text:
Max Vadukul in conversation with Eugenie Dalland, Issue 9
I remember the first time I came upon Max Vadukul's photography: It was my birthday, and I was happily carousing in my apartment with a few dozen people. A friend had gifted me an enormous book with the name MAX sprawled across its cover. Curious, I flipped it open to the middle and was immediately transported by what I saw. The photograph I had in front of me was of a young woman in profile, lunging forward on a city street and sheathed in a black dress, with a grin on her face and her gloved hand shooting out in front of her. She seemed almost ready to charge off the page and into my living room. I followed her direction and raced through the rest of the book, delighted with my discovery of a photographer who captured what I valued most in pictures: passion, spontaneity, energy, life, imagination, humor, and joy, with a certain purist sensibility of pursuing beauty in all its forms and guises. The images were raw and direct, and the emotion of their subjects as well as that of their creator was quite palpable. Whoever this Max was, I felt we were chasing the same thing.
Several years later, I decided it was time to try and contact Vadukul's studio to see if we might be granted the privilege of republishing some of the images that had so inspired and fascinated me. Lo and behold my wish was granted. The following text is a transcript of the interview I conducted with Vadukul over the course of two visits to his studio in the spring of 2017. It is said that one should never meet one's idols, as they typically do not live up to one's image of them. My experience was quite the opposite.
Eugenie Dalland
Max Vadukul: First, I have to ask: Why did you pick me? It's actually a good question, so I understand what you're going for.
Eugenie Dalland: I love your work.
MV: It's important to know, you know? I sometimes wonder, with any relationship, even an intern, why somebody's there. There has to be a reason why someone is working with you, and their only reason is one thing: want, which is what human beings do, isn't it?
ED: It's true.
MV: They want things.
ED: Yes.
MV: Where do you want to start?
ED: At the beginning. Where are you from?
MV: My life began in Kenya, and it is a very, very beautiful memory. Of course, at 9 years old you remember things very well. It's not like a lost memory. It was a very simple life, a great life. But don't think that it was like Peter Beard or Out of Africa, that kind of romanticized version of Kenya. My parents were Indian—my mother was born in Rajkot, where Gandhi was born, actually—and was promised to an arranged marriage at 8 years old to my father who was born in Kenya. They lived there and started a family around the time that Kenya had gotten its independence from the British in 1963.
Life was very sweet. I grew up in an extended family: cousins, uncles, aunts, grandparents—everybody together. It was fantastic! A very solid, secure family life. I grew up speaking Swahili and Gujarati. English was only randomly sprinkled in. School was sitting under a tree with your legs crossed and with a little blackboard, and hopefully it didn't rain. My dad started as a grocer and then eventually learned to type, got a job as a secretary at a camera care shop, and ended up working with the Carl Zeiss lens company in that area of Kenya. He ended up becoming a very passionate amateur [photographer], and he always had cameras in the house and especially in the car. Part of his job was to travel along the East Coast of Africa—the British colonial part, which would be Kenya, Tanzania, Uganda, you know, Zanzibar—and to sell equipment to cinematographers, people like that. In any case, I did a lot of safari with my father, which basically meant being yanked from school and instead sitting in a car with him to keep him company.
ED: How old were you at that time?
MV: Around 9 or 10 years old. Following Kenya's independence, there was a lot of unrest because the Indian population, which constituted the middle class, was running most of the businesses. There was rioting. I remember being in the shower one day—we were living in Nairobi West, I think—and my dad came in and just yanked me out of the shower, toweled me up quickly, and said, "We're leaving now! You can't take anything with you; everybody gets in the car!" I have no idea where I was heading. At that time I think the British were allowing a very small number of British subjects to go to England. So we somehow ended up in England, and it happened very quickly. I remember when we got to the immigration office in England, the officer looked at my mother's bag and said, "Is this all you've got?" I remember my father telling us, "OK, you can't ask for any toys, you can't ask for anything. Life's gonna be different." And that was it. It was a hell of a shock.
ED: I can't imagine what that must have been like.
MV: It doesn't settle in until you're actually installed in the community. There were some things that I recognized, like the Beatles, the [Rolling] Stones, The Shadows, Cliff Richard—all kinds of musicians that would come through the radio at the time in Kenya. The cars you'd see on the street there, I saw those in Kenya too. I remember the first school I went to in London: Woodside Park Primary School. All my teachers were women, which made me terribly happy. I thought, "Oh, I like this! This is so cool! Why do they always wear these red lipsticks?" And all of a sudden, I started being called Max, instead of my given name. Basically I inherited a dog's name, you know, three letters. The name you'd give to an Alsatian or maybe a German Shepherd, so at least there's some ferocity to it. But I became a "Max" very quickly. I had to adapt. I wanted to be accepted by the other kids.
ED: Did you choose this name?
MV: No, they chose. It's just the way kids are; they decide your name is too long so they come up with something else. They could have called you a "wog," which by today's standards would be considered "a colored man." It's a racist term if you want to get into it, but words never hurt me. So Max became Max. It was still very tough to be part of anyone's club, but luckily having a camera was wonderful for me.
ED: So, were you taking pictures at this point?
MV: The camera was always in the house. I used to fiddle around with my dad's camera until one day he found out that the pictures he got [developed] were not ones that he took. They'd all be of a daffodil or a plant in the garden, in or out of focus, and he figured that it was me. So he said, "Here, why don't you just keep it?" The passion started with that. It was all I was interested in at that point. I couldn't care less about the rest of it. By the time I was 15 or 16, all I did was go to the library. It was a very beautiful place. I found books on Erté, Jacques Henri Lartigue, Bill Brandt, the history of photography—books that taught you how to process film, what sort of chemicals to use, how it all worked. It was just fantastic. All my friends wanted to do was get laid, but I was fascinated by what I found. And I was lucky because my dad would give me at least a roll of film once a week to work with. I was fairly self-taught at that point. There are certain kinds of refugee programs today, I think, where people are given cameras, and you know, it's a kind of way for them to bypass the language problems and the difficulties of assimilation. Go through a lens, you know. Photograph things. It's a good healing process. It's a great way to experience life without getting too involved, but you're still learning a lot.
ED: Can you talk a bit more about this new life for you and your family?
MV: We moved very often, every six months, and we had to change schools all the time. We just had to constantly readjust. Sometimes my brother and I would play truant, but what we were really doing was taking our mother to factories in Enfield, where we lived at the time, to find work for her. Like the Crayola Crayons factory, Royal Small Arms Factory, or M.K. Electronics (which makes plugs for the wall).
Eventually she found employment at a laundry, which was good. We managed to get going. We were taught very early to cook, and we became very good chefs, but you're left alone to cope with life, and I would say in retrospect that it was really hard. It was a tough environment to wake up to. We also had to deal with the skinheads. It was around 1975 at that point, and you had the National Front. I just remember being cornered at school by maybe six skinheads. They'd just beat the crap out of you. From that day on, you understand what extreme right-wing racism is, though you don't understand it politically. I understand that now, but at the time, to me, it was just like, well there are people that don't like you. Just try to not be around them, or if you see them, your fear factor has to kick in and you have to be somewhere else. They'd put firecrackers in our letter box too.
ED: That's horrible!
MV: That kind of thing happened for at least four years. Luckily though, I would say most of them eventually realized it was a bad thing to do. We actually became friends with some of them.
ED: Really?
MV: Yes, they felt really bad about the way they'd treated us, which of course came from their parents.
ED: That's typically where prejudice starts.
MV: But thank goodness for those individuals who were able to challenge it. I'd experienced racism in a very physical way. But by that point, I'd moved on, and the camera and photography, and the library, were a way to get ahead.
ED: So these things were a kind of escape?
MV: Yes, the library was very central to me. But at a certain point my family tried to arrange a marriage for me, which was just not going to happen. I do not berate them one tiny bit for it. They were doing everything right, and these kinds of things were just arranged then. But the marriage thing was a bit claustrophobic for me. All of my aunts and uncles, who had come over from Kenya by this point, would hound the hell out of me, and I would simply say, "No, I'm sorry."
ED: How old were you?
MV: I would have been about 16. I just thought, "Goddamnit! I've got this camera here, and I can't just shoot the suburbs. I need to get out of here!" But how the hell am I going to get out when there's no money? But my passion was there, so I started looking for work. I think I called around 500 photographers that I found in the yellow pages, and finally one guy replied. His name was Jay Myrtle, and he was an American soldier who had fought in Vietnam and was living in England. He said to me, "I don't need to know how much you know, I like your enthusiasm and I'd like to exploit that." He was a funny guy. To this day he'd probably be very reluctant to admit it, but he did do some porn shoots at one point. I went to his studio in Paddington, which was at that time very seedy. Jay came out in a blue denim suit with desert boots and a unicycle. He said, "Here's a unicycle. If you can ride this in three days, you got the job." I said, "What about photography?" He said, "If you can do this, then everything else is going to be easy."
In three days, I came back and I could go in a straight line and that was good enough for him. First he told me how to do coffee, then after two weeks I became the receptionist, and then came bookkeeping and invoicing. I hated that stuff, but I learned how to run a business. From there, I moved into the darkroom, and he taught me how to process film, how to do prints, how to work with enlargers, how to dry things. It was fantastic. Once I became good at that, he moved me into the studio. He also taught me carpentry and electrical work, so that I knew how to build sets. Finally we moved on to lightning and exposures, camera loading, etc. He was really crazy about details, and that was something very valuable.
ED: That's quite an education!
MV: After six months I decided to quit. I thought, "I know how to do this, and I know what I want." Photography for me is not about the camera. It's psychological: how you think and how you see and what it is that you want to communicate—an emotion or feeling or just information. It can be banal. So I set my sights on that. Reportage photography was very present in my mind because I was so much in love with the work of Lartigue, Brandt, and so on. All those images were in my head, you know, at a very early stage. So I decided to go to New York. It was the early 1980s, and I wanted to go see what was going on because all the big guys were there—[Irving] Penn, Richard Avedon, and so on. I arrived in the United States with a camera I borrowed from my brother-in-law, a little Pentax MX camera and one lens, and I had about 20 rolls of film. It was summertime, and all I did was sleep on park benches and take pictures on the street. I was really living like a bum. I took pictures of things that I thought were interesting. I returned to England when my visa expired, processed the material, and got really excited. I suddenly realized that I had something here that was talking back to me, that I had something I could own. I thought, "This is mine, and nobody can take this from me. I know how to do this, this is my thing!"
I was driven by a great personal desire to have my own signature. I mean, I didn't even know the word "signature" at that time. It was just simply that I wanted the pictures to be recognizable as mine. That was the only barometer. I did a portfolio of 20 prints and took them around to magazines, which was the only way to find out if you had a shot. You have to understand that, back then, magazines had real clout. They truly had real power to influence and shape public opinion. That's where you learned what was going on. You know, if Vogue said this or that, then it was so.
ED: It's not the same today, clearly.
MV: What they said was indisputable. And here's another thing about that time: You could literally call the editors directly at these magazines, and they would see you! Just like that. They'd sit down with you and talk to you about your work.
ED: That is certainly not the case today! Wow!
MV: One of the editors I saw was the renowned [fashion editor] Grace Coddington, then [at British Vogue]. I sat there with Grace, and she said, "Your work is really strong and very original, but we'd have a tough time using you here because you haven't shot any fashion models in these pictures." And I said, "Grace"—and I cannot believe I was so direct!—"you have to get me the girl! Get me the girl and I'll show you what I can do!"
ED: What was her response?
MV: She started laughing and said, "Not so easy to get into Vogue, buddy!" Something like that. "You've got to make a few rounds, but you've got something strong here, Max." I did my rounds, but I realized it was kind of hopeless in England.
ED: Were you getting the same feedback from everyone?
MV: Yes. England at the time was all about very soft focus, you know, photographs of Princess Diana. Everything had pastel colors. It was very quaint. The style of photography at the time was just very soft. My work had a very hard, tough, violent black-and-white mood to it. It was aggressive. You could feel that this guy had something in his mind that he's screaming about. So I guess that was a bit threatening for them. I thought, "Well, Great Britain has some of the best soccer [football] players, and all of them are total hooligans, very aggressive. And they're very quiet if you talk to them, but once you let them on a soccer field, they can cause great damage. They've got a kind of latent anger, which is what I sort of thought of myself. I'd been quiet all this time, for many years. I'd had to move constantly, change languages twice, and thanks to the camera, I'd been able to get this far.
ED: So what did you do?
