Thank you to Tom Eisenmann of HBS, who gave valuable feedback on a couple of iterations of this.
I teach entrepreneurship at Columbia University. We devote the second-to-last class to a Harvard Business School case study about the early years of Zipcar. It's a good case and we can review most of what we learned through the lens of the problems Robin Chase faced just before raising her second round of financing.
In the last class we talk about fundraising and venture capital. For continuity, I decided to use Zipcar as an example of the mechanics and norms of VC funding: pre- and post-money, preferred stock, rounds, dilution, etc. Since Zipcar had been a public company, I figured public documents would contain most of the numbers I would need to piece together the story.
This is that story, as far as I could really piece it together. It was stranger than I had assumed it would be, and that was good. My general philosophy about taking VC money is as Rilke's to writing: if you don't feel you absolutely must, then don't. The story of Zipcar's financing illustrates one of the many ways a company can be successful while its founders are not. It also shows some major mistakes by early investors.
This post isn't a primer on venture capital, it's a real-world example of how things can play out. I know that I'm throwing you in the deep end, but Fred Wilson and Brad Feld have explained the mechanics well: if you don't recognize a term, visit one of their blogs and search for it.
Most of the information in this analysis is drawn from the 424(b)(4) form that Zipcar filed with the SEC in April 2011, soon after their IPO. The 424 is called a Prospectus. The SEC requires a form 424 after an IPO and it contains much of the business and financial information about a company that a public market investor needs to make a rational investment decision. Most of the information in the 424 the company only needs to provide for the three years prior to the filing, so many details about the early years of the company I had to infer from agreements and ownership that survived until the years covered in the filing. I made some guesses to fill in the gaps. I will describe these below.
One thing to note in this analysis is that I refer to the number of shares on an as-converted basis. This is important because the company did a 1:2 reverse split before the IPO–probably to make sure the trading price at IPO would be above $10/share. Because of this, all of the preferred share amounts in the 424 need to be halved to know how many shares the holder will own after the IPO. That is, if a shareholder owned 1,000 Series B shares, those preferred shares will convert into 500 Common shares at the IPO. It is easier to compare the value of different types of shares over time using their common equivalents, so that is what I did. The base data and calculations I made are in this Google Sheet, with references back to the Prospectus. You don't need to refer back to the 424 to follow this, but I included the references so if you want to have a go at reading the SEC document and tying it back to the actual business, you can. The ability to parse SEC documents has been extremely useful in my finance career so if finance is the road you're going down, reading through and understanding SEC documents is a good thing to be able to do. Just sayin'.
The second one thing to note is that some of the breadcrumbs around ownership in the early years come from interviews in the media with Chase or others. Chase, in particular, seems to be an unreliable narrator. For instance, in one interview she says "When I finished raising a $7 million round of financing in 2003"1, but the financials show that only $4,000,000 was raised in the round that closed that year. That round was announced as a $2 million round by Crunchbase2. The information on Crunchbase seems to reflect the first close in a larger round and Chase may be confused about timing, with $4.7 million closed in December of 2002, $4 million closed in November of 2003, and a $2 million bridge note somewhere in that time-frame as well. The point is: what people say to the media may not be accurate, for whatever reason. I relied on SEC documents for the facts, and considered other information interesting but not definitive.
The company was formed in 2000 by Antje Danielson and Robin Chase. They split the equity 50/50. This analysis assumes they each received 570,000 shares of the new company.
A different article about the company said "People close to the company said that shortly after Zipcar was launched, Chase controlled more than half of the shares. An early round of capital raising brought her share down to around 20 percent. But the real share-killer was a round of financing the company did in 2002, when the capital markets were reeling after the dot-com bust and 9/11. That investment round brought her shares down to around under 10 percent. By the time the company went public in 2001, Chase owned around 3 percent of the company…"4 Chase could not have owned 3% of the company just before the IPO: there just weren't enough Common shares outstanding. Perhaps she owned a huge chunk of the options, but that seems unlikely–both because of what happened and because she would have had to exercise them when she left the company, and there weren't that many exercised options. But it seems likely that Chase did own more than Danielson; I am told by someone who has spoken to Chase that Danielson voluntarily walked away from some shares when she left the company. Maybe this is true.
There is also the possibility that Chase or Danielson or both sold shares back to the company at some point (probably not in a secondary because then they would still be outstanding Common shares). If this happened it was probably after the Series C because the company wouldn't have wanted to part with the cash before then. There is no way to know from the information I have.
The Prospectus tells us how many shares of each series of preferred stock are outstanding as of the IPO and what their preference is. Since venture capital preferred stock always has a purchase price equal to the preference, from this we can tell for each series how much was invested and how many shares were bought. And indeed, it shows that in October 2000 the company raised $1,035,606 by selling shares of Series A stock with a preference of $3.80 per share (again, on an as-converted basis): 272,528 shares.
In an interview years later, Chase said "The decision to expand to other cities came after we closed $1.3 million in Series A financing."6 Similarly, the MIT version of the Zipcar case study says "With just three weeks until the company closed on its first round of funding worth $1.3 million…"7 I'm going to assume that the difference between the $1.3 million reported as raised and the $1.0 million actually raised is the amount of convertible notes raised before the Series A. If we assume the HBS case misspoke when it said $50,000 plus an additional $325,000 and meant simply $325,000 total, then the $1.3 million makes sense. (If it were indeed $375,000 on top of the $1,035,606 then they would have almost certainly rounded to $1.4 million. In general, everyone involves likes reporting larger numbers).
But then this means the Convertible Notes converted into Common stock, not Series A Preferred. That isn't unusual, although it's a really bad idea if you're the investor, as you'll see in a minute. I assume the Notes converted at 85% of the Series A price (in my experience, 15% was a more usual discount in 2000, while 20% is more usual now). This resulted in an additional 100,619 Common shares.
I also put in an option pool equal to 20% of the post-round company. This is fairly usual, although the size of the pool can vary. But I was also trying to get the founders closer to the "around 20 percent" mentioned in the quote above. This doesn't get them there, but I can't square the 20% after the first round with the 10% after the second round anyway. I think the quote given to CNBC is probably inaccurate.
Chase and Danielson own a smaller percentage of the company after this round than before the round even though they own the same number of shares. That's because the shares the investors bought were new shares issued by the company: the denominator changed, not the numerator. This is called dilution.
The post-money is the total number of shares, including the option pool as if issued and exercised, times the round price: $7.2 million. The pre-money is the post-money less the amount invested in the round. In this case that is $6.2 million if we don't count the convertible notes, or $5.8 million if we do.
In December 2002 the company raised another round of financing, the Series B.
Just before that, Chase fired Danielson. You may think this is strange, since they were equal partners, but the company had formed a board of directors after the first venture round and the board gave Chase the ability to fire anyone at her discretion. Remember that when you take money from VCs you are giving them some say over how your company is run. When things are going well, this doesn't matter. When things are going badly, it does. And in the run-up to the Series B things were going badly.
The dot-com bubble popped in March 2000, but many were convinced that the market would come back, that it was just a temporary setback like in 1997. So Zipcar's Series A in October 2000 was fully priced. But the market didn't come back and 2002/2003 was the worst time to raise venture money in the last quarter-century. By then most investors wouldn't touch startups with a ten-foot pole. The Series B price reflected that.
The company raised $4.7 million at a price of $1/share.
