Engagement and disengagement in addiction recovery settings are important for these communities and their members. This study tested an Affective Events Theory (AET) model of these constructs in the Oxford House network of recovery homes. Residents' congruence with their home (P-E fit) was hypothesized to directly influence behavior that supported the house and other residents—citizenship behavior. We further hypothesized P-E fit would be related to member intentions to leave, with attitudes toward the home mediating that relationship. To assess this, we administered a cross-sectional national survey to 296 residents of 83 randomly selected Oxford Houses. Although the AET model demonstrated good fit with the data, an alternative model fit better. This alternative model suggested an additional indirect relationship between P-E fit and citizenship mediated by attitudes. Results suggested affective experiences such as feeling like one fits with a community may influence engagement and disengagement. There appears to be a direct influence of fit on citizenship behavior and an indirect influence of fit through recovery home attitudes on both citizenship and how intentions to leave the home. We conclude affective experiences could be important for community engagement and disengagement but AET may need to integrate cognitive dissonance theory.
Beasley, Christopher and Jason, Leonard A., "Engagement & Disengagement in Mutual-Help Addiction Recovery Housing: A Test of Affective Events Theory" (2015). SIAS Faculty Publications. 768.


Arsenal have been 'constantly' monitoring PSV's Steven Bergwijn this season as they try to find that elusive winger.
21-year-old Steven Bergwijn has been mostly linked with a move to Inter Milan when the transfer window opens in the summer but now reports from Italy claim that Arsenal are monitoring the player 'constantly'.
Under contract until 2022 after signing a new deal last summer, Bergwijn has scored 12 goals, with 12 assists, in 28 Eredivisie games this season.
This isn't the first time Arsenal have been linked with a move for him, either. Last summer, before he signed his contract extension with PSV Eindhoven, De Telegraaf reported that there was 'massive interest' in the player from the three clubs, who have 'closely followed' him in recent months. Arsenal were one of them along with Liverpool and Tottenham.
PSV reportedly wanted between €15m and €20m for Bergwijn's signing back then after rejecting a €12m bid from Torino in the summer of 2017.
Given Arsenal's limited budget, the club can't really afford to splash big money a number of areas in the team, especially when there are so many problems at the back to address.
Bergwijn could, therefore, provide a slightly cheaper alternative to potentially fill the gap in the squad.


text:
Leake County
U.S. county
Leake County Courthouse in Carthage
Location within the U.S. state of Mississippi
Mississippi's location within the U.S.
Walter Leake
2.5 sq mi (6 km2) 0.4%
41/sq mi (16/km2)
UTC−6 (Central)
www.leakecountyms.org
Leake County is a county located in the center of the U.S. state of Mississippi. As of the 2010 census, the population was 23,805.[1] Its county seat is Carthage.[2] The county is named for Walter Leake, the Governor of Mississippi from 1822 to 1825.[3]
In 2010, the center of population of Mississippi was located in Leake County, near the town of Lena.[4]
According to the U.S. Census Bureau, the county has a total area of 585 square miles (1,520 km2), of which 583 square miles (1,510 km2) is land and 2.5 square miles (6.5 km2) (0.4%) is water.[5]
Mississippi Highway 13
Natchez Trace Parkway
Attala County (north)
Neshoba County (east)
Scott County (south)
Madison County (west)
National protected area
Natchez Trace Parkway (part)
2018 (est.) 22,763 [6] −4.4%
1790-1960[8] 1900-1990[9]
As of the 2010 United States Census, there were 23,805 people living in the county. 49.5% were White, 40.6% Black or African American, 6.0% Native American, 0.2% Asian, 2.8% of some other race and 0.8% of two or more races. 4.3% were Hispanic or Latino (of any race).
As of the census[11] of 2000, there were 20,940 people, 7,611 households, and 5,563 families living in the county. The population density was 36 people per square mile (14/km2). There were 8,585 housing units at an average density of 15 per square mile (6/km2). The racial makeup of the county was 56.14% White, 37.42% Black or African American, 4.56% Native American, 0.15% Asian, 0.03% Pacific Islander, 1.14% from other races, and 0.57% from two or more races. 2.10% of the population were Hispanic or Latino of any race.
There were 7,611 households, out of which 34.30% had children under the age of 18 living with them, 52.20% were married couples living together, 16.50% had a female householder with no husband present, and 26.90% were non-families. 24.30% of all households were made up of individuals, and 11.70% had someone living alone who was 65 years of age or older. The average household size was 2.65 and the average family size was 3.13. In the county, the population was spread out, with 26.90% under the age of 18, 10.10% from 18 to 24, 27.00% from 25 to 44, 21.70% from 45 to 64, and 14.30% who were 65 years of age or older. The median age was 35 years. For every 100 females there were 98.00 males. For every 100 females age 18 and over, there were 94.20 males.
The median income for a household in the county was $27,055, and the median income for a family was $32,147. Males had a median income of $27,367 versus $18,307 for females. The per capita income for the county was $13,365. About 18.10% of families and 23.30% of the population were below the poverty line, including 31.90% of those under age 18 and 23.90% of those age 65 or over.
Government and infrastructure
The county is quite rural, with Carthage the only city and three towns.
The Mississippi Department of Corrections contracted for development of the Walnut Grove Youth Correctional Facility, which opened in 2001 in the town of Walnut Grove.[12] The facility was operated by the private Management and Training Corporation (MTC).[13]
By 2006, the Town of Walnut Grove annexed the land of the prison, resulting in an apparent increase in population, which was chiefly associated with prisoners.[14] MTC was repeatedly cited for problems with poor treatment of prisoners, and abuses within the facility. The state closed it in 2016.[15]
Leake County is served by the Leake County School District and East Central Community College, including Carthage Career Advancement Center, in Leake County and operated by East Central Community College.[citation needed]
Racial segregation
Most white students attend private schools while black and Hispanic children attend the local public schools.[citation needed]
White Students
Hispanic Students
Leake County 24,000 56% 37% 2% 2010 Census
Leake Academy (Private) 578 571 (99%) 0 (0%) 3 (>1%) [16]
Leake Central High School(Public) 562 132 (20%) 373 (66%) 57 (10%) NOTE
Presidential elections results[17]
2020 56.8% 5,228 42.4% 3,897 0.8% 75
1996 47.6% 3,017 45.8% 2,902 6.6% 419
1988 59.9% 4,168 40.0% 2,787 0.1% 8
1968 7.2% 453 20.5% 1,295 72.3% 4,568
1964 96.2% 4,343 3.8% 170
1960 8.8% 286 29.3% 953 61.9% 2,011
1956 7.3% 220 82.5% 2,475 10.1% 304
1952 18.4% 603 81.6% 2,667
1948 0.5% 12 7.0% 180 92.6% 2,392
1944 0.9% 24 99.2% 2,800
1940 0.6% 17 99.3% 2,802 0.1% 4
1936 0.3% 8 99.3% 2,566 0.4% 10
1928 11.1% 212 88.9% 1,695 0.0% 0
1920 9.9% 121 88.1% 1,082 2.0% 25
1916 2.1% 31 96.1% 1,434 1.9% 28
1912 1.1% 11 86.9% 910 12.0% 126
Carthage (county seat)
Sebastopol (mostly in Scott County)
Standing Pine
Unincorporated communities
Ofahoma
Mississippi portal
Dry counties
National Register of Historic Places listings in Leake County, Mississippi
^ a b "State & County QuickFacts". United States Census Bureau. Archived from the original on June 7, 2011. Retrieved September 4, 2013.
^ "Find a County". National Association of Counties. Retrieved 2011-06-07.
^ Gannett, Henry (1905). The Origin of Certain Place Names in the United States. U.S. Government Printing Office. p. 183.
^ "Centers of Population by State: 2010". United States Census Bureau. Archived from the original on January 3, 2014. Retrieved November 6, 2014.
^ "2010 Census Gazetteer Files". United States Census Bureau. August 22, 2012. Archived from the original on September 28, 2013. Retrieved November 6, 2014.
^ "Population and Housing Unit Estimates". Retrieved November 9, 2019.
^ "U.S. Decennial Census". United States Census Bureau. Retrieved November 6, 2014.
^ "Historical Census Browser". University of Virginia Library. Retrieved November 6, 2014.
^ "Population of Counties by Decennial Census: 1900 to 1990". United States Census Bureau. Retrieved November 6, 2014.
^ "Census 2000 PHC-T-4. Ranking Tables for Counties: 1990 and 2000" (PDF). United States Census Bureau. Retrieved November 6, 2014.
^ "U.S. Census website". United States Census Bureau. Retrieved 2008-01-31.
^ "Five Private Prisons Archived 2012-10-13 at the Wayback Machine." Mississippi Department of Corrections. Retrieved on November 21, 2010.
^ "Walnut Grove Correctional Facility" (PDF). Management and Training Corporation. Archived from the original (PDF) on 24 December 2012. Retrieved 24 March 2013.
^ "Walnut Grove Archived 2014-04-19 at WebCite." First Impressions. Mississippi State University, February 2008. 0 (3/21). Retrieved on August 14, 2010. "Looking at the MDA profile, the population growth is impressive (year 2000 – 488, year 2006 – 1,424). However, we learned that most of this population growth has been due to the location and annexation of the Walnut Grove Youth Correctional Facility."
^ Wiliams, Timothy (16 September 2016). "Privately Run Mississippi Prison, Called a Scene of Horror, is Shut Down". New York Times. Retrieved 16 September 2016.
^ "Leake Academy". National Center for Educational Statistics. US Department of Education. Retrieved 15 June 2019.
^ Leip, David. "Dave Leip's Atlas of U.S. Presidential Elections". uselectionatlas.org. Retrieved 2018-03-04.
Leake County Chamber of Commerce
Leake County Development Association
Leake County Courthouse Pictures
Leake County Genealogy
Places adjacent to Leake County, Mississippi
Attala County
Leake County, Mississippi
Neshoba County
Municipalities and communities of Leake County, Mississippi, United States
County seat: Carthage
Sebastopol‡
Bolatusha
Coosa
Hopoca
Indian reservation
Mississippi Choctaw Reservation‡
‡This populated place also has portions in an adjacent county or counties
State of Mississippi
Jackson (capital)
Lieutenant Governors
State Landmarks
Seal of Mississippi
Mississippians
Mississippi Plain
Natchez District
North Mississippi
Pine Belt
Tennessee Valley
Gulfport-Biloxi
Memphis (TN)
Larger cities
Smaller cities
West Hattiesburg (Oak Grove)
Alcorn
Attala
Coahoma
Copiah
Issaquena
Itawamba
Jefferson Davis
Leake
Neshoba
Noxubee
Oktibbeha
Panola
Sharkey
Tallahatchie
Tippah
Yalobusha
Mississippi counties
1833 establishments in Mississippi