MV: There was a very famous film producer at the time called David Putnam, who was from the same area in North London where I lived, Enfield. In the '60s he had been an agent to some big photographers like Guy Bourdin, Richard Avedon, and David Bailey, so I knew he had this feel for photography. I hoped that maybe he might have a little empathy with me. I called his company up and left a message, and lo and behold, like a month later, he called back! And he said, "What can I do for you?" I said, "Well, I'm just starting out. I don't want to waste your time, but can you please tell me if I am wasting mine? All I want you to do is look at my work and tell me if it's got something that you think has a real voice." At first he told me he was too busy, but eventually he told me to come in and bring my six best prints. I took them in, and he simply said, "You've got it. This is great photography!" He told me, "Just keep shooting this over and over again. What you've got to do is to stick with this and keep going."
ED: Stick to your guns.
MV: Well, that was very sincere, intelligent advice. I said, "But David, I'm trying to make a living. I don't have a trust fund here." It was a tough life, you know, growing up in a council estate, with a mother that's been brought to England, has her entire life destroyed, and is terrified of stepping out of the door because she can't speak the language, and with a father who speaks perfect English but the moment the door opens, "Oh, colored man at the door! Sorry, sir, the job's gone!" I understood very clearly their experiences. David simply replied, "A living? You're young! You don't have to worry about this right now. Take any random job, it doesn't matter. Just keep going. But perfect this."
ED: I know that at around this time you wound up in Paris where you landed your first fashion shoot. What prompted that move?
MV: At that point I just thought, "I'm done with England! I'll go where I think I'll be loved." So I went to France, and it was back to the grind of sleeping on park benches. There were only three magazines that I wanted to see: French Vogue, Marie Claire, and Elle. At that time, those magazines were really astonishing. You had [photographers] like Hans Feurer, Sarah Moon, and Deborah Turbeville shooting for them. I took my photographs around and got great responses—they were truly excited. There was a guy at Marie Claire, his name was Walter, and he was this cigarette-smoking, wine-drinking art director with a saggy chin who would take three-hour lunches every day, and he really loved photography and photographers. He said, "You're wrong for all of us, actually, but you are right for one person, and I'm going to make it happen." And that person was [fashion designer] Yohji Yamamoto.
ED: Who was disputably one of the most important fashion designers of the time. That was such a pivotal moment in fashion in the mid-80s, and Yohji was at the forefront of it. Did you know who he was?
MV: Nope. I was sent over there, and I had no idea who Yohji was. I went in and presented my print box to them.
ED: What images did you show?
MV: It was all street photography. I met with his PR, Marc Ascoli. He came back after five minutes and said, "Yohji wants you to shoot his next ad campaign." I was like,"Yeah, great." Someone in the office asked me, "Do you understand what he's just asked you?" and I go, "Yeah, he wants me to shoot stuff." And he goes, "Yeah, but do you understand what 'Yohji' is? Do you understand that this is the biggest thing happening!" And I just thought, "No idea, I just have no idea." But, I mean, I did know that it was big and how important it was for me.
ED: I'm always struck by this story because it's so inconceivable for that to happen today. No one is willing to take even the smallest chance on an unknown photographer.
MV: Not at all. I mean, I think that today it's all over.
ED: What do you mean?
MV: I don't mean [for] photography, but the love of creating out of joy, the love of creating even out of ignorance, the love of creating out of passion. Like, everything about making fashion images today is calculated and sized up before you even get hired for a job. Everything, every idea, has to be vetted. How do you like it when somebody tells you how a book is going to end before you've read it? This is exactly what I deal with now in editorial. I mean, it's what an editor-in-chief has to deal with too, and the fashion director—the whole creative team basically.
ED: Everything has to be approved by corporate or, worse, by the PR team. And the only value system they understand is sales or how many Instagram followers a person has!
MV: Today, I always have to say to [editors], "Don't tell me the end of the story because I haven't seen the film yet!" They tell you how it ends. They tell you exactly what they want to see so by the time you've gone through the journey of shooting, it's not fun anymore. It has no life at all.
ED: I imagine the way you came up with the concept for Yohji's campaign was very different.
MV: It was. I really wanted to shoot in New York. There was a dirtiness about the city. It was still quite dangerous. I really liked New York. I thought, "What I want is [for] the girls to arrive like birds, landing on the pavements of New York, and I want to see what life is like around them, and the camera's just there." So we got on a plane, and we cast in New York. It was a two-day shoot with two models. It was just me and an assistant carrying a bag for me.
ED: What was your communication like with Yohji?
MV: As a matter of fact, he didn't speak much English. He really didn't communicate that much, which was perfect for me because I didn't want to [have to] explain anything! It was all about the excitement. It's not about focus groups, it's just totally direct. That's it—go and do your thing. And the funniest part is that I still didn't have my own camera!
ED: I've heard this story!
MV: They paid me, I think it was $5,000 in cash, which was a lot to me! I'd never made $5,000 in my life. So while the models were having their hair and makeup done, I literally ran to Willoughby's [Camera shop], got a Nikon F3 with the brand new motor drive, put some batteries in it, and got about 40 rolls of Tri-X film and only one lens. And that was it.
ED: Totally guerrilla style! How amazing.
MV: I had a little light meter, and I think I asked the publicist, "Can you find me some kid to help me carry a bag, please? That's all. Just carry the bag. I don't need an actual assistant." So that's how I did it. Everything was moving so fast. The crew kept asking, "Where are we going?" I said, "I don't know! I'm not excited yet. We just keep going until I get excited. If I see something, I do something." And that's the method I used to work with for a long, long time. That's essentially how I got started, and black-and-white [photography] was really the foundation of that work.
ED: Can you tell me a bit more about how this experience compares to shooting fashion editorials for a magazine today?
MV: We didn't need to ask permission! And those that commissioned us for editorial didn't dare question us. All the power was down to the photographer, basically. The years between those early Yohji years and when I moved to Paris where I started shooting French Vogue, all black and white, were just magnificent. Those editorials are historical, and they're still phenomenal today. Those are examples of shoots that are based out of the same kind of preparation and wildness and enthusiasm. It's a bit like this: Imagine you've gone and seen, I don't know, a really great film. We meet. You've got a brush, and I've got a makeup box. We talk about this movie. You've got a face here. Suddenly we talk about it, and suddenly this face turns into something that excited you and excited me. As opposed to today, where some idiot shows you a mood board that shows you how it's going to look, what it's going to be. And despite the fact that you've had a fucking orgasm seeing this film, you're now asked to eliminate all of the excitement and just follow [a prompt]. I mean, why even bother? There is no point!
ED: Abysmal.
MV: Do I sound angry and pissed off? I am! I mean, of course I am, because this is cannibalizing not only an industry, but it's cannibalizing our sensitivity. It's cannibalizing our curiosity. And without this [approach], there is no hope. When I look at the work of young photographers or students today, I'm not excited. And don't tell me that I can't get excited because I go and see Francis Picabia paintings at the MoMA show, and I'm sitting there for the fifth time staring at this painting, and I'm like, "WOW, that's amazing!" When I look at these kids' [portfolios] I think, "Come on guys, impress me! You're just knocking off something that you've seen on the Internet. You pull up a picture and you copy a bit of this, copy a bit of that. You've actually done nothing. Nothing came out of your head." I'm not saying there aren't good photographers out there. Of course there are. But there isn't much out there I want to sing about. I do love Ryan McGinley. I think Ryan McGinley is fabulous, and he's got his thing going. It's perfect. What he's doing is exactly where I was when I was trying to explain to Yohji what I wanted to do. It's like, "This thing, it's my thing. This is what I wanna do. I don't care if you don't understand it. I don't want to be understood." I sit here many times thinking about projects I would like to work on, and often I almost think, "Why do I even have to bother asking a magazine anymore?" because everything has to go through a sad vetting process.
ED: It's hard not to feel fenced in on all sides.
MV: It's bullshit. The respect that you had for a stylist or an editor or a journalist or a photographer back then was incredible. I would never put words into someone else's mouth! But this lot, they tamper with everything. My business and love of shooting editorials has morphed into something that I simply don't recognize anymore as editorial.
ED: How has social media or digital media in general influenced image making?
MV: There will always be somebody who'll find a clever answer for saying that it's great. To me personally, it feels destroyed. Where is the photographer who's able to take you apart and find something amazing about you just through that personal connection—the manipulation of you without a [postproduction] digital technician? To me, the mark of a great photographer is to be able to create something really timeless. And in recent years, it's tougher and tougher to do that. It's a yawn. It's just a yawn. Again, here's a mood board: We've read the book. This is the end. Now go and shoot it.
ED: They're gutting the process.
MV: I do think, though, that it is a very exciting time visually, and somehow you have to have faith in yourself. Now, you can only have that faith if you recognize that you have some talent, some gift that is different from others, that only you can do. It's that ability simply to stand there and ignore mass consensus. I think the problem is that there is a fundamental lack of awareness in how you lens something—which lens you pick and how you're going to look through it. You see, it's about understanding what each lens does. They're all sharing the same lens right now. And it's about you being able to find that one lens that's your secret, and you can look through it and nobody else can possibly copy it.
ED: Let's return to the point in your career after you started shooting with Yohji. What were the ensuing years like?
MV: At that point, I was really on the international level. I was known. I moved to New York because the demand was there, and I was seeing a real paycheck come in. I mean, it was still very hard. You're just living from handouts, from friends. It was Heineken, fried eggs, and some bread. That was it! But you can cope with that lifestyle at that age; it's not a problem. At that time, Steven Meisel was erupting. He was big and just immensely fabulous and still is the greatest fashion photographer living. But anyway, I eventually moved back to Paris where I started to do French Vogue, and those years were great. Again, I worked with Yohji many, many times, for 27 years in fact. I worked with a lot of amazing brands, though sometimes I felt compromised because it was an advertisement, and obviously they wanted something [specific]. It dilutes your image a bit. And of course, life moves on—you have a family, wife, kids, and suddenly you have a house, and these things have to be paid for. But those years really cemented my signature as a fashion photographer with a unique punch line. Not many photographers were working in black and white, or were allowed to.
ED: What is it about black and white that attracts you?
MV: I love the emotion. I don't wanna talk too much. I just want to get to the point, and black and white gets to the point quickly. Color is very beautiful now because the level of control [in postproduction] is very nice. Whereas before, I think the color was dodgy and difficult to work with. My personality is very fast-thinking and very nervous when I am actually activated and shooting, but with color you need patience. You need to have a certain level of art direction. You can't just randomly shoot stuff and throw it out there. So black and white to me has always been the medium for masterpiece.
ED: Can we talk a bit about your portraiture as well as your years as staff photographer at The New Yorker?
MV: I started to get a lot of work in America. I was shooting a lot for Vanity Fair, American Vogue, etc. Vogue is a very powerful title commercially and in so many ways; very good for the business. But if you're an emotional photographer, and you work with your feelings and depend so much on feelings, to have them tampered with is difficult. At that point I was quite friendly with Richard Avedon because we were collaborating at Égoïste, the French magazine. Dick liked my work. He'd always say, "Max is not an echo, he's a voice. He's gotta keep singing!" He would take me to Cipriani, and we would sit there and have a couple of drinks and talk. It was just beautiful to know him. What an intelligent, wonderful man. What a loss.
So, Dick was shooting for The New Yorker and [one day] said, "Look, I need somebody to help me out here. I can't do every assignment. I think you'd be a good contract photographer." So I signed up with The New Yorker for the second contract that magazine ever gave, and it was fun. Of course, the medium was black and white, so I was at home.
ED: How do you approach portraiture versus fashion photography?
MV: I think the difference for me is that fashion is a collaborative effort, and more than one person's taste is involved. Portraiture is really just a blind date, and you do not want somebody else around on a blind date, you know? You don't want any chaperoning.
ED: What's something that comes to mind when you think about your career?
MV: Well, my great collaborator, Yannick D'Is said, "Max, do you realize you are the only photographer who is Indian who's [shot for] Italian Vogue, French Vogue, British Vogue, American Vogue, and German Vogue and had covers of these magazines too?" And I realized I'd never thought of that. I've just never exposed the identity thing. I've never played that card. I just never understood the labeling thing. When I look in the mirror, I see a human being. I don't see a color map.
ED: You just see who you are.
MV: I just see, you know, a great photographer!
ED: HAHAHA!
MV: I mean, even if I was born green it wouldn't matter. If I've got something good going on, that's all that matters.
ED: That is definitely all that matters.
MV: I want to show you something. [Opens an image file on the computer.] So this is me in Kenya.
ED: Wow!
MV: When I was 5. Now, I want you to [publish] this.
ED: Please! That would be fantastic!
MV: And here are my mother and my father—the story of my Indian parents. That's the reality of how I ended up being here, through some strange form of political chaos. I look at them many times to remind me of the place I'm from. Photography is so important because it's the only time you can gaze at something: that you can go deep inside, and it'll never pass on.
Riot of Perfume April 16, 2019


