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Tag Archives: Richard Eyre
"Little Eyolf" at the Almeida Theatre
30 November 2015 Edward Lukes
A marriage not so much on the rocks as already wrecked is the focus of Ibsen's 1894 play. Alfred and Rita are an odd couple of obsessive personalities struggling to share their lives and loves. Along with a 'sister', Asta, who creepily shares a pet name with their son, this is a peculiar, unstable love triangle that's intense from the start. When their only child dies, pressure mounts and the play doubles as an examination of grief.
This is Richard Eyre's third time adapting and directing Ibsen at the Almeida. Living up to the reputation of his Hedda Gabler and Ghosts, the production is made all the more remarkable by Tim Hatley's stunning set – never has mid-century modern felt so claustrophobic – and some strong performances. Jolyon Coy and Lydia Leonard take the leads. Coy gives a nimble performance, on the surface a repressed academic, cold and plotting for his wife's money, yet toying with the idea he might be our hero. Leonard is the sexiest Ibsen heroine you're likely to see. Embodying a sensuality that has a serious point, she displays a moving, almost scary raw emotion. Eve Ponsonby's Asta has the trickiest job – doting on the family while the tension surrounding her own desires builds magnificently.
The honesty between this trio is unrelenting and shocking. Home truths that would destroy any family are shouted out – it's difficult to hear a mother say she wishes her son hadn't been born. The observation that the parents are "vile and cruel" feels like an understatement. And Ibsen's view of the human condition –reinforced by a book Alfred is writing on the "law of change" – is pretty grim. When hope enters the play, it feels natural and welcome. This hope may be only a glimmer, an exhausted sigh after all the crying, but it arrives just in time to secure the show's status as a triumph.
www.almeida.co.uk
Photo by Hugo Glendinning
Almeida TheatreEve PonsonbyIbsenJolyon CoyLydia LeonardRichard EyreTim Hatley
"Mr Foote's Other Leg" at Hampstead Theatre
24 September 2015 Edward Lukes
Biographer Ian Kelly has literally written the book on Samuel Foote, one of the 18th century's most celebrated performers, and his expertise shines out in this new play. You'd be in real trouble if you couldn't find the humour in a comic called Foote, but no fears here, as the jokes come alarmingly fast and varied: Shakespearian in-gags, bawdy banter and downright silliness. It's an absolute treat for anyone with a love of the theatre.
Simon Russell Beale, Dervla Kirwan and Joseph Millson
Indeed, the theatre forms the backbone of the play – scenes are either front or back stage or in a medical lecture hall – all skilfully handled by director Richard Eyre, with Tim Hatley's design cramming in the atmosphere. David Garrick and Peg Woffington, superbly rendered by Joseph Millson and Dervla Kirwan, are here, as is a long-suffering stage manager, Mrs Garner (a terrific role for Jenny Galloway). Comradeship and rivalry are exquisitely depicted, including in an unmawkish three-in-a-bed-death scene.
When it comes to biography, the play is as brilliant as its subject. Simon Russell Beale takes the lead, giving a dynamic performance that's at first understated, comes alive whenever Foote is 'on stage', then becomes deeply moving when his sense of mischief grows dangerous as his mental health deteriorates.
Forbes Masson as John Hunter at work on Mr Foote's leg, with Colin Stinton as Benjamin Franklin taking notes
More than the history of an actor, or acting, this play is the portrait of an age. The distinguished surgeon John Hunter amputates Foote's leg (ruined by a riding accident), while Benjamin Franklin lectures us on science. Prince George dabbles with performance and ascends to the throne (Kelly takes the role, reminding us his talents aren't just literary). There's American Independence and insanity as well – the madness of Mr Foote dominates the second act, ruining the pluckiest of comebacks.
Enthralled by the spirit of the times, Kelly isn't shy of manipulating history for effect. Hence, he appropriates Dr Johnson's servant, Frank Barber, to be Foote's dresser, giving us a fine performance from Micah Balfour and a sub text that serves to illustrate Foote's liberal iconoclasm. Like everything in the play, scenes with the two of them work astonishingly hard.
Care has to be taken when filling a play with such a quantity of ideas and events, yet here all is enrichment and nothing extraneous. Foote hates cant, declaring it the one word in English that is untranslatable. By avoiding cant, Kelly makes his play as fresh as it is erudite, a balance that makes this a triumph of and about the theatre.
Photos by Nobby Clark
Dervla KirwanHampstead TheatreIan KellyJenny GallowayJoseph MillsonMicah BalfourRichard EyreSimon Russell BealeTim Hatley
"The Pajama Game" at the Shaftesbury Theatre
Recent closures and current bargains on tickets for some damn fine shows remind us how precious a hit in the West End is. But the transfer from Chichester of Richard Eyre's superb production of Adler and Ross' The Pajama Game is a safe bet if ever there was one. This unashamedly old-fashioned musical great is so conscientiously staged that there's everything to like.
The Pajama Game is the prototype for a small genre of musicals that deal, believe it or not, with industrial disputes. Billy Elliot and the forthcoming Made in Dagenham both aim for a similar blue-collar theme. Here the employees of the Sleep Tite Pajama Factory are about to strike for a pay rise, albeit in a jolly manner. Meetings include entertainment, the hit song Steam Heat, and a rally is really a parade, based on the requested remuneration, with the number Seven-and-a-Half Cents. Life should imitate art sometimes but I fear even Equity isn't this much fun.
As if commerce and labour weren't enough, there are love stories, too. One is between a secretary and a jealous time-and-motion manager who used to be in a knife-throwing act – the circus connotation is apt as they are some pretty mad moments here. The other features the love-struck leads: Sid, who runs the factory, and Babe, who deals with grievances for the Union. There's trouble ahead, obviously, but, for all her feistiness, Babe doesn't really get that mad, even when Sid sacks her, so there's no need to worry. It all ends happily with a gloriously silly pajama party at Hernando's Hideaway.
Just in case it's not obvious yet, this is one for those who enjoy a song and a dance. If you have ever liked a musical, you'll love The Pajama Game. The performances are great, the ensemble is strong and there are fine comic turns from Peter Polycarpou (performing until 2 June after which Gary Wilmot takes the role) and Claire Machin. In the leads Joanna Riding and Michael Xavier make a handsome couple and their old-fashioned flirting is a delight. Riding's Babe is a "firecracker" without labouring the point and is impressively convincing. Xavier's voice is as strong as any you will hear on stage.