redpajama_set_name: RedPajamaCommonCrawl


Catalog of Audio Visual Equipment and Materials. Syracuse, NY: Audio Visual Systems, Inc., undated.
CCTV Monitors MMR23, MMA16, MMA10, Cameras PVC828, PVC808PVR708. N. Hollywood, CA: Audiotronics Corporation, undated.
The Austrian Video Festival. Sydney, 1986.
Manual for Tel-Tec 210 Television Time Error Corrector. Automation Techniques, Inc.. Tulsa, OK: Automation Techniques, Inc., undated.
Avalanche. "Video Performance." Avalanche (1974).
C.B. Radio Frequency Directory, How to Use CB Radio. FCC, 1970.
Baggaley, Jon, and Steven Duck. Dynamics of Television. London: Gower Press, 1976.
Baggs, Tom. Show Notes by Tom Baggs. Cincinnati, OH: Tom Baggs Video Gallery, undated.
Bainbridge, Benton. Live Video Performance Video: Lord Knows Compost, Bulk Foodveyor, Valued Cu$tomer, 77 Hz, The Poool, Stackable Thumb, NNeng., 2001.
Baker, Henry. "Synapse Distribution." Televisions 6, no. 3 (1978).
Baldessari, John. John Baldessari. Ny: The New Museum, 1981.
Instruction Manual Ball Brothers MC 19 Series Color Monitor. New Brighton, Minnesota: Ball Brothers Research Corporation, 1968.
Bannon, Anthony. "Bode's Video and COmputer Art Pulses With Nervous Energy." Buffalo Evening News (undated).


