his large snowscapes and the texture and colour are so charged and move into the realm of possessing their own life.
There is a common theme through out the artists above, of work, which breathes a creative force of its own. I am really inspired by life around, people, nature, the layers and layers that make up life.
Brian Sherwin: What are you working on at this time? Can you give our readers some insight into your most current work?
Belinda Eaton: I am currently working on much larger canvases and am really involved in the larger faces with the focus on colour, paint and the brush stroke. This is what's consuming me right now. Tomorrow I could be lead somewhere else. Again as I mentioned before, my work is purely instinctive and l try not to intellectualize too much about it which in turn would inhibit the freedom I search for within painting. We all have our own relationships and motivations of why we create Art. I guess mine is to try and experience liberation with in the medium. I can get totally agonized by thinking of what to paint, where is it going etc, and months can pass by in this self-inflicted questioning and also criticism. A lot of artists I speak to all have this horrendous inner critic.
Brian Sherwin: Will you be involved with any upcoming exhibits?
Belinda Eaton: Yes, I have a solo exhibition coming up in two weeks in Karachi, at the V.M. Gallery which is a great space. I had quite a few shows in Pakistan over 10 years ago and have wanted to go back. It is very, very, rewarding to show in the East. I think l have already mentioned how ones work is really received from the heart. I am also about to start a whole new body of work for a show I am hoping will come off in Paris.
Brian Sherwin: Speaking of exhibiting… what do enjoy about displaying your art in public view? Do you see it as part of the process, so to speak?
Belinda Eaton: Yes it is apart of the process. As a painter you spend so much time on your own, isolated in your own little world, or lost in your own world. The process of showing is your emergence. somewhat terrifying and very vulnerable. I don't let any one in my studio whilst I work. But hanging for a show is the first time you see all the work together, hanging and breathing. Then you can let go of it, really let go of it. The paintings are no longer a part of me and can start their own journeys. I have had paintings in shows that are then taken on exhibition all around a country with out my knowing. They have their own lives.
When I appeared on television on BBC 1, the response was amazing from all over the world. From the isolation of the studio to a conversation with the world via the internet.
In the same way I love to see what happen to my images on the Internet, what people do and say about them, it's brilliant.
Brian Sherwin: Finally, is there anything else you would like to say about your art or the goals that you have?
Belinda Eaton: About my Art? I actually think I have said too much, but thank you for giving me the opportunity. A dream would be to be involved in a project that would have some beneficial impact on the planet. Some project that would enable artists to use their creativity to help solve some of the environmental and social problems that exist.
Copyright © 2017 Belinda Eaton. Website designed by Web Design Exeter | Illicit.


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Border & Immigration
Tag Archives: police
by Michael Barajas
'A Mockery of Public Trust': Bexar Sheriff Cleans House, Angers Deputies' Union
Bexar County Sheriff Javier Salazar is feuding with his deputies' union in the midst of a bout of scandals.
Tue, Jun 25, 2019 |
Javier Salazar has bounced between scandals since he took over the Bexar County Sheriff's Office in 2017. During his first year, the department drew national ...Read More
The Big Blue Obstacle to Bipartisan Criminal Justice Reform
In the era of right-on-crime-backed efforts to curb mass incarceration, police unions have increasingly become a voice in the wilderness.
Fri, May 3, 2019 |
Jack Michael Ule's death inside the Bexar County jail on April 18 struck a nerve. Arrested two weeks earlier for criminal trespass, a Class B misdemeanor, Ule...Read More
by Gus Bova
John Guandolo is on a Crusade to Turn Texas Cops Against Muslims
An ex-FBI agent living in the Dallas area, Guandolo occupies a special niche in a larger network of Islamophobes in the United States.
Tue, Dec 4, 2018 |
In late September, about 100 conservatives gathered at the Odessa Country Club to hear from two men: Republican Congressman Mike Conaway, who discussed the 357...Read More
New Contract Could Give Austin One of the Most Transparent Police Departments in the Country
Activists are claiming victory after a drawn-out fight over police accountability, and encouraging other cities to follow suit.
Fri, Nov 16, 2018 |
After 18 months of tense negotiations over a police union contract, the Austin City Council and the city's police union have agreed to reforms that anti-polic...Read More
by Ciara O'Rourke
The Prosecution Rests
The Aransas County DA hasn't prosecuted criminal cases from the Rockport Police Department for more than a year. Is she taking on bad cops or abusing her power?
Fri, Sep 14, 2018 |
by Ciara O'Rourke September 14, 2018 On the evening of August 15, 2017, as Hurricane Harvey was just starting to take shape in the Atlantic, the Rockport ...Read More
How Texas Cops Turn Mental Health Crises into Deportations
Two recent cases in Central Texas illustrate how police aggression and the "sanctuary cities" ban have built a nasty pipeline to deportation.
Thu, Aug 30, 2018 |
Two recent cases in Central Texas illustrate how police aggression and the "sanctuary cities" ban have built a nasty pipeline to deportation. – by Gus...Read More
State Rejects 'Anti-Muslim' Police Training After Public Outcry
TCOLE director Kim Vickers said Wednesday he rejected the course for "paint[ing] an entire religion with an overly broad brush."
Mon, May 14, 2018 |
UPDATE: In a pair of letters sent Wednesday, the Texas Commission on Law Enforcement (TCOLE) announced it has rejected a May 4 police training in San Angelo giv...Read More
How Ken Paxton, Twitter Celebs and National Media Botched Coverage of the Austin Bombings
As details about the bomber continue to emerge, it's worth examining who kept us grounded in facts during the explosive saga, and who led us astray.
Thu, Mar 22, 2018 |
Mark Conditt, suspect in the series of bombings that rocked Texas' Capital city over the last few weeks, is dead. The 23-year-old's alleged campaign include...Read More
Oscar-Nominated Documentary Highlights the Routine Brutality of a Texas Traffic Stop
Breaion King's arrest was quotidian to police, life-altering for her and reveals the chasm between police and the people they're supposed to protect and serve.
"I'm in my car. Why do I have to put out my cigarette?" That's what an irritated Sandra Bland asked the Texas Department of Public Safety trooper who pu...Read More