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Flushability has been an area of focus for EDANA in Europe and INDA in North America since 2004 when we formed industry-based task forces to address the flushability of nonwoven disposable products. Technical experts from our member companies worked together to develop a definition of flushability, a technical assessment and test methods. The test methods were based on the combined experience of the nonwoven disposable products industry and drew upon expertise from academia, consultancy and the wastewater industry.
In 2008, we issued Edition One of the Guidelines for Assessing the Flushability of Disposable Nonwoven Products to help wipe manufacturers assess whether their products should be flushed into the wastewater stream. Subsequently, Edition Two and Edition Three were published in 2009 and 2013. We are pleased to announce that Edition Four of the Guidelines is now available in 2018.
Since the first edition, our guidance documents have been living documents, and we continually gather feedback from stakeholders across the nonwovens and wastewater industries to use in reviews and updates of the Guidelines.
We recognise that the appeal of these products comes from the advantages they offer in effectiveness, cleanliness, convenience and ease of use. However, how and where they are used can encourage flushing as the means for disposal which, in certain cases, is not the correct route.
Together, our aim is to reduce the amount of non-flushable material in the wastewater stream. Only products labeled "flushable" meet industry guidelines to demonstrate compatibility with wastewater infrastructure. With changes to our Guidelines, the industry has enhanced the assessment for flushable products to ensure continued compatibility with wastewater systems, and prominent "Do Not Flush" package labelling to promote consumer awareness of wipes not meant to be flushed. Clear communication on packaging will help to educate consumers on the proper disposal route for products and prevent costly problems at home and at wastewater treatment facilities.
In February 2017 EDANA announced an updated Code of Practice on communicating correct disposal for personal care and cleaning wipes in order to protect wastewater systems. In March 2018 EDANA released a statement emphasising the importance of the strict implementation of the voluntary labelling code of practice for wet wipes.
For help in applying the Guidelines to your product, or to request a copy of the test methods, please contact marines.lagemaat@edana.org for assistance.