When is a drawing not a drawing (or a painting not a painting)? When it's a pastel.
Please join us in welcoming the Getty Museum's new associate curator of drawings, Emily Beeny. Emily has served as an associate curator at the Norton Simon Museum and an assistant curator at the Museum of Fine Arts, Boston. Her doctoral research, at Columbia University, focused on the paintings and drawings of Nicolas Poussin in relation to seventeenth-century court ballet. —Ed.
Having spent two years in the Getty's paintings department (first as a graduate intern, then as a research assistant), I was thrilled to return to the Museum last November as associate curator of drawings. Joining the drawings department has felt like coming home and embarking on a new adventure all at once, an opportunity to approach familiar artists and artworks from a fresh perspective. I'm not the only one who's made this journey: eighteen Getty pastels, too, by artists ranging from Rosalba Carriera and Maurice-Quentin de La Tour to Edgar Degas and Odilon Redon have recently migrated from the paintings collection to the drawings collection: I've really just followed their lead.
As an intern, I had the opportunity to work on installations in the pastel gallery, and so I'm delighted that my first project back at the Museum allows me to return to this area of the collection. Exploring the in-between-ness of the pastel medium, the evolution in the late seventeenth and early eighteenth century of pastel "paintings" out of colored chalk drawings, the installation The Birth of Pastel will open June 6 in the Museum's South Pavilion at the Getty Center.
From a curatorial standpoint, pastels occupy an ambivalent position. Perched between line and color, between the intimate touch of the artist and the ambition of the exhibition piece, pastels really aren't either/or but both/and. On one hand, many works in pastel—sumptuous eighteenth-century portraits, for example, or Degas's richly elaborated scenes of dancers—were plainly conceived as paintings, meant to rival contemporary oils in their variety of color and touch, their high degree of finish, and even their scale. Many important pastellists also painted in oils, and in today's market a highly finished pastel by an artist like Degas tends to command a price more commensurate with those of his oil paintings than those of his drawings.
The earliest proper pastels—satiny, spreadable color manufactured in sticks for sale in sets of every conceivable hue—did not appear until the end of the seventeenth century. But draftsmen had been using dry colored media—both naturally occurring chalks, mined from the earth and cut into sticks, and fabricated chalks, made by mixing pigments with binders into a paste that could be rolled into batons—for centuries. Recipes for "pastelle" and "pastilles"—fabricated chalks—crop up in Renaissance artists' treatises, recommending fish glue, fig juice, and gum arabic as binders.
The Getty collection includes several remarkable examples of colored chalk drawings from sixteenth-century Italy and France. Among these are a wonderfully free composition drawing by the Venetian painter Jacopo Bassano and an exquisitely finished court portrait attributed to an artist today known as L'Anonyme Lécurieux. Both date to around 1570, but their approaches could hardly be more different. Working on blue paper (known at the time as "turchina," or Turkish paper, and commonly used by Venetian artists of the period to establish the middle tones of a drawing), Bassano laid in his design with swift strokes of black chalk and then used white, yellow, pink, and reddish-brown to explore the distribution of color across the scene. Here colored chalk served essentially as a preparatory tool.
The anonymous French draftsman, by contrast, took a carefully controlled approach. Using just black and red chalk, he created the illusion of a far broader palette, suggesting touches of brown in his sitter's mustache, a pink flush in his cheeks, and even a clear blue-gray color for his eyes. For all the obvious differences between these two drawings, each in its way predicts the subsequent development of increasingly complex colored drawings and, eventually, pastels.
By the 1650s, we start to see a less graphic, more "painterly" approach—the beginnings of modern pastel technique—in the work of Robert Nanteuil, an artist active in Paris. His pastel portraits often served as the basis for prints, and yet, in works like the Getty's Portrait of Monseigneur Louis Doni d'Attichy Nanteuil applied his modest array of colors much more like oil paints, with a new richness and variety of touch, effectively conjuring the specific textures and sheens of skin, hair, and cloth.
No pastels have ever been "sweeter" (or sweeter) than those of Rosalba Carriera, the Venetian artist who mastered this medium in the early eighteenth century. Using blue paper—like her compatriot Bassano—and commercially manufactured pastels, newly available in a wide array of colors, Carriera developed sophisticated techniques to convey the bloom in a cheek, the luster on a string of pearls, the softness of a velvet cloak. For example, she might apply a layer of wetted pastel with a brush to establish a base skin tone and then revisit the area with dry, powdery pastel to suggest the downy surface of a young girl's cheek. Carriera's prodigious skill and speed, her knack for the flattering likeness made her the favorite portraitist for English aristocrats visiting Venice on the Grand Tour and garnered her invitations to the courts of Paris and Vienna.
Carriera's prodigious skill and speed and her knack for the flattering likeness made her the favorite portraitist for English aristocrats visiting Venice on the Grand Tour and garnered her invitations to the courts of Paris and Vienna.
In Paris, Carriera's work enjoyed an enormous success and exerted a powerful influence on French pastellists of the subsequent generation. Preeminent among them was Maurice-Quentin de La Tour, whose pastels exhibit an uncanny naturalism. La Tour developed a wildly successful portraiture practice (numbering among his sitters Louis XV, his wife, and his mistress) while eschewing oil paints altogether. The fact that he was named peintre du roi (painter to the king) in 1750 speaks to the pointed rivalry at this moment between pastels and oil paintings, summed up in a single, spectacular work today in the Getty collection.
At six and a half feet tall, La Tour's portrait of Gabriel Bernard de Rieux, a Parisian magistrate and heir to a banking fortune, is the artist's largest pastel and probably the largest pastel produced in the eighteenth century. Pieced together from over a dozen separate sheets of paper, and worked up with a dizzying array of techniques, this picture competes with contemporary oil portraits on every front: in richness and variety of color and texture, in fineness of detail and finish, above all, of course, in size.
If ever a pastel was a painting, this, surely, is it.
And yet, for all its monumental power, this work is more fragile than it might at first appear, susceptible to the same threats from vibration and light as other pastels. Gabriel Bernard de Rieux has spent the past two years in the dark, patiently awaiting his turn on the wall in the pastel gallery. I can't wait to see him back on view this summer, marking the triumph of painting in pastels.
I'm associate curator of drawings at the J. Paul Getty Museum. Before recently returning to the Getty, where I was previously curatorial assistant in the Department of Paintings, I was associate curator at the Norton Simon Museum and assistant curator at the Museum of Fine Arts, Boston.
Welcome home Emily! We're glad to have you.
This is a terrific article on the origin of pastels. I believe the first pastel to enter the Getty collection was the Jean-Étienne Liotard in 1983. The article of 'BOTH/AND' presents logical reasons why pastels have been 'moved' to drawings. But I wonder why it 35 years to make this change.
Emily's review is very informative on technique. But why was Lyotard not included in the analysis of technique?
The birth of pastel actually occurs in Leonardo da Vinci s studio!see study by Christina Geddo!!
Our portrait of La Bella Principessa is a sort of pre pastel 3 crayon work.
Excellent blog – looking forward to the exhibit.
A very interesting and informative article. I am looking forward to this exhibition and further exhibitions curated by you. welcome back to the Getty. I'll miss you at the Norton Simon.
What difference does it make whether pastels are drawing or painting? As long as a piece is of artistic value, then enjoy! Yes, pastels are somewhat more light sensitive than other media…. But when properly kept, they last for ages…. As in, all those wonder Monets? If they were so non-lightfast, how is it that they are still here? Also, modern papers, the Uart line of sanded papers, are so toothy, that one doesn't even have to apply fixative. Whether one is talking about oils, acrylics, pastels or watercolor, if a painting is of any value to you at all, then take steps to preserve the painting. Most don't do well in bright sunlight.
First of all, pastels are NOT " a colored chalk" but a mixture of pure pigment (the same used in oils) and a binder, usually gum arabic. As the pigments are pure, they are light fast and, since they do not content resins and they are never varnished they do not get dark as oil does. The medium is not fragile by itself but by its support (usually paper).
"Most pastels, in essence, are colored dust on a page" is not a good compliment for us pastelists, who have work very hard to learn to use this difficult medium. Perhaps "most oils, in essence, are colored oil spread on a canvas" would be a good definition of oil painting?
The Metropolitan Museum does not consider pastel artworks as "drawings" but as "pastels", which sounds as a more accurate definition than drawing, which is a tracing.
Hope you good luck in your new job.
Susana, Marie, I had identical thoughts. I've worked most of my life fighting against calling Pastels "chalks" they are the exact same pigment used in oil colors but with much LESS binder.
Im sick of being told that Pastels are not paintings but drawings and therefore somehow a diminished form of art.
Very upset by this article, especially coming from a curator at a prestigious museum.
Thank you very much for taking the time to read and comment on this post—I'm delighted to receive feedback, including critical feedback, from artists who are actively working in pastel.
My Getty colleagues and I have the highest opinion of pastels and pastel artists. In no way do we think of pastel as a medium inferior to oil paint (or to any other medium, for that matter). Nor do we consider drawings inferior to paintings! I'm a curator in the museum's Department of Drawings, which is staffed by art historians devoted to the study of drawings of all kinds. Our collection includes masterpieces executed in ink, chalk, graphite, watercolor, as well, of course, as pastel.
My choice of words in this post was intended to capture the physical properties of the medium for readers less familiar with it. I'm sorry for any offense caused by what was meant as a spirited evocation and celebration of pastels and their history. Thank you again for your comments; I hope you have the opportunity to spend time in person with our pastel treasures.
This is an extremely damaging article regarding pastel, and a position that will leave many of us pastel artists defending our medium and the value of our work to our collectors. I find it ironic that you call pastel "colored dust" "quite susceptible to fading", yet the Getty possesses a collection worth billions of dollars, and "The Scream", the fourth version (pastel, 1895) was sold for $119,922,600 at Sotheby's Impressionist and Modern Art auction on 2 May 2012 to financier Leon Black. Perhaps you need to do more research on the current supports being used by pastellists, the strength of the medium itself, and its durability when preserved under archival framing standards.
I agree that this is damaging to pastelists. The medium as well as the papers have come a long way from its first inception. Steps have been taken to insure its Longevity.
As a pastelist I have been educating people about the medium and have had many long discussions with oil painting collectors. While I paint in oils as well I feel that if a collector falls in love with a painting be it pastel or oils they should follow their heart and by it.
How absolutely fabulous! This is a medium not given the credit it is due. Thank you.
This is an excellent article, full of brilliantly rendered observations (like a great pastel). I admire artists today who work in pastel. It is a tricky medium, one that takes lots of care to become an expert, but the results — as the Getty's exhibition showed — can be extraordinary.
I fear that the pastel artists who condemned in their comments the points by Dr. Beeny describing pastel's fragility are missing the point. Of course pastels are fragile! They, like any works on paper, can be lght sensitive. Older ones can shed pigments with too much vibration (or even static electricity). The surface is very delicate; to run your fingers over the surface could deface it permanently. A marble sculpture or even an oil painting are generally impervious to such handling. Rather than fret that this article has maligned the medium, please understand that the inherent delicacy is yet another aspect of what makes pastels so wonderful. Those in the know get that a pastel is something magical in part because it is so refined and requires careful handling, almost like a butterfly.
Still an unflattering to call them colored dust. A poor choice of words. A comment that will be misunderstood by much of the public snd in their mind cast a negative light on Pastels.
When I first worked with them it was like dust as the photo illustrates, and efforts were a field of greying blue, but I had preshaped the study and so it worked. I particularly liked the statement on dust. It told me Emily Beeny knows her stuff.
Hello Emily: I did enjoy your article about pastels, but as an artist who has worked with pastels for over 20 years, I find several of your comments misleading or incorrect. I realize that many people (not pastel artists) are confused about pastels – which we artists refer to as soft pastels. I recently gave a 40 minutes presentation to an art club in Palm Desert, California, explaining the difference between soft pastel and chalk (because most people don't know the difference and refer to pastel as chalk) and talked about kinds of paper, necessity of framing, etc., etc. First, soft pastel is a mixture of a pure earth pigment with a minimal binder – usually gum arabic. Soft pastel is lightfast and permanent, but does require framing because the pastel paper used can be very thin and flexible. Chalk on the other hand is made of gypsum or limestone and has no pigment. The color used in chalk is a dye. Chalk is not lightfast nor permanent. Also, you refer to pastel as colored dust. Actually, it is pure the pure pigment that is being swiped across the paper – and it is the grit (tooth) of the paper that grabs the pastel. I assure you it is a difficult medium and requires drawing skill and the ability to manipulate the pastel in various ways to produce the image you want; however, most pastelists refer to their finished product as a painting. Also, one additional point. If liquid is used with pastel, it is necessary to have paper where the tooth is not dissolved by the liquid – or the pastel will not adhere to the paper. There are papers produced today where the tooth remains if liquid is applied, and in most instances, the liquid is usually applied directly to the paper and then once it has dried, the pastel is applied.
Pastels are not more light sensitive than oil – a common misconception of museum curators. They are made from the same pigments as oil – just a different binder. As a pastel artist, I'm amazed at the number of oils that require restoration. Pastels may need reframing ( but not restoration) due to dust falling ang collecting at the bottom of the painting.
I have been a pastel artist for more than 50 years , pastels are pure pigment not chalk and I've had paintings hanging in, my sunroom for more than 30 years , I have seen no deterioration in colour . I think they are more permanent than oils and watercolours .
1. I don't imagine a 350 year old pastel has lain horizontally in a darkened drawer for all that time.
2. Is there an article out there on the technology of plate glass? I think "Portrait of Gabriel Bernard de Rieux" would not be in its pristine condition without a sheet of glass measuring 5 feet by almost 7 feet. If not, I would love to see someone research it.