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Leadership Perspective: Living Life by Life's Rules
Fall 2005: Finance / October 3, 2005 by kstires
Home / Fall 2005: Finance / Leadership Perspective: Living Life by Life's Rules
by Lyndon Olson
People who try to live their lives by a book of rigid rules may find pages missing when crucial events come up. Unexpected occurrences happen. Plans go awry. Life can be a benevolent teacher at times and a harsh taskmaster at others.
People who pay attention to life's lessons along their personal journeys derive great benefits. The lessons I've learned have served me well and I list some of them below.
Work that appeals to your sense of curiosity and desire to serve makes you grow. Scientists who are involved in discovery know this as a matter of course. I began learning the lesson as a state representative in the Texas Legislature and later, when I served on the Texas State Board of Insurance. I went to the House of Representative soon after finishing at Baylor and stayed there until I was about 30, then went to the insurance commission, where I served as chairman and member. There I spent eight years under three governors — Dolph Briscoe, Mark White, and Bill Clements two separate times.
During that time I saw a great opportunity to grow and I learned about making policy that fits public needs. But when I reached the point that I'd stopped growing, I knew I must do something else. It's important to understand what makes you feel enriched and nourished and challenged, and to be willing to opt for the sometimes difficult changes necessary to keep growing personally and professionally.
When I left Austin, I knew I would not return to public life, if ever, until I gained the financial freedom to make the decisions I needed to for my family and myself. I decided that my destinations were more time with my family, financial security, and travel. So I made the necessary break. People often will advise you, "Don't look back." I think we all must look back to see what we did well and what we need to work on. This is what experience is all about.
Stay connected to and involved in the work you do. After spending eight fascinating years as chairman and member of the insurance board, I was ready to tackle a new challenge and I knew more about my own strengths and interests. The work of that commission taught me about the fundamentals and complexities of the international insurance and reinsurance markets. Then Clifton Robinson of Waco asked me to be the CEO of his company. This gave me the opportunity to lead and govern and make money in a dynamic business. It was a medium-sized company, small enough so that the chief executive officer could be really involved in the day-to-day workings.
Many others who have excelled in the business world have learned well the lesson of staying connected. They've discovered that detachment not only breeds boredom and ignorance but inefficiency and chaos. Ray Kroc, McDonald's chief, used to cook fries, order supplies and clean his restaurants. Later in life, he'd surprise workers in his restaurants with impromptu visits just to see how they were operating. Being an involved leader teaches you what it takes to do a job and it's something you are unlikely to forget.
In addition to learning the business, staying connected educated me about people and their needs.
Use all of your experience and ability and see how far it takes you. No one uses everything every day, but those of us fortunate enough to have a variety of experiences must exercise our knowledge as regularly as we exercise our muscles. We forget what we don't use, and that part of us atrophies.
I was president of the National Association of Insurance Commissioners during the 1980s, and participated in numerous negotiations for trade agreements and regulatory matters as well as drafting of treaties, and I took part in the resolving of major insurance insolvencies. So the next step I took seemed logical. I moved into the CEO position of a large national insurance company.
With this company I participated in a lot of facets of the insurance business on a bigger scale. I ended up staying in Waco but working all over the United States. I commuted often to New York as we made acquisitions. I spent eight rich years doing this work on Wall Street, in Georgia, Texas, Illinois and Canada, and soon discovered that the work would reward me for years to come.
I realized some of those rewards when President Clinton appointed me as the United States ambassador to Sweden. This position was a culmination of all the other work I had done in my life. The role taught me about the importance of diplomacy on an international scale. I also expanded my knowledge of politics, business, and interpreting and enforcing laws. I found great blessing in the knowledge that Sweden is the country from which my grandfather emigrated years ago.
Remember life's most basic lessons. Some of these we glean from our parents and other elders. Some we learn from what happens to us along our personal journey. Early on, my parents taught my brother Charles and me the importance of being respectful and of caring about those who are less fortunate. A guiding principle in my family was that determination, spirit, courage and hopefulness all lead to a sense of personal responsibility. My father, an attorney who has been compared to the character of Atticus Finch (To Kill a Mockingbird) because of his beliefs about the law and justice, required his children to have high expectations of themselves. Out of that demand, our strengths evolved.
Broken down to its most basic form, treating others with respect and having high expectations for self make getting along with other people a simpler task. I enjoy being around all kinds of people, from the average person on the street to the exotic to the intelligent.
I have learned that when working with diverse groups of people to accomplish an end, whether for creating public policy, making money or running a corporation, you should care about those who are less fortunate. I am not referring only to economic fortune, but to physical and spiritual fortune, too. My parents taught me the first chapters of this lesson, but people I have met along the way have reinforced it and broadened it.
Cherish your roots. For the 58 years of my life I've chosen to call Waco my home. I've learned that home is where the important people and things are. My family is in Waco. The people who supported me my whole life, who encouraged me and nurtured me and stayed next to me when I stumbled, are here. I have lots of friends in the state and around the country, and the world for that matter, but Waco, Texas, is my home because the blessings of my life began in this community. So it's natural that it's been my choice and my wife's choice to live here.
I like Waco's native flavor so much that I asked Dan Henderson of Uncle Dan's restaurant to come to Sweden and feed July Fourth revelers at the embassy two times, in 1998 and 2001. He did so with his trademark good humor, shipping almost 2,000 pounds of meat and all the extras that go with it, as well as a two-ton barbecue pit, from Waco. Photographs on the walls of his restaurant tell the story.
Waco gets little credit for the wealth it nurtures, which I will talk about in more detail. But I believe it's true of most communities that its residents don't realize what their hometown looks like from the outside until they go out into the world and see what else is there. Waco surpasses similar-sized cities in education, health, business, and culture. This is not by accident, but by hard work of citizens and community leaders, people of vision. I choose to live in Waco not only because my heart is here, but also because I enjoy what goes on here.
Life is richer if lived broadly. Another way to say this is that there's more to life than work. I indulge this other-than-work part of my life by supporting the arts. Although I do that in many ways, one of the boards that I am most proud of is serving is that of the Byrd Hoffman Foundation of New York, established by Robert Wilson of Waco.
Bob was a protege of the Hoffman sisters, Byrd and Faye. Their young dancing students were known as the Dancing Hoffmanettes. This duo taught elocution and drama as well as dancing, and Byrd Hoffman taught young Robert to slow down when speaking.
Robert Wilson is a playwright and famous in the area of experimental theater but he's also devoted to sculpture and fine art. His work has been featured in showings and won awards worldwide. He was born right here and educated at the University of Texas before going to Pratt Institute in Brooklyn. He and his Byrd Hoffman School of Byrds — a group of artists he founded — worked and performed in lower Manhattan in the '60s.
Each summer Bob develops new theater work at his Water Mill Center, a multidisciplinary arts laboratory in Long Island. This is where he teaches an international group of artists.
I am pleased to say I am on the Byrd Hoffman Foundation board. Of all the personages who came out of Waco, Bob Wilson is huge internationally even though he is little known here.
When people ask me which of my roles so far has been the greatest or most pleasing or important to me, I find picking just one is difficult. It's a delicious dilemma. I've instead found it easier to focus on living my life one step at a time, and getting up when I stumbled. We all stumble, although we often think we are the only ones. But we are never alone in our failures, whether we fall physically, emotionally, financially. We need to focus not on the act of falling, but the act of getting up. And getting up again and again, no matter how many times we fall.
One of the most important lessons I learned as a child revolved around treating people the way I wanted to be treated. While the "do unto others" rule sounds quite trite from repetition, I cannot say the actual practice of treating others the way we wish to be treated has been overused. The quality of life worldwide, and our fortunes, could grow vastly if only the most fortunate among us regularly practiced the lessons we've learned.
In addition to his distinguished career in the insurance industry, Lyndon L. Olson has demonstrated his commitment to public, civic and cultural life.
The former United States ambassador to Sweden is a consultant to the senior management of Citigroup Inc. on insurance and reinsurance issues, international trade, regulatory issues, and government affairs. He's been a senior adviser to the global financial services company since 2002.
He served as the U.S. ambassador to Sweden from 1998 to 2001 and received the Swedish-American of the Year Award from King Carl XVI Gustaf. He also received an honorary doctorate from Sweden's Umea University and maintains his relationship with the country by serving on the board of directors of the Swedish American Chamber of Commerce and the American Scandinavian Foundation, both in New York City.
A member of the Philosophical Society of Texas, he is on the Board of the Lyndon B. Johnson Foundation, a member of the Rapoport Foundation and is Vice Chairman and Trustee of the Scottish Rite Hospital for Children in Dallas. He is on the Board of Trustees of the Baylor College of Medicine. Baylor gave him its Distinguished Alumni Award in 1999, and the Waco Independent School District gave him the same award in 1998.
A native of Waco and a representative in the Texas House from 1973 to 1978, Olson graduated from Baylor University and attended Baylor Law School. He is a past president of the university's alumni association. He chaired the Texas State Board of Insurance from 1979 until August 1987 and was president of the National Association of Insurance Commissioners in 1982. He resides in Waco, Texas with his wife, Kay Woodward Olson.