One dollar per share is much lower than the Series A price of $3.80/share. This was a down round. The holders of Common stock found their shares worth less (on paper) than they had been previously. This includes the holders of the Common shares issued on conversion of the Convertible Notes. The holders of the Series A seem to have had a contractual mitigator though: an anti-dilution clause8.
Anti-dilution works this way: if you buy shares for a certain price (and your purchase contract grants you anti-dilution: this only exists if you specifically negotiate it when buying the shares) and then, later, the company sells shares for a lower price, your price is effectively lowered as well. How much it is lowered depends on the type of anti-dilution right. If you have full-ratchet anti-dilution, then your price is effectively lowered to the latest, lower price. More common is weighted-average anti-dilution where your price is lowered to somewhere between your price and the new, lower price.
In this case, where there were a lot of new shares issued at $1/share versus the few shares that were issued at $3.80/share, and the effective price of the Series A was reduced to $1.49, it looks like it was weighted-average anti-dilution9,10.
The pre-money here is $2.2 million and the post-money is $6.9 million. You can see that the founders got slammed: Chase's ownership went from ~30% to less than 9% and the notional value of her shares went down 74%. The value of the Common shares issued for the Convertible Notes was also down 74%. But note that the value of the Series A shares was only down 33% because of the anti-dilution.
The people who invested in the Convertible Notes probably thought they were getting whatever the Series A investors would get, but at a cheaper price. But if it's true that they ended up with common shares instead of preferred then they were wrong, very wrong. If they had gotten the Series A anti-dilution they would have owned more than 2.5x what they did.
I was told that when she was fired Danielson "walked away" from some of her shares, meaning she either gave them back to the company or the company bought them from her. This lead to her having fewer shares than Chase, as discussed above.
In 2003 Robin Chase was fired and the company hired a new CEO, Scott Griffith. While most startups don't so closely resemble a season of Game of Thrones, it's not surprising this happened immediately after the Series B investors took a controlling stake in the company. Griffith was granted 700,000 shares of restricted stock. Restricted stock usually has some conditions attached, such as vesting.
In November 2003 the company raised $4 million at $1.40/share. I had not increased the option pool before the Series B raise, but here I increase it so that it is again 20% of the company's shares. It is not unusual for the option pool to be increased at each raise, although the pool as a percentage of the whole company usually shrinks as the company gets larger. In this case, the pool plus exercised options at IPO was 18.6%, I kept the pool at 20% until the Series F.
The pre-money is $13.6 million, and the post-money is $17.6 million.
The Series D was led by Benchmark in January 2005. The company raised $11.7 million at $2.32/share. The pre-money was $32 million and the post-money was $44 million.
If you want to see how much a company grew in value between rounds, the right way to do it is by share price. Going from $1.40 to $2.32 is 66% growth. If you compare the post-money in the last round to the pre-money in this round, you go from $17.6 million to $32 million: 82% growth. The difference here is in the options being added to the option pool.
You may ask why unissued options are included in valuations at all (by including them, the price per share is lower at any given company valuation). Or why they are usually added to the pool before the round rather than after (if they were added after the round, the additional pool would dilute both the previous holders and the new investors; adding them to the pool before the round dilutes only the previous holders). This is the wrong thing to worry about. Focus instead on price per share. You, as a founder or previous investor, own a certain number of shares. This doesn't usually change, unlike your percentage ownership. The number of shares you own and the price per share now and in the future are what should matter to you.
I'm not going to insert the cap table for each of these rounds. If you want to see it, visit the Google Sheet: there is a tab for each round.
The Series E was also led by Benchmark, with Greylock investing. The company raised $25 million at $7.32/share in November 2006. The pre-money was $152 million and the post-money was $177 million. The price per share grew by 216% in less than two years. Nice round.
The Series F was different. These shares were issued to acquire Flexcar, one of Zipcar's competitors, in November 2007. They amounted to 30% of the as-converted equity of the combined company.
There were also Warrants issued as part of the purchase price for Flexcar. Warrants in a startup function exactly like options: they allow the holder to purchase shares in the future at a set price. If these are issued to employees they are called options. If they are issued in acquisitions or to partners they are called warrants. Warrants are often issued to banks when they agree to lend money, and sometimes to landlords when they lease property, etc. I don't include these warrants explicitly in the cap table below, because they come out of the option pool so they are in that line.
In April 2010 Zipcar also acquired a European competitor, Streetcar. They issued 4.1 million shares of Common for this acquisition. Why was the Flexcar acquisition paid for in preferred stock while the Streetcar acquisition was paid for in Common stock? Usually when an acquisition is made with preferred it is because the target is also venture backed and the venture investors want their preference in the target company replaced by preference in the acquiror. The acquiror would usually rather not have more preference because preference amounts make a difference when the company is sold for less than what the preferred stock holders would get if they converted; in some of those cases there is not enough money to pay back all the preferred and the sale price is then divvied up based on how much preference there is.
A simple example: Company A has one investor, Ms. V, who bought 20% of the company for $1,000,000 at $1/share. She received preferred stock.
If the company sells for less then $1,000,000 then Ms. V takes the whole amount, whatever it is11.
If the company sells for less then $1,000,000 then Ms. V takes the whole amount, whatever it is.
If the company sells for less then $2,000,000 then Ms. V shares the amount pro-rata with the other preferred holder, in this case 50/50.
In buying Company B, Company A has raised the threshold for Ms. V to get a positive return on her investment, as well as the threshold for getting her money back in full. This all makes sense. But by using preferred to buy Company B, it has halved her cut of any amounts below $2,000,000.
I'm sure you're not crying for Ms. V, but think about it from the point of view of Company A's Common shareholders: they only make money after the preferred is paid back. By doubling the amount of preference the company has doubled the sale price at which the Common take home any money at all. This is called the liquidation preference overhang or just liquidation overhang. It may seem like not a big deal in this example but imagine this scenario with the dollar amounts multiplied by a hundred.
Issue common when you can.
The Series G was led by Meritech in December 2010. The company raised $21 million at $15.22/share. The pre-money was $539 million and the post-money was $560 million. The share price grew 108% in the four years since the Series E. Much slower growth, but not so bad.
I did not increase the option pool for the Series F because it was not a real round. And I used the actual number of options (and warrants and restricted stock) from the Prospectus here.
Just five months after the Series G Zipcar went public. On April 19, 2011 public market investors bought 9,684,109 shares of common stock. 6,666,667 of these shares were sold by Zipcar directly, for $18/share, less the7% underwriting banks took as their fee. Zipcar ended up with $111 million of proceeds, and the banks took home $12 million for their trouble. Why do investment banks make this much for being an intermediary? No good reason. But very few companies are able to negotiate a lower price, though you can if you're big enough; SNAP seems to have paid 2.5%12. Even fewer are willing to buck the process entirely, as Google and Spotify did.
The other 3 million shares were sold by existing shareholders. This is not reflected in the below cap table.
You can see below the return and rough IRR each of the investors made at the IPO (using the IPO price and date, that is).
If my numbers are correct, Chase had stock valued at about $10 million at the IPO. Danielson had $7 million. These are not numbers to sneeze at. On the other hand, starting a company that becomes worth $700 million and goes public is unusual. The reward for doing so should be large.
The Series G investors had the highest IRR of all, even though they had the lowest multiple! Investing just prior to an IPO is a good business that way.
Soon after the IPO the stock price climbed to $29/share, valuing Zipcar at more than $1.3 billion. But it didn't last. The price fell over the next few years, slipping down under $8.25/share. On January 2nd, 2013, Avis announced they wold buy Zipcar for about $500 million, or $12.25/share. The acquisition was completed on March 14, 2013. Scott Griffith announced he was leaving the company the next day.