The construction industry faces a multifold problem due to availability of good quality sand in many regions of India and causes heavy damage to the environment.
Wherever river sand is available rubble filler blocks can be made in every project site .Rajasthan, UP, Punjab & Gujarat can use natural stones / Solid cement blocks for construction.
Sep 05, 2018· Wall Plastering with Cement and Sand in India/Indian style of building construction.
The "sand mafias" in India are particularly prevalent, Beiser writes. Efforts like those taken by the Bannerghatta National Park officials are, slowly, pushing back against illegal sand mining.
Mar 30, 2017· India's building boom has spawned an illegal trade in sand. Plundering the environment and even killing those who get in its way, the "sand mafia" has spread its influence throughout India.
Browse here latest added Wholesale Building Materials Suppliers providing Building Material Supplies, Construction Supplies, Building Hardware Material and Accessories in India. Contact Building Material manufacturers, dealers, traders and exporters from India.
An improbable global shortage: sand - A shore thing - The Economist. Mar 30, 2017 . The Times of India estimates that the illicit market for sand is worth around 150bn rupees ($2.3bn) a year; at one site in Tamil Nadu alone, 50000 .


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Babergh Green Party | Green councillors call for an end to secrecy of "cosy leaders club"
Green councillors call for an end to secrecy of "cosy leaders club"
Green councillors in two of Suffolk's local authorities have called for an end to the secrecy of a little known elite body that is making decisions on spending Suffolk tax payers' money.
The Suffolk Public Sector Leaders group, which comprises the leaders of all eight local authorities in the county plus the Police and Crime Commissioner, has been meeting in private for several years. Minutes and agendas are not published.
It has acquired a pot of about £6 million from a proportion of the business rates collected around the county.
In December it announced it was spending an unspecified sum on a private consultancy to draw up a business case for a controversial Sudbury bypass.
Green county councillor Robert Lindsay has asked the county council for information about how councillors and members of the public could feed their views to the body. He has now asked county council leader Colin Noble to make the meetings open to the public.
He said: "This body, comprising the county's eight male local authority leaders and the male Police and Crime Commissioner is apparently making spending decisions on tax payers' behalf, yet the first most elected councillors hear about it is when they read about it in the newspapers. It may be cosy, but running a secret club is a good way to destroy the reputation of the public sector."
Cllr Rachel Eburne, Chair of Mid Suffolk Council's Overview & Scrutiny Committee said: "Both I and leader of the Green Group Andrew Stringer asked to see minutes of this body last week. The money does not appear to be on the accounts of either Suffolk County Council or the districts. Yet how and where we spend business rates is a decision that the public needs to have some say in."
Following these questions by Green councillors, county council leader Colin Noble sent an email with his notes of the last leaders group meeting to all 75 Suffolk county councillors. In it he revealed that the leaders group had agreed to keep on Jennie Jenkins, the ousted Babergh Council leader, as chair, even though she had been forced to resign as Babergh leader last month ahead of a vote of no confidence.
He also said the leader group will "conduct a review to consider whether current arrangements remain suitable given wider changes in the public services landscape."


Maruti Suzuki India (MSI) will soon introduce the updated version of the Ignis mini SUV in the country. According to a fresh media report, the company has stopped production of the existing Maruti Ignis in order to make way for the facelifted model. Though, the Nexa dealers are still accepting bookings for the current version of the mini SUV.
Similar to the new Baleno facelift, the new Maruti Ignis 2019 will receive slightly different front and rear bumpers and newly-designed alloy wheels. The lower variants of the mini SUV might get LED projector headlamps as standard. Interior will also be revised with Maruti Suzuki's new SmartPlay Studio infotainment system that we have seen in the Baleno facelift and new-generation WagonR hatchback.
Currently, the Maruti Suzuki Ignis comes in four trims – Sigma, Delta, Zeta and Alpha – packed with a 1.3L petrol engine with manual and AMT gearbox options. The gasoline unit generates power worth 81.80bhp and 113Nm of torque. Prices of the mini SUV start from Rs 4.66 lakh (Sigma MT) and go up to Rs 7.05 lakh (Alpha AT). All prices are ex-showroom Delhi.


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La Palma is een Spaans eiland, het meest noordwestelijke van de Canarische Eilanden in de Atlantische Oceaan ten westen van Afrika.
Het onderscheidt zich van andere Canarische Eilanden als Tenerife en Gran Canaria door het ontbreken van massatoerisme. Het eiland kent wel ecotoerisme en de toeristen die het eiland bezoeken vanwege de vele wandelroutes, de bijzondere natuur en authentieke eilandcultuur.

Geschiedenis

De oorspronkelijke bewoners van La Palma zijn de Benahoarieten (Spaans: Benahoares) waarvan de oorsprong nog steeds onbepaald is. Zij hadden een neolithische cultuur en waren verdeeld in verschillende stammen die geleid werden door stamhoofden. Zij noemden La Palma Benahoare. De belangrijkste overblijfselen van deze cultuur zijn grotwoningen, rotstekeningen en de met stenen geplaveide paden door de bergen.

Mogelijk waren de Canarische Eilanden al bekend bij de Feniciërs en de Grieken. De Genuese ontdekkingsreiziger Lancelotto Malocello bereikte de archipel in 1312 en verbleef daar twee decennia totdat hij werd verbannen na een opstand van de oorspronkelijke bewoners.

In 1404 begonnen de Spanjaarden met de verovering van de eilanden. Al in 1405 gingen ze bij Santa Cruz aan land. Toch duurde het nog tot 1493 voordat na vele bloedige veldslagen het verzet van de oorspronkelijke bewoners was gebroken. De uiteindelijke veroveraar van La Palma was Alonso Fernández de Lugo. Hij versloeg de laatste koning van het eiland, genaamd Tanausu, door een list. Deze koning heerste over een gebied dat bekendstond als Acero (Caldera de Taburiente). Samen met Juan de Palma, een tot het Christendom bekeerde Guanche en tevens naaste van Tanausu, organiseerde de veroveraar een vredesverdrag met de koning. Nadat Tanausu met dit verdrag had ingestemd werd hij in een hinderlaag gelokt. Na de verovering van La Palma zijn de oorspronkelijke bewoners als een apart te herkennen groep verdwenen. Ze zijn ofwel vermoord, verkocht als slaven of opgenomen in de Spaanse bevolking.

In de twee eeuwen volgende op de verovering door de Spanjaarden werden de nederzettingen op La Palma welvarend doordat het eiland als handelspost diende voor de Nieuwe Wereld. Ook trok het nieuwe bewoners aan. Er zijn mensen naar La Palma geïmmigreerd vanuit onder andere Castilië, Catalonië, Majorca, Portugal, België en Duitsland.

Geografie
La Palma heeft een oppervlakte van 729 km² en is ongeveer 42 bij 24 kilometer en volgens de laatste telling telt het 83.456 inwoners (2014).

Het eiland valt onder de Spaanse provincie Santa Cruz de Tenerife. Evenals Tenerife en Gran Canaria heeft het eiland een vruchtbare natte kant, en een droge zijde waar het merendeel van het toerisme zich afspeelt.

Santa Cruz de la Palma
De hoofdstad Santa Cruz de la Palma heeft 18.000 inwoners en ligt aan de oostkust van het eiland. Aan de westkant van het eiland ligt de grootste gemeente van La Palma Los Llanos de Aridane (ca. 20.000 inw.). Wanneer men de andere tot de gemeente behorende dorpen buiten beschouwing laat is Santa Cruz de la Palma echter de grootste stad van het eiland.