As the parent of an individual with a substance abuse problem, you already know that addiction can cause your child to lie, cheat or steal — whatever it takes to get the next high. Reestablishing trust after months or even years of bad behavior is tremendously challenging. After all, you want to believe the best, but you can't help but suspect the worst. The good news is that you can protect yourself and give your child the support he or she needs by setting appropriate boundaries.
Just because you're "setting boundaries" doesn't mean you have to forego being helpful, compassionate or caring. It does mean you will protect your emotional health and freedom by enforcing consequences when and if bad behavior occurs.
Chances are you've already told your loved one that you cannot tolerate actions such as driving under the influence, stealing, or lying. Simply expressing your anger isn't enough — successfully setting boundaries with addicts means you must establish and enforce consequences.
The first step toward setting boundaries with a recovering child is to establish clear rules, in writing, for you both to follow. Leave no room for interpretation and identify fair consequences, also in writing, that you will enforce if a boundary is crossed.
You may find enforcing the consequence is more difficult that identifying the boundary, but for the rules to be effective, enforcement is a necessity. The good news is that boundaries are beneficial for you and your struggling child because you can protect yourself without building resentment — while giving your child the space he or she needs to make independent decisions.
Setting boundaries with friends and coworkers is one thing. Setting boundaries with an addicted child is something else. If you are dealing with a child who is addicted to drugs or alcohol, family therapy can help you make healthier choices and live an independent lifestyle.
Remember, addiction affects everyone in the family — not only your addicted child. You are entitled to a life that is free from painful emotions, disrespectful behavior, empty threats, and broken promises. In short, you are entitled to a full recovery.
Family therapy can help you, your spouse, and others affected by addiction express pent-up emotions and heal hurt feelings. It can also teach you and your child how to communicate more effectively and learn to trust one another again. If your child relapses, your therapist can also encourage you to stick with the consequences you developed. Remember, one of the best things you can do for your recovering child is to take care of yourself.
For more information about setting boundaries and addiction recovery, contact Clarity Way today.


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Grant Alert
$25,000 PK–12 Social Emotional Learning Grants: Deadline in 3 Weeks
By David Nagel
Applications are due April 20 for the Social Emotional Learning Innovation Fund grants from Education First, the NoVo Foundation and Rockefeller Philanthropy Advisors. This year grants will be awarded to both individual teachers and multi-school programs. Last year more than one in 10 applicants received funding.
Dozens of grants of up to $25,000 apiece are expected to be awarded. Last year, 67 individual teachers received grants of up to $5,000; and 30 districts won grants of up to $25,000. That represented about 12 percent of total applicants.
The program is aimed at supporting projects "that foster social and emotional (SEL) skills in students in grades PK-12," according to the organizations. "Whether you have an idea for a new initiative or want to expand or continue an existing project, we want to hear from you."
All proposals are welcome, according to the grant organizers, but this year projects of special interest will focus on indigenous populations; immigrants or refugees; English language learners; and LGBTQI students.
According to the sponsors: "We are looking for proposals from individual teachers, teams of educators, and district leaders seeking to improve students' social-emotional skills in fresh, inventive or innovative ways. Examples can include novel interventions or instructional practices focused on improving competencies such as resilience, academic tenacity, learning mindsets, self-management, sense of belonging, and other social and emotional skills."
Applications are due April 20 by 5 p.m. Pacific. Further information an teacher and district applications can be found at education-first.com/social-emotional-learning-innovation-fund.
David Nagel is editorial director of 1105 Media's Education Technology Group and editor-in-chief of THE Journal and STEAM Universe. A 25-year publishing veteran, Nagel has led or contributed to dozens of technology, art and business publications.
He can be reached at dnagel@1105media.com. You can also connect with him on LinkedIn at or follow him on Twitter at @THEJournalDave (K-12) or @CampusTechDave (higher education).