The talented choreographer Stephen Mear steps into the shoes of none other than Bob Fosse. But this version is really a singers' show, so Mear deserves praise for injecting so much visual joy into the piece. In fact, he 'gets' Eyre's production perfectly, with his honest, uncynical and exuberant approach. I smiled from start to finish.
Photo by Tristram Kenton
Adler and RossChichester Festival TheatreClaire MachinJoanna RidingMichael XavierPeter PolycarpouRichard EyreShaftesbury TheatreStephen Mear
Richard Eyre's production of Ibsen's Ghosts has been a long time in the making – he first worked on the script in 2006. It must be gratifying that now it has reached the stage, opening this week at the Almeida Theatre, everything has come together so eloquently. Eyre's adaptation is superb, his direction impeccable and his cast faultless.
In this 1881 play we encounter one of Ibsen's many heroines, Helene Alving, a magnificent character whose long-endured marriage has ended and who hopes she is now "learning to be free". But, while ironically planning an orphanage as a memorial to her syphilitic, drunken husband, she is haunted by her decision to shield his philandering from her son and the community. As Helene, it is difficult to praise Lesley Manville sufficiently.
Helene's unrequited love for her Pastor, a ridiculously religious figure made credible by the clever casting of the excellent Will Keen, and her desperate love for her sick son Oswald, played with skill by Jack Lowden, makes things grim and grimmer for her. A radical thinker, Helene has us on her side, but the past and society are against her. The Pastor's restraint and Oswald's bohemianism, including his incestuous attraction to his half-sister, trap Helene like a pincer. Manville copes with the intensity terrifically, agonisingly building up the pressure.
The play is set in a single room, Helene's "university of suffering", created out of ghostly transparent walls by designer Tim Hatley. Sometimes opaque, at others revealing the comings and goings of the servants the Alvings are intimately connected with, it acts as a claustrophobic canvas for some fine work by lighting director Peter Mumford.
Ghosts caused controversy when it was written and Eyre's adaptation reminds us why. Swift and brutal, you sense Ibsen's hunger for life and the truth with a ferocious intensity. The heart-rending finale, where Helene faces a moral dilemma about the euthanasia of her son, could easily find you in tears.
Until 23 November 2013
Written 4 October 2013 for The London Magazine
Almeida TheatreIbsenJack LowdenLesley ManvillePeter MumfordRichard EyreTim HatleyWill Keen
"Quartermaine's Terms" at Wyndham's Theatre
This revival of Simon Gray's 1981 work, directed by Richard Eyre, marks a return to the stage by Rowan Atkinson. A story of schoolteachers, set in the early 1960s, it has plenty of laughs but is really quite a serious affair. A testing vehicle for its star attraction, it might leave some searching for more Mr Bean, but Atkinson rises well to the challenge.
As St John Quartermaine, long-standing staff member of the Cull-Loomis School of English for Foreigners, Atkinson plays a man blunted by life. The staff-room misfit and an appalling teacher, he's a likeable nonentity (and, in Atkinson's hands, sometimes a little too charming?). The problem for Atkinson is how to stop people laughing at him – the urge is almost impulsive – but Gray's great creation is a strangely blank character that helps to put distance between the actor and his usual personas.
Most impressively, and appropriately, Atkinson appreciates that Quartermaine is a character around whom the action revolves rather than a star turn. His fellow cast members are, to use Quartermaine's own catchphrase – "terrific", and this is a strong ensemble piece. Malcolm Sinclair plays the school's deputy head, a captain of education, with sardonic, steely beneficence. Felicity Montagu is superb as a study in repression and hysteria. And, as her old flame, Conleth Hill gives the real comic turn of the evening, with every gesture getting giggles, as the two flirt over the croquet sticks and lecture notes.
Increasingly "absent" as time goes on, Atkinson manages Quartermaine's withdrawal with impressive control and intelligence; perfect for a play so concerned with the passage of time. Eyre's direction has a thoughtful, elegiac quality, mostly arresting but sometimes robbing the play of zest. Yet as the family dramas that have occurred off-stage (they never involve the lonely Quartermaine) come to our attention, both Eyre and his star provide a melancholic sting that's perfect for the piece.
Until 13 April 2013
Photo by Nobby Clark
Written 30 January 2013 for The London Magazine
Conleth HillFelicity MontaguMalcolm SinclairRichard EyreRowan AtkinsonSimon GrayWyndham's Theatre
"Welcome to Thebes" at the National Theatre
1 November 2014 Edward Lukes Leave a comment
We all appreciate how annoying it can be when a phone rings during a performance. At the National Theatre they've really had enough of it; the start of its new production, Welcome to Thebes, has gun-toting child soldiers warning us to switch off our mobiles. We then hear the story of how one girl was raped before becoming a mercenary in her war-torn country. This is an uncomfortable mix and it is clumsily done. Unfortunately it sets the tone for the evening. From the very start of this play you might well want to call someone and tell them how bad things are.
Moira Buffini's play recasts Greek myths to modern day Africa. The inhabitants of Thebes experiment with democracy after a devastating war and look to wealthy Athens to help them out. There can be no objection to reinterpreting myths (indeed there is a prestigious heritage of doing so) but Buffini's efforts are a worrying failure. The contemporary setting isn't specific enough to be politically satisfying and the mythical characters seem like lost novelties. Doing justice to the dangerous creativity of Dionysus and contrasting that with the arrogant politics of the Athenians would be enough to aim for without trying to draw unconvincing parallels to current events. To make matters worse, what is universal about myths – their emotive power – seems to have no attention paid to it at all, making the play dull as well as pretentious.
Richard Eyre's direction makes the production as swift and tense as it can be but he has too much to work against. The cast battle valiantly and produce some good performances. The new government's cabinet of ministers make up the chorus and the actresses do well to differentiate themselves. The opposition is formed by Pargeia (Rakie Ayola) and Prince Tydeus (Chuk Iwuji) – a fantastic power-mad couple brimming with sex and violence. Thebes' new boss Eurydice (Nikki Amuka-Bird) and the visiting Theseus (David Harewood) also work well together and convince as very different types of leaders.
Achieving some electric mixtures of personalities on stage is no small achievement given the script and static set that the actors have to work with. The text varies crazily from the stubbornly prosaic, taking in scraps of poetry, to the painfully clunky. Having been welcomed to Thebes, take my advice and look swiftly for the exit.
Written 23 June 2010 for The London Magazine
Chuk IwujiDavid HarewoodMoira BuffiniNational TheatreNikki Amuka-BirdRakie AyolaRichard Eyre


