On October 16, 1959, the United Nations General Assembly adopted Resolution 1352 (XIV) confirming that the people of the UN Trust Territory of the British Cameroons would achieve independence by deciding, via a plebiscite, to join either the Federation of Nigeria or the independent Republic of Cameroon. It also ordered that the plebiscite take place no later than March 1961. The plebiscite was ultimately scheduled for February 11, 1961.
If you vote against Nigeria, I cannot see how you can avoid living a life of poverty and hardship, and under the constant shadow of violence which the Government cannot control. You will be putting yourselves under a country which as different laws and a completely different attitude towards life.
By Alhaji Sir Abubakar Tafawa Balewa, P.C., K.B.E., LL.D, M.P., Prime Minister of the Federal Republic of Nigeria.
THE PRIME MINISTER: I want to talk to you this evening about the Southern Cameroons so that you may all understand quite clearly the position of the Federal Government in this matter.
I hope that my words will reach those people in the Southern Cameroons whose votes are going to decide the fate of the whole population, the fate not only of those alive but now also of generations as yet unborn.
In three weeks' time, those people in the Southern Cameroons who have registered will vote either to rejoin the Federation of Nigeria or to join forces with the Cameroun Republic. This is a serious matter, more serious than any which most men are ever called upon to decide in the course of a whole lifetime.
So I want to make it quite clear what will happen if the majority of voters choose to rejoin Nigeria—and I emphasize this word 'rejoin' because until last October we had been together forty years. And for the past fifteen years, the representatives of the Southern Cameroons have played an active part in the Government of Nigeria through their membership first of the Legislative Council and then of the House of Representatives and in the Council of Ministers.
Many of you who are listening to me this evening will be familiar with the recent history of the relations between the Southern Cameroons and the Federal Government, but I shall repeat the outlines so that you may be reassured that you, through your Governments, have treated the Southern Cameroons fairly and indeed with favour.
So far from exploiting the people of Southern Cameroons, as has often been alleged, the Federal Government of Nigeria and its predecessor, the former Central Government, has in fact done all in its power to assist the territory in its development.
I need not remind you that the territory of the Southern Cameroons is a Trust Territory, a mandated territory which the League of Nations and its successor, the United Nations Organization, entrusted to the United Kingdom.
This mandate started in 1922 and from the year, the Southern Cameroons was administered as an integral part of Nigeria, sharing to the full the services which the Nigerian Government provided.
Indeed they received more than the share which was strictly die to them and it is a fact—a fact which cannot be disproved—that in every single year from 1922 until 1949 the Central Government subsidized the Southern Cameroons.
And even after that, when the financial position of the Southern Cameroons improved, the Central Government made special arrangements to ensure that the surplus each year in respect of revenue and expenditure attributable to the Southern Cameroons should be devoted exclusively to the welfare of the people in the Trust Territory.
Not only did the Central Government do all this but only two years ago the Federal House of Representatives decreed that the amount of advances made by the Federal Government to the Southern Cameroons should be completely written off, together with the interest which had accrued from year to year, and also that the advance of working capital which the Federal Government had made to the Southern Cameroons should be converted into an absolute gift. That was plain evidence of our goodwill towards the people of the Southern Cameroons.
Before I recount the material benefits which the Trust Territory has received from its partnership with Nigeria, let me tell you of the political undertakings which we in Nigeria have given to its people so that they may know exactly what their status will be if they choose to rejoin us.
In this connection, I would remind you of the policy which independent Nigeria has, since last October, proclaimed towards all her neighbours and to the other States in Africa, namely that whatever their size, whether they be small or large, they will be treated as equals. So it is with the Southern Cameroons.
This small territory with a population of under one million will have the full status of a Region, equal with the huge Northern Region, equal with the Eastern Region with its population of over eight million, and the Western Region with its six million people.
While the number of elected Members of the House of Representatives will be in proportion to the population, the full allowance of twelve Senators will be accorded to the Southern Cameroons just the same as the North and East and West.
I know I speak for my colleagues the Regional Premiers when I say that we do indeed desire to procure the friendliest relations. There is absolutely no question of any feelings of hostility or of any ill intentions.
We feel that they and we are members of one family and nothing would give us greater pleasure than welcome them home again.
If I may speak for a moment direct to the people of the Southern Cameroons I ask you to examine very, very carefully the issues which are at stake.
On the one hand you can choose certainty and security: an honourable status as an integral party of a big nation in Africa with your future assured. With Nigeria you can look forward to sharing in the tremendous economic development of our country, to sharing in the massive schemes for expanding education to an extent hitherto beyond our dreams, and to the social benefits which we are now beginning to enjoy.
Above all, you can be assured of the security of the rule of law, the protection of your lives and houses and farms, and to the guarantee of your human rights.
All this is waiting for you if you choose to come back to Nigeria.
And now ask yourselves what is the alternative.
You would throw in your lot with a country whose government has made no firm promises to you and has given no undertaking, a country which unfortunately has been torn in recent years by civil wars.
It pains me to mention these things and believe me I take no joy in the misfortunes of our neighbours, but it is my duty to warn you of the dangers which lie ahead of you if you go down that road.
If you do so, then you cannot expect as of right to live in peace, to cultivate your farms in peace, or to receive the same justice which has been provided for you until now.
Instead of peace and prosperity, instead of more schools and hospitals and improved communication which you may genuinely expect from reunion with Nigeria, you will risk losing everything.
Just think carefully of all this.
I do most sincerely ask you, because it is not only your own immediate future which will be affected but the very survival of your families.
I shall now give you an outline of the economic and financial conferred on the Trust Territory by the Nigerian Governments during recent years. I must do this not to boast of our generosity, but to refute the shameful lies which have been circulated in order to deceive the people who are going to vote on their future next month.
The League of Nations mandate was conferred in 1922. From that year until the outbreak of war in 1939 the former Government of Nigeria spent approximately three quarters of a million pounds more than it received in revenue from the territory.
By 1948, the figure had been increased by a further million pounds, and what is more the Cameroon Development Corporation had been established with capital provided by the Nigerian government.
For five years from 1949 when the revenues improved and exceeded expenditure the annual balances were credited to a special fund for the benefit of the Territory, and were used to finance the large road development plan under which in particular the Victoria-Bamenda road was vastly improved.
Then in 1954, the Southern Cameroons was created into a separate unit and participated in the revenue allocation scheme with this difference from the other three Regions, the difference that in order to make the territory viable it was given a proportionately larger share of the revenue than any of the other three Regions and in addition the sum of £300,000 was provided as working capital for the Government of the Southern Cameroons.
And this was not the end of the assistance which we gave.
Many of you will remember that in 1955, the Cameroons Development Corporation ran into difficulties. The Southern Cameroons Government depended on that Corporation for most of its revenue and if the revenue from the Corporation fell below £580,000 a year, the Government itself would be in difficulty so we guaranteed that figure and in two years made advances of £450,000.
Two years ago, all that debt of £450,000 together with the working capital of £300,000 was written off.
What we did was to make a present of three quarters of a million pounds to the people of Southern Cameroons.
We in Nigeria feel proud, and I think we are justified in feeling proud, of the way we have treated the people of Southern Cameroons.
The record is there for all to examine—we have nothing to hide; far otherwise—if time permitted I should like to tell you of the benefits brought by the Posts and Telegraphs, by the Electricity Corporation and through other activities of the Federal Government.
Well it is time for me to stop now but once again I do most sincerely ask you, especially the people of Southern Cameroons, to think very very carefully about the future.
Think of all that is at stake and make your decision solemnly with all the responsibility you can command.
Balewa, Abubakar Tafawa. 1964. Nigeria speaks: Speeches made between 1957 and 1964. Selected and Introduced by Sam Eppelle. Ikeja: Longmans of Nigeria. pp. 85-90.
Sub-titles by Scribbles from the Den.
Southern Cameroons is on a journey! The Plebiscite result shielded the territory from ravages of the Nigerian civil war. The federation with Cameroun provided ample constitutional protection from the UPC rebellion. There should be no regrets for not joining Nigeria. The challenge for Southern Cameroons is for its sons and daughters to use their richer anglosaxon heritage to transform La Republique such that liberty and justice can co-exist with free-enterprise and democracy.
your not a citizen of s.cameroons.
soo your comment here is not welcome.
cameroun politics.after all there wasnt any unification.
simply move in his army and annex southern cameroons.
and stAyed till this day. Ie colonialism .
Dango Tuman you really make me sick when I read your post. You come across like you really have no history of the Cameroon. You seem to rely on hear-say basis. Martin Douala actually has a point. But Dang you need severe education of your history.