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When the narrator was young, he would dance around with his father. He would put his feet on top of his father's. He would smell the whiskey on his father's breath. It had an unpleasant feeling of loss of balance. But he would continue with great determination in spite of difficulties. Such dancing to a waltz was not easy.
in the falling of the father and his child in the bed. The whiskey smell is unbearable for the child. He never pronounces any work for the problem. He endures as it seems to have been being endured by his mother for a long time. The mother's mood is angry and depressed. Despite the husband's drunkenness she is doing her regular household work.
The father's hands are dirty, muddy and hard. The dirtiness of his hand is suggestive at one level of his heavy drunkenness, on the other of his profession as a farmer. He might have fallen on the ground in a state of drunken dizziness or might have come straight from the farm.
The child might have clung to his father to resist the possibility of quarrel between his father and mother. The four quatrains of the poem are highly finished. The lucidity and cheerfulness of the rhythm succeed to some extent in hiding the pathos and resentment in the poem. It can be considered to be one of the picturesque poems in English literature.
The tone of the poem is half affectionate and half sardonic. The speaker's father is a habitual drunkard. He comes home in a drunken state. Though the whiskey smell is unbearable to the child, he sticks to his father as a matter of protest which is never pronounced but endured. The speaker's mother seems not so much impatient. It seems that she is habituated to her husband's drunken nature. The mother does her usual household work without taking notice of her husband.
But she becomes quite angry when he enters into the kitchen and dashes the shelf. By clinging to his father, the child might have been resisting his father from fighting with the mother. He might have been trying to protect his drunken father from her mother's angry blow.


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Operating Areas
Greater Grimshaw
Non-Core Properties
Roy Aneed - Executive Chairman
Prior to co-founding Edge, Mr. Aneed was a Managing Director at Natural Gas Partners ("NGP"). During his eight years at NGP, Mr. Aneed sourced, structured, executed, monitored and exited investments throughout North America. Mr. Aneed served on NGP's Investment Committee, Investment Process Committee, Monitoring Committee, Evaluations & Strategy Committee and most recently served as the Co-Head of NGP's Business Development Committee, which oversees NGP's deal sourcing efforts. Mr. Aneed most recently focused on deal sourcing in the Mid-Continent and Rocky Mountain regions and had earlier experience focusing on deal sourcing in Canada. Mr. Aneed represented NGP on over 20 private boards and currently serves on the board of Triangle Petroleum Corporation (NYSE MKT: TPLM). Mr. Aneed has been a featured speaker at industry conferences in Calgary, Denver and Tulsa and has been highlighted in several industry publications. Prior to joining NGP, Mr. Aneed spent four years at Graham Partners, a private equity firm focused on middle-market industrial investments. Mr. Aneed started his career in the investment banking division of Citigroup in New York. Mr. Aneed received a B.S. in Economics, with concentrations in both Finance and Management, in 2001 from The Wharton School, University of Pennsylvania.
Brad Gabel - Executive Director
Mr. Gabel brings significant experience to the Company in acquisition and divesture transactions – a primary focus for Canamax as the Company continues to evaluate further acquisitions of junior oil and gas companies in western Canada. He also brings significant experience in dealing with the capital markets and managing corporate growth.
Mr. Gabel, also a director of Canamax, has successfully started, grown and sold multiple public companies in the oilfield sector over the past 18 years. Most recently, he was President of Pure Energy Services Ltd from June, 2009 until its acquisition in October 2012 by Houston-based FMC Technologies Ltd for CDN $300 million. Mr. Gabel has assisted with the transition effort until now. Prior to Pure, Mr. Gabel was the President and CEO of Canadian Sub-Surface Energy Services which he co-founded in 1996. Canadian Sub-Surface went public in 2006 and was subsequently acquired by Pure in 2009.
David Beckwermert – Director
An entrepreneur for over 35 years having co-founded 5 E&P companies, and a real estate company. Participated as a founding shareholder in both high tech and private equity. A continuous and relentless drive for personal development and conscious capitalism.
Prior to the energy industry Mr. Beckwermert was the Director of Policy and Legislation for the Saskatchewan Department of Environment and Resource Management. Mr. Beckwermert has chaired a national task force on environmental issues and was the Saskatchewan provincial representative/negotiator for NACE, a NAFTA side agreement dealing with the environment. He also co-chaired a Western Canadian conference on co-generation and represented the Saskatchewan Department of Environment on a government committee reviewing co-generation projects.
Oscar Pate – Director
Prior to co-founding Edge, Mr. Pate was a Senior Associate at NGP. During his five years at NGP, Mr. Pate sourced, structured, executed, monitored and exited investments throughout North America. Mr. Pate served on NGP's Monitoring Committee and focused on deal sourcing in the Mid-Continent, Permian and Rocky Mountain regions. Mr. Pate also represented NGP on numerous private boards. Prior to joining NGP, Mr. Pate worked in the investment banking division of Barclays Capital in Houston, where he focused on financing and merger and acquisition transactions in the oil and gas industry. Mr. Pate received a B.A. in Plan II and a B.B.A. in Finance with highest honors in 2007 from The University of Texas at Austin. He received an M.B.A. in 2014 from Stanford University, where he graduated as an Arjay Miller Scholar.
Jesse Bomer – Director
Prior to co-founding Edge, Mr. Bomer was General Counsel at NGP. During his five years at NGP, Mr. Bomer led the structuring and execution of the substantial majority of NGP's transactions. Mr. Bomer also led NGP's first-time SEC registration and oversaw NGP's compliance function. In addition to his legal responsibilities, Mr. Bomer also had an active role sourcing investments in the Mid-Continent region and monitoring portfolio companies throughout North America. Mr. Bomer served on NGP's Investment Process Committee and Monitoring Committee and represented NGP on numerous private boards. Prior to joining NGP, Mr. Bomer was a Senior Associate in the Corporate and Securities group of Thompson & Knight LLP in Dallas, where his practice focused on the representation of energy private equity funds in all phases of their formation and operation. Prior to joining Thompson & Knight LLP, Mr. Bomer was a corporate associate at Johnson & Jones, P.C. in Tulsa, OK. Mr. Bomer received a B.S. in Finance, magna cum laude, in 2000 and a J.D., with highest honors, in 2003 from the University of Tulsa.
Mitch Putnam - Director
Mr. Putnam is one of the Founding Partners of 32 Degrees Capital. He focuses on making investments in early stage oil and gas companies and is primarily responsible for deal sourcing, technical and geological due diligence and portfolio management. Prior to founding the Firm, Mr. Putnam was the founder and Director of Glacier Energy Ltd.; the founder, Director and Vice President Exploration of Ice Energy Ltd.; the founder,Vice President Exploration of Avalanche Energy Ltd.; and Vice President Exploration of Colony Energy Ltd. All of the companies Mr. Putnam founded exhibited significant growth and generated superior returns for its investors. He currently serves on the Board of Directors of Sitka Exploration Ltd., Summerland Energy Inc., Rising Star Resources Ltd., and Karve Energy Inc.
Kevin Adair – Director
Mr. Kevin L. Adair, P.Eng., has been the Chief Executive Officer of Prairie Thunder Resources Ltd. since 2017. and he has also served as Chief Executive Officer and President at Petrus Resources Corporation from August 2011 to February 2016 and served as its Director .
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Director Brian Davies also made WATT'S LAST VOYAGE (1965), THE PUDDING THIEVES (1966), and a documentary for Ampol on their 1970 car trial. He was closely involved with the innovative Melbourne theatre collective The Australian Performing Group at the Pram Factory and La Mama (where BRAKE FLUID was first screened).
John Duigan became a noted film director with credits including the film adaptation of Jack Hibberd's DIMBOOLA (1976) and the successful coming-of-age films THE YEAR MY VOICE BROKE and FLIRTING.
Peter Carmody directed the short film NOTHING LIKE EXPERIENCE in 1970, which also premiered at La Mama.
Davies, Carmody and Duigan were all closely associated with the Melbourne alternative theatre scene, the Australian Performing Group and the La Mama and Pram Factory theatres.