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2% SOLUTION: John Lydon & Public Image Limited
"When I say we aim to please ourselves, that's what I mean, quite literally": And we wouldn't have it any other way. The punk and postpunk icon hocks, er, speaks into the phone for the BLURT readership about his PiL, his music industry travails, his record collection, and his "joyous empathy" for the world around him.
BY MIKE SHANLEY
John Lydon takes the stage at Pittsburgh's Altar Bar, on Nov. 12, to a roar of applause. Host to everything from dance parties to the touring punk icons (Mission of Burma once played here too), the space is an appropriate venue for the former Mr. Rotten, considering it was once a church. But more on that later.
His outfit [see photo from show, below] could be an antiquated, black-and-white striped outfit worn by a convict. Or it could be pajamas. His salutation to the audience keeps that open to speculation. He doesn't tell us to fuck off. No sneers from this bloke either. In a put-on, basso profundo voice, he declares, "I have diarrhea. I hope the Imodium works. Please bear with me."
Thanks, John. Good to know. Or are you putting us on?
It doesn't matter because, with that out of the way, he turns warm, if cheeky. "Good to see ya," he tells us. After putting on his glasses, so he can read the lyrics on the music stand in front of him, he adds, "Now I can see ya!"
The current lineup of Public Image Ltd., in place for about the last six years, features original member Lydon, along with drummer Bruce Smith (once of the Pop Group and Rip Rig & Panic), guitarist Lu Edmonds (the Damned, the Mekons) and bassist Scott Firth. Fans of the band's early days, when Jah Wobble created dub-influenced bass lines to support Keith Levene's icy guitar lines and Lydon's yowl, shouldn't be disappointed by the group. In concert, Firth's low-end rumble threatens to rattle the building's foundation. During an extended version of "Religion," from 1978's First Edition, Lydon yells, "Turn up the bass," repeatedly. My nasal passages feel it, as the soundperson obliges. Edmonds does a good job of taking the Levene-style guitar and building on the chorused-out sound. Smith could incorporate some of the punk-funk-jazz stylings of his previous groups, but his timekeeping is impeccable.
"Religion" sounds especially blasphemous tonight. The remnants of a cross on the wall above the stage — a throwback to the space's previous incarnation — only adds to it, as Lydon chants, "Here come the priests," repeatedly. (Think about it too hard and it starts to sound really creepy.) "Why should I call you 'Father,'" he says to no one in particular as the band starts the heavy riff. "You're not my daddy!"
Along with a few other vintage cuts like "Death Disco," the set leans towards What the World Needs Now…, the band's latest album, self-released after Lydon's years of litigation with some of PiL's previous labels. While it might not feel like Metal Box, the new album explodes with the same kind of raw energy that marks the highlights of the PiL catalog. If "Bettie Page" might not seem like a deep song, well, neither was "Albatross." And both were fun.
Lydon's bout with the runs isn't slowing him down tonight. He's pouring his heart and his voice into the performance. So you better believe that he expects a good reaction. He occasionally raises hands aloft, like an arena rocker who wants 110% from his fans. When the reaction isn't loud enough, at one point, he taunts us: "You can be that quiet when you're dead. And if you follow my example that's a long way off." Aside from a few too many mid-tempo tunes in the middle of the set, it's a fun time.
A few weeks prior to the band's visit to Pittsburgh, Lydon graciously took time out for an interview. The key word here is "graciously." (A colleague at the daily newspaper wasn't so lucky, since Lydon hung up on him, the second time this has happened to him.)
Although he's now a US citizen (who praised the Affordable Care Act, which allowed him to fix his once-rotten teeth, during a World Café interview), he was back in England at the time of our chat. Earlier this year, Lydon published Anger Is an Energy: My Life Uncensored and did a spate of interviews, which revealed a reflective man, who even teared up as he recalled a childhood bout with meningitis, which left him in a coma and forced him to relearn how to talk. He stood firm during our talk but he devoted his attention to the conversation, even though it coincided with tea time.
JOHN LYDON: 'Allo, Pittsburgh. I was expecting you. Well, sort of. The times got a bit changed 'cuz there's daylight savings time in Europe. [You have a] fun town. Gonna be made even more fun once Public Image rolls through! We aim to please. Actually, we aim to please ourselves. Hopefully that translates further down the line. It's the difference between us and other bands. Other bands compromise or go for the popular vote or the current trend. We've always been above and beyond that kinda nonsense. So when I say we aim to please ourselves, that's what I mean, quite literally. Cuz we love creativity.
BLURT: In your current shows, are you playing old songs too?
Yes. A very healthy mix-and-match, which changes according to the mood of the evening sometimes. We do the best we can. Sometimes some songs, you know, they're not right. You can feel it in the crowd. My best general way of approaching it is, if I can connect with the eyes of people looking at me, then I know what's truly empathetic or way out for them. I don't want to make anyone uncomfortable.
I never thought I'd ever hear you say that, John.
Some of the songs are rather tragic. And there's no need to keep piling them on. You can see when people need a spot of— um… joyous empathy. And we'll shift into something that will do that. This is what we do: connect with my human beings, not ignore them. That's not at all the same as pandering. And you've got to be kind to your fellow human beings and realize we can't all be on the same attention span at the same time. Some of us, including meself, are slower than others!
In listening to some recent interviews with you, you seem really on top of your game.
Well, when it comes to words, I'm happy, but don't ask me to count. That's one of the side effects of childhood illness. The mathematical side of my brain went right out the window.
[Calls to someone on his end of the phone] Sugar?! One or two? [Returns to our conversation] I'm doing the tea as we speak. My friends are all very, very lazy people! They must have been getting it from watching me watching Tv. Such is my influence in life!
In recent interviews, you've come across more openly than you were in the past. Have you been misunderstood all these years?
Well, I reckon! Deliberately so, from day one, don't you? I mean, initially the outburst was, "Oh, dumb working class kids, what do they know about anything?" Then bitter resentment when they realized I actually had opinions that kind of meant something. To outright negativity and continuous hostility.
But at the same time, while I've been learning to smile in the face of adversity, there's also been some people out there that started to pay attention, people from early on who understand what we really do. And so in life, it's six of one, half a dozen of the other. And if you expect everyone to love you all the time, then you're a very, very foolish person who's going to really have a miserable life. So there it is.
It's better to get on with it. l learn that people by nature — this is why I love us all — we're just born fucking awkward. It really is just a question of square pegs and round holes. We're meant to be that way. That's what character is. "I will not conform." "Oh go on, John. Why not?" "'Cuz I won't!"
I don't need to adhere to other people's rules. Those rules are not applicable. The only thing that makes sense to me is to not step in another human being's space. Do not steal from them. Do not interfere with them. And as long as others behave the same with me, we're going to have a very, very good life.
Do you feel like you were forced into being the voice of punk rock?
Forced?! Well, was there anybody else who had anything to say? Not that I know. Don't mean to be a big head about that, but quite frankly, it looked to me that a load of people were behaving more like coat hangers than singers. Really not much lyrical value going on.
But that's my thing. I had all this childhood illness to get out of. And the fact that I remembered how to speak and read and write again, I'm just thrilled with that and I always will be. That was the gift of that illness. That it gave me the thirst for knowledge.
And punk rock, or whatever you want to call it, it's just like any other form of music. 98% rubbish.
The 2% is rising to the top.
And that's where my record collection is, oddly enough. I've got 2% in every category and genre. And here I am visibly resenting categories and genres. So let's just go for the 2%ers, shall we? I love my vodka slightly stronger.
Back then in the early days of the Sex Pistols and PiL, did you know [current PiL drummer] Bruce Smith when he was in the Pop Group?
Oh yeah, yeah, as long as I've been in music. We all started around '78, '79. It's the same with Lu. And the newest member is Scott. He's been with us five-and-a-half, six years or more. It feels like he's always been there. We're very tight with each other as friends. It absolutely shows in the music. I mean I've dealt with adversity and I've dealt with animosity and all them dark places. And I think I've dealt with them quite well. It's intriguing to me [that], at this stage of my life, I have to deal with fun and joy. Well, you know, [chuckles], all good things come to those who wait.
Was it weird to realize it was fun now?
No. It took two decades of the record companies stopping me working [sic] and stifling me and telling me I owed them so much that I couldn't perform until I put money against the debt. That's really — coming out of that — the doldrums to my way of thinking, that was. And surviving that, there's where the real joy and love of it is. I knew I'd have the patience to outwait that. As soon as I raised enough, indeed I bought my way off of them labels and here, we have our complete independence. And I'm back together with me friends. In the right way.
I suppose Jesus spent his time in the wilderness. [Laughs] I hope he didn't waste it! I don't want to make no comparisons, here. But I'm not planning on heading to me execution, mate! So let's get that one right. One crucifixion is enough! [Below: PiL recently on the Stephen Colbert show, presumably not being crucified]
So you were in battles with the labels the originally released PiL?
It's just the way the situation changed inside record companies, the emphasis shifted from artist development into accounting. And once the accountants started running the show, it all became about being in debt. There was no future. And this is why they collapsed or fell apart or had to rebuild and reshape in the way they've had to. They lost their true love and insight into what music was all about. And we all suffered for that.
I'm not the only band that did. Many, many bands have gone under because of it, and it's a shame. It's a shame that the term "reunion" is now sneered on. Well, hello! These bands were denied their own careers by these labels. It's not a reunion – it's a reclamation, where they belong!
Speaking of the term "reunion" I have to ask if there's any chance that…
No, no, no, none of that. No need! That would be 10 steps backwards for me. [For the record, I was going to ask him about his PiL mates Jah Wobble and Keith Levene, and not Sex Pistols Steve Jones and Paul Cook.]
So when you look back on the days of Metal Box, what are your thoughts?
It's played ever so much better now! [Laughs.] Don't ask me to be bitter. Indeed, I have no bitterness for any of… regardless. They're all my friends. But I can't go back and work with certain members because their wage demands and ego trips were just so far in excess of reality, it's impossible to even consider their names in the same sentence as me now. For me, they shared an amazing lack of gratitude and behaved appallingly. Good riddance. Love 'em forever but good riddance, and take your egos with you. You'll never be on the stage with me with that attitude. I've always played fair and equal. I don't expect to be rubbed aside because of somebody's swollen head. And that's the truth of it. So can we move on?
How does songwriting work with the current band?
We're very open in the way we write. It's free flowing. But it's based around the principle of live music. The instruments are always on, the microphones are turned on. Everything is about that live sound.
[He coughs and expectorates over the phone.] Sorry. You know, I am a singer and I will hack. It's funny — the first thing to go is not the singing voice, it's the talking voice. I lose the normal register, but I can squeak extremely high.
How do you maintain your voice? Do you drink lemon juice?
Oh yeah, I love all that stuff. You have to be careful when you're on the tour bus. It will give you what we call "Botticelli." And you're not allowed to poo on the tour bus. And sometimes if it's a really bad case of Botticelli, [kind of singing] you have to hold it in your pants till the truck stops! And that's very painful indeed if it's lemon-juiced based. It's slightly too acidic.
That covers everything I wanted to ask. Is there anything you wanted to say that we didn't touch on?
For me, I just talk with people and you do what you want with it. I'm just glad to have a conversation, really. So thank you!
[Another loogie has seen the light of day]
Wow! [We both laugh.]
I would like you to inform an audience that I never aimed that at another human being. I have a bin! That was another thing that them early journalists got wrong: implying that we liked to spit on each other. Sorry – no. I don't know such foolish people!
He signs off with what sounds like a tongue-in-cheek Irish blessing: "May ye scatter, batter, flatter and chatter," in which a brogue comes out. At Altar Bar a few weeks later he does something similar. The band kicks encores with a strong version of the song "Public Image," and follows it with "Rise," the closest thing that band has had to a hit on these shores, and something of a blessing that he bestows on all of us.
Above, watch somewhat fuzzy/bassy, but still not bad, video clip of the 11/12 Pittsburgh "Rise" performance. And then, go HERE to read an additional live review of PiL's current tour, from Nov. 20 in Colorado.
This entry was posted in Artist, Artist Interview and tagged british punk, england, john lydon, pil, public image limited, punk, sex pistols on December 1, 2015 by Fred Mills.
← DAYDREAM SUNSET: THE 60s COUNTERCULTURE IN THE 70s FOR THE LOVE OF ZINES ! (PT.4) →
LIVING. LOVING. AND... Drivin' N Cryin'
(Above photo by Lisa Mac.) BY JOHN B. MOORE It's been a decade since longtime BL[...]
DOOM PUNKS: George Hage (Jack The Radio) & Nick Baglio
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"Literary lint and artifacts from the transient American escape": It's hard to believe that the [...]
WELCOME, ALL: The 3rd Lake Logan, NC, Cold Mountain Music Festival
Taking place Friday and Saturday of this week, May 31-June 1, in Canton, North Carolina, it feat[...]
A HALLUCINOGENIC MIASMA: Monolith on the Mesa Festival
The newly christened music festival this weekend, stationed in Taos, New Mexico, is destined to [...]