We're in the International papers!
In Beijing that is! Yes, Just Gai and I have travelled to Beijing to share our stories. In the most emissions free way possible of course by trusty email.
The news appeared in a life style weekend newspaper called "Beijing youth weekend" and was aimed at helping young people in China face their environmental problems by showing them how to reduce waste.
If anyone has a better translation tool, or indeed, speaks fluent Chinese, then please contact us; we'd love to know what we are actually talking about and whether there was any feedback LOL!
😀 thanks Mrs A – well, you know; all in a day's work and all that…….


As I was re-reading and editing my last post, Well, It's A Little Bit About Us, the thought kept floating through my mind that for God to truly love us (versus controlling us like robots) there is an incredible amount of risk involved, our ability to choose. He has exposed Himself and made Himself vulnerable. He has, in some sense, given us the ability to actually hurt Him.
He could have created Adam and Eve without free will, but He didn't. Not only did He give them the ability to choose, He created the choice itself. He created the Tree of Life and the Tree of the Knowledge of Good and Evil. Not only did He create both trees, He pointed out both trees (as a parent I would have just camouflaged the tree I didn't want them to eat from so they would never know it was there). And might I add, by saying, "Don't" there may have been some provoking involved. He almost seems to have forced a choice early on in the relationship.
He made Himself vulnerable over and over throughout Israel's history. Even when He, God Himself, the One who had just rescued them from Egypt, tried to speak to the people at Mt. Sinai they threw their hands over their ears and told Him to speak through Moses. They couldn't handle it.
His people rejected Him over and over, but God kept loving, kept being Love, (See 1 Corinthians 13) kept extending Himself to us, reaching out to us.
God made Himself vulnerable by giving us the ability to choose, but He wasn't afraid of our choices. He wasn't terrified we would choose poorly and forever wreck things.
Why? Because Jesus was already part of the plan. In fact, Jesus was The Plan from the beginning.
Jesus gave us a new commandment, to no longer just love our neighbor as ourselves (old covenant), but to love others as He has loved.
How did He love? By controlling our every move and giving us a sure-fire, mistake proof, how-to manual to achieve prosperity and pain-free living? (Some would argue that the Bible is that mistake proof, how-to manual, but I find it interesting how little detail the Bible actually gives us for day-to-day living and in fact guarantees us suffering and tribulation in this life).
He made Himself vulnerable to us. He gave all of Himself to us. He squeezed all of Himself into a tiny earth suit and arrived here on planet earth in the most vulnerable way possible, as an infant. In the womb, in a manger, on the run from Herod, at home (His brothers weren't always nice to Him), in ministry (one of His closest friends was the betrayer), at His trial and on the cross. He made Himself vulnerable in every possible way. He gave us not only the opportunity to hurt Him, but to kill Him.
But that's how He loves. He took the risk. He allowed us the opportunity to embrace or reject, to love or inflict pain.
Jesus made Himself completely vulnerable to us. He risked pain and suffering to love us. He freely loved, and still does, while giving us the freedom to choose our response.
If we are to love as He loved, can we do that without making ourselves vulnerable to others? Is there a safe way to love? Can love possibly be pain-free? And can we truly love anyone if we place expectations on how they are to respond to our love?
Jesus, I don't understand it and I can't muster it up on my own. Love others through me. Tear down the walls of fear, self-protection and control. As I abide in You, abide in me and bear much fruit.
This entry was posted in Grace, Love, Relationships and tagged 1 Corinthians 13, Adam, Adam & Eve, Egypt, God, Grace, Jesus, Tree of Life, Tree of the knowledge of good and evil.


Please figure the e Coupon written language at the Tesco direct time of departure to qualify. e commercial document codes starting TDX or X cannot be used with any some other e voucher code. These e Coupons are lone valid until 25/03/18 - orders must be arranged by the stated end day of the month to qualify. Our e Coupons can alone be used online at the Tesco straightforward checkout, by entrance the code.
His mom knows this because when she sits behind to interpret to him every night, he waves his instrumentation excitedly. His favorite attender of "Goodnight Moon" shows a cow jumping over the moon. He squeals and reaches for the record every time period he sees it.
Recent reports indicating that the pace of young pregnancies across the conjugate States have dropped precipitously playing period the last few life prospective come as a surprise to innumerous people who might have intellection that evenhanded the reverse was true. After all, it oft-times feels that all of the news—or all of the discussions, at any rate—around teens center not on positive signs regarding health and behavior, but on dire tales of gun violence, depression, written language pill usage and so on. In light of the recent (largely) good news program some teen physiological state rates in the U.


For all sizes, all breeds.
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We are a One Stop Shop! Fun stuff, as well as essentials….you won't leave here without smiling.
Experience the best in grooming by one of our seasoned stylists. We love pampering!
Dogs have always been a huge part of my life, but life is busy!
For so many years I struggled with the sad faces left behind in the mornings as I headed off to work….grateful for the joy my precious babies gave me and wishing I could somehow give more to them. That's where the dream started. Relocating to Austin in 2016 to look for the C. DogLady location set the dream in motion, and I could not be more grateful.
I'll be the first to admit spending my days playing with dogs is the best job in the world, but is really about our guests and their parents. It's always been an honor and privilege to care for my friend's beloved pets, and that is as true now as it's ever been. Stop by, we'd love you meet you, and your dog, of course.


text:
«Siren» (en español: «Sirena») es una canción escrita por Robin Juhkental, e interpretada por él mismo junto a Madis Kubu como el dúo Malcolm Lincoln. El tema representó a Estonia en el Festival de la Canción de Eurovisión 2010, celebrado en Oslo, Noruega.

El tema ganó el derecho a representar al país al ganar el Eesti Laul 2010. Para su presentación en Oslo se harán acompañar del cuarteto vocal "Manpower 4", compuesto por Jaanus Saago, Andrei Ozdoba, Mick Pedaja y Kristjan Knight.

Referencias

Enlaces externos

Canciones de Eurovisión 2010

redpajama_set_name: RedPajamaWikipedia


text:
10 haikus that capture love in the time of Tinder
Image: Mashable
By Sonam Joshi 2016-04-19 07:23:50 UTC
Tinder, and a host of similar apps, have changed love and dating as we knew it. To celebrate International Haiku Poetry Day on Apr. 17, Tinder India partnered with poetry writing app HaikuJAM to crowdsource haikus or short poems on the themes of first dates, finding love and making connections.
See also: 6 Indian women spill the beans on what makes them swipe right on Tinder
HaikuJAM is a social network where people can collaborate to write haikus, ancient three-line Japanese poems, using words as well as images.
"At HaikuJAM we believe in bringing people together to connect on an emotional level, with creativity being the context and catalyst," founder Dhrupad Karwa said. "Through this, we wanted to encourage people around the world to jam about love and the magic of human connections."
Love was already one of the most popular themes on the app. "Poetry is the language of love and this is a great opportunity for us to bring together haiku lovers to express themselves in their own unique style," Tinder India head Taru Kapoor said. Peopl around the world participated in the campaign, with the entries also being shared on Twitter with the hashtag #SwipeRight.
Here are some of the best haikus from the campaign. All the entries can be viewed here.
Topics: Conversations, dating app, Sex & Relationships, love and relationships, Poetry, Tinder, Culture, Work & Play

redpajama_set_name: RedPajamaCommonCrawl


4G: Ten Times the Speed with Twice the Risk?
Time and chance overtakes us all, especially when it comes to technology. But the latest and greatest iterations aren't always a steady stream of improvements on both ends, and can sometimes create new issues in the place of old ones.
This situation rings true when it comes to mobile phones. Ten years ago, consumers could safely place a call—albeit a slower one with less reception coverage—without worrying about putting their identity at risk. Today, consumers are likely checking Facebook, watching a video and surfing the web, in addition to making calls on improved networks. However, broadcasting information over a network using the same communication standards as the Internet may come at a price. That's right, 4G uses the World Wide Web to transmit data, giving hackers more opportunities to intercept sensitive information.


text:
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redpajama_set_name: RedPajamaGithub