Bestuurlijke indeling
De 14 gemeenten van La Palma:
 Barlovento
 Breña Alta
 Breña Baja
 Fuencaliente de la Palma
 Garafía
 Los Llanos de Aridane
 El Paso
 Puntagorda
 Puntallana
 San Andrés y Sauces
 Santa Cruz de la Palma
 Tazacorte
 Tijarafe
 Villa de Mazo

Westrand van Europa
La Palma ligt ca. 60 km ten noordwesten van het hoofdeiland van de Canarische eilanden Tenerife en ten noorden van het eiland La Gomera. Door het westen van het eiland loopt de vroegere meridiaan van Ferro (El Hierro in het Spaans) die van de tweede tot en met de achttiende eeuw gebruikt werd als nulmeridiaan bij cartografie en navigatie.

Vulkanisme
Net als alle Canarische Eilanden is La Palma gevormd door vulkanische activiteiten. Dit heeft ongeveer drie miljoen jaar geleden plaatsgevonden. Het eiland heeft het actiefste vulkanisme van de archipel. De voet van het eiland ligt op 3500 m onder de zeespiegel en het hoogste punt ligt op 2426 m boven de zeespiegel.

Geregistreerde vulkanische uitbarstingen zijn:
 1470-1492 Montaña Quemada
 1585 Tajuya in de buurt van El Paso
 1646 Martin
 1677 Volcán San Antonio
 1712 El Charco
 1949 Volcán de San Juan, Montaña del Fraile, Pico Nambroque
 1971 Volcán Teneguía
 2021 Cumbre Vieja

Op het eiland ligt de vulkanische bergketen Cumbre Vieja. In 2001 schreven de Engelsman Simon Day en de Amerikaan Steven Ward in het vooraanstaande wetenschappelijke tijdschrift Geophysical Research Letters (28, 17:3397-3400) in een artikel dat een volgende uitbarsting een enorme aardverschuiving zou kunnen veroorzaken, waarbij een deel van het eiland in zee schuift. Indien dit daadwerkelijk gebeurt zou het een reusachtige tsunami, een zogenaamde megatsunami, tot gevolg kunnen hebben (tot 90 meter hoog) die zich over de Atlantische Oceaan zal verplaatsen, richting oostkust van de Verenigde Staten. De tsunami zou daar acht uur later aankomen en alle steden aan de Amerikaanse oostkust beschadigen.

In de loop der tijden hebben opeenvolgende vulkaanuitbarstingen verticale kolommen van gestold magma in de vulkaankegel gevormd. Daartussen bevindt zich rots die, in tegenstelling tot het gestold magma, wel poreus is. Het regenwater in de poreuze rotsen vormt bassins die gescheiden worden door de niet-poreuze kolommen. Wetenschappers gaan ervan uit dat de warmte die vrijkomt bij een van de volgende uitbarstingen groot genoeg kan zijn om de temperatuur van het water dermate te doen stijgen dat de druk ervan de westelijke kant van de vulkaan in zee doet schuiven.

Bij de theorie van Ward en Day is een aantal kanttekeningen geplaatst (onder andere door George Pararas-Carayannis, voormalig directeur van het International Tsunami Information Centre; hij is een vooraanstaand tsunami-expert). Het is zeer onwaarschijnlijk dat de hele wand van een groot vulkanisch eiland in één keer instort. Waarschijnlijker is dat de wanden gedeeltelijk en in fasen instorten. Alternatieve berekeningen tonen bovendien aan dat de golf, wanneer deze in Amerika aangekomen is, hooguit drie meter hoog zou zijn.

Natuur
La Palma staat bekend als La Isla verde ("het groene eiland") en als La Isla bonita ("het mooie eiland"), omdat het eiland het gehele jaar door is bedekt met groene vegetatie. Het eiland dankt al het groen aan de passaatwinden die de wolken aan de loefzijde van het eiland brengen en die boven het eiland losbreken of dichte nevelvelden op de bergen laten zien. Verscheidene plantensoorten profiteren van het vocht van de wolken. Het eiland kent een aantal vegetatiezones, van lavavelden met mediterrane droogvegetatie, Canarische dennenbossen op de westelijke hellingen en hoogvlakten, laurierbossen of laurisilva op de noordoosthellingen en fayal-brezal op de overgangen tussen beide. Onder de plantensoorten op La Palma zijn er 170 inheemse, typisch Canarische soorten, waarvan onder andere de befaamde drakenbloedboom.

Het landschap beeldt een contrast van zwart (basalt), rood en groen (vegetatie) in het Atlantische blauw uit. In het noorden van het eiland de barranco's, diep uitgesneden kloven, die het water van de bergen naar de zee dragen, de bossen op de centrale bergen van het eiland en de vulkanische activiteit in het zuiden, de lavavelden en vulkaankegels.

Caldera de Taburiente
Aan de noordzijde van de vulkanengroep 'Cumbre Vieja' bevindt zich de Caldera de Taburiente, een erosiekrater met een doorsnede van negen km waarin schitterende wandelingen gemaakt kunnen worden. Het woord caldera is oorspronkelijk hiernaar vernoemd; men ging er toen van uit dat het komvormige gebied was ontstaan door een explosie waarbij een grote vulkaan zichzelf opblies. Al in de 19e eeuw werd aan deze theorie getwijfeld, en onderzoek heeft inmiddels uitgewezen dat het gebied door erosie is ontstaan. De rand vormt met de Roque de los Muchachos het hoogste punt met 2426 meter.

Barranco's en laurierbossen
De noordoosthoek van het eiland wordt overheerst door diepe barranco's, kloven ontstaan door tijdelijke rivieren die van de Taburiente naar beneden stromen. In enkele van die kloven zijn nog restanten te vinden van het oorspronkelijke oerbos van de Canarische eilanden, het laurierbos of laurisilva. Bekende plaatsen zijn Los Tilos in San Andrés y Sauces en de Cubo de La Galga nabij San Juan de Puntallana.

Sterrenwacht
Op de rand van de Caldera de Taburiente is een internationale sterrenwacht gevestigd, het Observatorium Roque de los Muchachos. Nederland beheert hier samen met het Verenigd Koninkrijk twee optische telescopen, de William Herschel-telescoop en de Isaac-Newton-telescoop. Ook beheerde Nederland de Dutch Open Telescope, een zonnetelescoop. De Mercatortelescoop wordt beheerd door de Belgen en Zwitsers. De Jacobus Kapteyn Telescoop is op dit moment niet meer in gebruik. Wel staat het gebouw van deze telescoop nog op het eiland. Ook bevindt zich hier de Gran Telescopio Canarias (GTC of GranTeCan genoemd), een van de grootste spiegeltelescopen ter wereld.

Vervoer

Wegennet
Het wegennet op La Palma is goed voor een totale lengte van 1200 km. Alle hoofdwegen zijn geasfalteerd, bochtig en in goede conditie. Alleen enkele afgelegen oorden in het noorden van het eiland zijn alleen over zand- en/of betonwegen te bereiken. De 103 km lange weg LP-1 (LP=La Palma) in het noorden en de 55 km lange weg LP-2 in het zuiden verbinden samen als een ring om het eiland de plaatsen Santa Cruz de la Palma, Puntallana, San Andrés y Sauces, Barlovento, Puntagorda, Tijarafe, Los Llanos de Aridane, Fuencaliente de la Palma, Villa de Mazo, Los Cancajos en weer naar Santa Cruz de la Palma. Verder verbindt een 26 km lange weg (LP-3) door 2 tunnels het oosten met het westen van het eiland (Los Cancajos - Los Llanos de Aridane).

Scheepvaart
De baai van de hoofdstad werd sinds de verovering van het eiland door de Spanjaarden als haven benut. Van Santa Cruz de la Palma zijn er diverse bootverbindingen naar de buureilanden en het Spaanse vasteland, met tussenstops op Lanzarote, Gran Canaria en Tenerife. De westelijke haven in Puerto de Tazacorte is een jachthaven.

Vliegverkeer
De eerste luchthaven van La Palma bij Breña Alta ontstond in 1950. De landingsbaan werd in 1970 buiten gebruik gesteld, nadat er aan de kust bij Mazo, zuidelijk van Santa Cruz de la Palma, een nieuw vliegveld was gebouwd, met overigens ook maar één landingsbaan. Sinds 1987 is dit het zesde internationale vliegveld van de Canarische Eilanden. Van de luchthaven Santa Cruz de La Palma (SPC) zijn er lijnverbindingen naar de buureilanden en de Spaanse hoofdstad Madrid die door de Spaanse luchtvaartmaatschappij Iberia en de lokale Binter Canarias worden verzorgd. Meerdere malen per week landen hier Europese chartervluchten.