redpajama_set_name: RedPajamaCommonCrawl


With regard to the upcoming JEC World 2016 Composites Show and Conference, AZL Aachen GmbH extended their partnership with the JEC Group in 2016.
As part of the cooperation with the JEC Group, the AZL and its nine Partner Institutes will present their latest research results and trends for Composite 4.0 technologies on an exhibition area of 275 sqm. called Composites in action – Composite 4.0 – JEC Group in Partnership with AZL at this year's JEC World 2016 in Paris.
On the 10th of March the AZL dedicate a full day to Composite 4.0 – Innovations in Composite Production Technology in partnership with the JEC Group. The conference and presentations by AZL scientists are accompanied by a networking lunch and guided tours with top executives to selected partner companies of the AZL network.
This year's JEC World 2016 takes place between the 8th and 10th of March and will be held in a new and larger Exhibition Center in Paris Nord Villepinte.
Meet us at Hall 6 – Stand C80!


The design and manufacture of timber playground equipment is now quicker and easier with the combined range of Computer Aided Design and visualisation 3D Graphic software packages from new timber software specialist, SEMA4c.
Accurate customised quotes can be produced quickly and presented to the client with detailed 3D visualisations of their project – an invaluable aid to sales and marketing as well as to the design and production teams. Sharp graphics married to detailed production drawings will help the sales and manufacturing teams quote more and win more orders.
Set up as a joint venture by leading German software firm, SEMA, and UK-based consultants C4Ci, SEMA4c offers a range of software tools that will enable UK users to design timber structures quickly and easily.
The new company draws on the design and engineering capabilities of its parent companies to offer a quicker, simpler design process that is linked to other essential functions such as costing, quantity analysis and production planning.
Currently offering users options from the full range of 48 CAD and CAD-CAM modules from SEMA, the new joint venture is working to develop integrated solutions with CAD-CAM married to structural engineering and project visualisation in the same program.
With the combined expertise of its parent companies, SEMA4c has embarked upon a development programme designed to anticipate industry requirements to ensure that it has the right products in place when the industry requires them.


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Telugu » Cinema News » Ram Charan - Sreenu Vaitla film 40 percent completed
Ram Charan - Sreenu Vaitla film 40 percent completed
Tuesday, July 14, 2015 • Telugu Comments
#Ram Charan
The shooting of Ram Charan's ninth film, which is being directed by Sreenu Vaitla, is in full swing currently. The makers have eyed a Dussehra release and almost 40 percent of the shoot has been completed.
Charan will be seen as a stuntman in this film and Tamil actor Arun Vijay, who gave a memorable performance in Ajith's 'Yennai Arindhaal' (Yentha Vaadu Gaanie), is playing the baddie. Rakul Preet Singh is romancing Cherry in this film.
Kona Venkat and Gopimohan have provided the screenplay and dialogues for this film, which is tipped to be an out and out family entertainer, with good action. Kriti Karbhanda is playing Charan's sister. Thaman is the music director. The film is set for a release on October 15th.
'Baahubali' faces piracy woes


Have you ever wanted to learn to sail? Come along to our Discover Sailing Day on Sunday the 28th October from 10am – 2pm, bring your family and friends as there will something for everyone! Hop on board a Keelboat and enjoy a leisurely cruise from 10am, or try Dinghy Sailing from 11am, as well as plenty more on water activities to keep everyone entertained! Then finish the day with a sausage sizzle lunch overlooking the gorgeous Swan River! For more information please call 9339-8111.


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Q: problem with openid check_authentication I have some trouble using the openid check_authentication. The answer from the openid providers (I tried with google and myopenid) is always: is_valid:false
I do already get the openid.sig and openid.identity but when I try to
verify my data with the check_authentication call it always returns
is_valid:false.
What I have done so far (authentication with google openid in this example, but for myopenid it was the same):
I redirect the web user from my page to the following url:
https://www.google.com/accounts/o8/ud
?openid.ns=http://specs.openid.net/auth/2.0
&openid.claimed_id=http://specs.openid.net/auth/2.0/identifier_select
&openid.identity=http://specs.openid.net/auth/2.0/identifier_select
&openid.return_to=http://localhost:104/evalgoogle.aspx
&openid.mode=checkid_setup
(Without the line breaks of course, I put them in this post only to
keep it readable. localhost:104/evalgoogle.aspx is my local test environment)
I will then get redirected to the google login page where I can sign
in and accept that I will login at Localhost.
I unchecked the remember checkbox though.
After logging in I will get redirected to the return_to page I set and
get the following data in the request:
openid.ns=http%3A%2F%2Fspecs.openid.net%2Fauth%2F2.0
&openid.mode=id_res
&openid.op_endpoint=https%3A%2F%2Fwww.google.com%2Faccounts%2Fo8%2Fud
&openid.response_nonce=2010-02-12T14%3A46%3A52Z1PDyxBssEN9p5g
&openid.return_to=http%3A%2F%2Flocalhost%3A104%2Fevalgoogle.aspx
&openid.assoc_handle=AOQobUfpVnBFYzFO15z92rru88nWjEnw0u8ethVscpjDwkssp8GjVc0u
&openid.signed=op_endpoint%2Cclaimed_id%2Cidentity%2Creturn_to
%2Cresponse_nonce%2Cassoc_handle
&openid.sig=24Hetky5HrNwrY3%2B%2B2vtIGnvmnI%3D
&openid.identity=https%3A%2F%2Fwww.google.com%2Faccounts%2Fo8%2Fid%3Fid%3D{SOMEID}
&openid.claimed_id=https%3A%2F%2Fwww.google.com%2Faccounts%2Fo8%2Fid%3Fid%3D{SOMEID}
(where {SOMEID} is my google id)
To verify this signature and google id, I composed a webrequest
calling the check_authentication as described in openid.net/specs/openid-authentication-1_1.html#mode_check_authentication
My problem now is that this always returned is_valid:false
To eliminate possible problems in my webrequest, I now create just a
html form with the data I get back from google like this:
<form method="post" action="<%=Request.Params["openid.op_endpoint"] %>">
<div>
<input type="text" name="openid.mode" value="check_authentication" />
<input type="text" name="openid.assoc_handle" value="<

%=Request.Params["openid.assoc_handle"] %>" />
    " />
    " />
    " />
    " />
    " />
    " />

But this also just yields the is_valid:false
Does anyone have an idea what is wrong with my approach?
Thank you very much

A: Ah, I found the problem. I forgot to send back the openid.claimed_id.
Now the check_authentication request does in fact return is_valid:true.
But this leads me to the next question. It does return is_valid:true even if I do the request several times in a row. Shouldn't it return is_valid:false the second time I query to make sure that there can only be one corresponding checkid_setup und check_authentication request?

redpajama_set_name: RedPajamaStackExchange


DYP International School is part of a global group of schools, universities and institutes, giving students a unique advantage in a world of emerging markets. It follows an internationally recognised curriculum for children aged 2½ to 18, including the IB Diploma Programme. Lessons are mostly taught in English, with Dutch and French also offered. Students from a diverse mix of nationalities enjoy innovative global learning and exchange programmes. The school provides career coaching, learning support and a wealth of co-curricular activities. The school is conveniently located between Antwerp and Brussels with daily bus services from various locations. It also offers after-school care and competitive fees. The school is accredited by the Council of International Schools.


text:
Hawke's Bay places
Story: Hawke's Bay places
East of Hastings
Southern coast
Southern Hawke's Bay
Waipukurau
Waipawa
Inland of Hastings and Napier
North of Napier
Wairoa
Māhia
Waikaremoana
External links and sources
Page 6. Waipukurau
All images & media in this story
Waipukurau pā, about 1858
Pukeora near Waipukurau (1st of 2)
Historic homesteads near Waipukurau
Te Kura Kaupapa Māori o Takapau, 2009
Largest town in Central Hawke's Bay, 49 km south-west of Hastings, with a 2013 population of 3,741. Waipukurau is named after a Māori pā which was located nearby.
The town of Waipukurau was founded by pastoral runholder Henry Russell as a model village in the 1860s. He envisaged a town containing a few well-to-do families, a group of tradesmen and artisans, and a parson. Russell retained ownership of the town sections, which he leased to residents (they were later made freehold). Residents were carefully selected and Russell approved plans before houses were built. He built community facilities, commercial buildings and small workers' cottages.
Growth of the town was restricted because it was surrounded by large pastoral stations. Most were broken up into smaller blocks by the Liberal government from the 1890s, which allowed the town to develop and business numbers to grow. A freezing works opened in 1889, and other industries such as flax processing and sawmilling followed. The Waipukurau saleyard serviced most of Central Hawke's Bay by the 1920s.
Hawke's Bay hospitality
Henry Russell built a homestead in Central Hawke's Bay in 1853. At the time it was the only house in the district, and he and his wife often had to accommodate travellers who found themselves stranded when darkness fell. To spare his wife from hosting duties and avoid expenses associated with unexpected guests, Russell built an accommodation house called the Tavistock on the site of present-day Waipukurau, and employed a manager.
Waipukurau thrived during the post-Second World War agricultural boom. Car yards opened in the town to meet demand from wealthy farmers. By 1951 Waipukurau had six banks. With the decline of farming profits from the 1970s businesses such as stock firms merged, and banks and transport companies closed. In the 2000s Waipukurau was still supported by farming and related industries. The Bernard Matthews meat-processing plant (built in 1984) was the town's biggest single employer.
In 2013 people in Waipukurau had, on average, lower qualifications than the national average. Median income was also lower. The town had a relatively high population of people aged 65 and over – farmers from surrounding rural districts often retire there.
Hātuma
Settlement south of Waipukurau and home of the Hatuma Lime Company (founded in 1932). Hātuma Lake was valued by Māori for its eels.
Some of Hawke's Bay's best-known surviving historic homesteads are located near Waipukurau, including:
Wallingford, built by leading politician and runholder John Davies Ormond in 1853. A township (which has since disappeared) grew up around the property.
Oruawharo, near Takapau, built by Sydney Johnston in 1879
Mount Vernon, near Waipukurau, built by John Harding in 1882
Woburn in Waipukurau, built by Henry Montgomery in 1893.
The historic Wanstead Hotel is located on Pōrangahau Road between Waipukurau and Wallingford.
Takapau
Rural township off State Highway 2, with a 2013 population of 522. Takapau was founded by pastoral runholder Sydney Johnston of Oruawharo station in 1876. The Johnston family donated land for churches and a school, and built community facilities such as a library, public hall and, later, Plunket rooms. Takapau's streets are named after family members.
The township's major business is the Silver Fern Farms meat-processing plant, opened by the Hawke's Bay Farmers' Meat Company in 1981. Another important business is Kintail Honey, one of New Zealand's largest beekeeping and honey-packing operations.
Tukituki River
Major river in Central Hawke's Bay. The Tukituki River runs east from the Ruahine Range and joins other waterways above Waipukurau. It drains into Hawke Bay at Haumoana.
Previous Next: Page 7. Waipawa Next
Kerryn Pollock, 'Hawke's Bay places - Waipukurau', Te Ara - the Encyclopedia of New Zealand, http://www.TeAra.govt.nz/en/hawkes-bay-places/page-6 (accessed 30 January 2023)
Story by Kerryn Pollock, published 13 Aug 2009, updated 30 Nov 2015
Matua, Hēnare, ?-1894
Ormond, John Davies, 1831?-1917
More stories about...