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text:
Michael Vey
Battle of the Ampere
Rise of the Elgen
The Prisoner of Cell 25
Richard Paul Evans
Hunt for Jade Dragon
Fall of Hades
Storm of Lightning
Taylor Ridley
Torstyn
Character Photos
Carl T. Vey
Elgen
Dr. Hatch
Characters, The Prisoner of Cell 25 characters, Rise of the Elgen characters,
Battle of the Ampere characters
Hunt for Jade Dragon characters
Elgen (Formerly)
Powers:
EMP production
Alliances:
Rebel Glows
Quentin is a Glow. He's the leader of a group of Glows who are planning to overthrow Hatch and take control of the Elgen. He is the former secondary antagonist of the series.
Prisoner of Cell 25 Edit
Quentin is first introduced at the Elgen Academy as class president and one of the most popular students. It is implied he might have a crush on Tara, even though Hatch forbids romantic relationships. During Michael Vey's escape Quentin and the enemy Glows pursue them.
Rise of the Elgen Edit
Quentin forms a rivalry with Torstyn, and a possible love triangle with Tara, Torstyn and himself. He travels to the Amazon with the rest of Hatch's glows.
===Battle of the Ampere===
Hunt for Jade Dragon Edit
After the Electroclan destroy the Ampere, Quentin, along with the rest of the Elgen Elite, takes up residence on the Faraday. Hatch puts him in charge of guarding Jade Dragon. During the Electroclan's escape from the Taiwanese Starxource Plant, Quentin, along with Tara, is defeated, and temporarily tortured by Nichelle.
Storm of Lightning Edit
Quentin hears from Bryan that Hatch has had Welch arrested and sentenced to death for the Electroclan's successful rescue of Jade Dragon, as an example to the rest of the Elgen. Since Welch was like a father to Quentin, he is horrified by this news, and he realizes, and points out to his fellow Elgen glows, that since he was in charge of guarding Jade Dragon, he, or any of them, might be next, much to their alarm. Quentin refuses to let Welch die and, with Torstyn and Tara's help, visits Welch in the Faraday's brig. After Welch confirms to Quentin of his impending fate Quentin officially decides to overthrow Hatch and take control of the Elgen, pointing out to the other Glows that Hatch is always talking about the extermination of the Nonels but Hatch, himself is a Nonel, causing Quentin to reason that Hatch is inferior to them. Quentin, with the help of Torstyn and Tara, who uses her powers to disguise Welch, manages to escort Welch off the ship, allowing him to escape. During the book it's revealed that Quentin is obviously in a romantic relationship with Tara. After the Elgen take over Tuvalu, Hatch officially makes Quentin the new King of the nation, which Hatch renames as "The Hatch Islands", after himself. Quentin is perfectly aware of, and slightly annoyed by, the fact that he's just a puppet dictator, and that Hatch is technically the new ruler of the The Hatch Islands. After Hatch finally finds out about Quentin's betrayal and planned mutiny, Hatch, enraged, has all 5 Elgen Glows, including Quentin, arrested and imprisoned. Hatch sentences Quentin to spend the rest of his life imprisoned in a monkey cage. Although he at first begs for mercy, Quentin then mocks Hatch and says; "I would do it again." As a result, Hatch has Quentin sent to Cell 25.
Fall Of Hades Edit
Many weeks later, Quentin is released from Cell 25 and imprisoned in the Elgen Hades Starxource Plant. Quentin, understandably, is in horrible shape after his stay in Cell 25. Hatch visits Quentin in his cell and mockingly compares him to the famous American traitor, Ezra Pound, and quotes T.S. Elliot; "This is how the world ends, not with a bang, but a whimper". Quentin tells Hatch that he's completely loyal to Michael Vey and the Electroclan by vowing that Hatch will someday be brought down by the Electroclan and made to pay for his crimes. Angered, Hatch says that Michael is nothing and declares that he will feed Quentin Michael's flesh before leaving.
The next day, Quentin is confronted in his cell by an Elgen Zone Captain, an Elgen Squad Captain, and 12 Elgen guards, who have come to escort him to the monkey cage. The Squad Captain forces Quentin to remove all of his clothing, including his underwear, and gives him a loincloth to wear instead. Enraged, Quentin vows to someday exact revenge on both Hatch and the Squad Captain. Annoyed, the Squad Captain points out to Quentin that, unlike the former Tuvaluan Prime Minister Saluni, he gets to keep his tongue and threatens to have it cut out if Quentin can't keep his attitude in check. Quentin reluctantly obliges.
After they leave the Starxource Plant, Quentin is forced to walk, almost completely naked, all the way to the monkey cage. During the walk, Quentin passes Saluni's cage, and is terrified by the possibility that his cage will eventually turn him into an animalistic savage. When Quentin reaches his monkey cage, he finds that a crowd of 100 Tuvaluans have, against their will, gathered at the monkey cage to watch his imprisonment. Although Quentin at first refuses to enter the cage, he ultimately dos so after the guard at the cage threatens to throw him in. The Tuvaluans are then forced to throw rotting fruit at him, although Quentin notices, to his shock, that they clearly don't want to.
Many weeks later, Michael and the Electroclan arrive in Nike to rescue Quentin. Quentin is shocked that the Electroclan have come to save him, and even more shocked that Welch is with them. Quentin, who by now is in dire condition, begs Michael to kill him and put him out of his misery, but Michael refuses. The Electroclan and Welch break him out of the monkey cage bring him to their boat, the Risky Business, and escape from Nike.
Later, on the boat, the Electroclan and Welch informs Quentin that they're planning to sail to Hades to rescue Tara and Torstyn and hijack the Joule.
The group soon discovers that the Risky Business"s Captain, J.D., has betrayed them and sold them out to Hatch in order to collect the million dollar bounty on Welch's head. After they overthrow and imprison J.D. and all of the members of the Risky Business crew, they then make a new plan; they'll sail to Hades, break into the Elgen Starxource Plant there, dig in, and defend themselves.
Once they reach Hades, they break into the Plant. After arming themselves, they decide on a new course of action; while the Electroclan battles the Elgen in Hades, Quentin, Tara, Torstyn, Welch, J.D., and a Risky Business crew member will break off from the main group, break through the Elgen's defenses, hijack the Joule, and then come back for the others. Michael agrees on this plan, on the condition that a member of the Electroclan, Cassy, go with them in order to guarantee that they come back for the Electroclan (as Michael, understandably, doesn't fully trust Quentin and his team yet).
The group free all of the prisoners, including Tara and Torstyn, allowing Quentin to finally reunite with his comrades, during which time Quentin apologizes to Tara for indirectly putting her in her current situation. After the prisoners's liberation, Quentin, his team, and Cassy leave in order to carry out their mission.
Cassy, Quentin, and his team ultimately succeed in hijacking the Joule. Under Cassy's insistence, Quentin and Welch reluctantly return to Hades to pick up the rest of the Electroclan. There they find, to their shock, that most of the island has been destroyed. Quentin and Welch then learn to their shock that both Gervaso and Tanner were killed during the battle, and that Michael apparently sacrificed himself in an explosion to destroy the attacking Elgen forces.
He appears in The Final Spark as a minor character. He is now working for the Electroclan. When they are all captured, Quentin and the others almost break out but are soon stopped by Hatch. After Hatch has been defeated by Michael, it is unknown what happens to everyone but Tara and Quentin are belived to have gotten married and go to college together.
He is Elgen Academy class president and more attractive, and taller, than Michael.
He has the ability to produce and EMP able to take out electronic devices for 20 yards away
Both Kylee (formerly) and Tara had a crush on him
In Storm of Lightning, he appears to be Tara's boyfriend.
Retrieved from "https://michaelvey.fandom.com/wiki/Quentin?oldid=12248"
The Prisoner of Cell 25 characters
Rise of the Elgen characters
More Michael Vey Books Series Wiki
1 Michael Vey
2 Taylor Ridley
3 Electroclan
Michael Vey Books Series Wiki is a FANDOM Books Community.