Wandelmogelijkheden
La Palma heeft een betrekkelijk dicht net aan wandelpaden, veelal gemarkeerd volgens het internationale systeem van de GR-paden: wit-rood voor gran recorrido-paden en wit-geel voor de kortere pequeno recorrido-paden. De twee GR-paden zijn de GR 130 (Camino de la Costa), die redelijk dicht de kustlijn volgt (overigens nog steeds met soms aanzienlijke hoogteverschillen) en het bergland vermijdt, en de GR 131 (El Baston), die door het gebergte loopt. Deze laatste route begint in Puerto de Tazacorte, gaat via de Roque de los Muchachos ten noorden van de Caldera de Taburiente, via de Pico de la Nieve en de bergrug Cumbre Nueva naar de Faro de Fuencaliente.

In de Caldera de Taburiente zijn diverse (zwaardere) wandelingen mogelijk.
 De parkeerplaats bij Mirador de la Cumbrecita heeft een zeer beperkte capaciteit: reserveren is noodzakelijk bij het bezoekerscentrum aan de LP-3 of via internet.
 De route van Mirador de la Cumbrecita naar de kampeergelegenheid van Playa de Taburiente v.v. wordt door de parkleiding wegens zijn gevaar ontraden.
 Er zijn op La Palma weinig campings en slechts enkele refuges; de langeafstandwandelaar zal hier rekening mee moeten houden.

Land- en wijnbouw
Naast de vele plantages met bananen is er op dit Canarische eiland wijnbouw. De lavastroom na de uitbarsting van de Cumbre Vieja in 2021 richtte een ravage aan in de bananenplantages, met grote economische verliezen als gevolg.

Afbeeldingen

redpajama_set_name: RedPajamaWikipedia


Photographer Nirmala Karuppiah is known for her black and white images of Chinese Opera doyenne Madam Elizabeth Choy in 2010's 'Capturing Twilight' exhibition, which was also held alongside the debut of Nirmala's 20-minute documentary of the same name. Catch the stunning photographs again at Aku Café & Gallery this month, with a special free screening of the documentary on June 21, 8pm. Call to book your spot for the screening.


text:
Home / Health News / 184 districts to benefit from child immunisation programme
184 districts to benefit from child immunisation programme
In an effort to check child deaths due to preventable diseases like measles and diphtheria, the central government has launched a special immunisation week to reach out to 184 high-risk districts.
By: Admin | | Published: April 29, 2013 7:06 pm
Tags: Child immunization programme Immunisation week UNICEF UNICEF-India
In an effort to check child deaths due to preventable diseases like measles and diphtheria, the central government has launched a special immunisation week to reach out to 184 high-risk districts. Also Read - World Immunization Week 2019: Top vaccination myths dispelled
'We have identified 184 high priority districts, where our prime focus would be to lay sufficient importance on generating awareness about immunisation,' said Anuradha Gupta, additional secretary, ministry of health. Also Read - World Immunization Week 2019: 7 diseases you can prevent with vaccines
'These high risk areas have been identified through India's Polio Eradication Programme. The awareness campaign will reach the marginalised populations in brick kilns, urban slums and hard-to-reach areas,' added Gupta. Also Read - HIV cases increasing in Balochistan
The special immunisation week will be held over four weeks in as many months. The programmes are planned for one week each in the months of April, June, July and August in the high-risk areas across the country.
'We have introduced new routine immunisation logo, posters, and radio and TV advertisements which will help the public understand the importance of these life-saving vaccines,' Gupta added.
Unveiling the new logo, radio advertisements and posters, Gupta stressed that communication and campaign were necessary.
'The new logo and other communication material would promote consistent messaging to raise awareness on the urgency of reaching every child with life-saving immunisation,' Gupta said.
The official said a 2009 survey showed that 26% population in the country were not aware about vaccines.
Louis-Georges Arsenault, UNICEF-India representative, said, 'There are geographical, rural-urban, poor-rich, gender and other related differences in vaccination coverage.'
According to UNICEF, nearly 1.6 million children under the age of five years, die in India every year. A large number of these deaths can be prevented with vaccines.
Published : April 29, 2013 7:06 pm
Reproductive medicine witnesses a paradigm shift
Sarabjit will continue to receive treatment in Pakistan
World Immunisation Week: don't let COVID-19 come in the way of your child's vaccinations
World Immunization Week 2019: Top vaccination myths dispelled
World Immunization Week 2019: 7 diseases you can prevent with vaccines
HIV cases increasing in Balochistan
After contaminate Polio II virus was found in stools of children, WHO and UNICEF issue statement

redpajama_set_name: RedPajamaCommonCrawl


I don't think this is talked about in assassin's creed 1 but it is in ac2 and im sure you all know that Rodrigo is atheist as he said to Ezio at the end of ac2 "...Do you think i beleived a single *******ed word of the ridiculous book? It's all lies and superstitions. just like every other religious tract thats been written..."
Which brings me to the topic who or what is the "Father of understanding" if Rodrigo is an atheist?
But then he does say to Ezio that "God lies within the vault" which would not make him an atheist. However he also wants to kill god so the "Father of understanding" who he refers to with respect could not be someone he wants to kill which would not make him god.
I don't know for sure, but I just assumed that the saying, "May the Father of Understanding guide you," is larely ceremonial/customary. Similar to saying, "May your road be wisely travelled."
And/or the "Father of Understanding" could be a reference to whoever is the particular leader of the order at any given time -- similar to referring to the Pope as "His Holiness".
It could be the first one but with the second why would Rodrigo say "may the father of understanding guide us" himself thats like saying "may I guide myself" which I guess could work but it sounds silly to me.
I dont think the pope calles himself "My Holiness" or "His Holiness" when talking directly to people. But the first idea would make sense.
Well, at which point in AC2 did he become the leader himself? Based on Lineage, I was under the impression that the current Pope then (forget his name now) was the leader, so Rodrigo wouldn't have become leader until he replaced him, becoming Pope himself (which, according to Wikipedia, was in 1492).
While Rodrigo Borgia did say he didn't believe in the bible, it doesn't mean he doesn't believe in a higher being.
As for the Father of Understanding, it was actually mentioned in AC1 when you enter the conference room at the end of the game and read the email, at the end it is written.
It's never really explained but it seems to be this thing called Baphomet or something which is a demon the Templar Knights were said to worship. Baphomet translates into "Father Of Understanding".
Check the wiki page, I didn't really feel like reading a wall of text.
My guess is he's agnostic. Agnostics basically believe there IS a higher being but none of the religions are right yet.


ORBA, the acronym for Common Object Request Broker Architecture, is a widely used communications model for building distributed (multi-tier) applications that connect both cross-platform and cross-language clients to server-based services. Like J2EE, it's not easy to connect CORBA to the .NET world, where ASP.NET Web services and .NET Remoting are the generic ways to build distributed applications. Making that connection requires a way to describe .NET objects as CORBA objects so that J2EE can interact with them, and a way to describe CORBA objects as .NET objects, so that managed .NET code can interact with them. In other words, you need some mediating code that can translate objects and method calls from CORBA's representation to the .NET framework's representation. Borland's Janeva does exactly that: It simplifies the process of making that translation to connecting CORBA or J2EE objects to the .NET world.
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The sample server that accompanies this article was built with Borland C++Builder 6 Enterprise. If you don't have access to Borland C++Builder, you can use the compiled sample server application in the downloadable code for this article. The server is based on an existing application that maintains a personal agenda with appointments, used to schedule meetings electronically. The scheduling implementation details aren't important for this article; it's more important to focus on how to build and distribute the CORBA server interface specification that you'll use at the client to experiment with Janeva's connectivity.


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Properties Malcesine. Search for homes in Malcesine, Annunci immobiliare For sale and To rent.
Apartment / rustic basement located on the hills near Malcesine. The restaurant is unfinished and has to be completely restored. The restaurant is part of a condominium built around the 60s.