Precision and Accuracy are two independently computable numbers used to summarize a data set.
Values closer to zero (within the context of the data) indicate higher precision or accuracy.
See also precision and recall.


Making his debut with the Aces at the age 17 in 2011, Sayers returns to the organisation for his fourth ABL season in 2014. He's played in 37 games for Melbourne so far in his young career, including 28 appearances and 76 at bats in the 2012/13 season. For the past two years, Sayers has played in the Detroit Tigers system after signing with the organisation in 2013. Playing for the GCL Tigers both seasons, Sayers hit .259 with one home run and 16 RBIs while playing both shortstop and second base during the 2014 campaign.
A local Melbourne-bred product, Sayers played his amateur baseball for Essendon Grammar School. His favourite place to play baseball is the Aces home field (Melbourne Ballpark) and his favourite team growing up was the Montreal Expos. Sayers comes from a big family of four kids and he had a golden retriever named Honey that lived until he was 14.


Deciphering the biology of cancerous tumors is the passion of Sriram Venneti, MD, PhD, the latest recipient of a Taubman Institute research grant.
Childhood brain tumors – which show distinct genetic alterations compared to their adult counterparts – are a special focus of Dr. Venneti's lab. He and his colleagues are working to understand how these genetic alterations make cancer cells use fuels such as glucose and amino acids and how this makes these tumors aggressive.
The Emerging Scholars program at the Taubman Institute was developed to support early-career physician-scientists, who often leave the research arena due to lack of funding. Grants of $200,000 over five years enable these "best and brightest" U-M medical school faculty to operate their laboratories and establish credentials for further grants. So far, the institute has accelerated the careers of more than 20 Emerging Scholars in fields ranging from cancer to depression to vision preservation.