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Home > Collections > Collections
A Golden Pheasant Resting on Hibiscus Branch
Period: Northern Song dynasty (960-1127)
Medium: ink and color on silk
Format: hanging scroll
Artist(s): Attributed to Zhao Ji (1082-1135)
Dimensions: 81.5 × 53.6 cm
A Golden Pheasant Resting on Hibiscus Branch (Furong jinji tu) is honored as a masterpiece among "bird and flower" paintings of the Song (960-1279), a dynasty that saw the development of this category of painting into an independent genre.
The artist set the scene in a golden autumn: hibiscus blossoms flutter in the breeze. A pheasant is resting on a branch, turning around gazing at the hovering butterflies. At the top right corner, Emperor Huizong inscribed the painting with a pentasyllabic quatrain in his famous slender gold script (shoujin ti), praising the five virtues of the pheasant. He also wrote at the lower right corner, "Imperially painted and inscribed in the Xuanhe period [1119-1125]", and his pictorial style name "First man under the heaven" (Tianxia yiren).
As noted in old Chinese books, the cock is crowned as a "virtuous bird" (de qin). "It is refined as it wears a crest; martial as its claws can fight; brave as it confronts rivals frontally; benevolent as it calls friends to share food, and punctual as it never misses the morning crow." In admiration, the Emperor Huizong painted a bright pheasant resting on a hibiscus branch.
Styles of extant works attributed to Zhao Ji appear distinctly different. One is meticulous and delicate while another is simple and clumsy. A Golden Pheasant Resting on Hibiscus Branch is an example of the former. According to the connoisseur Xu Bangda (1911-), all extant works of the meticulous and delicate style attributed to Zhao Ji were done by anonymous court painters. Support for this judgment is found in a Southern Song catalogue in which a painting of this title is classified under "paintings with imperial inscriptions" (yuti hua) rather than under "imperial paintings" (yu hua). The classification suggests that the Emperor inscribed a painting that was executed by a highly accomplished court artist.
Of all rulers in Chinese history, Emperor Huizong was perhaps the one who was most fascinated by calligraphy and paintings. During his reign, he launched an extensive campaign of collecting painting and calligraphic masterpieces, and ordered the compilation of two imperial catalogues - Painting Catalogue of the Xuanhe Period (Xuanhe huapu) and Calligraphy Catalogue of the Xuanhe Period (Xuanhe shupu). In establishing the Painting Academy (hanlin tuhua yuan) for artistic creations, he followed his own aesthetic tastes.
The objects in the painting are "double-outlined" to give a precise representation. The bent branch shows the bird's weight. The coloration is bright and luxurious, consistent with the style of Song dynasty. The bird occupies the diagonal line of the painting, with flowers and butterflies distributed around, appropriately leaving space for inscriptions.


As we reported late last week, the House Armed Services Committee passed the latest version of the National Defense Authorization Act (NDAA).
We also informed readers that despite promises to the contrary from Committee Chairman Howard P. "Buck" McKeon (R-Calif.), the provisions of the bill permitting the indefinite detention of American citizens without charge or trial remain intact.
Sometime this week the House will begin deliberating the annual markup of the NDAA, and there is hope that there will be renewed opposition from members of Congress to the most pernicious sections of the bill — those giving the President authority to deploy the armed forces of the United States to arrest and indefinitely detain American citizens apprehended on American soil who are suspected by him of posing a military threat to the security of the homeland.
this is the tsa times 1,000. according to our present regime, American citizens are now the terrorist.
I havn't read that quote before. It's a great one and oh so true.
Here is the greatest resource!


text:
Huddersfield Town's 1955–56 campaign saw Town relegated from Division 1. They finished in 21st position with 35 points, the same as 20th placed Aston Villa, who survived due to a superior goal average. The season was a cramped affair in the league standings, with difference in points between 2nd placed Blackpool and bottom placed Sheffield United, being just 16 points.

Squad at the start of the season

Review
Following the previous season's failure to improve on the season before's 3rd-placed finish, some were wondering what Town would conjure up under Andy Beattie. The start of the season was dreadful for Town, with many losses sending Town into a downward spiral to the bottom of Division 1. Even the signing of Aston Villa striker Dave Hickson didn't halt the slide to Division 2. A run of 7 defeats in a row, including a 5–2 defeat at Everton, followed immediately by a 6–2 defeat to Newcastle United at Leeds Road didn't help things much.

February to April saw Town mount a recovery mainly through the goals of Jimmy Glazzard, Dave Hickson and Vic Metcalfe. Town still had a chance of survival with 4 matches to go, although they realistically had to win all their last 4 games against West Bromwich Albion, Charlton Athletic, Tottenham Hotspur and Charlton Athletic. They did manage to achieve this, but an inferior goal average meant that Town went down, while Aston Villa survived.

Squad at the end of the season

Results

Division One

FA Cup

Appearances and goals

Huddersfield Town A.F.C. seasons
Huddersfield Town

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text:
Malaysia Sarawak State Elections: By August 7, 2021 and Possible Snap Parliamentary Elections
The Sarawak State Assembly building in Kuching, Malaysia. Federal elections in Malaysia are not due until 2023, but could happen earlier. Moreover, some state – including Sarawak – have elections sooner. Photo credit: Wikimedia/CEphoto/Uwe Aranas (CC BY-SA 4.0)
Freedom House Rating
Government Type
Federal Parliamentary Constitutional Monarchy
32.7 million UPCOMING ELECTIONS
State and Local Elections
By September 16, 2023 (snap elections possible) PAST ELECTIONS
Malaysia is not due to hold parliamentary elections until May 2023, but the fragile political situation means snap elections are possible, and Prime Minister Muhyiddin Yassin has indicated that he will in fact call early general elections once the COVID-19 pandemic is over. Meanwhile, several of Malaysia's states are due to hold elections in the next year.
Political Context
In Malaysia's historic 2018 parliamentary elections, the Pakatan Haratan (PH – Alliance of Hope) party won a surprise victory over the Barisan Nasional (BN) coalition and its primary member, United Malays National Organization (UMNO), which had been in power since Malaysia's 1957 independence. PH forged an unlikely alliance between Mahathir Mohamad, born 1925, who had served as prime minister from 1981 to 2003 and was widely considered to be an autocrat, and Anwar Ibrahim, a former official under Mahathir who fell out with him and became a democracy activist.
Another major player in the coalition was Muhyiddin Yassin, a former UMNO politician. However, in March 2020, Muhyiddin defected from PH along with 30 MPs, and joined forces with UMNO to oust the government. He subsequently became prime minister. However, his coalition is fragile and has only a tiny majority, and therefore risks collapsing.
State Elections in Malaysia
Malaysia has 13 states (Johor, Kedah, Kelantan, Melaka, Negeri Sembilan, Pahang, Perak, Perlis, Pulau Pinang, Sabah, Sarawak, Selangor, and Terengganu) and one federal territory with three components (Kuala Lumpur, Labuan, and Putrajaya).
Sarawak is due to hold state elections by August 7, 2021.
Curated News and Analysis
IPS Journal, Friedrich Ebert Stiftung (February 26, 2021): The abrupt end to Malaysia's democratic awakening
AFP (February 24, 2021): Malaysian king says parliament can sit, in blow for embattled PM
Melissa Goh, Channel News Asia (February 24, 2021): Elections can be held in Malaysia when half of population is vaccinated against COVID-19: Khairy
P Prem Kumar, Nikkei Asia (February 14, 2021): Malaysia's UMNO bets on itself before election clash with Muhyiddin
Bloomberg (January 12, 2021): Malaysia's emergency declaration means prime minister can dodge election until pandemic ends
Umair Jamal, ASEAN Today (November 29, 2020): The potential impacts of Malaysia postponing by-elections as COVID-19 cases rise
The Straits Times (November 28, 2020): Malaysia's PM Muhyiddin says he will call for general election once Covid-19 pandemic is over
AP (October 30, 2020): Malaysian PM's key ally demands early polls in new snag
Sophie Lemière, Brookings Institution (October 30, 2020): The never-ending political game of Malaysia's Mahathir Mohamad
Category: Overview Tags: Malaysia
← Germany State Elections (Various Dates) and Parliamentary Elections: September 26, 2021
Africa This Week: November 9, 2020 →