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15 Curious Facts About How Men's Bodies Work
Scientists from different countries of the world continue to research the difference between men and women, and they actively decode new and important secrets of men's bodies and minds.
We at Bright Side put together a list of curious facts about men. Perhaps some of them will be a revelation to you.
When men listen, they use only half their brain; the other half can think about something else. It's different with women. When they listen, they listen with their entire brain. That is why, when speaking to a man, it's important to be brief and precise.
The senses of hearing, smell, and taste in an average man are less developed than in a woman. This is the product of evolution: men were originally hunters and had to notice movements, while women were gatherers and so developed those senses more.
Women can see more details in darkness but only those that are near to them. Men's vision in the dark is slightly worse, but they can see details at any distance.
© depositphotos © depositphotos
There are 3 times more left-handers among men than among women. The scientific explanation for this phenomenon has still not been found. Researchers at the Australian National University found that left-handed people can process larger volumes of information than right-handed people.
Men can cope with physical activity much better. An average man will carry about 8-10 pintof blood. Women with an average body build will have about 6-7 pints of blood. Moreover, men's blood is richer with hemoglobin and red blood cells, making oxygen circulation more efficient.
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import java.sql.SQLXML;

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{

    public Jdbc4SQLXML(BaseConnection conn)
    {
        super(conn);
    }

    public Jdbc4SQLXML(BaseConnection conn, String data)
    {
        super(conn, data);
    }

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redpajama_set_name: RedPajamaGithub


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Apeksha from Mulund is now Miss India World Wide 2015 - 1st runner up
Miss Apeksha Porwal from Mulund, who is reigning Femina Miss India Delhi and was finalist for Femina Miss India, won the title 'Miss India World Wide 2015 - First Runner Up', her maiden international title, in a contest held last Saturday night in Mumbai. This is her third consecutive pageant title in this year.
Miss India World Wide (MIWW) is a unique pageant for girls of Indian origin from around the world. About three weeks ago Apeksha was declared 'Miss India World Wide - India 2015' and got the sole honour of representing India at the contest. There were 33 other Indian girls from various countries from France to South Africa, from St. Martin to Guadeloupe and from USA to Australia. This pageant is being held since nearly 25 years and takes place at different destinations around the globe. This year it was held in India at Hotel Lalit, Mumbai. After intense training for 6 days and a grand talent round, the finale was held last Saturday night. The talent round, introduction round and the Indian wear round got Apeksha into the top 5, which was followed by the question - answer round after which the results were declared and she won the 'Miss India World Wide 2015 - First Runner Up' title. She also won a sub-title 'Miss Cat-Walk'.
Miss Apeksha's proudest moment at the event was when she opened the show waiving Indian national flag on stage. It was a great honour representing this beautiful nation and her people.
Miss Apeksha Porwal had earlier represented India as Miss Teen India International in 2009. Apeksha Porwal is the younger daughter of Sangita and Sanjay Porwal and hails from a well educated, cultured and very active family who have been resident of Mulund since nearly 48 years.
According to Apeksha beauty comes from within. The word beautiful reflects your personality and who you are. According to Apeksha simplicity, geniality and warmth make a woman beautiful. Apeksha believes in social development through enterprise and would someday like to start a consultancy for social enterprises and promote social business in India.
By PNRNEWS - September 09, 2015 No comments: Links to this post
Apeksha from Mulund is now Miss India World Wide 2...


Well, we're all back in the trenches, aren't we? The dream summer of non-stop funky concerts is now just a sweet memory.
It's a little like waking up from a dream, rolling out of bed and getting started with the regular day.
While work for the Angel City Players – Electric (the new name for the funk lineup) has slowed down a bit, I have more than enough getting all my classes, students and ensembles sorted.
For the past few years, I've directed a small jazz ensemble at the music school in Frejus with aspirations of becoming a big band some day. Well, a local jazz big band folded recently and a whole bunch of "bandless" players are filtering over into our group. So cool! Guess what we played on our first rehearsal???? Dirk Fischer's arrangement of Shiny Stockings !! I wish I could call him up and tell him thank you again for everything he taught me.
I'm also teaching at the Conservatory Rostropovitch-Landowski in Cogolin, St. Tropez and Sainte Maxime for my 3rd year… My schedule went from only 2 students to 6 students plus direction of 3 ensembles !! It's a very daunting new situation !! Wish me luck, please.
A few new students plus my jazz workshop at La Londe les Maures. I love that school. It's not too big or pretentious. Everyone is so great and everyone just wants to get better.
Hopefully, the guys in Angel City Players – Electric and I will find some time soon and get into the studio to start the second album.


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The Killers have unveiled their annual Christmas single and announced details of a compilation album of all of their one-off festive tracks so far. Check out 'I'll Be Home For Christmas' from 'Don't Waste Your Wishes' below.
For the last decade, the Las Vegas 'Mr Brightside' stars have released a charity single every Christmas for the benefit of (RED) in the battle against AIDs. This year, not only are they back with new track 'I'll Be Home For Christmas', but have compiled all 10 of their festive tracks on to the album 'Don't Waste Your Wishes'.
The new track recalls frontman Brandon Flowers learning the meaning of the classic Yuletide standard from his fourth grade teacher Mr Hansen – who also accompanies him on the song.
Hear the new single exclusively on Apple Music here or check out a preview below.
'Don't Waste Your Wishes' is available digitally now, before receiving a limited physical release on 9 December – with 100% of the profits going to (RED).
As well as recently celebrating the 10 year anniversary of their seminal second album 'Sam's Town' with a Las Vegas spectacular, The Killers have also been working on their new album and the follow-up to 2012's 'Battle Born' for a few months now.