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The Dublin Drain Company strives to maintain the highest standards of Health & Safety - so vital within our industry - ensuring adherence to our own and individual customer procedures.
The Dublin Drain Company is committed to maintaining the highest standards of health and safety when undertaking services for its clients.
Our Safety Policy provides the necessary controls to ensure the health, safety and welfare of employees and others who may be affected by the operations, processes and locations under the control of the company.
The Dublin Drain Company meets all statutory and legal obligations as defined in relevant Acts, Regulations and Codes of Practice. We understand that effective implementation of our health and safety policy requires the commitment and participation of all management and employees at every level.
The Dublin Drain Company considers that health, safety and welfare legislation lays down the minimum standards and maintenance of these ranks highly with the other commercial consideration of its activities.
The Dublin Drain Company is committed to comply with applicable legal and other requirement to which the organisation subscribes and these will be continually reviewed and considered when determining Company H&S requirements. The Company will strive to continually improve performance in the all areas of H&S.
It is the duty of management to ensure that everything reasonably practicable is done to prevent personal injury to our staff and those affected by our operations by designing, implementing and maintaining safe systems of work.
The Managing Director has prime responsibility for the implementation of this company policy.Whilst implementation of this policy is fundamentally a management responsibility success requires the co-operation of everyone.
Each employee has a duty to follow instructions on safe working methods to protect themselves, their fellow workmates and any other people who might be affected.
Read what some of our happy customers, both domestic and commercial, say about us.
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text:
Lenovo Legion 7i Review - Worth The Hype?
JT 14 August 2020 Follow
The Lenovo Legion 7i is an interesting gaming laptop, let's find out why and see if it lives up to the hype in this detailed review. I've got one of the higher tier configuration options, but it is available with quite a few different specs. The 7i has an all metal build with slate gray finish. Overall build quality felt nice, I'd say it's above average, and there were no sharp corners or edges. The 7i is listed at 2.1kg, though my configuration was closer to 2.3kg, and with the 230w power brick and cables for charging we're looking at 3.1kg or 6.9lb. The size is fairly standard for a 15" gaming laptop, it's not too thick given the specs inside. I found the bezels just 7.5mm thin on the sides, though the bottom chin is larger. The 15.6" 1080p screen is available in a few different options, I've got the middle one here, 144Hz with 500 nit screen.
Mine has G-Sync, but this isn't available with all models so you'll need to double check the specs. Advanced optimus also wasn't available with my panel, Stephen from Ownordisown noted that this feature is only available with the lowest 300 nit panel option.
I measured the screens average grey-to-grey response time at 7.6ms. When we look at how this compares against others, it's closer to the middle of the pack, so not super impressive but not as bad as some others. The Lenovo Vantage software has an option for enabling overdrive, but I didn't find this to change the screen response time so not sure if it's a bug or maybe it only works with certain panels.
I've tested the screen with the Spyder 5, and got 100% of sRGB, 96% of NTSC, 100% of AdobeRGB and 90% of DCI-P3. At 100% brightness I measured the panel at 475 nits in the center with an 970:1 contrast ratio, so very good results for a gaming laptop. Backlight bleed was fairly minor, I wasn't able to notice the glow spots when viewing darker content, but this will vary between laptops and panels. There was some movement when intentionally flexing the screen, but it felt quite solid due to the metal exterior. While doing this I noticed the machine would slide a bit on the desk, the feet underneath were hard and less grippy so it's not that difficult to move it around with little effort.
The hinges are found out towards the far corners, and these allow the screen to open right back by 180 degrees. There was some keyboard flex when pushing down hard, but it mostly felt sturdy, again due to the metal build. Despite the screen bezels being quite thin, the 720p camera is above the screen in the center and it has a physically sliding privacy filter, no Windows hello support though. The keyboard has bright RGB backlighting which illuminates all keys and secondary key functions. It's controlled through the included Corsair iCUE software, and there are a number of effects and customizations that can be made.
There's also RGB lighting that runs along the left, front, and right sides. It gives a subtle underglow effect and isn't as obvious as say the ASUS Scar III. There's more lighting from the air vents on the back, and there's also the O in the Legion logo on the lid. All of these separate spots can be controlled together or independently through the iCUE software. Although you can customize it or turn it all off, it still spews RGB during boot until the software loads, I didn't find a way of stopping this, and I only mention it because I had a few comments saying it was annoying. I suppose the fix would be to implement control through the BIOS instead of software.
Back to the keyboard though, I appreciate that the arrow keys aren't small and were moved down. Sometimes the backspace key felt a little small but other than that no issues to note. It's got 1.3mm of key travel.
There are 3 levels of key brightness which can be controlled through software, or with the function plus up and down arrow keys. You can also quickly cycle between three different effects by pressing function and the space bar, there are far more options in software though.
The power button is above the keyboard in the center and is surrounded by what appears to be small ventilation holes. The light of the power button changes based on the performance mode that it's currently in, so you can quickly visually tell, a nice touch.
The precision touchpad clicks down anywhere, feels nice to use and works well. Fingerprints were difficult to see on the matte finish, and as it's smooth they're easy to clean with a microfiber cloth.
On the left from the back there's an air exhaust vent, Type-C Thunderbolt 3 port with DisplayPort support, followed by USB 3.1 Gen1 Type-C port with DisplayPort 1.4 and 3.5mm audio combo jack. On the right there's just a USB 3.1 Gen1 Type-A port and an air exhaust on this side too. The back has RGB lit air exhausts, then from left to right a HDMI 2.0 output, USB 3.1 Gen2 Type-A port, gigabit ethernet, second USB 3.1 Gen2 Type-A port, the power input, and Kensington lock slot.
As with many other Lenovo laptops, there are illuminated icons above the ports on the back so you can easily see where to plug the cables in when in front of the machine, no need to turn it around or look over. The front just has a small lip in the middle that sticks out so you can easily open it with your finger. Given we can disable optimus, all external display outputs are connected to the Nvidia graphics.
Underneath there are air vents towards the back section above the intake fans. You need to remove 10 Phillips head screws to get inside, and the 4 down the front are smaller than the rest. Inside we've got the battery down the bottom, two M.2 slots above that on the left and right, WiFi 6 on the left above the storage slot, and two memory slots in the middle with a vapor chamber cooler up the back. Not all models have the vapor chamber cooler though, it's not really specified but I think the 6 core CPU or 2060 GPU and below options have standard heatpipes.
The two 2 watt speakers are found down the front on the left and right sides, they sounded alright, a solid average for a gaming laptop with a little bass and remained clear enough at higher levels, though there was a little vibration in the palm rest at maximum volume. The latencymon results were looking good.
The 7i is powered by a 4-Cell 80Wh battery, and there's a serious battery issue to be aware of. By default while just sitting there idle doing nothing, it was drawing about 50 watts from the wall in optimus mode with the RGB lighting off. After some investigation, I found this high power draw was due to the Corsair iCUE software. If I closed the software, the high power draw didn't change. If I killed the processes in task manager the power draw would dip to 10 to 20 watts from the wall, but it would rise back up shortly after as the processes would start back up. In the end I uninstalled the software to do my testing, but later found you can just disable the "Corsair Service" which has the same effect, and you can even still control the lighting with iCUE.
I've tested with the screen brightness at 50%, background apps disabled and all lighting off. I was getting almost 5 hours more battery life in optimus mode just by ensuring the corsair software wasn't running. Even running with the higher power Nvidia graphics only was doing better than optimus with iCUE. Given iCUE is installed and running by default, I think this is a pretty poor out of box experience, but as it's software related in theory they could improve it in future updates.
Let's check out thermals next. I've updated the results from my previous thermal testing video to include undervolting, as this can be enabled by accessing the advanced BIOS. There are plenty of extra options for tuning power limits and more. The Lenovo Vantage software lets you select between different performance modes, which from lowest to highest are quiet, balanced and performance. Unfortunately it's not possible to change fan speed manually, it's controlled automatically in these three modes. You can also swap between these by pressing function and Q, either changes the power button light to reflect. Although the RTX 2070 is Max-Q, it's using Nvidia's new Dynamic Boost, which means the power limit can boost higher depending on if there is power available. I saw a 105 watt average in a GPU only stress test, but it will be less with the CPU active.
Thermals were tested with a 21 degree Celsius ambient room temperature. Idle results are down the bottom, worst case stress tests with the Aida64 CPU stress test with CPU only checked and Heaven GPU benchmark, followed by gaming tests done with Watch Dogs 2. The CPU was thermal throttling any time it's listed at 94 degrees Celsius, so this was still happening in most cases even with a cooling pad and undervolting.
These are the clock speeds for the same tests. Not too much difference to the GPU speeds, while CPU speeds would vary more. As thermals are the limit we see a boost from undervolting or using a cooling pad, best case I was at 4.0GHz over all 8 cores, but I'd expect the lower 6 core i7 to hit higher speeds due to having fewer cores. The GPU power level would vary a bit due to max-q dynamic boost, while the CPU power level would just raise up as we improve thermals, as the 94 degree default cap was being hit in my testing.
Here's how a game actually performs with the different modes in use so we could get more than a 5% boost with all tweaks applied, and due to the high GPU power limits observed in quiet mode, it's possible to get decent gaming performance with quieter fans.
Here's how a CPU only workload performs with the different modes in use so the undervolt was just able to boost us above 4000 points.
When we look at how this compares against other laptops well it's the second lowest result I've recorded for an 8 core processor so far, so not too impressive.
As for the external temperatures where you'll actually be putting your hands, at idle in quiet mode it was in the low 30s, pretty standard. With the stress tests running it gets to the mid 40s in the center, wasd was still cool though. Stepping up to balanced mode and the middle is now just a little warmer. In performance mode it's similar but just a little cooler, and this is due to the fans getting louder. At idle the fans were just audible. With the stress tests running in quiet mode, it's not too loud when compared to other gaming laptops. Balanced mode was a little louder, then the highest performance mode increased the fans more, putting total system noise close to most others I test in their maximum performance mode.
Now let's check out how well this configuration of 7i performs in games and compare it with some other laptops. I've tested with performance mode enabled and optimus disabled for best results.
In Battlefield 5 I've got the 7i highlighted in red. It's giving a great result for a 2070 Max-Q, most likely due to that higher power limit, and of course we're also seeing a boost from the ability to disable optimus too.
These are the results from Far Cry 5 with ultra settings in the built in benchmark. The 7i is a bit higher in the stack now, which makes sense as this test is more dependent on processor power, and there's an 8 core 16 thread chip here.
Shadow of the Tomb Raider was also tested with the games benchmark tool and the results were quite decent here too, with the 2070 Max-Q giving good results and hanging in there with higher tier options.
I've also tested the 7i in 20 different games at all setting levels, you can check it out for more benchmarks.
For the benchmarking tools, I've tested Heaven, Valley, and Superposition from Unigine, as well as Firestrike, Timespy and Port Royal from 3DMark. I've used Adobe Premiere to export video at 4K, and the 7i was giving one of the better results out of the machines I've tested, completing the task in just under 10 minutes. I've also tested Premiere but with the Puget systems benchmark which also accounts for things like live playback rather than just export times. The 7i was still doing quite well, though is beaten by cheaper Ryzen based laptops here. In the Adobe Photoshop test it's ranked in the same position, and then in the more GPU heavy DaVinci Resolve test it's doing even better now. I've also tested SPECviewperf which tests out various professional 3D workloads. I've used the OpenVR benchmark to test the HTC Vive Cosmos Elite, and the 7i was doing quite well only those two machines at the bottom struggle with games like half life alyx, so no issues playing VR with these specs.
I've used Crystal Disk Mark to test the 512gb NVMe M.2 SSD and the results were quite good, but this may vary between regions if different drive models are used.
In the US the 7i seems to start for above $1500 USD for the i5 and 1660 Ti configuration, so pretty expensive for that level of specs given we can get the same combination for $900 or so elsewhere. You're really paying more for the extras like metal build, bigger battery, better screen, G-Sync, thunderbolt and more.
The configuration I've tested isn't listed here, but after customizing one to a similar spec we're looking at around $2200 USD. Meanwhile here in Australia the higher spec I've tested with we're looking at over $4000 AUD.
Alright with everything tested let's conclude by summarising the good and bad aspects of the Lenovo 7i gaming laptop to help you decide if it's worthwhile. The vapor chamber cooler didn't seem that impressive, granted I do have a higher specced 7i here, but still fact is I've had other machines that outperform it under heavy load.
That said though, the 7i was still doing quite nicely in games, and this would be due to the combination of Nvidia's new Max-Q dynamic boost, DDR4-3200 memory, and option of disabling optimus. Further tweaks such as undervolting can be enabled through the advanced BIOS, and this is something many others don't offer, even if it isn't exactly intuitive to access.
Battery life was quite good for a gaming laptop once you stop the Corsair service from running, hopefully they update this in the future, as it's honestly a suboptimal configuration if battery life suffers out of the box by default.
There's some confusion as the 7i is available with so many configurations, for instance only the higher end options have the vapor chamber, and not all panels offer G-Sync or advanced optimus, so you've really got to pay attention to the specs you're buying to make sure you're going to get what's expected, and even then in many cases their site isn't clear. Don't get me wrong, I love having options, I just don't think these things are that clear when ordering.
The screen in particular is quite impressive and would work well for someone that is a content creator and gamer, as it's got excellent colour gamut and brightness, but also good refresh rate options with G-Sync and ok enough response time. There's plenty of RGB, but that's obviously going to be a subjective thing, but there is a fair bit of customization available.
Overall the 7i is quite a nice machine, the key issues were lower CPU performance due to thermal throttling when the GPU is active, but gaming performance was still good, and the battery issue is easy enough to fix by manually stopping the Corsair service, but I hope Lenovo continue to improve the device and fix whatever is causing the battery to drain. Let me know what you thought about the Lenovo Legion 7i gaming laptop down in the comments.
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A joint venture between the Gull Force Association and Lawamena.
For a number of years the Gull Force has worked with Lawamena and supported our work in providing education for the children in Maluku, particularly in Ambon.
Both organisations have been working together in providing partial scholarships for nursing students. To provide an opportunity for nursing staff working in public hospitals in Ambon City to retrain to become fully qualified nurses.
This year the two organisations sponsored four students. The four students were presented with their scholarships in September 2011 by Lawamena and Gull Force.
In April 2012 with our sponsor partner Gull Force Association, Lawamena is pleased to announce that we were able to extend a further six scholarships for students to undertake midwifery courses. This building of skills in the health sector of the Ambonese community is a precious resource that will contribute significant value to the quality of life for the Ambonese.
Both Gull Force and Lawamena feel privileged and proud of being afforded the opportunity to give such a gift to those in need.