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How to Find Merchandise Inventory Using an Income Statement Balance
By: Bryan Keythman
••• Jupiterimages/Photos.com/Getty Images
A company's merchandise inventory is an account that shows the total amount the company paid for products it has yet to sell to customers. Although a company reports this amount on its balance sheet, it also uses the amount to calculate its cost of goods sold on its income statement. You can calculate merchandise inventory by using items listed on a company's income statement, and you can calculate it for different time periods to measure the company's inventory management. An inventory balance that grows disproportionately more than sales may suggest trouble selling its products.
Find the amounts of a company's beginning inventory and its net purchases listed in the cost of goods sold calculation section of its income statement. For example, assume a company has $50,000 in beginning inventory and $20,000 in net purchases.
Add net purchases to beginning inventory to calculate goods available for sale. For example, add $20,000 in net purchases to $50,000 in beginning inventory, which equals $70,000 in goods available for sale.
Find the amount of the company's cost of goods sold on its income statement. For example, assume the company's cost of goods sold is $30,000.
Subtract the amount of cost of goods sold from goods available for sale to calculate the amount of the company's merchandise inventory at the end of the accounting period. For example, subtract $30,000 in cost of goods sold from $70,000 in goods available for sale, which equals $40,000 in merchandise inventory at the end of the accounting period.
AccountingCoach; Merchandise Inventory; Harold Averkamp
Principles of Accounting; Chapter Five: Special Issues for Merchants; Larry Walther; 2010
The Motley Fool; Foolish Fundamentals: Inventory; December 2005
Securities and Exchange Commission. "Beginners' Guide to Financial Statements." Accessed June 1, 2020.
New York University Stern School of Business. "Inventory Valuation Methods." Accessed June 1, 2020.
Accounting for Management. "Types/Classification of Inventory." Accessed June 1, 2020.
American Productivity & Quality Center. "Inventory Days of Supply." Accessed June 1, 2020.
Cornell Law School Legal Information Institute. "17 CFR § 210.5-02 - Balance Sheets." Accessed June 1, 2020.


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In September, the United Nations adopted a set of "Sustainable Development Goals," priorities for the next 15 years (sustainabledevelopment.un.org/topics). It's sort of a global "to-do" list. High on that list was Goal No. 8 — a commitment to develop policies that promote economic growth and full employment, including those policies that support entrepreneurs and the growth of small and medium-size businesses.
"Now we have to do it," said Elizabeth Gore, former Entrepreneur-in-Residence (EIR) for the United Nations Foundation (unfoundation.org) and now EIR for Dell (dell.com). "We have to get countries to focus on the policy recommendations and start implementing them."
Getting that goal adopted took enormous effort. Michael Dell, the U.N. Foundations' Global Advocate for Entrepreneurship and founder and CEO of Dell, helped create a global movement — #EntrepreneursUNite — to get Goal No. 8 adopted (entrepreneursunite.com).
"We had over 1.2 billion actions around that movement," said Gore. That demonstrated worldwide support for government policies that help sustain small and medium business.
I had a chance to see this commitment firsthand last June, when I was asked to moderate a panel of global entrepreneurs on the 70th anniversary of the signing of the U.N. charter in San Francisco. In addition to Michael Dell, Secretary General Ban Ki-Moon joined us, addressing a core group of start-up entrepreneurs, urging them to mobilize their fellow entrepreneurs to help support new business formation globally.
According to Dell, the world needs 600 million new jobs by 2025 to handle the growing working-age population. Those jobs, he points out, aren't likely to come from big corporations like Dell, but instead from entrepreneurs and small businesses.
As an example of the kinds of government policies that can help support entrepreneurs and build new businesses, Gore points to crowdfunding, which was adopted in the 2013 Title 2 JOBS Act.
"That's a $16 billion new source of capital in the next two years," said Gore. She said new policies like these can open up greater opportunities for those who may not have traditionally had the same access to capital or markets. "Sixty-five percent of crowdfunding is going to women. That's a game-changer."
"Nothing will build a country out of poverty more quickly than jobs," said Gore. "And entrepreneurs create 70 to 90 percent of jobs worldwide. In turn, that supports building a health infrastructure, leads to better governance, and focuses on what people need to succeed."
Gore pointed out that entrepreneurs not only create jobs, but change how problems can be addressed and solved.
"In the developing world, entrepreneurs are the ones who are monetizing social solutions, instead of the traditional model of addressing social problems by non-profits bringing in ideas from different countries," Gore said. "Entrepreneurs see a problem, figure out a local solution, and find a way to make money from that as well — whether it's waste removal, health care, education. Entrepreneurs are going to be the ones who help us achieve all the other 17 U.N. goals."
Gore is particularly dedicated to helping women entrepreneurs.
"Whether in Silicon Valley or Nigeria, women put 90 percent of their income back in to their community. Men put only 35 to 40 percent back in," she said. "The day women open their business they start to think about their triple bottom line (people, planet, profits)."
"What I'm concerned about is the issues women face when opening their business," said Gore. "How they get access to capital. It's very different in different countries, whether it's banking, loans, venture capital, micro-finance. In some countries women are not even allowed to have bank accounts without their husband or father's permission."
What can entrepreneurs do now to drive support for global and U.S. policies that will help them launch and grow?
"The number one thing is to start talking about what they need — get on social media, use the hashtag #EntrepreneursUN," Gore urged. "If you have a suggestion for a new way to tax, or what you need for your talent pipeline. It's a platform to have entrepreneurs tell us their policy needs."
Among Rhonda Abrams' recent books is the 6th edition of Successful Business Plan: Secrets & Strategies. Register for her free newsletter at PlanningShop.com. Twitter: @RhondaAbrams.


It's a ghost! JK. It's me. How are you? Anyway, I got a new request to try a brand new type of shower cap and I would be lying if I said I wasn't crazy excited. Their mission is so beautiful and recently I've been purging harmful plastic products I keep around the house. Waterbottles, my beloved Teami mugs, anything that may contain BPH or other crazy fake estrogen things. It never occurred to me that my shower cap is also, one of those things.
I will be using it for the next month and can't wait to tell you about all of the ways it's benefitted me! I've also been oil training my hair to make it less greasy so this baby plays well into that role. I've been washing my hair only three days a week and I've got A LOT of hair so I promise to write more about oil training soon!
Shop My 5 ⭐ Club on Amazon!