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Home » Realtor.com December Rental Report: Rents in Major Cities Continue to Decline Double Digits
Realtor.com December Rental Report: Rents in Major Cities Continue to Decline Double Digits
by By realtor.com January 21, 2021 March 22, 2021
SANTA CLARA, Calif., Jan. 21, 2021 /PRNewswire/ — Major urban markets, such as San Francisco and Manhattan, continue to see double-digit declines compared to last year, but rent increases in less dense areas have kept nationwide rents growing for one- and two-bedroom units, according to the realtor.com® December rental report released today. Nationally, the median rent for studio apartments was down 0.7% year-over-year, rent for one-bedrooms was up 0.8%, and rent for two-bedrooms was up 2.6% year-over-year.
"Right now is a great time for renters in major cities to lock in a low price for 2021," said realtor.com® Chief Economist, Danielle Hale. "But renters in some other areas are seeing a very different trend. With more flexibility and more time at home, renters have sought out extra space, driving up rents in the suburbs and less dense markets. As vaccines are being rolled out nationwide, the question is, how much longer will these trends continue? What's clear, is that the mantra of real estate being local very much applies to rents, not just home prices."
San Francisco led the nation in declines with average monthly rents falling 33.8%, 25.5% and 22.8% for studio, one-bedroom and two-bedrooms units year-over-year, respectively. Rents for studios and one-bedrooms in nearby Santa Clara, Calif. and San Mateo, Calif. counties also saw double-digit decreases in December. Outside of the Bay Area, Manhattan, Boston, Seattle, and Washington, D.C. were among the metros seeing the largest year-over-year declines. These markets also represent some of the most expensive cities in the country, giving rents the most room to fall.
In December, the median studio rent in Manhattan was $2,288, down 21.0% year-over-year. Median one-bedroom rent in Manhattan was $3,100, down 18.4% compared to last year. Median two-bedroom rent in Manhattan was $5,200 in December, down 16.1% compared to last year.
When it comes to rent increases, Sacramento, Calif. is leading the nation with average monthly rent increasing 20.3%, 12.4%, and 9.1% for studio, one-bedroom and two-bedrooms year-over-year, respectively. It was followed by New Haven County, Conn.; Essex County, N.J.; and Monroe County, N.Y., which saw average gains of 13.3%, 11.9%, and 11.9%, respectively.
To see the full report, including which metros had the greatest increase in rent prices, see here.
Top 10 Markets for Studio Rent Decreases – December 2020
Studio –
Studio Rent
San Francisco, Calif.
New York, N.Y.
San Mateo, Caif.
Suffolk, Mass.
King, Wash.
Middlesex, Mass.
Cook, Ill.
Top 10 Markets for 1-Bed Rent Decreases – December 2020
1BR Median
1BR Rent
San Mateo, Calif.
Multnomah, Ore.
Miami-Dade, Fla.
About realtor.com®
Realtor.com® makes buying, selling, renting and living in homes easier and more rewarding for everyone. Realtor.com® pioneered the world of digital real estate more than 20 years ago, and today through its website and mobile apps is a trusted source for the information, tools and professional expertise that help people move confidently through every step of their home journey. Using proprietary data science and machine learning technology, realtor.com® pairs buyers and sellers with local agents in their market, helping take the guesswork out of buying and selling a home. For professionals, realtor.com® is a trusted provider of consumer connections and branding solutions that help them succeed in today's on-demand world. Realtor.com® is operated by News Corp [Nasdaq: NWS, NWSA] [ASX: NWS, NWSLV] subsidiary Move, Inc. under a perpetual license from the National Association of REALTORS®. For more information, visit realtor.com®.
Moving Home Could Help Renters Save for a Down Payment in Less than Two Years
Realtor.com Acquires Avail
American Homes 4 Rent Opens Jones Crossing Community in Las Vegas