save it as ping-test.ps1, and convert it to ping-test.exe, but when I add the parameter "loop", it does not work.
write-host "here are all command line arguments"
You have to use "$args" not "param(….)". You have to parse the $args array yourself!
I've made a small improvement to the PS2EXE script. So it's version 0.1.1.0 now!
So PS2EXE does not work with named arguments?
I keep getting an error when I try to run this. not sure if it is because I am running 64 bit version of .net 2.0 or not. Maybe you can offer some insight?
Could not create the PowerShell .exe file because of compilation errors. Use -verbose parameter to see details.
to assembly 'System.Core, Version=4.0.0.0, Culture=neutral, PublicKeyToken=b77a5c561934e089'.
I get the same error. Did you ever fix this?
Please report the result here. Thank you!
Hi! – This is strange. This Assembly (dynamics) is part of .NET Framework 4. But the C# compiler utilized in the PS2EXE script is set to use 2.0… So this assembly should be unknown to this compiler.
Please check directory "C:WindowsSystem32WindowsPowerShellv1.0". Do you have a file "powershell.exe.config"? If so please post it's content.
Just wondering whether you have a solution to this? I am getting the same errors.
however I have some troubles to convert in .exe scripts which contains Exchange and AD cmd-lets.
Also I do not have PowerShell 2.0 on all servers, is it possible the .exe files to work there?
Installing the PowerShell 2.0 is not an option, it require approvals, which I will never get.
May be there is a way to include the PowerShell runtime files in the generated EXE but I did not try this jet.
You also need to install all required extensions, e.g. Exchange, an each machine where you want to execute the generated EXE file.
Sorry for the misunderstanding! I mean does the PowerShell 2 required, not just PowerShell.
PowerShell 1 is a prerequisite for installing Exchange Server 2007, and there is PowerShell 1.0 installed on all servers. All command lets which are included in my script (which have to be converted in .EXE), are available and running successfully on PowerShell1.0.
As far as I understood PowerShell 2.0 is required the ps2exe.ps1 to work. My actual question was, does the PowerShell 2.0 required on all machines the EXE file to be executed, because on the most of clients it is version 1.0? The original script is working when it is not converted.
Hello, Can I compile exe file without run black window (console for some massage)?
how to configure not to auto exit the console????
How do I get the get-credential to work properly? I found out how to do a reg hack to make it stay via command like, but when converted to exe it doesn't ask for both username and password.
your script is SO useful!!! Thanks from Russian powershell system admin`s!
Well it works. However, Base64 is a plain text. Have anyone tried to decipher that? I've compiled a few scripts, newly created exe work fine. I'm just a bit worried that anyone with a decent knowledge of cryptology might break it. I'll try to that myself and post results.
Just startup PowerShell version 2.
Its a great tool..But I have a question wether I can create a single exe using multiple ps1 files. I have a main script which calls other scripts.
Hi dude, first off all thanks for the great work.
My .PS1 file need to receive on default parameters from files created inside of the folder where .EXE will be executed. using the command line with parameter "Split-Path $MyInvocation.MyCommand.Path" my .PS1 work as well but when i try execute to the .EXE file the command line return to me the information of this parameter "Split-Path $MyInvocation.MyCommand.Path" as "C:\".
how can I change this to recognize the same folder where the .EXE was located?
If i am invoking one power shell script from the other power shell script..how to compile it..
There is no option to compile a depending script into the "main" script. You need to merge them manually before compilation.
I'm creating a gui for the app to ease the use for my colleges, are you interested if I share the code? It's a simple WPF form with options that are passed to ps2exe.ps1.


"Honest customers continue to pay the price for excessive legal costs, exaggerated and fraudulent whiplash claims and the poor driving record of young drivers.
"Insurers welcome the Government's commitment to reducing legal costs through reform of the civil litigation system and tackling the epidemic in whiplash claims. Insurers will pass any savings on to customers that result from unnecessary and excessive costs being removed from the system.
"The Prime Minister's recent insurance summit has given a real impetus to tackling the causes of higher premiums, and the industry will work with the Government to ensure that honest motorists get the best possible insurance deal".