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The Great Immersion Debate
By Nanomen, July 31, 2015 in Doom 2016
Nanomen
I was originally going to post a thread discussing allot of the major criticisms toward the Doom 4 reveal and what I personally agreed and disagreed with, but after reading even further into the Doom 4 discussion thread, I've formally concluded that would create a virtual cluster-fuck in the comments. Therefore, due to my distaste of flame wars, I've decided to narrow it down to one topic; the great immersion debate.
I've seen allot of people upset over how slow the player moves and the level design (even though it was just part of being a demo, but whatever), yet clamor over how immersive the original Doom is. First of all, and I know I'm going to get some hate for this, I personally don't think the original Doom has held up very well in the immersion department.
Yes, I know how revolutionary it was back in 1993, it was amazing for it's time; and I say "was" for a reason. I don't know if it's just me being born in 2001 and not finding out about it until much, much later, but I just don't see what everyone's talking about. How am I supposed to feel immersed when I'm running at 60 miles an hour with low frame animations, midi-death metal playing all the time, and a questionable use of colors and architecture? It doesn't feel like I'm in a demon ridden base, it feels like I'm playing an arcade game! And before you say, "oh, you just care about the graphics, don't you?", I'm going to turn around and say that graphics =/= immersion. Hell, I'm a huge fan of the original Half-Life and even that game's visuals haven't aged well either; however, what it does get right and has always gotten it right is immersion.
One of the biggest reasons I'm not a big fan of classic Doom and don't really see why so many people call it such an atmospheric game is because of the lack of ambient noises. Sure, you have the noise monsters make, but that doesn't mean anything if it's drowned out by bombastic action music playing constantly. Music should be played only when action happens; all of it's emphasis gets thrown out the window when it's blasting all the time. I mean, what's the point of playing such awesome music if all you're doing is going around hallways and corridors looking for items? A game very similar to the likes of Doom, Painkiller, in my opinion was one of the first classic FPSs that got music right. Ambient noises and suspenseful sounds would loop when you were going around searching for items, meaning when the heavy metal finally did kick in, it felt all the more kick ass because it got you in the mood to kill shit. It wasn't just background music, and that's what made it so great.
Another thing I didn't really like about Doom--and I can't believe I'm going to say this right in front of the entire Doom community--is the lack of scripted events or story telling. Okay, okay, I know what you're thinking, yes, I know that when misused, scripted events suck ass, and that I'm crazy for criticizing Doom for such a ridiculous reason; yes, I know that way too many scripted events can ruin a game, just look at Duke Nukem: Forever, that was a horrible game! But, if they're used properly and don't get in the way of the player where you're forced to listen to them, they can be wonderful. For example, let's look at Half-Life (again). In the beginning of the game, right after the experiment goes wrong, you can really tell and begin to understand how fucked the facility really is without the game needing to say a single word or even use a single cut scene. When you see an elevator full of scientists fall to their death, equipment malfunctioning, aliens killing everybody, and a gruesome government cover-up operation, it really makes you feel like you're in a facility that's going to complete hell.
I know you could fire back at me and say "well, Doom doesn't really have much of a story to tell!"; and, quite frankly, you're right. In fact, if you think about it, Half-Life's story is just a glorified version of Doom's story with aliens instead of demons. But that doesn't mean it has to abandon the idea of immersion entirely! Instead, it can also focus on creating a world the player can truly believe he's in. I'm not saying the experience should be told through cut scenes and dialogue, I'm just saying we shouldn't go back to nothing at all.
And that brings me to my conclusion; why go back to nothing when you could have so much more? Quite frankly, I don't think Doom 4 really needs to be an exact copy of the original Doom. I mean, there's nothing wrong with wanting an arcade action style gameplay, but that doesn't mean we should just stick to every tradition of the past. We've evolved from primitive set pieces and awkward stage transitions, so why should we go back to them? I mean, just look at what games like Wolfenstein: The New Order and Duke Nukem: Forever 2013 did. They stayed somewhat true to the original formula while also improving and adding upon it's core gameplay elements to create a better experience.
In my opinion, if Doom 4 does the same thing those games managed to do while also making the levels a little bit less linear with faster movement, that's perfectly fine. We should keep moving forward, not be stuck in the past. Those are just my personal thoughts, anyway. I'd like to hear what you guys have to say in the comments, and if anyone else feels the same way I do. Thanks for reading this really long post I needed to get out of my system. - Nanomen
(Edit 8/3/2015 -- After reading this, I'd recommend you read allot of the comments/replies I made on the first page before commenting; I go into allot more detail of what message I was trying to get across, some ideas I have, and another big reason I had to write this thread I forgot to add in the conclusion)
Linguica
Badministrator
Were you born before or after 9/11/01. This is important.
I was born January 23, 2001. Yes, I was born before the events of 9/11. But is this about me or Doom 4?
[MAG]Nathan
Truly. You had to have been there.
The fact is, the things that made Doom great back in the day, don't hold a candle to the new shit.
However, what made it so great, was the standard it shattered. No, it's not very ambient compared to [any game after 1999 here]. But, side it next to the games that came out around it. It wasn't just better, as every new game should be. It used concepts that a whole lot of people didn't even think could be applied to a game.
It's that kind creativity, originality, and furthering of the art, that you just don't see at all today. In the past decade, a game hasn't done anything to make anyone go "I didn't know a game could do that!". The games just look better, are a little bigger in size, and for whatever inexcusable reason, are also significantly shorter in playtime to their predecessors.
Now, I for one am stoked as shit for the up coming game. I've made almost $400 in upgrades to my PC to run it, and I'm not done. But, as modern as it is. It has nothing new to offer, whatsoever.
Again, it's not what Doom93 has, that made it the legend it is. It's how everything around it didn't have. And we just don't see that anymore.
Blastfrog
Formerly Sodaholic
Nah, OP. Doom 1 was dripping with atmosphere. The lack of ambient sounds is because they could only play 8 at a time, so they saved it for important stuff. You need more suspension of disbelief, you're letting arbitrary nitpicks get in the way.
You were walking through dark corridoors with rusty walls, the sounds of monsters all around you, while you struggle to survive. Keep in mind that the way most people play the game now is not how people played it back then for a lack of skill.
Linguica said:
I fail to see how two buildings collapsing has any effect on one's taste in games.
Sodaholic said:
They might have a grudge against flight simulators?
Well, the thing is, I'm looking at it from a modern stand point, today's standards. I understand id had some limits with sound design due to MSDos's 8 sound channels; and yes, I know the atmosphere originally came from people experiencing something as different as Doom was. I would know that feeling, the first time I played some thing as simple as Lego Star Wars when I was really, really young, I was--believe it or not--terrified of breaking down the first door because there were droids making weird (scary) noises on the other side. Yes, my seven six year old self was scared of Lego Star Wars. I just wrote down what I experienced in my play through of Doom.
[MAG]Nathan said:
You know, I've always been mad at fate for making me as young as I am. When I was playing Doom in DOSBox, I was thinking about how amazing it must of been back then to see something as revolutionary as Doom. I'm pretty sad to think I'll never see the same kind of innovation ever again in future games. But, I guess I can't change when I was born ):
I'm reminded of this gem. YouTube user Balgorg has a lengthy video series on FPS, and in the following video we see clips of titles released between 1992 and 1994. Notice, around the three-and-a-half minute mark, that after a plethora of cartoony, low-octane shooters, Doom comes in and wipes the floor with everyone. This really helps to give context to how Doom was perceived at the time, because everything else was clunky, inoffensive and slow by comparison.
gamul312
Your opinions about the music sound like John Carmack's. He once remarked that the Jaguar version of Doom was more effective for him because it lacked music and just had sound. If you haven't tried it (or seen it) look up the PS1/PSX version of Doom, with the more ambient-style audio by Aubrey Hodges. It's a darker, scarier version because of it. It wasn't long after Doom that Id made Quake and deliberately went for a more ambient and serious tone with the graphics and sound, as well.
That said, I think Bobby Prince's music fit the game like a glove and was a large part of the fun. It's silly, just like the Doomguy's head making wacky expressions on the bottom is cartoony and silly. This game wasn't that far removed from Wolfenstein and other 3D games like Blake Stone and Duke Nukem in that way. It was kind of a mix of things.
I don't think story works well with it -- at least it couldn't have in the original. The game is fully "just" a game, in the same way that Solitaire and basketball are "just" games. The levels are frequently maze-like, which doesn't lead itself well to scripted events or story sequences. This even held true with the RPG series Etrian Odyssey, on the DS, when it went back to its Wizardry/Might-and-Magic roots (despite the anime style of its character designs) to deliver a pure maze dungeon hack game, with almost no story or character interaction. Personally I prefer this kind of thing, but it depends how much you just enjoy games as games, for their challenge, rather than for the experiences and storytelling. There was always storytelling games, including RPGs and adventures. Eventually by the late 90s it was becoming increasingly common for mainstream action games to incorporate quite a bit of story and take it more seriously. Now it is the norm.
As far as immersion goes, I think it was fairly uncommon for mainstream titles, especially on console, to have much in the way of feeling immersive until the late 90s or early 2000s. There were some earlier games, like Out of this World (Another World) and Myst, or perhaps some Infocom adventures, or Metroid... but games were heavily influenced by the arcade style until at least the mid 90s. Plus they did not usually have as much memory, especially dedicated to sounds. Some people feel immersed in older 8-bit titles that they really like, but usually people start describing games this way with titles like Silent Hill and Ico, which came much later than Doom. Well, for that genre, titles like System Shock were important steps and very influential.
But it's my contention that you can't have the same style of manic action and furious combat and crazy deadly encounters and stuff in a game that's more about immersion and story. That almost immediately implies slower action and more thoughtful approach to your surroundings (just as action movies are less known for their story than dramas). Doom 3 went for this a good bit, but it was an unhappy mix, overall.
If the game takes itself more seriously, like Bioshock or something, then fine. It works for that, I guess, although to me the way video games take themselves seriously is always ridiculous. Perhaps because I grew up in a more arcade time. But it comes off as pretentious. You're usually just killing lots of things anyway, but they try to shovel on top of that a bunch of serious storytelling and character design and it comes off as forced, to me. I prefer just arcade action. It's more honest that way.
(shrug)
(Although I did like the darker, more somber tone of Quake 1 a lot... but again, no story to get in the way of anything, really, outside of the episode end messages, if that counts).
(I should add one other thing: you probably know this, but before the advent of the CD-ROM, games were generally very limited in memory. Graphics and sound took up a lot of memory, as they still do today, but if a game wanted to have a lot of story or dialogue, even as text, that took up memory too, and believe it or not, a lot of text in dialogue was, back then, a limiting thing. You could either have one or the other, but it was the increased memory of CD-ROMs, their cheapness as a medium, that in the mid 90s brought about more mixing of great graphics/sound with great storytelling, often clumsily, in the form of interactive movie games or graphic adventures with a lot of voice overs and cutscenes. But it was also a matter of loading times: it took a while to load large files up, such as a voice clip of any length, or a video clip. So before the mid-90s of so, about at the same time that Doom came out, you did not usually have developers trying to bring much story into their action games. They had to focus on programming it such that they could quickly shift in and out of memory all the graphics, sounds and game code without there being any hiccups in gameplay. They were still limited to 2 or 4 megabit ROM sizes, less than a megabyte. Arcade games were larger, but still the idea held true. CDs brought about a sudden jump to about 600 megabytes, although loading times immediately became a headache here.
So originally Doom did have some plans for more of an interactive environment, I think: look up Tom Hall and his Doom Bible and his original wishes for what Doom was going to be. I think it was going to be more of a story or adventure and Carmack and others wanted it to be more "arcade." They did do away with some arcade elements that Wolfenstein still had, though, like the lives system (and hi score? can't remember).
Yeah, Doom was originally going to be more like System Shock, with a heavy focus on co-op.
gamul312 said:
But it was also a matter of loading times: it took a while to load large files up
That was part of it, but an even bigger factor is the fact that optical drives are fucking slow in comparison to HDDs. And HDDs are fucking slow in comparison to purely electronic memory like an EPROM or SSD.
Off-topic, but whatever: I think using Mode 1 for Sega CD homebrew is a much better option than Mode 2. Mode 1 primarily ran the game off the cartridge, yet you could access the disk and the SCD's own hardware. Mode 2 was purely disk based and had a very limited 256kb cache. Use some ROM bankswitching in Mode 1 and you could have a big and fast game.
Nanomen said:
I can see were you're coming from. Honestly, I agree if Doom93' tried to have any really complex story telling in it, it would've probably sucked and wouldn't of been necessary, especially with the limitations of the time. I was just looking at it from my perspective comparing it to the other things I've played ignoring the limitations of the time as an excuse, that's just how I critique my games (though, that might seem a bit unfair in the eyes of other people).
As for what you said on immersion, scripted events, ect, I wasn't suggesting like Half-Life 1/2 levels of story telling. Hell, even if it's the smallest of events that happen that can cue newcomers in to the whole setting of Doom, I think that would be great. If there isn't a single line of dialogue spoken in the entire game, I'm fine with that. Even if it's the most simplistic of any video game story ever written and they made it almost invisible, I think that would still work. In fact, I could go so far as to say that you could have no scripted events at all. Though, they could work with non-linear level design if you mixed them with some linear level design, kind of what like Duke Nukem: Forever 2013 did.
Another problem I didn't have the time to mention in my previous post with Doom93' was how barren the levels were. In fact, half the time I had absolutely no idea were I was in terms of the visuals and architecture. I mean, does level one seriously look like a hangar? Even if it's something as small as perse documents scattered across objects, signs telling you were you are in the facility, monitors containing various tibits of information, dead bodies, that kind of thing.