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17th Indian Film Festival Stuttgart (IFFS) from July 15 – 19, 2020 ONLINE
A Five-Day Trip to India for 4.99 EUR
The online edition of the 17th Indian Film Festival Stuttgart dares to take an in-depth look into the psyche of a divided society. From July 15 to 19, Europe's largest festival of Indian film invites audiences to visit new Indian cinema online. With a Festival Pass for 4.99 EUR, recent feature, short, and documentary films can be viewed at home for five days. Advance sale of the well-priced Festival Pass starts at the beginning of July on the Festival homepage. Due to the corona pandemic, in early March Festival organiser Filmbüro Baden- Württemberg made the decision to take this cultural event online this year.
The Race for the Coveted Film Award 'German Star of India'
The Online Festival starts with an Opening film, too: On Wednesday, July 15 from 03:00 to 11:59 pm, the entertaining feature film' Eeb Allay Ooo!' by Prateek Vats will be made available to Festival Pass holders for streaming. From Thursday, July 16 at 00:01 am until Sunday, July 19 at 11:59 pm, the full Festival Programme will be available for online viewing. The winning films are scheduled to be announced on Sunday, July 18 at 08:00 pm.
This year, the visually stunning and multi-award-winning drama 'Jallikatu' by Lijo Jose Pellissery about mankind's beastly greed for pleasure will enter the race for the coveted 'German Star of India' film award along with the delightful satire 'Eeb Allay Ooo!' by Prateek Vats, where a professional monkey defence service imitates the sounds of langur-monkeys so as to scare off the cheeky rhesus monkeys. Many Indians worship monkeys as a reincarnation of the monkey god Hanuman. They reverentially feed them, which makes the monkeys more and more cocky.
Further contestants are the award-winning feature film 'Kumbalangi Nights' by Madhu C. Narayanan, a representative of the new, progressive and realistic Malayalam cinema, as well as the powerful and highly emotional feature film 'Uyare' by Manu Ashokan about a young woman who became the victim of an acid attack; traumatised, she still fulfils her dream of becoming a pilot.
In 'A Holy Conspiracy' by Saibal Mitra, a dispute of faith is raging in a courtroom, having flared up at a Christian missionary school in the small town of Hillolgunj. It is about the biblical story of creation, Darwin's theory of evolution, and an ancient Vedic text that the Hindi government wants to anchor in the curriculum of the Christian mission school.
The feature film jury includes German director and producer Frieder Schlaich, Indian filmmaker and LGBTQI+ activist Onir, and Céline Loop, producer of last year's winning film 'Chippa'.
Is electrity a social right or a commodity?
The online edition of the Indian Film Festival Stuttgart also presents Anandana Kapur's documentary about people in India stealing electricity by illegally acquiring connections or just not paying their bills. The film explores whether electricity is a social right or a commodity. Quite different is the documentary 'Patrick Goes to Bollywood', where filmmaker Patrick Ranz from Munich is trying to find a job in the Indian film business in front of the camera.
Audience Favourite Geetanjali Thapa Returns to the Festival Screen
In the short film category, audiences have a clever mix of highly topical issues to look forward to. One of them is the controversial citizenship law passed by the Modi government, defining the criteria for immigration to India and accused of discriminating against Muslims. 'Frayed Lines' by Priya Belliappa with actress Geetanjali Thapa, an IFFS 2018 audience favourite, is set on a coffee plantation in Kodagu where migrant worker Tabu finds a job after a 2000-mile odyssey. Like many people in India, Tabu has no birth certificate. According to the new law, there is no more space for her among the 1.4 billion people of India. The film by director Priya Belliappa wonders what is going on in the land of thousand languages and cultures.
The short film programme also includes the 26-minute film 'Wig' by Atanu Mukherjee which takes audiences to the world of the Hijras, India's third gender. In Mumbai, the paths of a single working woman and a transsexual sex worker cross. The film deals with prejudices against unmarried women who focus on their careers as well as a minority in the shadow of Indian mainstream. Pooja Gupte, a lecturer of the 'Making of Indian Cinema' master class at the16th IFFS in 2019, is the cinematographer of this short film which is directed by her husband Atanu Mukherjee. The film is presented in cooperation with Christopher Street Day Stuttgart.
A Cinematic Tribute to Boxer Tom Molineaux
Short film 'The Bare Knuckle Gentlemen' by Nishad Chaughule is about racism in boxing. It is a cinematic homage to the freed African American slave Tom Molineaux who became a celebrated professional boxer. Molineaux lived in London in the first half of the 19th century but was not inducted into the International Boxing Hall of Fame until 1997.
Tarun Wadhwa's '3rd Stanza' observes the dynamics of modern relationships.
'Apna Apna Andaz' by Avishkar Bhardwaj describes the exciting hunt for the thieves of a cinema ticket stolen from a young film fan.
'Don Jagatala Kavi' by Swapnil Vasant presents a poet living in two worlds. A classic father-son conflict: Rapa wants to write poetry but must work on his father's farm.
Anui Rawra's 'Doorbeen Binocular' accompanies two street children in their struggle for happiness.
'Gulabi Lens – La Vie En Rose' by Saurabh Wakankar shows how a newly married couple discovers true love in their one-room house in Mumbai.
Star producer Shaan Vyas has directed the short film 'Natkhat' with Vidya P. Balan in the lead role, one of the Top Ten most popular Bollywood actresses in 2006. She plays a mother who teaches her son a valuable lesson against misogyny and patriarchy.
Tenth Anniversary of the 'Short Takes' Film Competition
The Festival programme also presents the three winning films of the 10th Short Takes competition in cooperation with pocket films. This year, winners cannot fly to Germany due to the pandemics. The three winning films are: 'Noor' by Kiran Nagdev (first prize), 'Nazariya' by Rishil (second prize), and 'Saturday Nights' by Shivadarshan Sable (third prize).
In addition, Saameer Modi of pocket films has curated a section of five films for the Stuttgart short film programme, true to the motto 'a glimmer of hope'.
'Good Morning Mumbai' and 'Tea Talks'
The supporting programme also breaks new ground in the Festival's online edition: 'Fridays for Future' activists from Mumbai, Delhi, and Stuttgart have their say in a 'Tea Talk'. Popular Indian cinematographer Paramvir Singh, a lecturer of our new 'Making of Indian Cinema' series last year, will regularly report from our Festival Studio in Mumbai.
In further 'Tea Talks', Indians document how they experience the corona pandemics at home, using the cameras of their mobile phones. They all praise the initiative of Filmbüro Baden-Württemberg, because an online edition of the Festival offers a way out of the cultural sector's worldwide frozen state. Thanks to the Film Festival in Stuttgart, Indian films can be seen by audiences around the world.
An Virtual Cinema with Box Office, Shop, and Screen
For the first time, the website www.indisches-filmfestival.de will turn into a cinema for audiences worldwide, with a foyer where a well-priced Festival Pass can be bought for 4.99 EUR (all inclusive) and a shop selling products such as Indian puppets or Festival bags. Here, visitors to the site can also view free clips of the supporting programme. The centre of the Online Festival is the website's digital cinema screen, where Festival Pass holders, using codes, can watch any of the available films anywhere, and whenever they like.
"The Online Festival was created with a lot of passion. Audiences have a special, virtual cinema experience to look forward to, at an extremely favourable price and with an informative and entertaining supporting programme", promises Festival Director Oliver Mahn.
To visit the Festival and for programme information please go to: www.indisches-filmfestival.de


"I have some mobility problems so a safe and comfortable shower is essential for me.
Dave and his team transformed my tired, shabby standup ensuite into a wetroom which meets all my needs for safety, comfort and good looks.
Now I just walk in, sit down, switch on. Bliss!"
I am writing to say a very big thankyou to Dave & the team for the exceptional work that you carried out for us. You were truly professional in every way and have made a wonderful difference to our family life. I will not hesitate in recommending you. Looking forward to phase 2! Thankyou again so much!
Phase Two: Once again thank you all for the wonderful job you have done at my home. You were truly professional and worked with the minimum of disruption or mess.
My life has been changed dramatically & I am managing my MS much better now, especially with not having to go up the stairs to my bedroom.
I would definitely have no problem whatsoever in recommending your company to other people.
I have managed MS for over 30 years. I 've had up's and down's with it, but with a bit of help from my friends and family, I've kept it under control. One problem Andy and I have had to cope with is bathing or showering safely. We live in a house with 2 bathrooms, 1 en-suite, but neither of them has been easily accessible for my limited mobility. When it became obvious that Andy should not carry on lifting me into and out of the shower cubicle we had to find a better long term solution.
We explored every option and consulted many 'experts' for an answer to this long standing problem with not much help, and I wish that we had met Dave Tubbs and his colleagues a long time ago as they came up with all the answers from the start.
We saw a flyer from Mobility Homestyle when Mainstream landed on the doormat in October. We were in the process of talking to Anchor about the possibility of adapting the en-suite into a shower toilet, but neither of us was comfortable with the long term implications of such a conversion as we are still harbouring ambitions to move house in the future. So, this seemed a timely moment to talk to them and get any other ideas on the problem. We made a phone call and the team sprung into action! We soon had all the quotes for the en-suite adaptations, but we still had qualms about the toilet/shower idea, so we talked to the team again and floated the idea of converting the main bathroom into a wet room. We needed more space to do it properly and the solution that we came up with was to take a bit out of one of the bedrooms and extend the bathroom by 3ft. This still left a reasonable 4th bedroom and would also give us a family bathroom without having make alterations, which neither of us would be truly happy with.
The team came back again and re-measured and talked to us about fitting out the wet room to our tastes. We had meetings with Andy the plumber, David the tiler, and Robin the flooring specialist, along with Dave Tubbs, who in between the talks renovated my wheelchair ramp. They came up with lots of suggestions and directed us to a number of bathroom showrooms to get some ideas for our project. We spent a few weekends choosing taps, tiles and a very plush body drier, which is a real treat every morning!
Once the final plans were agreed the work started and everyone geared up for a finish before Christmas. The hardest part for us was clearing out the clutter gathered over the last 15 years in the spare bedroom!
Monday 8th December arrived and by the end of that day one wall had been knocked down and the bathroom as knew it was no more. There was no going back now!!
We had no need for any worries, we were kept informed at every stage and any disruptions to power or heat were kept to a minimum. All we had to do was supply tea/coffee and the odd choccie biscuit. By the end of the second week our new bathroom was complete and we had a spanking new fully accessible wet room for all of the family to enjoy.
For us, this was a big change, but the whole thing was made as easy as possible by the team at Mobility Homestyle, whose professionalism and care was evident from the start to finish. We would have no hesitation in recommending them to anyone who is thinking about making alterations or adaptations to their property.
This wet room has made so much difference to my life. I am able to get showered in comfort without worrying about being lifted, or Andy hurting himself.
Now I am working on a new idea. Making my kitchen just as accessible!!