text:
Review: Glen Campbell's 'Ghost' a Moving — But Not Entirely Satisfying — Farewell
The Alzheimer's-diagnosed star remembers the arrangements that made "Wichita Lineman" soar but falls a bit short lyrically
Chris Willman | August 29, 2011 @ 7:01 PM
When Glen Campbell made a comeback bid in 2008, there was one aspect of his concert appearances that invited audiences' ridicule or alarm — not his delivery, which was still pitch-perfect, but the fact that his eyes were glued to his Teleprompter for even his most familiar hits. Could he really be afraid he'd forget the words to the chorus of "Galveston"?
Yes, as we now know from his recently revealed Alzheimer's diagnosis. Although he's still good to go with the aid of those monitors, Campbell has announced his farewell tour, preceded by this week's release of a goodbye album, "Ghost on the Canvas," to usher in the exit strategy.
Pop music hasn't produced a lot of deliberate farewell albums so far, besides Warren Zevon's "The Wind." But as self-expressive boomers continue to look at what ails them head-on, we'll surely be seeing a lot more. And "Ghost on the Canvas" is a sweet, soaring template for how to musically go into that good night with gentleness on one's mind.
"Ghost" is a clear companion piece to 2008's excellent "Meet Glen Campbell," with both trying slavishly — and successfully — to re-create the sound of his finest mid-'60s recordings. Both were produced by Julian Raymond, a careful student of that particular old school, who is very much the auteurist ghost in the machine in "Ghost on the Canvas."
But whereas the previous album seemed designed to introduce Campbell to young indie-rockers with covers of familiar material by the Velvet Underground, Foo Fighters, and Green Day, this follow-up consists of all-new material, mostly co-written by Campbell, with a few fresh contributions from Paul Westerberg, Jakob Dylan, and Guided by Voices' Robert Pollard.
The intent this time wasn't to introduce the veteran pop-country star to a new generation but to make a final statement for the generation that came up with him. It couldn't be any more valedictory if it came with a cap and gown.
Sometimes intent trumps execution on the album. If you're going to go out of your way to to specifically echo "Wichita Lineman" or "Windmills of My Mind" from a song's opening instrumental moments, you'd do well to have a piece of material that's nearly as good as those, and few of the songs here rival Jimmy Webb territory.
Even so, the album is not just noble but lovely – and irresistible, if you hold the slightest nostalgia for the dignified, lonesome Southwestern country Campbell recorded for Capitol 45 years ago. Nimble acoustic guitar picking inevitably leads to a sad swell of stings, and damn if you can't imagine the Wichita lineman, still up there on the line, sending out musical Morse code.
Though it's obvious that producer Raymond did the heavy lifting on the songs he co-wrote with the singer, the gospel undercurrents of the lyrics are all Campbell's, from the opening assurance that he'll sooner than later be in "A Better Place" to the spiritual abidance of "It's Your Amazing Grace."
Although it's a bit lyrically clumsy, "Strong" is still a moving statement of determination to not play the victim in the inevitably imbalanced relationship between disease victim and caretaker.
No one would wish an extra memory loss on an Alzheimer's patient. But if Campbell just happened not to recall that this was his "last" album — and between his good physical health and Raymond's guidance, an additional album of cover songs hardly seems impossible — "Ghost" might have you hoping everyone else involved remembers to forget, too.
Chris Willman
Chris Willman has been a frequent contributor to TV Guide, New York magazine, the Los Angeles Times, Rolling Stone, Spin, Billboard, Parade and other publications. In a long run at Entertainment Weekly, he penned more than 20 cover stories as a senior writer before becoming the magazine's chief music critic. His book "Rednecks & Bluenecks: The Politics of Country Music" was praised by Stephen King, who said, "You won't read a better book about American music this year — or, probably, a better one about American political thought."


Just got this bag in the mail and the reason why I am classifying this Kiwuu Multippurpose Universal Luxury Pu Leather Cross Body Shoulder Case Bag under product review is because this came as a gift from Amazon. So let us see if the manufacturer did well manufatruing this product.
The quality of the leather is really good, it is made from fine leather, it is soft and does not feel rubbery like other leathers that has the feel of a brittle rubber. The stitching were fine and very detailed so it adds definition to the design of the bag.
The size of the bag is 7.3 x 0.4 x 5.7 inches and weights 5.6 ounces empty. It is kinda light weight so it is easy to carry and it depends on the things you are going to stuff in but having 4 cards and 2 mobile phones will not really change a lot when it comes to how it weighs.
There are three pockets and four credit/atm card slots, the biggest pocket is actually good for big mobile phone or even a slim wallet and the smaller pockets is either for smaller phones, passport or cash. I will think about putting my keys inside because I am not really confident about how strong the stitching is.
I like wallets with lost of credit card slots, this has four so if you are planning to bring three credit/debit cards and your driver's license this is just right for you.
Its has two big pockets that is good for mobile phone and a slim wallet, the partition become the third pocket so you can put your cash in it or a hotel key.
It is designed to hold your item in so it does not bulge.
Since it is slim and the dimension fits perfect inside a bag and serves as an organizer.
It is a cross body bag so you can hang it around you without the hassle.
It has a magnetic button for easier locking.
If you are just walking around and does not need to carry anything except your wallet, mobile phones, cash, credit cards and ID, this is a good bag for you. If you are a guy and wants to carry this bag, do not use the strap because it is very feminine looking when the strap is hooked up. If you have a wrist strap this will do the trick. Be sure to close the button so your items would not fall out.
Nothing really extravaggant about this bag except it can actually catch attention when a guy is carrying it. But metrosexuals can carry this without a problem. So if you are the typical macho guy this bag is not for you. This bag is for ladies and for a guy who is secure about his sexuality.


I've been having loads of fun searching through my stash of dies for ones that seem suitable for making stencils with pieces of Window Sheet. Today I selected the Detailed Floral Thinlits.
add some bling to the flower centres!
Having smooshed (yes, I'm sure that's the technical term!) the embossing paste through the stencil onto Crumb Cake cardstock and let it dry, I put the (clean, dry) stencil back in position and used a sponge dauber to apply colour to the floral pattern.
I layered the piece onto Very Vanilla and Fresh Fig panels and adhered it to the front of my Crumb Cake card base.
The greeting is stamped onto Very Vanilla with Berry Burst ink. The label shape is stamped with Fresh Fig ink and the label cut with the matching die from the Rose Garden thinlits.
I used the stencil and sponge daubers to decorate the inside of the card to match.
Can you keep a secret? I'll be posting this card on Monday to someone who's initials are KB - the person who introduced me to the world of Stampin' Up! and who heads up the Crazy Crafters team - ssshhhhh!


text:
Home|Global Directory|Antonio Del Pino
Latham Around the World
Singled out for praise from interviewees, who comment, "He is very detail-oriented, a strategic thinker, and has very good business acumen." They add: "I would follow him anywhere."Chambers Latin America 2017
Antonio Del Pino
Eantonio.delpino@lw.com
T+1.212.906.1851
Antonio Del Pino, Global Chair of Latham & Watkins' Latin America Practice, advises companies, private equity firms, and financial institutions on cross-border acquisitions, divestitures, financings, and restructurings involving Latin America and the United States.
Mr. Del Pino brings more than two decades of experience navigating complex transactions on behalf of sophisticated clients doing business in Latin America. He combines keen market insights with bilingual language skills to handle matters across industries, with a particular focus on the infrastructure, energy, and financial services sectors. Mr. Del Pino has also represented more than half a dozen governments in Latin America and Africa in the privatization and concession of infrastructure assets.
Mr. Del Pino was an appointed member of the United States State Department's Advisory Committee on International Economic Policy. He also serves on the Board of Directors of the Council of the Americas.
Mr. Del Pino regularly advises on pro bono matters involving Latin America, Africa, and Asia. His work includes representing Acción International in connection with investments in microfinance institutions around the world. He is also a former member of the firm's Pro Bono Committee.
Mr. Del Pino has received broad recognition as a top transactional lawyer. His honors include being named a leading practitioner by:
The Legal 500 US
The Legal 500 Latin America
Chambers USA
Chambers Latin America
Latin Business Chronicle
Latinvex
Mexico Powerlist
Numerous industry publications have highlighted Mr. Del Pino's client-centric approach as a hallmark of his practice. For example, Chambers USA has noted that he "has an ability to make difficult things easy for clients" and "works tirelessly to get the deal done," according to clients.
Mr. Del Pino's experience includes advising:
Leading global and regional companies on significant strategic and financial transactions principally in Latin America and the United States, including:
Grupo Aval
Kio Networks
Sempra Energy
Fermaca
Viña Concha y Toro
Leading private equity funds and their portfolio companies on various acquisitions, exits, and financings, including:
Carlyle Group
EMX Capital
Global Infrastructure Partners
Indigo Partners
Linzor Capital Partners
Reservoir Partners
Leading banks and funds on corporate and project financings, restructurings, and strategic transactions, including:
A number of governments in connection with their privatization programs, including the governments of:
Latham Partners Recognized Among Top 100 Lawyers in Latin America
Latham Named Mergers & Acquisitions Law Firm of the Year
Antonio Del Pino Named 2021 Latino Leader Worth Watching
Mexico: Catching the Wave
Latham & Watkins: Strong Mexico Interest
Latham & Watkins Advises Telefónica and Corporación Multi Inversores on the Sale of its Subsidiary in El Salvador
Latham & Watkins Advises Global Infrastructure Partners in Acquisition of Saavi Energía from Actis
Latham & Watkins Advises Global Infrastructure Partners on AES Andes Partnership
Our Dedicated Latin America Practice
SmartCapital Newsletter (Issue 18, June 2011)
SmartCapital Newsletter, US Edition (Issue 4)
Viewpoints: President José María Aznar Examines Economic Landscape in Latin America
Bar Qualification
JD, New York University School of Law, 1994
BA, Fordham University, 1991
cum laude in cursu honorum