redpajama_set_name: RedPajamaCommonCrawl


Rufus Weinright gave a great two hour concert playing the piano and a couple of guitars,with his mom accompanying him. He connects wonderfully with the audience.
The entire gay-cultural elite atttended complete with fag hags.
old scans I just found in a dark corner of my HD.


What is the sensitivity of the Cell Microarray technology?How many proteins are represented in the Retrogenix Cell Microarrays?How will I know how the study is progressing?What type of molecules can be screened using the Cell Microarray technology?Can Retrogenix screen ADCs?How much purified antibody is required for a screen?What cells are used in the Cell Microarray system?Which protein tags or labels are compatible with the Cell Microarray technology?Is endogenous expression of the target protein in HEK cells an issue?We are only interested in one class of proteins – do we have to undergo a full screen?Who owns the data and the IP generated when a new drug target is identified?Can I publish the results?How many hits will we typically get back from a screen?What data will I receive?Who validates the data from a Retrogenix screen?How long does a screen take?How much does a screen cost?Does screening multiple molecules reduce the price of using the Cell Microarray technology?What cost savings can a Retrogenix screen provide?Are screens performed on live or fixed cells?
What is the sensitivity of the Cell Microarray technology?
Ligand-target interactions of 10 micromolar can be detected in the absence of any amplification strategy. This is more than adequate for most studies; however, amplification strategies can be employed when needed in order to detect lower affinity interactions.
How many proteins are represented in the Retrogenix Cell Microarrays?
There are currently over 5,500 clones in the micorarrays all encoding full-length human plasma membrane or secreted proteins. This represents around 80% of all unique proteins across our libraries. Where possible, canonical or longest isoform clones have been included, along with many alternative isoforms/splice variants that have also been incorporated. A full list of proteins in the set is available on request to researchers who are looking to use the cell microarray service.
The clone set can be expanded to incorporate additional proteins when a particular protein family or subset is of interest. Please contact the Retrogenix team to discuss your specific requirements so a bespoke project can be designed for you.
How will I know how the study is progressing?
The Retrogenix team will share the results of the background screen before progressing to the full screen. We will also keep you updated of how the project is progressing during the full primary and confirmatory screens.
What type of molecules can be screened using the Cell Microarray technology?
Any ligand can be screened for interactions against the Retrogenix cell microarrays as long as a suitable system exists to detect gain-of-binding. Retrogenix has successfully found receptors and targets for labelled small molecules, antibodies, antibody fragments (such as scFvs and Fabs), antibody-drug conjugates (ADCs), viruses and virus-like particles (VLPs), labelled or tagged protein and peptide ligands, labelled whole cells (such as CAR-T cells) and plasma samples from cancer patients.
Yes. For the majority of our screens we fix the cells prior to assessing binding to each over-expressed target. As the cells are not alive the toxicity of the ADC payload does not affect the results.
How much purified antibody is required for a screen?
This depends on the molecular weight and the design of the study, however, typically between 100ug to 4mg will be required.
What cells are used in the Cell Microarray system?
Currently the Retrogenix protein library is expressed in human HEK293 cells in order to ensure correct post-translation modifications, folding and localisation in human cells and produce a physiologically-relevant system. Should another system be required for your project then please get in touch to discuss the possibility of a bespoke consultancy project to develop and optimise a new system.
Which protein tags or labels are compatible with the Cell Microarray technology?
Is endogenous expression of the target protein in HEK cells an issue?
A background screen is against untransfected HEK cells is always carried out in order to check that endogenous expression (and therefore binding) of the target will not be an issue.
Approximately 90% of molecules progress past the background screen and onto the full screens against the complete set of >5,500 individually over-expressed proteins. In cases where background binding will pose a significant challenge we will discuss the option of modifying or terminating the study prior to screening in order to avoid investing in a screen that would have little chance of success in identifying target receptors.
We are only interested in one class of proteins – do we have to undergo a full screen?
It is possible for Retrogenix Scientists to customise arrays to screen only certain classes of plasma membrane or secreted proteins. Please contact our scientists to discuss this.
Who owns the data and the IP generated when a new drug target is identified?
You do. Retrogenix does not lay claim to any IP generated from its screening service unless there has been prior agreement to share IP.
Yes please! The data and any associated intellectual property (IP) belong to you. We fully support the publication of results from a screen and can assist with writing the relevant methods and results sections of the paper or patent. We also love to talk about the great results we get from our studies, but we only discuss, present or publish results when we have express permission to do so. Please see our resources section for some of our recent publications, poster presentations and case studies.
How many hits will we typically get back from a screen?
Non-specific and non-reproducible hits are weeded out by our rigorous screening process. Therefore, if the target(s) for your molecule is in the Retrogenix library, you should expect one, possibly two, highly specific hits. Often multiple hits represent variants of the same protein receptor that are in our library. This can act as an additional positive control, providing additional confidence that the results are specific.
Unlike other screens which produce multiple hits (sometimes even hundreds) that then need investigating, the specificity of the Retrogenix screen only returns one or a few hits that are specific and reproducible.
A full report presenting and interpreting the results of the screens is provided at the end of a standard study. On request, members of the Retrogenix team can also present and discuss the results via a web meeting.
Who validates the data from a Retrogenix screen?
We run a confirmation screen in-house as standard to ensure that the results are specific and reproducible before presenting all the data and discussing the results with the client. Further target validation work can be undertaken by Retrogenix Scientists as a follow up study; for example, Retrogenix can validate the findings using a FACS-based approach.
How long does a screen take?
How much does a screen cost?
This depends on the number and type of molecules to be screened, the detection system and the screening format. Please get in touch with a member of our team to discuss your project.
Does screening multiple molecules reduce the price of using the Cell Microarray technology?
Larger screens allow us to organise our lab resources more efficiently so there is a cost reduction for multiple molecules that are run in simultaneously.
Savings can also be made by arranging an allocation of molecules to be screened over a fixed period of time, for example, a commitment to screen twenty molecules over a 12 month period. This has benefits for groups that are continually discovering or evaluating new molecules as they can be sent for screening when they are ready. In addition, guaranteed resource will be applied to these projects.
What cost savings can a Retrogenix screen provide?
An analysis by one of our pharmaceutical clients estimated that in-house methods required around 10x the investment of a Retrogenix screen to produce the same number of successful results.
The massive savings are mainly due to the high success rates that Retrogenix achieves – estimated to be around 4x greater than the chances of identifying a specific target using IP/MS approaches – plus the lab and personnel costs associated with carrying out the work in-house.
Are screens performed on live or fixed cells?
Either! Contrary to conventional thinking we have regularly observed better results and clearer target:ligand binding on fixed cell screens so perform fixed cell screens as standard. Depending on the study, live cell screening can be more appropriate and will be conducted.