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Black Panther: First Take
Posted by jml78 in Film, Uncategorized
Afrofuturism, Black Panther, Ryan Coogler
On an unseasonably warm Saturday morning in early February, my wife suggested that I take a break to go see the new Black Panther movie on our way back from a local Chinese New Year parade. We were having a very good day after an exhausting, impossible week. At the time, I did not know that this pattern would repeat itself over the following four months. We had a great breakfast at one of our favorite local spots (Zoi's, which makes terrific breakfast sandwiches) and I successfully convinced my son that the colorful dragons marching in the parade were fun and not frightening ("See? They're not real dragons, they're just costumes!" <man under dragon costume gives a friendly wave to skeptical son>).
We discussed the Black Panther phenomenon while we munched hash browns and sipped coffee – it had premiered a few days earlier and was already a giant success at the box office and in the culture. I was curious and she was ambivalent – while the concept and creative folk involved piqued her interest, she mostly checked out on Marvel movies after the underwhelming Avengers film in 2010. When she made her offer later that morning, I thought about declining until I realized that if I didn't accept, I probably wouldn't see Black Panther until it arrived on Netflix (or whatever over the top digital service Disney comes up with). So I accepted her offer and was surprised by how excited I felt.
I found an amazing seat at our local theater (a spot that made up for its lack of modern features with decent screens and pleasant staff). I was surrounded by a representative sample of New Haven – earnest college students from a wide variety of backgrounds, excited African Americans from the local community and pleasant Yale/Yale New Haven Hospital retirees. There was a lot of conversation in the room that died down when the trailers and commercials and PSAs ended. Everyone focused their attention on a dark screen and heard a boy ask his father to tell him a story.
A few hours later, another curious boy asked a man who he was, and the screen faded to black. There were two more scenes tucked in a seemingly endless scroll of credits, but they felt like post-film trailers for future Marvel movies, a reminder that Black Panther takes place in a larger (and quite lucrative) narrative and a suggestion that the cinematic Wakanda will play a much more prominent role in the Marvel movie universe than its comic book counterpart. Some stayed for the scenes, and others did not, but it was clear that the boy's question was the end of the story that Ryan Coogler spent 200 million dollars to tell. Some people were energized, others were talking about their favorite scene or which one of the many attractive actors in the film was the most stunning. I saw a few people with tears in their eyes, a few repeating Michael B. Jordan's last line in the film.
Black Panther is an excellent film, possibly the first Marvel movie that feels completely engaged with our world. Coogler sustains an emotional resonance throughout the entire film that can only be found in isolated sequences in other Marvel films – a glance from Jeff Daniels, a provocative question asked by Cate Blanchett, a moment of intimacy between Chris Evans and Sebastian Stan. These genuine, emotionally honest moments are as important to the Marvel Studios storytelling formula as all of the third acts filled with expensive digital effect sequences and schematic plots. Black Panther departs from this formula by grounding these moments in a personal story with meaningful stakes. The stakes of the story matter because all of the artists involved in the movie – from the director, writers and cast to the costume designer, the makeup and hair people and the experts who helped with dialects – worked to make all the characters feel fully realized, with hopes, dreams and flaws independent from our hero and his journey. We care about the fate of Wakanda because we care about the characters who inhabit it – and T'Challa's family turmoil matters because the love, joy and resentment expressed by the family members feels real.
Coogler reminds us that the desire for representation in the African American community isn't just about seeing black faces on a screen. We want to be taken seriously, to feel like our gaze is as valid and important as the white gaze that we are accustomed to seeing in Hollywood films. We want to see a dramatization of the kinds of debates and tensions that exist within the black community without an explainer for everyone else. We want movies where dark skinned people are properly lit and stories that aren't mediated by the perspective of outsiders (even the very well meaning ones).
Coogler uses a familiar hero's journey framework to tell a story about community, societal boundaries and black liberation. Black Panther dramatizes the discourse within the black community about identity and freedom in mythic, larger than life terms without sacrificing the black perspective. He invites the audience to view in-group conversations without translating anything for them. It's a mainstream movie about black lives that cheerfully ignores the urge to reassure or defy the "little white man deep inside all of us" who wants to limit our freedom to imagine and create fictional worlds.
Coogler trusts his audience. He trusts them to tease out the distinctions between and within the liberal and radical visions for black liberation presented in the scenes and layers the narrative with allusions to events and ideas relevant to the African American experience.
There are limits to the scope of ideas explored in Black Panther. The film is set in Africa and is filled with images and items that we associate with Africa, but its narrative is driven by the concerns, dreams and dilemmas of the members of the African diaspora who were brought to America hundreds of years ago. In one sense, there aren't many African American characters in Black Panther, but in another, we are everywhere. We are asked to reflect on the obligations that a privileged black community owes to less privileged black communities and while the characters do reference the struggle against white supremacy (not named, but you know…) in global terms, the visual reminders of oppression and that struggle are all tied to America, and the African American civil rights movement (in the early nineties) serves as the catalyst for the story.
This dynamic is not confined to the film version of Black Panther. In the late winter, I planned to (and may still) write about Black Panther and Wakanda as incomplete afrofuturist projects. Here's the gist: Black Panther and Wakanda were created by two Jewish American comic book creators in the 1960's, and while a number of Afro-diasporic writers and artists have helped shape our understanding of the Black Panther's world over the years, almost all were telling stories from a perspective that was both African and American. They explored African American hopes and fears about empowerment, colonialism and intergroup conflict, but rarely incorporated the viewpoints of other members of the diaspora, particularly those who remained in Africa. I found great value in exploring the dreams and possibilities of the African American experience through a story like Black Panther (and a nation like Wakanda), but wondered if the absence of non-American perspectives (particularly African ones) blunted its potential impact. I also wondered how much sharper – and more transformative – the story would be if we were reading/watching a story that Africans were telling us about their world.
Black Panther is also a Marvel Studios movie, and cannot escape the positive and negative associations of that corporate relationship.
It shares the basic plot structure as many of their films centered around a solo hero, from the role of the two villains in the narrative (and how they are introduced) to the hero's fall from grace and eventual triumph in a CGI fueled battle.