Could you imagine how awesome it would be if you killed everything in the room and notice small little things like research logs, monster bios, or possibly even Easter eggs you didn't notice before while searching for items and secrets? Another game I played that did this, Shadow Warrior, proved to me that detailed set pieces, a few scripted events, and maze-like level design can go together quite well if done correctly. Though, if Doom 4 tries to have characters, really deep in-your-face back story, or tries to take itself seriously, that just wouldn't work, I'll definitely agree with you there. I think if they try to include story telling, immersion, and scripted events, they should be treated like Vegemite on toast; it should be spread VERY lightly.
I think an arcade style game can work with a little bit of immersion and story-telling if done properly, just focus on the arcade-style gameplay more than the story-telling and scripted events themselves.
Arguably it becomes harder to do just "arcade action" when graphics get as complex as they are today -- even 10 or 15 years ago. Because now we have so much detail in the environments that it begs the question for why you can't examine things and learn more about it, or meet other people in the facilities, and so forth. The more detail, the more explanation needed, in large measure.
So I don't have a good answer for what to do there. Even with my talk of mazes, I'm reminded that they work best when you have repeated tiles (same walls over and over), like in Wolfenstein 3-D or Dungeon Master. But Doom wasn't really setting out to make mazes, exactly. It just seemed like some of the more complex ones felt that way because they were easy to get lost in. The poorness of the graphics contributed to that.
I'm sure it will have some level of scripting or staged events in it, like the way the gameplay we saw opens up with the helmet being put on. Or those moments where you see the ghost recordings of recent events after the severed hand is scanned. There might be stuff like walkways breaking away as you approach or traps that get set off.
If Id is smart about it, they'd put most of the explanations in the human world parts (Mars/Phobos), where you'd expect to learn about where you are, but much less or none at all in the Hell sections. Makes sense, right? But really I see it as a matter of pacing. You could have a riveting single player adventure where some levels/chapters are mostly just balls-to-the-wall action, while others are quieter and you're even doing a bit of investigating, like around a research lab, trying to find something that acts as a key, but you end up reading or overhearing (from audio logs) things that have happened. It's a matter of how it's timed and if it works in the mood of the game, if it's enjoyable there. It's the same way in action movies.
That's exactly what I was thinking; instead of having back story or exposition explained through other characters in cut scenes or dialogue, explain it in really subtle, optional ways so it doesn't get in the way of killing things. I've always appreciated those sections in games that sort of just allow you to stop for a few moments to look around and try to figure out what the hell is going on, or even the really secret places that provide much further detail. I think stumbling upon something similar to the likes of Doug Ratman from Portal while searching for secret areas could be an awesome way to give players like me more of an incentive to look around for hidden items.
Not only would telling the story in a more cryptic fashion appeal to those who enjoy finding very small shreds of information expanding the lore and piecing together the plot or even subplots, it would also appeal to those who don't care about the setting or any back story and just want to shoot demons; instead of being forced to listen to or read all of the new lore, they could just skim past it and go straight for key items or secrets. It's a compromise I think could indeed work extremely well if executed right.
Oh, one more thing I didn't mention last time, I've listened to some of Audry Hodges' work before, and I will definitely say I prefer Doom 64's soundtrack over Doom93's; I still like Doom93's up-beat metal soundtrack, however, I just don't think it was used right.
Armaetus
OBSIDIAN Developer & Contributor
Doom93? I think just calling it Doom is the right term around here and new Doom is simply called Doom 4, without the stupid capitalization of the M at the end. Yea, it's a nitpick of mine for developers who just name their new game the same as an old title of theirs.
Have you gone through any of the episodes from start to end yet?
Doom didn't always have metal tracks playing. There were a lot of tracks that I still hum every now and then that were dark and spooky. I think u guys are forgetting about those.
Glaice said:
Yes, three of them actually, and I got pretty far into Doom II before I became bored (though, I'm considering replaying through Doom 1 & 2 again on nightmare difficulty since I was having allot more fun). Also, I was saying Doom93' just because I didn't want to take any chances with clarity; this is the internet, after all.
DooM_RO
That really bugs me too. All over YouTube and other fansites I see "blah blah, where is muh METUL?!".
I usually respond to these comments with "You do realize that half of the Doom soundtrack was NOT metal, right?". I usually get no response.
Yeah, I do suppose I forgot to mention the dark, spooky songs or the bass-heavy ones. I guess I didn't mention most of Doom's soundtrack other than the metal--what it's most famously known for--to stay on one topic and due to allot of the tracks getting repetitive and, admittedly, bland after awhile. I know music back in the day on MSDOS wasn't all that complex or long due to memory limitations, but that still doesn't mean I'm going to enjoy it anymore today. I think the reason I don't remember Bobby Prince's work more than someone like Audry Hodges' work is just because Audry took allot more bold moves with his instrument choices. I think the reason I prefer Doom 64's soundtrack is just how difficult it is to describe, like you couldn't even explain it to another human being without having them listen to it for themselves; but, that's just my taste in music.
Understood. I think the new Doom is gonna have the best of old Doom mixed with the best of Doom 3 which was atmosphere. The music in the demos wasn't straight Metal which I love above all forms of music but it wasn't crap. It was very fitting. They know what they're doing. People always want to bash the devs but they're doing their very best. This game means just as much to them as it does us. Probably more so to them because they're very careers and livelihoods are on the line.
And to DooM_RO, yeah I know what u mean about those idiots on YouTube. Half of them think Doom started with Doom 3. And the ones that started with Doom 1 & 2 didn't play them enough to even remember what they were and what they brought to the table. Dumb hipsters.
I'm so glad someone else other than me doesn't think the new music is awful. Industrialized, metallic-sounding, electronic instruments with some heavy guitar thrown in works flawlessly for the combat sections; they absolutely nailed it, especially considering Doom's futuristic setting. Though, I don't think they should use electronic too much, if you use the same category of combat music all they way through it can get stale. Now, imagine this; what if in the later stages of Hell were you finally start to leave the UAC facility and tread deeper into Hell, they not only start to use more metal and less electronic, but also mix some Gothic choir and organ into it as well? That would be fucking *awesome*.
As for the the more quite, ambient music they showed off, my God, now that's how you do atmospheric music right. It creates a sense of dread and excitement at the same time, always hoping for yet dreading another monster encounter, even more so if you're low on health and armor. It doesn't kill any immersion and it contributes even more punch to the combat segments. It what atmospheric music in almost every other action game should do; it builds suspense, and I'm so glad they made that improvement instead of just sticking to one theme for the entire level.
Gameplay is the KING. Period. If you need story, play RPG.
Avoozl
Well the main purpose for games is the gameplay. :P
NoisM said:
Well, if the story/story telling doesn't get in the way of gameplay, optional to listen to, subtly told, and expands upon the lore of Doom, why not have it? It could add more re-play value and depth to Doom 4 if done right. Plus, the only four RPGs I've ever really enjoyed from start-to-finish are Dragon Quest VIII & IX, Golden Sun: Dark Dawn, and Earthbound; but that's a whole different topic for another time.
Jaxxoon R
I recall the composer posting this on his in brief demo track on his instagram. As you can see there's electric guitars and drums and all that. So the OST's gonna go on a spectrum between industrial and metal.
Still would've loved if Hodges' militaristic rock & aliased sample nightmarescapes had been persued in some capacity.
@ Nanomen
I like that idea. The music should get darker as the setting changes. So far I think the music fits. Hopefully they keep it fresh throughout the game.
Enjay
I think that covers it.
Before December '93 there had been nothing, nothing like Doom. Yes, I can already hear people saying "Wolfenstein" or possibly even something like "Ultima Underworld" etc but no, nothing put you behind the gun and into a world quite like Doom did and let you run through it and interact with it so immediately. Anyone raised solely on a diet of what came before will never forget what that first time playing Doom was like.
Also, Doom93? Blergh!!! :P
quakke
See my level design thread where i analyzed the UAC level shown, before it was confirmed by id Software that the map is even bigger in scale because it's possible to jump down to catwalks seen below. And movement isn't about being immersive, it's just to give you fast adrenaline filled experience or in otherwords.. it's just plain fun. Fast movement speed is something you just don't get in an slow moving shooter of todays design. ( i am not indicating Doom 4 has slow movement speed)
http://www.doomworld.com/vb/doom-4-general/73289-doom-4-automap-drawing/
The Ultimate DOOM is pretty much just "Terminator: The Simulator".It's all about the killing while cool music plays and makes you feel like a true badass because you alone bring down hell.
Can't expect fully lively ambient world from an game that pretty much Made The FPS Genre. It was un-heard of at that time and thus couldn't have been thought of to add. Plus, it would've been a performance toll on computers of early 90's since they ran all on software mode, didn't even have actual external/independent gpu's like todays.
Painkiller isn't a game like DOOM, Serious Sam is neither. Those games take one element from it which wasn't even the biggest, killing. On otherways though.. Serious Sam and Painkiller are very different to DOOM. They can be considered Horde Combat FPS, HCFPS. They are linear, lock you to arenas until you've killed x amount of incoming enemy horde waves. Well, atleast Serious Sam doesn't really lock you but Painkiller is very linear and does lock. Doom never locked the player in fights, you could literally run around the map and enemies came from any possible place, not just "combat arenas" and that was the other thing. DOOM had very non-linear maze-like maps that had multiple directions to same location.
Half-Life, i like all of them but 1 (98) the most. DOOM isn't supposed to be more "advanced" than to kill demons and navigate the non-linear map. (yes, it can also include vertical navigation, which im glad doom 4 has)
Quoting just some fan from quakecon 2015. "You kill demons from hell"
Call me whatever, whatever but i didn't enjoy the new Wolfenstein and frankly i expected more from my Swedish neighbours who also brought us that awesome and epic Riddick (2004), sequel of riddick (2009) was only an "eh" game. But new order was 10 times more cinema-heavy than riddick games ever were. Shame on you Machine Games, you are nothing like the good old Starbreeze..
Duke Nukem Forever 2013 Duke3D mod was epic, yes. Scripting and everything done in a way it's supposed to be done. Praise the gameplay. Cinematics should never override gameplay and modern games still haven't learned that from Half-Life.
Using my own drawn map analysis picture now again. Luckily, levels won't be pretty much linear at all because this map is one of the first maps from Doom 4.
We should keep moving forward, not be stuck in the past.
Also i am not really sure what kinda troll/clickbait this is but i am going for it anyways..
As far as modern fps design is concerned, i share the feel with romero. "Modern fps games are just about being a slow moving bulletsponge rather than having high agility and moving and dodging rockets etc.. running circles around the other players."
Modern fps design is mainly gimped by controllers because fps is too complicated for controllers to handle without slow bulletsponge-ads-regenerating-health gameplay. Even DOOM 4 played so at one point but thank gosh it got scrapped. Thankfully DOOM 4 is gonna be more different than Wolf was.
@quakke Wow, that's a long reply. First of all, I never said the level design was too linear; I only mentioned how other people were. Those who complained about the levels being too linear are just plain stupid; it's a demo, of course it is. Secondly, I know fast-movement isn't supposed to be immersive, I just thought 60 miles per hour is way too fast for me to take seriously. I think the movement speed they showed off in the demos (and that one brief shot in the trailer where Doomguy appears to be going super fast while strafing) was much better, not too slow, but not too fast.
As for what you said on Doom being "Terminator: The Simulator", my response would be yes-and-no; yes, because you get to kill shit (which is awesome), and no, because Doom--at least back in 1993--wasn't just about killing things to most people. I've commonly seen allot of Doom fans, even Gabe Newell himself, asked about what they remember most fondly from Doom, and most of them said it was actually the scary atmosphere--for the time, at least. I mean, Doom was not even remotely close to allot of the games that were coming out in 93', even it's predecessor, Wolfenstein, had some differences. For one, the noises the monsters themselves made I can image were terrifying to anyone who was new to Doom. They made you fear what was up ahead and would scare the shit out of you if you were in a dark area. Like remember that one part in the toxin refinery where as soon as you pick up the blue key, the whole room goes dark and imps come out of nowhere? That's what I'm talking about.
You also called me out for picking on a game that came out in 1993 for not having enough ambient sound effects, like the hum of a ceiling fan, footsteps, metallic creaking, ect, ect. While, yes, I understand how most people consider it unfair to criticize an issue that comes all the way down to the hardware itself, I don't take excuses. I don't care if the problem was because of the hardware itself, it doesn't matter, an issue is still an issue; that's just how I think when I'm critiquing a game. As to why I didn't complain about the graphics, visuals don't matter all too much in my eyes--unless it's something like Bubsy 3D or Action 52 where they're literally painful to look at.
Painkiller, yes, I now realize isn't all to similar to Doom, but that doesn't change the fact that Painkiller was inspired by Doom and does have some similarities; I was just using it to make a point about the music.
I understand Doom back then technically wasn't that much more than "here's some demons, here's a big, non-linear level; kill the demons and explore this level", but I would at least like to see something interesting going on other than killing demons the entire game.
If you don't like Wolfenstein: The New Order, fine. That's your opinion, but I'll most certainly say they shouldn't use cinematics; I'm glad we can both agree Duke Nukem: Forever 2013 had a fantastic use of scripting for a classic FPS, that's the kind of thing Doom 4 should be aiming at.
As for my previous conclusion, I think I realized one of the biggest reasons why I wanted to see immersion in the first place; I want other people to experience what old Doom fans experienced all those years ago. Back when I said "most Doom fans said they remembered the atmosphere/immersion," that's what I want to see, too. I don't want Doom 4 to just to be a clone of Doom 1, I want it to re-imagine what made the first Doom so great, to make it easier for new-comers to understand what it was like back then; it wasn't just a game, it was an experience. I'm not expecting to see the same level of innovation people saw with Doom 1, not even close; however, what I do want is new fans not to see it as just pure action, but rather as something so much more.
Jaxxoon R said:
That short, seven second preview track seriously reminded me of Quake 2's soundtrack--which is awesome; and if that's true, thank God, I love musical variety, especially with lots of different instruments. Though, I'll agree it would've been sick if Audry came back to work on Doom 4's soundtrack with the new guy; but, I guess we can't have everything good in life, sadly.