By Tina Norris on Feb 7, 2019 at 11:00 a.m.
Reading doesn't have to be a solitary experience. You can enjoy the journey with other readers through a book club. At the Hudson Area Library, we have book clubs for readers of all ages and fans of all genres.
Younger kids tend to love a series, so we often hold multiple sessions focusing on one author's work. Last year we started a "Series of Unfortunate Events" book club. This book club meets the second Thursday of each month from 6:30-7:30 p.m. This is for kids in grades 3-6. You can register and get a copy of the book at the youth services desk.
Bookmarks Book Club is organized by library patrons. Bookmarks meets the third Wednesday of each month, from 10:30-11:30 p.m. Pick up a brochure at the front desk or check the library website for their reading list. February's title is "Killers of the Flower Moon" by David Gramm.
If you would like to visit other St. Croix County communities and meet readers from throughout the area, you could join the St. Croix County Traveling Book Club. Each month's book discussion is hosted by a different library at a local restaurant. February's meeting is hosted by the Somerset Library at the Bass Lake Cheese Factory. They'll be reading "Delicious," by Ruth Reichl. Sign up at the library front desk.
For more information about this and other programs, please visit www.hudsonpubliclibrary.org or call 715-386-3101. See you at the library!
Harry Potter World Book Night, Thursday, Feb. 7, 6-7:30 p.m. Come celebrate all things Harry Potter. There will be trivia games, crafts and a scavenger hunt. Wear your Harry Potter gear and costumes! Grades K-6.
Teen Advisory Board, Friday, Feb. 8, 4:30-5:30 p.m. New members welcome! Grades 6-12.
Teen Fridays, Friday, Feb. 8, 6-8:30 p.m. Join us for an after-hours party with fun activities for teens. Register and get a permission slip at the youth services desk.
American Girl Doll Club, Saturday, Feb. 9, 10 a.m. to 12:30 p.m. We'll be making a snack and watching an American Girl doll movie. This class is full but you can still get on the waiting list at the youth services desk.
Valentine Day Cookie Decorating, Sunday, Feb. 10, noon to 4 p.m. Come decorate Valentine cookies in the lobby. Available while supplies last.
Tween STEAM - Excellent Eggs-periments, Tuesday, Feb. 12, 6-7 p.m. Experiment with eggs to learn principles of chemistry, engineering and physics. Register online or at the front desk.
Genealogy at the Library, Thursday, Feb. 14, 10:30-11:30 a.m. "Using the Minnesota and Wisconsin Historical Societies for Genealogical Research." Presented by Tina Norris M.L.I.S.
Toddler Time, Tuesdays 10:15 a.m.
Babies & Books, Wednesdays and Thursdays 10:15 a.m.
Stories for All (0-5), Wednesdays 11:15 a.m.
Book Clubs this week: There are no book clubs this week.
iLABS: Open during regular library hours.