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The Nobel Laureates Have Spoken: We Need a Presidential Science Debate
Josh Harkinson
Eleven Nobel laureates, nine congressmen, multiple university presidents, and the heads of numerous science organizations have signed a petition calling for a presidential science debate this year. "Science and engineering have driven half the nation's growth in GDP over the last half-century, and lie at the center of many of the major policy and economic challenges the next president will face," says Alan Leshner, CEO of the American Association for the Advancement of Science. "We feel that a presidential debate on science would be helpful to America's national political dialogue."
It's not surprising that the candidates haven't jumped at the idea. Global-warming- and evolution-denying Republicans would look hilarious in such a forum, but even Democrats might worry about making a gaffe while weighing in on debates that are normally left to the experts. Still, it seems like an idea Democrats should take seriously. By signaling to voters that science is important, it would drum up support for the party's ideas, and, more fundamentally, lay out how post-Middle-Ages worldview translates into superior leadership.


Welcome to Franchising.com's directory of Saskatchewan franchise business opportunities. Browse our wide selection of opportunities currently recruiting new franchisees in Saskatchewan. Narrow your franchise search by choosing an industry, investment range, or business type and the results below will update with a list of opportunities that meets your requirements. You may also browse our collection of Saskatchewan franchise industry news and articles to assist you in making the franchise decision.


At the Davis United Methodist Church, we also answer a resounding "yes" to this question. We can come together in community while being different from one another in our understandings of God, our interpretations of scripture, and our answers to the Big Questions raised by life and faith. We have room for different perspectives and different paths. In this church – in this Christian community – you are invited to think what you think, and believe what you believe, and ask the most far-out questions you might have. And though we ourselves are Christians, we affirm that our brothers and sisters of other faith traditions, believing that there are many paths to God, and that no one religion is more correct than another.
There is no doctrinal statement that every member of DUMC would agree upon. But, most in this church community can affirm that we are a community centered around belief in God; that we are Christian; and that we are United Methodist. What follows is some ideas to give you just a flavor of the spirituality and faith of this churchy.
Humans probably can't ever quite grasp all there is to know about God. And yet, for those of us who gather in a faith community, God is central. We may use different names for God: Holy Spirit, Father, Sacred Mystery, Lord. Some of us see God more personally, as somebody (though a "somebody" vastly unlike any human somebody). Some of us see God as spirit, in ways that cannot be personalized. And some of us see God as something more like a vast and complex energy.
As Christians, Jesus Christ is central to our faith. When we look at the life and ministry and teachings of Jesus; when we look at the death and resurrection of Jesus Christ; we are seeing a picture that reveals deep truths about God's nature and actions. Over and over, Jesus practiced love and compassion – and instructed his followers to do the same. Jesus taught us to love our neighbor, and then defined neighbor in a radically inclusive way – and then went a step farther to say we should love our enemy. Jesus cared about justice: "The spirit of the Lord is upon me," he said (quoting scripture), "because he has anointed me to bring good news to the poor. He has sent me to proclaim release to the captives … to let the oppressed go free." The birth of Jesus, celebrated at Christmas, tells us that God enters in to the concrete reality of our lives, and that God holds a deep concern not only for spiritual matters, but for bodily matters: like hunger and shelter and violence. The resurrection of Jesus tells us that God is a God of new life, and of hope – a God who defies supposed dead-ends. As Christians, we seek to be followers of Jesus.
As mentioned above, Methodism allows room for differences of opinion and beliefs. Methodism also affirms four sources for understanding God that we find addressed in the writings of Methodist founder J ohn Wesley: scripture, tradition, reason, and experience. In the language of his day, Wesley said that "all religion is social." This means two things: one, that religion is meant to be practiced in community; it is not a solitary endeavor (though it may include personal and solitary practices and experiences). And two, that religion in meant to be connected to what is going on in society – what is going on in the world around us. Wesley's theology was practical – meant to be applied to daily life. Methodists also place a great emphasis on God's grace – the love of God that is given freely without any regard to merit. Wesley encouraged Methodists to practice the "Means of Grace" – practices that make us more receptive to God's grace and more likely to recognize God's grace at work in our lives.


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EUR Exclusive: TLC is 'Doubling Down With the Derricos' Tell All About Raising 14 Kids
By Linda Antwi
*Sleepless nights, sibling squabbles and a living room full of toe-tripping toys is the norm for any family with kids. Magnify that by 11 with triplets on the way and you have the Derricos, who celebrate life and embrace its hurdles and drama with open arms every day.
The new kids on the block in TLC's popular family neighborhood, Karen and Deon Derrico always wanted a large family but never in their wildest dreams expected to be quite so blessed (though multiples are prevalent on both sides of their family)! Karen and Deon use open and honest dialogue when parenting their kids with a modern take and give viewers an unfiltered look into their bustling, sweet and growing family in a series that is all heart.
EURweb sat down with the stars of TLC's breakout new show, "Doubling Down with the Derricos" and it was amazing! Meet Karen, 40 and Deon, 49. Their love story started in Detroit, on a dance floor at a club, and landed them with sets of twins, triplets and quintuplets! They knew they wanted a big family, and prayed for one, but little did they know that they would be blessed with 14 little Derricos!
Their love story, is one for the ages. They are one big happy family, living Las Vegas and now they are inviting you into their home to see how they manage and maneuver the realities of a large family. The first episode has Karen facing complications with her pregnancy; she's expecting another set of triplets, so she is put on bed rest at 24 weeks and admitted to the hospital. Her husband, Deon will have to look after all the children, on his own, while working full time, running the company he owns. Deon is a real estate investor and also manages 15 of his properties.
READ THIS: Rapper MC Lyte and Husband John Wyche to Divorce After 3 Years of Marriage
The Derricos
Karen and Deon had two singleton children before the miracle of multiples started entering the family. The oldest, 14 is a daughter, followed by a son, twin boys, quintuplets (three girls and two boys), two more twin boys (triplets in reality, with one baby, Carter, having passed away at birth), and the latest children you'll meet, while Karen births them in the hospital – the triplets. We did a fun game with Karen and Deon, we tried to name all of their children and asked them to tell us one thing about each of them…watch our interview, to see how it went! The Derrico children include: Darian, Derrick, Dariz, Daician, Deonee, Daiten, Deniko , Denver, Dallas, Dior and Diez and then the addition of the triplets, you'll have to watch the show, to see what Karen and Deon decide to name them!
Karen revealed that unfortunately, she had miscarried two pregnancies after her first child which led to the doctor starting her on Progesterone to sustain the next pregnancy. Progesterone is a female sex hormone that helps regulate menstrual cycles and get a woman's uterus ready for child-bearing. Karen shares that story in our interview, and tells us what is important to look for in a doctor when you are expecting, especially as a woman of color.
The series promises to be heartwarming and filled with adorable moments, as we get to know the family, their journey, their struggles and their triumphs. What we learned from Karen and Deon, is that communication is key, in any relationship. They have been married for 14 years. We also learned that their journey with TLC is just starting. They have been in development and production for over a year, so with seven episodes to look forward to, viewers are going to fall in love with this family, without a doubt!
"We both have multiples on both sides of our family," Deon explains. "But we have the most multiples that anyone has ever heard of." The Derricos have doubled down on their family and when asked if they were done having babies…Karen responded with "I asked God for a large family, so who am I to say when [He] is done!"
You can catch Doubling Down with The Derricos, Tuesdays at 10pm ET/PT on TLC
DOUBLING DOWN WITH THE DERRICOS
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