A ransomware attack is spreading across Europe in what looks like an outbreak of malware like the global WannaCry attack last month.
Russian petroleum company Rosneft confirmed its systems were under attack, saying in a tweet that "a massive hacker attack has hit the servers of the company." The transport company A.P. Moller-Maersk confirmed in a tweet it also suffered an attack and its systems were down. Meanwhile, Kiev's main airport has been affected by the malware, the BBC reported.
Security researchers have raised similar warnings for energy systems in Ukraine, including Ukrenergo and Kyivenergo. Other incidents are being reported.
"It looks like what happened with WannaCry," said Rickey Gevers, security researcher at RedSocks Security, a Dutch cybersecurity firm.
Computers affected by the malware show messages asking people to pay $300 worth in bitcoins to a specific account.
Ukrenergo, one of the affected companies, was the target of a severe cyberattack that downed the energy systems in large parts of Ukraine last Christmas.


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North Staffordshire Railway Company (1978) Ltd
The North Staffordshire Railway Co. (1978) Ltd. (NSRC) is the Charitable Trust (registered charity no. 514172) which provides support to the Churnet Valley Railway (1992) PLC. It is also the registered museum guardian of an extensive collection of original North Staffordshire Railway memorabilia and other items associated to railways in the local area.
The charity's defined objectives are -: "To advance the education of the public in the history and development of railway locomotion, and in particular by the preservation and restoration of a section of the standard gauge railway system formerly operated by the North Staffordshire Railway Company and, for the benefit of the public, to preserve, retain and restore Cheddleton Railway Station as a museum and headquarters for the company." (For further details see 'Clause 3' of the NSRC Memorandum of Association).
By becoming a member of the NSRC you can benefit from reduced fares on the Churent Valley Railway, take part in a selection of the special events held on the railway, and receive the tri-annual journal "The Knotty". This official journal of the Churnet Valley Railway, which is free to members of the NSRC, contains news from the railway and historical features, both about the present day Churnet Valley Railway and the original North Staffordshire Railway Company (the "Owd Knotty").
NSRC also provides volunteer support to the Churnet Valley Railway; it is CVR company policy that all volunteers working on the railway should be NSRC members whenever possible.
To support the latest NSRC Projects, please visit their Total Giving page >here< or Online Donation page >here<.
The NSRC main objectives are -:
EDUCATION - to teach the history and development of railways in North Staffordshire
FUNDRAISING - to raise finance for projects that enhance the heritage along the Churnet Valley
MUSEUM - preserve Cheddleton station for purpose of displaying company railwayana
VOLUNTEERING - to promote the social benefits of playing an active role in the Churnet Valley Railway
This includes acting as a conduit for grant aid applications, and organisor of social events for members and the community.
View>Online Membership Form< to join the NSRC now.
The North Staffordshire Railway Co is able to reclaim 28p for every pound that you donate or pay in membership fees if you complete and return the Gift Aid form. You must pay UK Income Tax equalling or exceeding this amount in any one Tax Year. Please make your money go even further by completing the form.
Full Adult (18-59 years) £19
Senior (Over 60 years) £16
Joint Senior £22
Family/Joint (up to 2A + 2C) £27
Life Subscriptions
Full £550
Senior £360
Family/Joint £700
For further details, please visit the website, Facebook, or email -: info@nsrailway.co.uk or write to -:
The Membership Secretary,
North Staffordshire Railway Co. (1978) Ltd.,
Cheddleton Station,
Cheddleton,
ST13 7EE
http://www.nsrailway.co.uk
info@nsrailway.co.uk