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Banking Law, Economics, Government Policy
CRYPTOCURRENCY – Approach Towards Adoption
by Unnat Akhouri
'Ignoring technological change in a financial system based upon technology is like a mouse starving to death because someone moved their cheese'
Chris Skinner
It has been rightly identified by the above quote that implementing the technological advancements in the financial sector is imperative to provide a more sustainable environment for innovative ideas. One of the major such innovations has been the introduction of Cryptocurrency, often confused with digital currency. In reality, cryptocurrency is a subset of digital currency that encompasses all the online settlement and transactions (centralized as well as decentralized).
Indian Approach to Cryptocurrency
Although India has been quite proactive in adapting the FinTech revolution such as UPI and KYC, there has been a sceptical approach towards cryptocurrency. Taking into account the increased prominence of Cryptocurrency and the issues associated with it, the Reserve Bank of India released a circular[1] in April 2018 directing all the financial institutions to refrain from carrying any transaction or dealing with these cryptocurrencies. This step was taken to address the existing questions on the legality of virtual currencies and the potential disruption which these currencies can cause to the traditional financial institutions. This mental state has been aptly identified by the following quote-
'Bitcoin will do to the banks what email did to the postal industry'– Rick Falkvinge
However, RBI failed to acknowledge the fact that adapting to the technological advancements will prove to be a positive step and has the potential of transforming the existing financial institutions, rather than disrupting them. The postal industry is still sustaining successfully with the service of sending goods and letters. These technological innovations bridge the existing gaps rather than hampering the existing structure. This happened to be the vision of the Internet and mobile association of India, which went against the above-said step taken by RBI before the three-judge bench comprising of Justice RF Nariman, Aniruddha Bose, and V Ramasubramanian. IMAI argued that the ban was completely on a moral basis and there happened to be no proper study conducted on the issue. Hence, it was altogether an arbitrary and unjust move which restricted the deployment of the new-age technology.
Supreme Court, on hearing both sides and considering each merit, held the RBI's circular as unconstitutional as there was no such piece of legislation in India that restricted the use of cryptocurrency[2]. Test of Proportionality was showcased in the decision, according to which, the court can quash the steps (which are although under the powers of a body) if there is no reasonable nexus between the step taken and the objective intended.
This decision happened to be one of the landmark events in the world of cryptocurrency. But the struggle towards a liberal approach and encouragement of these technological advancements didn't end here. Although the Supreme Court has allowed the trading of cryptocurrency, there is still a lack of proper regulatory framework which specifically addresses the circulation and trading of such virtual currencies. The absence of a comprehensive set of regulations pertaining to cryptocurrency has been a major obstacle in India's way to become a global leader in adopting new-age innovations.
Regulatory Sandbox – Learning
In layman's language, Regulatory sandbox is a scheme for providing a conducive environment to the new-age technological advancements, which is comparatively lesser stringent in terms of regulations, maybe for a specified time limit. This lesser-regulated environment provides them a chance to test all their functions and potentials while working under the supervision of supreme authority, as well as give the regulators a chance to perform a comprehensive risk analysis[3]. This was first introduced in the United Kingdom by Financial Conduct Authority in 2015. This was done to provide the FinTech firms a less-stringent environment to let them explore their potential in proper supervision. This paved the way for some other liberal steps by nations to provide a push to these innovative technologies.
One of the most liberal approaches was adopted by Singapore's Monetary Authority of Singapore (MAS), which established the 'FinTech and Innovation Group' for better management and approach in dealing with these innovations. It went on setting up a regulatory sandbox to facilitate the firms with a time frame to work with softer regulations. One of the notable steps by MAS is discarding the concept of ideas 'Front-Running' the innovations. This means that subjecting the innovation to the specific regulations shall be done only after a thorough analysis of the risks and potential loopholes. If the risks cross a certain threshold, then only it will be subjected to the safety rules.
The approach used is basically 'mitigating the existing risks and barring the evolution of other risks in the future'. Meanwhile, RBI has launched a sandbox for providing a softer environment to the FinTech innovations, it holds the vision that a bit more regulations would provide credibility and ensured standards to the new-age firms, who are aiming to attract the investors. This sandbox includes all such innovations ranging from UPI to the blockchain technology, except cryptocurrency, due to its resistive approach. However, after the SC judgment, the NASSCOM and Payment Council of India, along with other representatives of the Cryptocurrency industry are asking for its inclusion in order to bring these facilities in the mainstream market as soon as possible.
Some Key Takeaways
Even after cryptocurrency has gained so much prominence over the last decade, the legal status of cryptocurrency still remains unclear. Although the act of exchanging cryptocurrency has been allowed in most of the nations, they aren't considered as legal tenders. However, there are certain approaches apart from the regulatory sandbox, as adopted by other nations to provide some clarity on the legal status of cryptocurrency-
Bringing cryptocurrency under the purview of goods initially till the time it is not recognized as a legal tender. This act will provide some legal recognition (by attracting goods and services tax) which will, in turn, push cryptocurrency in the mainstream market, as done by Singapore's MAS.
Regulating the trading and exchange of cryptocurrency by a central organization, as done by Australia and Japan. This regulating authority, however, will only deal with the auditing and verification process of transactions carried out with cryptocurrency.
However, it shall be made sure that the Decentralized structure is not disrupted by bringing it under the complete control of governmental agencies. This flaw has been witnessed by the approach of Ecuador where it has banned all cryptocurrencies except for the one issued by their central government.
Certain small initiatives shall be taken up by to bring the cryptocurrency in regular use. For example- Switzerland's city has allowed the payment towards public services by the means of bitcoin. This has been a smart move since the transaction is done with the city government itself, which makes this supervised.
Cryptocurrency has the potential for being used to serve illegitimate purposes including terrorist funding and money laundering. Hence, proper measures shall be adopted including but not limited to AML/KYC and providing a proper license to the exchanges (in order to avoid illegal operations).