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"Michael worked feverishly to get me out of a very difficult situation. His passion and thoroughness ...
"I have been a client for over 20 years and can only speak of Mr. Spotts in the highest regard. If ...
Michael K Spotts was born and raised in Baltimore Maryland, and graduated from Parkville Senior High School in the spring of 1980. Mr. Spotts received his Bachelors degree in Business Administration with a major in Finance from the University of South Florida after completing his undergraduate studies in the spring of 1984. Mr. Spotts received his Juris Doctorate from Cumberland School of Law in the spring of 1987.
Mr. Spotts began his legal career on May 8, 1987 as an intern at the State Attorney's Office. Upon passing the Florida Bar in 1988 Mr. Spotts became an Assistant State Attorney prosecuting cases in the 19th Judicial Circuit (comprised of Martin, St Lucie, Okeechobee and Indian River Counties) of Florida. Mr. Spotts entered private practice in late 1988. Michael Spotts became a member of the Federal Bar in January of 1991.
WHY SPOTTS LAW OFFICES CHARTERED?
After being associated with, and ultimately a partner in larger firms, Mr. Spotts decided that the only way to give clients his personal attention on every case was to open a solo practice boutique firm where he could be the only attorney assigned to every client's case. Spotts Law Offices was founded in April 2002 in Stuart, Florida. Michael Spotts, Esq. has been practicing law for over a quarter century and is a Member of the Florida State Bar, the Maryland State Bar, the U.S. Court of Appeals for the Eleventh Circuit in Atlanta,the United States District Court for the Southern District of Florida, and the United States Supreme Court in Washington D.C.
Spotts Law Offices focuses its practice in civil and criminal cases in both State and Federal Courts. Mr. Spotts gives his personal attention to each client, personally advocating for the preservation of their interests and rights. Spotts Law Offices has represented clients not just in State and Federal Courts, but also in administrative hearings, in mediation and negotiations, and in a legal advisory capacity in non-litigation settings including business, corporate, partnership and motorsports matters.
Mr. Spotts is a regular columnist for Motorsports Sponsorship Marketing News, a nationally circulated motorsports publication. Mr. Spotts has had over 25 articles published, and is available for legal representation of Teams, Drivers, Promoters and Sponsors within the motorsports industry.
In addition to the motorsports side of the practice, Mr. Spotts is the co-host of "The Eye of the Hurricane" a radio talk show devoted to NASCAR. The show airs every Tuesday night at 6 PM on WSTU 1450 am and simulcast on WPSL 1590 am. The show is also streamed live online from inside the studio. Listen weekly by Clicking Here (http://wstu1450.com/tv.htm)
Mr. Spotts has been an Adjunct Professor locally and is currently an instructor for the Justice Teaching Institute. Justice Teaching is an initiative of Florida Supreme Court Justice R. Fred Lewis whose goal is to pair a legal professional with every Elementary, Middle and High school in the state of Florida to advance the students and teachers understanding of the American justice system and its Constitutional institutions and structure.
In 2015 Mr. Spotts received two professional accomplishments that Spotts Law Offices Chartered is quite proud of. First, Mr. Spotts became a member of the prestigious Inns of Court, a professional Association of attorneys and judges who strive to better the legal system, the professional practice of law, and a better understanding of the roll attorneys and judges play in the legal system both from a substantive and procedural standpoint. Also in 2015 Mr. Spotts became AV rated by Martindale Hubbell. An AV rating is the highest rating an attorney can receive.
Contact Spotts Law Offices to schedule a confidential consultation to fully discuss your legal issues. Our office is conveniently located in the Dehon Building in Historic Downtown Stuart, at the Corner of Colorado Avenue and Flagler Drive at Confusion Corner, two blocks West of the Martin County Court House.


text:
Azerbaijan: receiving construction permits to be simplified
Azerbaijani companies will be able to receive permits for constructing building facilities not requiring inspection within a 15-day period, and a permit for using real estate facilities within a 10-day period, Anar Guliyev, Head of Staff of the State Committee on Urban Planning and Architecture, declared. As noted by Guliyev, this will be possible via…
Ukraine: trade with UK reaches $2.5 billion in 2018
Bilateral trade between Ukraine and the United Kingdom amounted to $2.5 billion in 2018, up by 7.6% YoY, the Ministry of Economic Development and Trade of Ukraine has said. According to the Export Strategy, Ukraine and the United Kingdom have further great prospects for the dynamic development of bilateral trade and economic relations. For this…
Ukraine: Ukrzaliznytsia to launch Mukachevo – Kosice train in summer 2019
Ukrainian and Slovak railway companies have reached an agreement on the launch of new Kosice – Chop – Mukachevo standard-gauge railway route starting from June. "We are still cautious about the dates, but the preliminary agreements are as follows: the Ukrzaliznytsia will launch Mukachevo – Kosice train in June. A test run on this route…
Armenia: trade turnover with EU up in 2018
ArmeniaBy admin 2019-02-21 Leave a comment
Armenia's trade turnover with the member states of the European Union recorded a major growth in 2018, comprising $1 billion 830 million 74 thousand, moreover, the export grew by nearly 8%. The GSP+ privileged trade regime and the new electronic system for certification of origin of goods greatly contributed to the boosting of the commercial…
Kyrgyzstan: Tashkent – Tamchi flights to be resumed
Kyrgyzstan proposed to resume charter flights Tashkent – Tamchi, press service of the Ministry of Foreign Affairs of the Kyrgyz Republic reported. According to it, the parties discussed the possibility of resuming the flight and railway communication along the route Tashkent – Balykchi at the meeting of the Ambassador of Kyrgyzstan to Uzbekistan Ibragim Zhunusov…
Azerbaijan: Aliyev's decree to revive construction market
The decree by Azerbaijani President Ilham Aliyev on simplifying the issuance of permits for the operation of a number of multi-apartment buildings will help revive the construction market, Nusret Ibrahimov, real estate expert, director general of the consulting company MBA Group, reported. He said that earlier, investors and construction companies couldn't commission construction projects for…
Ukraine: small privatization brings UAH 100 million to state budget in 2019
The state budget has already received almost UAH 100 million from the sale of small-scale privatization facilities through the electronic procurement system ProZorro.Sale, Acting Head of the State Property Fund Vitaliy Trubarov wrote on his Facebook page. "Small-scale privatization has already brought almost UAH 100 million to the state budget in 2019. A total of…
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text:
LÉcole d'enseignement à distance de la vallée du Fraser ou Fraser Valley Distance Education School (FVDES) est l'une des plus grandes écoles d'enseignement à distance de la Colombie-Britannique, au Canada. Elle offre un apprentissage à distance en ligne et sur papier allant de la maternelle à la  année. Les élèves de la FVDES comprennent à la fois des apprenants d'âge scolaire et des apprenants adultes. La plupart vivent dans le Lower Mainland de la Colombie-Britannique, mais un nombre croissant vit dans d'autres régions de la province ou à l'étranger. FVDES est une école financée par l'État qui suit le programme scolaire de la Colombie-Britannique et offre une certification « Dogwood » complète après l'obtention du diplôme.

Histoire
Fondée en 1990, la Fraser Valley Distance Education School fait partie d'un groupe provincial de neuf écoles d'enseignement à distance situées à travers la Colombie-Britannique. Ces écoles ont leurs racines dans l'enseignement à distance par correspondance traditionnel, mais subissent rapidement des changements pour offrir des cours en ligne.

FVDES compte actuellement plus de  en ligne à temps plein. L'école compte également environ  par correspondance qui utilisent principalement du matériel de correspondance sur papier, bien que beaucoup commencent à s'inscrire aux nouvelles offres de cours en ligne. De plus, il y a environ  en ligne à temps partiel.