I wonder if that relationship contributes to the intriguing tension between the radical and conventional elements in Black Panther. The film's visuals shake mainstream (at least in the world of blockbuster commercial Hollywood filmmaking) assumptions around beauty and power, with a diverse, nearly all-black cast presented as larger than life figures and shot in a manner that highlights the richness of their individual skin tones.
We are shown pieces of culture from all over Africa in a way that makes them feel modern and vital (and not ancient or exotic). But while the story gestures towards quasi-radical politics, it ultimately delivers a full throated defense of traditional monarchy that would've seemed downright reactionary in another film. The dialogue that evokes a long history of black nationalism/radicalism is delivered by a character presented as a violent faux populist tyrant. T'Challa's plan to reengage with the world felt audacious on my first viewing, but upon reflection, it sounded pretty vague. My wife (who watched the movie with me when it was released on Blu Ray) remarked that she expected T'Challa to announce an initiative that would improve the material circumstances of the people of Oakland – a housing or education or employment program.
The Africana spread throughout Black Panther highlights this tension. The visual look of the scenes set in Wakanda is thoughtfully considered and creates a distinctly non-American context for the story. The interviews and profiles surrounding the movie make it clear that the visual aesthetic for the film is intended as a celebration of a wide range of African cultures, a rare thing for mainstream American films. This celebration is complicated by the film's narrative, which is mostly set in a fictional isolated African nation. In this context, the blend of different African cultures in a single place without any in-text explanation becomes a reminder of our troubling habit of treating Africa as if it were a single location. A cinematic Latveria (the fictional Central European home of Fantastic Four villain Dr. Doom) that just combined elements of Greek, Czech, French and British visual and physical culture wouldn't seem authentically 'European', it would feel artificial, the product of an outsider unfamiliar with the diverse cultures and societies on the continent.
Latveria, from a bad Fantastic Four movie. This needs some Greek columns and a couple of domes. Maybe a circuitry covered henge in the background.
The mix of conventional and radical elements make Black Panther feel less satisfying and more substantial. I would have wholeheartedly welcomed a mainstream Hollywood funded full throated meditation on dismantling white supremacy and the pain caused by colonialism, but I know that Americans – that we – have a limited appetite for blockbuster films that unnerve or threaten. I still want to see a movie that shows the non fictional black community – my community – through a non-tragic lens. Many countries in Africa still face huge challenges, but there have been a number of meaningful improvements of social and economic conditions in nations throughout the continent over the last two decades. African Americans still face a wide range of disadvantages relative to European Americans, but there has been (some) progress (particularly in the areas of education and wages). We are more than nameless youth at an urban basketball court. The scenes set in Wakanda are triumphant and transporting, but I couldn't shake the thought that there are also happy and prosperous and successful (in the broadest definition of the word) black people who live in actual neighborhoods in real countries.
Coogler's Black Panther is a piece of entertainment, a commodity owned by a multi billion dollar corporation that has a mixed history with black people and social justice and which is unlikely to green light a blockbuster with radical politics or that challenges viewers. It's also a thrilling and thought provoking work of art made by a promising young African American director who has successfully infused social commentary and emotional honesty in a series of mainstream films of steadily increasing size and scope. Black Panther's success is a win for films made by and starring black people, but it's also a big win for Disney shareholders. It's a story that excites by centering the perspective of African Americans (even in allegorical terms), but leaves one hungry for more that reflects the experiences of people from other parts of the diaspora.
It's a movie that entertains and inspires, but as Yasiin Bey might say, it can't save us. Thankfully, no one promised that it would.
Next Week: Second Take (Four Things).
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Beyond Nuclear International
Events & Actions
Uranium Atlas
Dear "President-elect Biden"
Posted on October 25, 2020 by beyondnuclearinternational
Please start with the easiest problem to solve
Editor's note: The author's assumption that Joe Biden will be elected president is of course his own.
By Alan Robock
Here is a letter I intend to mail in November. But I want you to know about it now, to bring up an issue that is crucial to consider before you vote, and which has not received enough attention.
Dear President-Elect Biden,
I'm so happy that you were elected because in January you can start to address major problems in America. But before you deal with the COVID-19 pandemic, racism, immigration, gun violence, and climate change, all of which are very important, I recommend that first you take immediate steps to lower the danger of nuclear war. You will be Commander in Chief, and there are several first steps you can take immediately to make the world safer.
In the early 1980s, I was one of the American and Russian scientists who, working together, discovered that in a war between the U.S. and the Soviet Union smoke from fires ignited by nuclear explosions would block out the Sun, producing instant climate change, turning the Earth cold, dark and dry, killing plants and preventing agriculture for at least a year, producing global famine.
Watch Dr. Alan Robock's TED Talk on nuclear winter
As I described in a New York Times op-ed on Feb. 11, 2016, this nuclear winter theory was accepted by presidents Ronald Reagan and Mikhail Gorbachev and was instrumental in ending the nuclear arms race. But although the Russian and American nuclear arsenals have decreased, our research shows they can still produce a nuclear winter.
Furthermore, there are seven other nuclear nations now: China, Britain, France, India, Pakistan, Israel and North Korea. Even a nuclear war between two with much smaller arsenals, such as India and Pakistan (one of the scariest scenarios, given continued conflict over Kashmir), could produce global climate change unprecedented in recorded human history and major impacts on the world food supply.
Category: Latest news, News, Other
Goodbye Moon
Fly me to the moon, but don't put reactors there
By Linda Pentz Gunter
Not content to desecrate our terrestrial landscape with hundreds of thousands of tons of nuclear waste — much piled up with nowhere to go, the rest released to contaminate our air, water and soil — humankind, in all its folly, now plans to do the same to the Moon. And, eventually to Mars.
While our species' insatiable scientific curiosity has undoubtedly led to some beneficial inventions, it has also drawn us inexorably towards our own downfall. Our zeal to create the atomic bomb ignored logic, ethics, consequences and the fundamentals of human rights.
The bomb brought us so-called civil nuclear power reactors, the ugly and irresponsible spawn of a weapon that leaves us perched perpetually on the precipice of extinction. But there is nothing "civil" about nuclear power.
At the dawn of the nuclear energy age, not a thought was given to the legacy of deadly radioactive waste it would produce. That can was kicked summarily down the road. Now we are far down that road and no solution has been arrived at, while we ignore the one obvious one: stop making more of it!
So now comes the news that the US wants to put nuclear power reactors on the Moon.
Should the Moon be for magic, or become our newest nuclear wasteland? (Image: Alice Popkorn/Creative Commons)
In the news stories that followed the announcement, replete with the usual excitement about space exploration (never mind the cost and bellicose implications) there was not one single mention of the radioactive waste these reactors would produce.