In furtherance to the above discussion, we can safely conclude that the government has to draw a fine line between promoting cryptocurrency with a regulated structure and regulating them entirely. Moreover, there needs to be flexibility in the approach by RBI towards these innovations in the FinTech industry to match up with the rapid digitization.
Views are personal.
Image credits: Vectra AI
Unnat Akhouri is currently pursuing law from National Academy of Legal Studies and Research (NALSAR), Hyderabad
[1]Reserve Bank of India, Notification, Prohibition on dealing in Virtual Currencies (VCs), RBI/2017-18/154(Issued on April 6, 2018)
[2] Internet and mobile association of India vs Reserve Bank of India, Writ Petition (civil) No. 528 of 2018
ADMIN August 30, 2020 Cryptocurrency, Finance, FInTecch
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text:
Mehmet Simsek
Interest-free #insurance expected to draw #investments from Gulf
Fri, 2017-09-01 12:21 — newsdesk
Turkey's Deputy Prime Minister in charge of the economy Mehmet Simsek announced that they have established the infrastructure of the interest-free insurance system. He noted that there have been no separate regulations for Islamic insurance or insurers so far, adding that the regulation is of great importance. He suggested that many questions in the framework of Islamic insurance will be answered with the new regulation. Simsek informed that in addition to serving interest-sensitive citizens, the system will also attract capital from the Gulf countries to Turkey. The system is based on the UK model, which is seen as an opportunity for Turkey as well. The Deputy Prime Minister also pointed out that one of the most important opportunities that the system brings to citizens is the balance return.
https://www.dailysabah.com/economy/2017/09/01/interest-free-insurance-ex...
#Turkey aims to triple market share of Islamic finance
Tue, 2016-11-01 11:15 — newsdesk
Turkey is committed to tripling the market share of Islamic finance, bringing it up to 15 percent by 2023. Deputy Prime Minister Mehmet Simsek said the Islamic finance market had been growing swiftly in Turkey and that the government aimed to further boost the sector. Simsek also pointed out the slowdown in global trade, saying there was a discontent against globalism after the recent global crisis. He urged countries to make immediate reforms, recalling the three main themes of the 2015 G-20 summit in Turkey, which were comprehensiveness, implementation and investment. The minister noted the income inequality in the world, saying 62 people's wealth was equal to 3.62 billion people. He said Islamic finance could play a positive role in addressing this problem.
http://www.hurriyetdailynews.com/turkey-aims-to-triple-market-share-of-i...
#Turkey seeks huge piece of Islamic finance pie
Deputy Prime minister in Charge of the Economy Mehmet Simsek said the size of the Islamic banking sector globally was projected to grow to $3.5 trillion in the next five years and Turkey aimed to manage a sizeable portion of this huge sector. He said the government was committed to help the sector thrive in Turkey. Furthermore, he indicated that the total size of assets of participation banks reached $183.93 billion by the end of 2015. Pointing out that the participation banks' share in the overall banking sector was 5.1%, he stressed the goal set by the representative of the sector was to attain 15% by 2025. The Turkish Treasury elaborated on the action plan called "Strengthening Interest-free Finance and Participation Banking" as a component of the Istanbul International Financial Center (IFC Istanbul) program. It was decided that the board would work on the issues raised at the meeting to develop the interest-free finance sector.
http://www.dailysabah.com/finance/2016/10/26/turkey-seeks-huge-piece-of-...
RHB #Sukuk Weekly: #Turkey Sukuk to be within the 5y tenor in range USD1-1.5bn
In the USD sukuk pipeline, DP World and Noor Bank have selected banks for a possible benchmark issuance. Turkey's Deputy Prime Minister Mehmet Simsek mentioned plans of an issuance within 1H16. Bloomberg Malaysia Sukuk Ex-MYR Total Return (BMSXMTR) and Dow Jones Sukuk Total Return (DJSUKTXR) indices closed lower at 103.55 (-0.26%) and 159.18 (-0.44%) respectively. Malaysia's revenue fell slightly to MYR1.54bn (-0.7%) in 2015 while income tax revenue increased by 7.8%. Turkey's unemployment rate declined to 10.9% and its government budget balance improved to TRY5.36bn in April. Indonesia's trade balance rose to USD667m in April mainly due to the larger than expected decline in imports.
https://www.sukuk.com/article/rhb-sukuk-weekly-turkey-sukuk-to-be-within...
Turkish gov't to meet with investors, promote Islamic bond exports
Deputy prime minister in charge of the economy, Mehmet Simsek, has said Turkey will hold meetings to increase sukuk exports in the first half of 2016. The country is preparing a draft law which would bring balance to the taxation of Islamic financial contracts and encourage long-term loans. Simsek said that the Ministry wants this system but implementation depends on investor interest. Regarding the establishment of a megabank in collaboration with the Islamic Development Bank (IDB), Simsek said the probable scenario includes two megabanks, one in Indonesia and the second in Turkey.
www.dailysabah.com/money/2016/05/19/turkish-govt-to-meet-with-investors-...
#Turkey Wants #Islamic #Megabank in Istanbul as Jakarta Talks Loom
Turkey wants to set up a new Islamic megabank. Deputy Prime Minister Mehmet Simsek said the prime shareholders would be Turkey's Treasury and the Islamic Development Bank. Simsek prepares for talks with Indonesia in Jakarta next week on proposals to start a Shariah-compliant megabank that will lend to companies and infrastructure projects. Indonesia and Malaysia have long tried separately to establish a Shariah-compliant lender but faced obstacles until now. Turkey is ready to commit more than $300 mn for the lender as capital.
http://www.bloomberg.com/news/articles/2016-05-11/turkey-wants-islamic-m...
Turkey Wants More Bank Entrants as Acquisition Field Narrows (1)
Turkey's Finance Minister Mehmet Simsek said the government wants more foreign lenders to apply for operating licenses as the country's pool of potential bank acquisition targets shrinks. The focus on licenses comes after Industrial & Commercial Bank of China Ltd. announced last month that it was buying Tekstilbank AS and Qatar Islamic Bank said on March 26 that was nearing the end of exclusive talks to buy a stake in Asya Katilim Bankasi AS. (ASYAB). While the acquisition field narrows, Turkey's regulator said it will look favorably on applications for banking licenses as the government encourages foreign investment.
http://www.businessweek.com/news/2014-05-08/turkey-wants-more-bank-entra...
Turkey moves ahead with Islamic bond plan
After almost a decade of preparation works, Turkey makes the next step in its Islamic bond plan. Citigroup, HSBC and Liquidity House of Kuwait are mandated to examine opportunities for sukuk issuance. The expectations are that the government will be able to gain a profit of up to $1bn through the sukuk. Also, the sukuk is likely to bridge the funding gap in the country's budget deficit target of 1.5 per cent of gross domestic product for 2012.
http://www.ft.com/intl/cms/s/0/b5617308-f77e-11e1-ba54-00144feabdc0.html...