Notes et références

Établissement scolaire fondé en 1990


Stacey Leigh Barker director information. Free company director check.
Stacey Leigh Barker works at MADE WITH LOVE LTD as Director.
Stacey Leigh Barker works at MADE WITH LOVE LTD since 26 January 2015 currently as a Director (COMPANY DIRECTOR).


text:
Save Cover Preview for The Making of Romantic Love
The Making of Romantic Love
Longing and Sexuality in Europe, South Asia, and Japan, 900-1200 CE
William M. Reddy
Buy this book: The Making of Romantic Love
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In the twelfth century, the Catholic Church attempted a thoroughgoing reform of marriage and sexual behavior aimed at eradicating sexual desire from Christian lives. Seeking a refuge from the very serious condemnations of the Church and relying on a courtly culture that was already preoccupied with honor and secrecy, European poets, romance writers, and lovers devised a vision of love as something quite different from desire. Romantic love was thus born as a movement of covert resistance.
In The Making of Romantic Love: Longing and Sexuality in Europe, South Asia, and Japan, William M. Reddy illuminates the birth of a cultural movement that managed to regulate selfish desire and render it innocent—or innocent enough. Reddy strikes out from this historical moment on an international exploration of love, contrasting the medieval development of romantic love in Europe with contemporaneous eastern traditions in Bengal and Orissa, and in Heian Japan from 900-1200 CE, where one finds no trace of an opposition between love and desire. In this comparative framework, Reddy tells an appealing tale about the rise and fall of various practices of longing, underscoring the uniqueness of the European concept of sexual desire.
Read Moreabout The Making of Romantic Love Read Lessabout The Making of Romantic Love
456 pages | 6 x 9 | © 2012
Chicago Studies in Practices of Meaning
History: Asian History, European History, History of Ideas
"Let the debates begin! Drawing on an astonishing panoply of sources, from European courtly and troubadour literature to Heian Japanese poetry, from canon law to Puri temple dancing, William M. Reddy's important new book, The Making of Romantic Love, challenges our basic assumptions about eroticism, heroism, the nature of marriages, and the legacy of the Middle Ages in modern culture. Is there a 'sex drive'? Or is this, too, a western construct? Like one of Reddy's 'emotives,' reading this impressive study will leave you a different person."
Barbara H. Rosenwein | Loyola University Chicago
"This is a magnificent book and a powerful theoretical challenge. Historians of any kind will ignore it at their peril."
American Historical Review
"Reddy's theoretical and methodological work here is both meticulous and sophisticated (he, after all, has played no small role in articulating and honing the theoretical foundation of the historical study of emotions), and his case studies are recondite enough that only the true subspecialist might possibly identify any misstep or oversight. Reddy is, in any case, a compelling storyteller, and while scholars of emotions (and graduate students) will benefit greatly from reading just the introduction (which is packed with the latest emotions research and theory--including recent work in neuroscience), those who journey with Reddy into the emotive heart of the medieval world will not regret it."
"A work of breathtaking ambition. . .The intellectual payoff for the author's prodigious intellectual labor is that he can convincingly challenge contemporary (and seemingly scientifically validated) wisdom about sexuality in the West."
Contemporary European History
PART ONE The Emergence of Courtly Love in Europe
1 Aristocratic Speech, the Gregorian Reform, and the First Troubadour
2 Trobairitz and Troubadours and the Shadow Religion
3 Narratives of True Love and Twelfth-Century Common Sense
PART TWO Points of Comparison
4 The Bhakti Troubadour: Vaishnavism in Twelfth-Century Bengal and Orissa
5 Elegance and Compassion in Heian Japan
Appendix: Transliterated South Asian Words
Society for French Historical Studies: David H. Pinkney Prize
Pulp Empire
Paul S. Hirsch
Mutants and Mystics
Jeffrey J. Kripal
Trade and Romance
Michael Murrin
Machines of the Mind
Katharine Breen


text:
Q: How to find View with ID Trying to build some simple app with rikulo framework and have a question:

*

*Is it possible to find View inside hierarchical layout ? and how ? (in Dart)
There's some documentation on Rikulo site about IdSpace but I didn't quite understand how to use it. Should I extend View with IdSpace ? Or View will auto-generate the Id ?
Update (add code example)
/*
* Function will actualy build View
*/
void _buildUi(Element tagElement)
{
   View mainView = new View();
   mainView.profile.width = '100%';
   mainView.profile.height = '100%';
   mainView.layout.type = 'linear';
   mainView.layout.orient = 'vertical';
   mainView.style.cssText = "background: yellow;";

   View vWorkSpace = new View();
   vWorkSpace.profile.width = 'flex';
   vWorkSpace.profile.height = 'flex';
   vWorkSpace.layout.type = 'linear';
   vWorkSpace.layout.orient = 'horizontal';
   vWorkSpace.style.cssText = "background: red;";

   //
   // Left menu
   View vLeftBar = new View();
   vLeftBar.profile.width = "10%";
   vLeftBar.profile.height = "10%";
   vLeftBar.layout.type = 'linear';
   vLeftBar.layout.orient = 'vertical';
   vLeftBar.layout.spacing = '10';

   View vLogo = new View();
   vLogo.addChild(new Image('images/google_chrome.png'));
   vLeftBar.addChild(vLogo);

   Button vButton = new Button();
   vButton.text = 'Sign in with Google';
   vLeftBar.addChild(vButton);
   vButton.on.click.add((e){      // Somehow I get an error here: Method 'add' not defined for class 'Stream'
      broadcaster.send(new ViewEvent('foo'));
   });

   vWorkSpace.addChild(vLeftBar);

   mainView.addChild(vWorkSpace);
   mainView.addToDocument(ref: tagElement, layout: true);
}

In another place in dart.app when handling the vButton click  event. How I could find (in code) the vLogo View ?

A: Sure, like Element, View provides CSS selector based retrieval called query and queryAll. You can use them to retrieve the view as you retrieve the DOM elements.
In general, you don't have to worry about IDSpace, unless you want to use the same ID in different views. A hierarchy tree itself is an ID space. If a view implements IDSpace, it forms another ID space.

A: The easiest way to retrieve a View in the code is to give it an id:
View vLogo = new View();
vLogo.id = "vLogo";

Then, in your event listener, use query to access it:
button.query("#vLogo"); // returns vLogo

However, in your case, you will be able to directly access the vLogo instance within the event listener closure.


Moses, the greatest hero in the Torah and perhaps the Bible, is not allowed to enter the Promised Land. Why? The answer is discovered in this week's portion.
What was Moses' great sin? How could his actions deserve the punishment of never crossing the Jordan and walking into the land of Israel? For centuries commentators have argued about Moses' actions. The story affords opportunities for many different interpretations.
Some commentators, most notably the medieval scholar Rashi, suggest that Moses' sin was that he did not listen to God's instructions exactly. God told Moses to order the rock to provide water. Instead Moses hits the rock, not only once but twice. This episode proves, according to this line of thinking, that when God gives a command we must follow it to the letter.
Others suggest it was instead that Moses takes credit for God's miracle when he said, "Shall we get water?" Moses, who is often praised for his humility, was anything but humble. Hubris was his sin. Still others, among them Nachmanides, suggest that he called the people "rebels," thus widening the gap between the leader and his followers. Moses loses his patience and becomes angry at the Israelites who he is meant to shepherd and inspire. This story thus illustrates a failure of leadership.
I would, however, like to suggest an alternative interpretation. The opening verse of the chapter reads: "The Israelites arrived at the wilderness of Zin… Miriam died there and was buried there." Miriam is of course Moses' sister. The Torah here suggests a clue to understanding Moses' behavior.
Moses is a mourner. And what do the people do in response? They complain. If we see Moses as a mourner and in the midst of mourning the death of his only sister, his anger becomes understandable, his hitting of the rock should become forgivable.
No one from among the community offers even a word of compassion. No one asks Moses about his sister Miriam. No one tells stories about her, reminding him of the beautiful songs she sang when the people crossed the sea. No one even jokes with him about the time she criticized his wife Zipporah. In the moment of his grief he might have even welcomed that remembrance. He would have been receptive to hearing any story about his sister. Such stories add flesh to memories.
Instead they speak only of the mundane. They shy away from confronting the grief standing before them. Where is their rachmanis?
And so Moses gets angry. He is human. He hits an inanimate rock. Anger is the first stage of mourning. In order to move towards acceptance one must travel through anger. The stories friends offer help accompany the mourner as they journey through their tears, as they march away from anger. They take hold of any and all remembrances.
Perhaps these verses illustrates not Moses' failure but instead the people's, and even I dare say, God's. Where is their sympathy? Where is the God of compassion? Where is the understanding? Our leader is in mourning. And all they can do is talk about food and drinks. And all God can do is offer strict judgments.
Where is the necessary rachmanis?
Perhaps the story is a reminder that only compassion can transform grief.
And out of rock flowed copious tears.


Procurement practices are constantly being redefined, yet understanding of technology and competition is still young, say experts.About 60 percent of an Engineering, Procurement, Construction (EPC) project cost goes to procurement. Have you seen an evolution from procurement to supply chain management?
Although it is being sporadically employed, trenchless technology should be used more widely as a solution to land acquisition issues and pilferage.
O&G Pipeline Security: Shouldn't the new Bill herald a new approach?
As pipelines face threats of protests, sabotage and even potential terror attacks, a new Bill seeks to make punitive clauses more stringent in pilferage and tampering of O&G pipelines.
Pipelines will criss-cross the country on an accelerated basis over the next five years. Will they be confronted with land acquisition-like problems?
Dr. Anwarul Hoda, Chair Professor of ICRIER's Trade Policy and WTO Research Programme, and former Planning Commission Member, chaired the Working Group on Logistics last year, and explains to Shashidhar Nanjundaiah the role of the Central Logistics Development Council, which the Group had recommended but is yet to see the light of day.