The problem, like the waste itself, will simply be kicked into some invisible crater on the dark side of the Moon.
Celebrating Sister Ardeth Platte
Anti-nuclear activist and 'peacemaker in a hostile world'
To Sister Ardeth Platte, who died on Sept. 30 at 84, antinuclear activism was a form of public worship.
Explaining to a federal judge in 2002 how she – alongside protest companions Sister Carol Gilbert and Sister Jackie Hudson – entered a Colorado nuclear base, tapped on a silo with a hammer and used their own blood to smear a cross on a 100-ton missile lid, Platte said: "Every movement of our body was a liturgy."
It didn't stop the court from sending her to prison for obstructing national defense and damaging government property. But Platte wasn't traumatized by her 41-month sentence or any other she had served. By 2017 she and Gilbert estimated they had spent more than 15 years total behind bars and been arrested about 40 times, by their own tally.
"I was in long enough to see so many deaths, suicides. One woman guard went home from work, put a gun to her head and killed herself. Another man committed suicide by hanging right on the prison grounds," Platte said in our unpublished 2017 interview. I came to know Platte and Gilbert while living with Sacred Heart sisters they knew at Anne Montgomery House in Washington, D.C.
Sister Ardeth Platte especially enjoyed talking to young people. (Photo: Robert Croonquist)
Category: Homepage tabs, Other, People
No emergency planning zones for SMRs?
NRC commissioner warns against "flimsy" rule that could extend to current reactor fleet
By Jeff Baran
Note: Beyond Nuclear is hosting a webinar on SMRs with leading experts: M.V. Ramana, Simons Chair in Disarmament and Global Security, University of British Columbia; Kerrie Blaise, Staff Lawyer, Canadian Environmental Law Association (CELA); Ed Lyman, Director of Nuclear Power Safety, Union of Concerned Scientists. The webinar is co-hosted by the Coalition for Responsible Energy Development in New Brunswick and CELA and will include contributions from Gordon Edwards and David Lowry. The webinar takes place on October 21 at 2pm Eastern time. Click here to register. A recording of the webinar will be available on YouTube. More information on SMRs can also be found in the Beyond Nuclear pamphlet.
In a 3-1 vote by NRC Commissioners on December 17, 2019, Proposed Rule: Emergency Preparedness for Small Modular Reactors and Other New Technologies (SECY-18-0103) was accepted. The Rule would eliminate the need for Emergency Planning Zones and dedicated offsite emergency planning for Small Modular Reactors. The lone dissenting vote came from NRC Commissioner Jeff Baran. These are his comments.
For the last 40 years, NRC has required emergency planning zones, or EPZs, (Emergency Planning Zones) around nuclear power plants "to assure that prompt and effective actions can be taken to protect the public in the event of an accident." Every one of the 96* operating large light-water reactors in the country has a plume exposure pathway EPZ that extends about 10 miles around the site with dedicated offsite radiological emergency plans and protective actions in place to avoid or reduce radiation dose to the public during an accident. An ingestion exposure pathway EPZ with a radius of 50 miles around each of these sites is designed to avoid or reduce dose from consuming food and water contaminated by a radiological release.
The EPZs and dedicated radiological emergency plans are meant to provide multiple layers of protection – or defense-in-depth – against potential radiological exposure. Other NRC requirements are focused on preventing or mitigating a radioactive release. The emergency planning regulations are there to provide another layer of defense in case a release occurs despite those safety requirements.
In other words, EPZs and radiological emergency planning are designed to address low-probability, high-consequence events. The Federal Emergency Management Agency (FEMA) assesses the adequacy of the offsite emergency plans, and NRC regulations require licensees to hold offsite emergency preparedness drills at each plant at least once every 2 years to practice implementing the plans.
NRC Commissioner, Jeff Baran, says new rule does not take into account multiple SMR failures at one site and could open the door to smaller EPZs for existing reactors. (Photo: NRC)
Under this proposed rule, emergency planning for small modular reactors (SMRs) and non-light-water reactors would be flimsy by comparison. Instead of a 10-mile plume exposure pathway EPZ, these reactors would have EPZs that encompass only areas where the projected dose from "credible" accidents could exceed 1 rem. An EPZ extending only to the site boundary is explicitly permitted under this methodology.
A bridge to nowhere
New Brunswick must reject small modular reactors
By Gordon Edwards and Susan O'Donnell
On June 26, the Canadian federal government ended the Environmental Assessment of a proposed radioactive waste storage facility beside Lake Huron, after Ontario Power Generation (OPG) withdrew its proposal to build it. OPG decided to terminate the project after the Saugeen Ojibway Nation, on whose unceded territory the facility would be located, voted on January 31 not to support the project, which had been under consideration for 15 years.
What to do with radioactive waste remains a significant challenge for all nuclear reactor operators, including the two new nuclear projects currently supported by NB Power and the New Brunswick government. Recently, more than 100 groups across Canada, including nine in New Brunswick, signed a letter to the federal minister of Natural Resources asking to suspend all decisions about radioactive waste disposal until Canada has a sufficient radioactive waste policy in place.
Satellite image of the NB Power Point Lepreau Nuclear Generating Station with inset showing nuclear waste storage silos. Google Maps.
Nuclear energy produces dangerous irradiated nuclear fuel and a host of other radioactive waste materials requiring safe storage for hundreds of thousands of years. Globally, no facility for permanent safe storage of irradiated fuel has been licensed to operate, and several facilities for storing non-fuel radioactive wastes have experienced setbacks costing billions of dollars to rectify.
In New Brunswick, the proposed new reactors (so-called "small modular nuclear reactors" or SMNRs) will create irradiated fuel even more intensely radioactive per kilogram than waste currently stored at NB Power's Point Lepreau Nuclear Generating Station. The non-fuel radioactive wastes will remain the responsibility of the government of New Brunswick, likely requiring the siting of a permanent radioactive waste repository somewhere in the province.
Posted on October 5, 2020 by beyondnuclearinternational
Nuclear power is failing. So why does news coverage suggest the opposite?
Sometimes it's "Promises promises". On other days it's "Another one bites the dust".
If, like me, you are a fellow sufferer of a condition known as involuntary musical imagery (having a song stuck constantly in your head), lately you might have found yourself humming one or other of those catchy songs. Over and over again.
They are effectively the theme songs for nuclear power right now. Because if it's not the false promise of climate-saving jobs, then it's another premature shutdown, or new nuclear project canceled, the chimera of small mythical reactors, or a reactor failing to deal with the ever more prevalent weather extremes of climate change.
With the withdrawal of Hitachi, Wylfa-B is the latest new reactor project to bite the dust, for now. (Photo: Rhysllwyd.com/CreativeCommons)
That's the unavoidable story, no matter what myths the pro-nuclear propagandists try to spin. Reality has an annoying habit of grabbing the headlines. And right now, those read:
"Fresh delays at EDF's Flamanville 3"
"Scottish nuclear power station to shut down early after reactor problems"
"Hitachi 'withdraws' from £20bn Wylfa project"
"Olkiluoto-3 nuclear power plant 11 months behind latest schedule"
"Nuclear reactor in France shut down over drought"
"Exelon vows to shut down Byron, Dresden nuclear plants"
Events and actions