In this audio interview, he analyses the future of television and the challenges for companies looking to compete. Is there still a need for one centralised device for the entire family to watch? Waesche says no, believing instead that if companies like Apple (Nasdaq: APPL) and Netflix (Nasdaq: NFLX) want to win the next revolution in television, they will need to supply individualised units and content for multiple devices within the family. Waesche goes on to discuss why "content discovery" will be an evolving trend over the next five years.


text:
Chuck ist das dritte Studioalbum der kanadischen Punk-Band Sum 41. Es wurde am 11. Oktober 2004 veröffentlicht und von Greig Nori produziert. Das Album kletterte bis auf Platz 10 der US-amerikanischen Billboard 200-Charts und Platz 2 der kanadischen Albumcharts. Chuck erreichte doppelten Platin-Status in Kanada, Gold-Status in den USA und verkaufte sich weltweit etwa 2 Millionen Mal.

Im Gegensatz zu den mehr am Fun-Punk orientierten Alben All Killer No Filler und Does This Look Infected? werden auf Chuck erstmals auch politische Themen angesprochen. Dies hängt vor allem mit den Erlebnissen der Band bei ihrem Aufenthalt in der Demokratischen Republik Kongo zusammen, wo Sum 41 beim Drehen einer Dokumentation vom Konflikt zweier verfeindeter Volksgruppen überrascht wurden und nur dank UNO-Mitarbeiter Chuck Pelletier aus ihrem unter Beschuss geratenem Hotel gerettet werden konnten. Da sie Chuck Pelletier ihr Leben verdankten, widmeten Sum 41 ihm das Album und nannten es Chuck. Der Song We're All to Blame wurde von Deryck Whibley erst nach der eigentlichen Fertigstellung des Albums geschrieben und handelt von der Erkenntnis der Band nach ihrer Kongo-Reise. Ursprünglich war der Song Noots an dritter Stelle der Titelliste geplant, er wurde jedoch dann von We're All to Blame ersetzt und als Bonustrack für die europäische Version verwendet. Der Song ist ebenfalls in dem japanischen Monsterfilm Godzilla: Final Wars zu hören.

Musikalischer Stil
Chuck ist ein sehr abwechslungsreiches Album. So gibt es für Sum 41 typische Punk-Songs (No Reason oder Open Your Eyes), aber auch eher dem Metal zuzuordnende Lieder (We're All to Blame, The Bitter End oder 88). Außerdem enthält Chuck die erste Ballade in der Bandgeschichte von Sum 41, Pieces.

Titelliste

Zum Album
 Die Lieder Intro, Angels with Dirty Faces, Open Your Eyes, Slipping Away, I'm Not the One, Welcome to Hell, Pieces und 88 wurden von Andy Wallace gemixt, die restlichen fünf von Tom Lord-Alge.
 Der Titel des Bonustracks Subject to Change ist wörtlich zu nehmen, da es sich um eine Demoaufnahme handelt, die noch zu ändern sei. Die Gesangsmelodie der Bridge wurde in den letzten Refrain von No Reason eingearbeitet. Der Refrain ist identisch mit der 2007 veröffentlichten Single Underclass Hero.
 Ausschließlich auf iTunes hatte das Album nur den Bonustrack Get Back, den Sum 41 zusammen mit Ludacris aufgenommen hat.

Chartplatzierungen

Album

Singles

Weblinks
 Albumkritik bei laut.de

Einzelnachweise

Album (Pop-Punk)
Album 2004
Sum 41

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Anyone in the tour travel industry will know that the Internet has been a blessing and a curse. It allows the industry to get up to date access to the latest offers but this flexibility can also be leveraged by the customer, and many are now going online and are booking flights and accommodation bypassing the agent. The solution to this is to add value, not by competing on price, but by offering a niche service online, by placing new and recommended packages on your site, answering questions and generally by providing information that your customers will find useful.
"Tour Travel Online System" website management system allows you to take full control over your tour travel site. Allow you to add any holiday category such as honeymoons, skiing, sports, etc. Allow you to add any package within these categories. Make the offerings time dependent so that they expire if necessary and tie all these to a booking facility to capture enquiries and provide information about availability and costs.


text:
Granite – jednostka osadnicza w Stanach Zjednoczonych, w stanie Utah, w hrabstwie Salt Lake.

CDP w stanie Utah


text:
Q: R - vioplot, how read in columns from my data frame to be plotted? Forgive the simplicity of my question, I am very, very new to R and have found that the guides I am reading are really not getting to the point about how to do something this simple (perhaps they are assuming I should know this already?).
Anyhow, I am trying to use vioplot to plot the distributions of data in three columns. One plot per column of my data file. The data file has already been read in with read.table.
Ignore the df[names(df)=="Fst_ceu_mkk"] parts here as I am aware that this doesn't work (I found it in a guide). Could anyone tell me what to use in their stead to read the data from the columns named? They are the 3rd, 4th and 5th columns in the file.
library(vioplot)
x1 <- df[names(df)=="Fst_ceu_mkk"]
x2 <- df[names(df)=="Fst_ceu_yri"]
x3 <- df[names(df)=="Fst_mkk_yri"]
vioplot(x1, x2, x3, names=c("CEU/MKK", "CEU/YRI", "MKK/YRI"),
   col="gold")
title("Genome-Wide FST Distribution by Population Pair")

A: It depends on the names of the columns in your data frame, but a general solution might be:
vioplot(df[,colnames(df)[3]], df[,colnames(df)[4]], df[,colnames(df)[5]])

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