text:
About Interalia
Interalia Magazine
An online magazine dedicated to the interactions between the arts, sciences and consciousness.
Imagining Possibilities
Emerging Ideas
Tag Archives: Complexity
from 'Element'
Cecil Balmond
Cecil Balmond OBE, is widely considered to be one of the most significant creators of his generation.
An internationally renowned artist, architect and engineer, Cecil Balmond transcends the conventional boundaries of discipline working in the crossover between art and science. In this dynamic area, he has re-invented the very concept of space, transforming the meaning of geometry, form and structure.
Balmond's design approach engages inner organisational systems – a process based on rigorous research. He has spent over 40 years investigating the relationship between form and the very roots of order at the core of life
Julius Colwyn
Julius Colwyn is a nomad, in between disciplines, walking the strange places between the bodies of knowledge, a thought ecologist.
His work is concerned with how we grow an understanding, how we can incubate a meaning within a metaphor, a metaphor in a pattern, the pattern within a form, the form within a structure, the structure within a space.
His theoretical background is in art history and literature, and his artistic practice engages scientists of various disciplines, exploring questions about reality and human nature that lie between disciplinary boundaries.
If I Were an Astronomer. If I Were a Botanist.
From 2013-2015, Kozloff challenged herself to bring the decorative and cartographic together. Spurred by recent travel along the silk route, she returned for the first time to the Islamic star patterns that structured her early art. A group of works titled "If I Were a Botanist" and "If I Were an Astronomer" revisit two artist books Kozloff made in 1977, in which she manipulated the black-and-white diagrams in Islamic geometry books, morphing and tessellating the patterns to create kaleidoscopic compositions saturated with color. Using these earlier pages as templates, Kozloff employed digital processes to reimagine the arrangement and expand the scale of the patterns. She then infused these intricate paintings with collage elements comprised of outtakes and trial proofs from previous projects, overpainting every tiny bit of attached paper with delicate brushstrokes. Merging the biographical and the political, each panel becomes a microcosm of the artist's career. In "If I Were a Botanist: the Journey," patterns radiate and converge in constellations of interlocking shapes unfurling across thirty feet of canvas. Their joyful aura disguises the embedded political content, visible on closer inspection.
Sculpture. Installation. Drawing. Text.
Simeon Nelson
"Mapping, ornament and other languages of systematic representation are a focus of my practice. My sculptural language transposes between the graphical and the spatial using the tropes of cartography, ethnographic ornament and scientific illustration. The resulting work is as much a map or model of itself as of its referent."
Simeon Nelson is a sculptor, new media and interdisciplinary artist interested in convergences between science, religion and art, complexity theory and relationships between art, architecture urban sites and the natural world.
Pattern Finding and the Thirty-Seventh Move
Simon DeDeo
"People have always searched for the "song beneath the song" – a way to discover, match, and predict the patterns of a complicated world. Every job, from firefighting to lawyering, demands that practitioners learn the patterns, say, of how a fire grows or an argument is made. But how deep do patterns go? Are there patterns that underlie it all? Can our computers learn them for us?"
Pattern and Meaning
"Pattern can be discerned at all scales that exist between the infinitesimal and the infinite. We humans oddly seem to occupy nearly the mid point in this scale, which has been commented on as a new type of anthropocentrism. Humans (and to varying extents other living creatures) have an inborn and intense predisposition to perceive, represent and create pattern to make sense of a perilous and confusing world around us. We have primordial awareness of pattern to make sense of our place in the scheme of things and to make meaning and purpose out of our finite and limited existence. Pattern is both a function of our perception and an attribute of the world. The entire cosmos could be said to be an eternally unfolding sequence of patterns."
Simeon Nelson is a sculptor and installation artist. He is currently professor of sculpture at the University of Hertfordshire
Julius Colwyn: In the Midst of Things
Richard Bright
Comments Off on Julius Colwyn: In the Midst of Things
Throughout my studies and research I have found myself to be a nomad, in between disciplines, walking the strange places between the bodies of knowledge, a thought ecologist. My work is concerned with how we grow an understanding, how we can incubate a meaning within a metaphor, a metaphor in a pattern, the pattern […]
Dendrites, Brains and Frontiers Reimagined
Marius Kwint
in Interviews
Dr Marius Kwint is Reader in Visual Culture in the School of Art and Design at the University of Portsmouth, UK. In 2012 and 2013, he was lead curator of the highly popular exhibition, Brains: the Mind as Matter, on the visual and material culture of neuroscience at Wellcome Collection, London, and at MSI Manchester. His most recent major project was co-curating, with Sundaram Tagore, the Venice Biennale official collateral event Frontiers Reimagined: Art That Connects Us, featuring 44 artists from around the world on the subject of cultural crossing-points.
Pan-psychic Consciousness in Mass-Charge Interactions
Wolfgang Baer
Dr. Wolfgang Baer received his Ph.D. in Physics from the UC Berkeley. His interest in cognitive brain functions has lead to publications exploring the physics of consciousness, real intelligence, and research applications directed toward the extension of cognitive brain capability beyond its normal limits.
An interview with Ilya Prigogine
Considered one of the founders of complexity science, Ilya Prigogine was awarded the Nobel Prize for Chemistry in 1977 for his work on the thermodynamics of non-equilibrium systems. His seminal book, 'Order Out of Chaos: Man's New Dialogue with Nature' (written with Isabelle Stengers) shows how the two great themes of classic science, order and chaos, which coexisted uneasily for centuries, are being reconciled in a new and unexpected synthesis. This interview, with Yiannis Zisis, was recorded in 2000.
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What's lost when we're too afraid to touch the world around us?
Chunjie Zhang
Ancient Ritual in Contemporary Mark-Making
Catherine Eaton Skinner
Unpredictable Structures
Contributors Include
Garry Kennard
CIRCLINGS
Earth Justice
A Radically Empirical Approach to the Exploration of Consciousness
Future Realities video talks
Maps and Mapping video talks
Earth video talks
Pattern and Meaning video talks
Future Thoughts and Meeting Points video talks
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Managing a sales force of any size is never a simple endeavor. Whether your sales reps are in-house, in-the-field, all within the same 100-mile radius, or spanning several continents, your job as a sales manager requires organization of a level unachievable by most people. That's not to mention nerves of steel and the ability to remain perfectly calm when faced with catastrophes of epic proportions – which will, in fact, happen at least once.
You're responsible for leading and motivating your team, as well as staying on top of the latest sales methodologies, providing educational opportunities that will enhance your team's skills, and interfacing and coordinating with other C-level executives and ensuring that your sales strategies are aligned with the efforts of marketing, customer service, and other departments.
To simplify the monumental task of staying on top of your own game, we've searched the far corners of the web to unearth some of the most helpful, informative, and insightful sales management blogs. Note: The following 50 blogs aren't ranked in order of quality or importance, but represent 50 blogs we think are highly valuable reads for sales managers who want to be the best in their fields. These blogs highlight case studies, offer tips and resources for improving your management skills, insights on sales effectiveness and strategy, and much more. Numbers are included to make it easy for you to reference a specific blog should you pass this list along to a friend or colleague, but are not meant to imply that #1 is better than #50. Instead, this list represents 50 great sales management blogs we think are worth adding to your reading list.


The Ancient Bards project takes its origin in the january of 2006 from the mind of the keyboards player Daniele Mazza whose intent was to create a metal band with epic and symphonic sounds. After the meeting with the bass player Martino Garattoni the project began to materialize.
Initially the line up was not stable beacuse of several problems, but in the summer of 2007, after a period of inactivity, the band found it's almost final line up with Sara Squadrani as singer, Claudio Pietronik as solo guitarist, Fabio Balducci as rythm guitarist and Alessandro Carichini as drummer.
Alessandro was was in September 2010 replaced by Federico Gatti.The sextet imediately sarted working on the demo ep "Trailer" containing four excerpts of the exciting Black Crystal Sword Saga conceived by Daniele himself that is influenced from fantasy nordic tales and japanese stories like Final Fantasy.
During the realization of the demo, the bards were also busy performing in several Italian live contests from which they gained great results always reaching the first place.In May 2008 Trailer was finished and was reviewed by many italian webzines and magazines always obtaining high marks.
In the meantime they were noticed by Emiliano Nanni, the president of the promotion and booking agency BRC (Bologna Rock City), that brought them on the stages on many italian live clubs supporting bands such as Turisas, Over The Rainbow, Almah, White Skull, etc.
getting loads of success.In the summer of 2009 the band recorded at Fear Studio in Ravenna it's first full-length album that merges Sara Squadrani's vocals with clean choral singalongs and heavy guitar sounds, to create an album teeming with ultra-catchy gems.
Up to now the path of the six bards has led them to sign with Limb Music Products (Rhapsody, Luca Turilli, Pagan's Mind, Eldritch and many more).In 2011 the band released their second album, Soulless Child, followed in the end of 2013 by the third album A New Dawn Ending, concluding the first part of the Black Crystal Sword Saga.
Shortly after recording the 3rd album, Fabio Balducci has left the band for personal reasons. The band has announced that Simone Bertozzi will be replacing him as a guest musician on the upcoming live shows.
In March 2014 Sara started to post individual episodes of The Black Crystal Sword Saga on her blog: http://sarasquadrani.wordpress.com/2014/03/03/tbcss-s01e01-prelude/Additional information, videos, photos can be found on their http://www.
Ancient Bards performs music and can be booked for (private) corporate events, personal appearances, or other music performances. The estimated booking fee range to book Ancient Bards for your event, Please Contact. Ancient Bards has more than 14.4K listeners worldwide and really knows how to entertain your audience. Similar artists are Derdian, Highland Glory, Cryonic Temple, Dragonland, Wildpath, Excalion, ReinXeed, Amberian Dawn, Axenstar, Secret Sphere . Contact AAE Music agency for ratings, reviews, videos and information on scheduling Ancient Bards for an upcoming event.