text:
Tachiniscidia is a genus of Tephritid or fruit flies in the family Tephritidae. Several species appear like wasps.

References

Tachiniscinae
Tephritidae genera


Welcome to Aeon for Ocean - "Kids teaching kids to lead the way in protecting the world's oceans"
Oceans are important to life on Earth. Oceans cover three-quarters of the planet and have about 97% of the planet's water, giving earth the name "Blue Planet".
Interested in becoming a Krill and making a difference? Join me in spreading the knowledge about marine creatures and help save the oceans and our planet.
Our life depends on ocean and ocean depends on us no matter where we live! We can make a big difference by taking small steps towards healthy ocean.


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Home»Podcast»Best of Swarfcast – Ep. 73 – Tracking Your Machine's Productivity with Eric Fogg
Best of Swarfcast – Ep. 73 – Tracking Your Machine's Productivity with Eric Fogg
By Noah Graff September 17, 2020 Updated: May 23, 2022 No Comments5 Mins Read
Today, we're going to do a quick Throwback Thursday to March of this year, to a discussion about going digital with machine data.
This week's podcast is an interview we did with Eric Fogg, co-founder and head of machine connectivity at MachineMetrics. MachineMetrics produces an IOT device that connects directly with machine tool PLCs and controls to track realtime and historical data on equipment. Operators use the data to assess how machines are truly performing, which is often quite different from what they perceive.
Scroll down to listen to the podcast. Or listen on your phone with Google Podcasts, Apple Podcasts or your favorite app.
Eric explains that MachineMetrics is a machine data connectivity data platform. The company makes a device (he calls an "edge device") that connects directly to machine controls and sensors of production equipment. The device gathers valuable data on how the machines are performing and sends it to operators to analyze. (3:10)
Eric talks about taking machine shop classes in high school. During high school he worked at a lot of different machine shops on nights and weekends and taught himself programming. (4:10)
Eric says that MachineMetrics can gather data from all vintages of machine tools, not just CNC machines, though CNC machines provide the most data. He says right now MachineMetrics has a client using its edge device to gather data from a punch press that was manufactured in 1925. He says, "As long as it moves and has electrons flowing through it we can probably get some useful data out of it."(7:00)
Eric says that in college he majored in theology because he wanted to work in the field of corporate ethics. Eventually he started his own machine shop in his mid 20s that specialized in green technology products. (10:00)
Eric Fogg of MachineMetrics
Eric says that when the 2008 recession hit he started doing more job shop type work with low margins. He eventually closed his company started doing Six Sigma consulting for job shops in Vermont. The experience of analyzing the processes of different shops inspired the idea for MachineMetrics. He says he observed that shops were often making decisions based on a gut feeling rather than based on data. He came up with the idea to pull the data that already was on the machines' controls to create reports, dashboards and analytics to help machining companies make decisions. (14:00)
Eric says the most basic data MachineMetrics tracks is machine utilization—how much machines are running versus how much people think they are running. He says the average perceived utilization of equipment by MachineMetrics' customers is just under 80%. The actual average is in the high 20 percents to low 30 percents (the numbers are based on active shifts). He says that the numbers can be surprising as various markets differ. For instance, he says for some types of very low volume work (1 or 2 part runs) 15% utilization might be considered world class. He says for high volume shops utilization is often much higher. For instance, he says shops making millions of parts with much thinner margins sometimes have utilization in the 90 percents. He says that no matter what type of shop, clients are usually surprised at their utilization rates. (20:25)
Eric gives some examples of how MachineMetrics data uncovered problems that led to low machine utilization. He gives an example of a client who was using cheap 1/4" drill bits on a drill and tapping center. The company calculated it took only 5 minutes to change a drill bit out, so they used cheaper ones with short tool life. The problem was that while operators left to get a new drill bit from the tool crib they got sidetracked and the average time to change the drill bit was actually over 40 minutes. After learning this the owner of the company decided to go out and buy the most expensive drill bit that lasted 10 times longer than those he was using. It was a solution that was much faster and easier to implement then changing the procedure in the shop which could have tons of variables to consider. (24:10)
Eric says that MachineMetrics generally does not advise customers how to use the data they collect. He has found that customers usually take the initiative to solve their problems. He says his company is often surprised at the interesting ways that clients utilize the data. (27:40)
Eric discusses a phenomenon he sees in CNC shops he calls "cyclecreep." What happens is that over time people gradually alter they way they run jobs by making tweaks such as changing tools or feed rates which often increases cycle time. The problem is that the manufacturer continues to bill its customer for the original cycle time. Operators see green lights on machines which makes them think everything is running fine but problems are occurring behind the scenes. (30:15)
Eric gives an example of a company running the same parts on 20 vertical machining centers that were bought over 10 years. MachineMetrics found that no two machines had the same original cycle time of 40 minutes. He says that some cycle times only differed a few seconds but the delta between fastest machine and the slowest machine was 15 minutes. After seeing this data, in just a week the company was able to adjust the machines to all have a cycle time within a few seconds of each other. (35:30)
Eric says it can be difficult for his clients because often MachineMetrics is delivering them bad news. He says that the consistent trend he sees is that the most successful shops have a culture around change. (37:25)
Question: Are the effects of the coronavirus a net plus or a net minus for your machining business?
business data digital technology eric fogg iot machine shops machinemetrics productivity technology
Manufacturing a $70,000 Wristwatch in the United States, with Josh Shapiro EP-174
2022 Was the Best Year of My Life