Hi friends, you all know that Youtube is the most popular video sharing website where you can view, upload and share the videos online, but you can not download the videos for offline uses. However, if you want to see these videos offline you have to download them first, but how? Also, you may want to add some new features to your website like youtube video downloader. So friends, in this tutorial, I will guide you step by step on how to download youtube videos using PHP script.
This is the simple HTML form which takes Youtube video link as input.
In the above code, at first, we received the video link and extract the video id from it. After getting the video id we will download the information about the video using file_get_content() method and then parse the query strings into the variables using parse_str(). url_encoded_fmt_stream_map key stores the video's location information. Later by furthermore decoding of the stream, we will get the raw video link, its quality, format, and itag from it.
getRemoteFilesize() is a custom function which returns the actual video size. So, after all of these this page will show you all the available video formats with its size and quality and a download link as a table format like below image.
getVideoId() function takes the video link as a parameter then extracts the video id from it and returns.
// cannot retrieve file size, return "-1"
The above PHP function getRemoteFilesize() returns the video size in bytes. But, if you want you can format it and return the size as KB, MB, and GB.
download.php sets the HTTP headers based on the data it received from the query string. And at last, readfile() function outputs the file.
If you face any problem feel free to inform me in the comment section below. Please like and share this tutorial how to download youtube videos using PHP script with others. Kindly subscribe Mitrajit's Tech Blog to keep yourself updated with the upcoming tutorials.


text:
El bromodiclorometano (BDCM) es un líquido incoloro, pesado y no combustible. El bromodiclorometano no existe generalmente como líquido en el  ambiente. Más bien, se encuentra generalmente en forma de vapor en el aire o disuelto en agua.

La mayor parte del bromodiclorometano presente en el ambiente es un derivado que se forma cuando se añade cloro al agua potable para matar los organismos que causan enfermedades. También se producen pequeñas cantidades de bromodiclorometano en plantas químicas para su uso en laboratorios o para producir otras sustancias químicas. Una muy pequeña cantidad (menos del 1% de las cantidades provenientes de las actividades humanas) es producida por algas en los océanos.

El bromodiclorometano se evapora muy fácilmente, por lo que la mayor parte de esta sustancia química que entra al medio ambiente proveniente de instalaciones químicas, sitios de desechos o agua potable, entra a la atmósfera en forma de gas. El bromodiclorometano es degradado lentamente (aproximadamente un 90% en un año) por reacciones químicas en el aire. Cualquier cantidad de bromodiclorometano que permanezca en el agua o en el suelo también puede ser degradada lentamente por bacterias.

Referencias
 ATSDR - Resumen de Salud Pública: Bromodiclorometano Departamento de Salud y Servicios Humanos de EE. UU. (dominio público)
 ATSDR - ToxFAQs™: Bromodiclorometano Departamento de Salud y Servicios Humanos de EE. UU. (dominio público)

Trihalometano
Bromuros orgánicos

redpajama_set_name: RedPajamaWikipedia


The fastest way to find out who YOU need to see in the exhibit hall.
• Dan Drury, Bowen Craggs & Co.
What's new with Search Funnels?
• Senthil Mohan, AOL The New OMB Policies: a Taste of Government Regulations to Come?
© 2005-2019 Rising Media™, Inc.


In this episode we discuss the fall shows sorta before some came out and have now since come out. Listen as we look forward to in some fashion the Fall season to come or that has arrived. Before that we discuss (read:argue) a few fun trailers, the intricacies and similarities of Step Up and the Fast and the Furious franchise, a bunch of Star Wars, Superhero TV shows and some canadian TV. Join us for this excitingly yet somewhat lethargic episode.


The FCA Americas team represents Finn Church Aid within the United States. We raise funds and build partnerships to support the sustainability of FCA's projects and partners throughout Africa, Asia and the Middle East.
We believe that collaboration and coordination across the sector is also imperative for collective impact, and work to build strong relationships with both US-based donors and peer organizations to effectively resource each partner's respective strengths and achieve greater results for the people we assist worldwide.
FCA Americas was established as a representation office in Washington, DC in 2015. We are a 501(c)(3) not-for-profit organization. A copy of our IRS tax-exemption certification is available here.
Kevin Wensing is a leader in the military and veteran community advising organizations and companies following 30-years of service to America in the US Navy and the Pentagon.
He planned/executed Vietnam War Commemoration opening ceremonies with President Barack Obama and other leaders on Memorial Day 2012 with an audience of thousands of Veterans and a national television audience. He works with various enterprises ranging from business development and fundraising to special events and media relations.
Assignments at sea and ashore include Special Assistant to Deputy Secretary of Defense Gordon England at the Pentagon and leadership positions with the Secretary of the Navy, Pacific Fleet, Seventh Fleet, Naval Forces Central Command and service aboard USS Blue Ridge, USS Arthur W. Radford and USS Tripoli.
He is a graduate of Quincy University (IL) and Naval War College.
Marja Jörgensen is the Director of International Programs (IPRO) at Finn Church Aid (FCA). Prior to October 2016, she served as FCA's Director of Program and Organizational Development and was responsible for strategy processes, program quality and effectiveness, annual planning & reporting, risk management, and assists FCA in acquiring membership status at Core Humanitarian Standard.
She has extensive experience in NGOs, having engaged with organizations such as Greenpeace, the Finnish Children and Youth Foundation and the 4H Organization in Tanzania.
Before working for FCA, Marja was Regional Program Director in Eastern and Southern Africa for Plan International and was responsible for quality assurance of 12 programs in Africa. Marja has worked in Eastern Africa for ten years, in addition to serving as Program Director for Plan Finland for seven years.
Ritka Heino is the Director of Funding and Communications at Finn Church Aid (FCA). Heino is a member of FCA's management team, which leads the work of the 45 million euro organization working for development and humanitarian aid.
Her main priorities include strategic planning of the organization's global and domestic funding, leading the organization's communications and volunteer work, and planning innovative collaborative strategies with institutions and corporations.
Her previous professional experience includes working for Amnesty International as well as in the ICT and banking sectors.
Heino graduated from Helia Business University at 1998, and she has studied later on political sciences and futures studies, completing Turku University basic studies of the futures sciences, as well as Institute of the Future, Palo Alto based future studies institute diploma of future practitioner.
Heino is a board member of FCA Americas (Washington DC) and a board member of FCA Investments Ltd.
Dr. Jeni Gamble is the Field Education Director and a Clinical Assistant Professor at the School of Social Work at West Virginia University. She has spent more than 20 years working to improve policies, systems, and services for the most marginalized and vulnerable throughout the US and globally, including survivors of gender-based violence, marginalized children and youth, and those experiencing homelessness. Gamble earned a BA from the University of Kentucky, and MSSW and PhD degrees from the University of Louisville in Social Work. Her doctoral research captured the backgrounds and behaviors of nonprofit leaders in seven North American cities to better understand the opportunities and challenges the NGO sector will face during leadership transitions in the future.
Gamble's earlier career focused on eliminating gender-based violence and improving criminal justice and victim service programs, including leading technology projects and advocacy campaigns across the US to institute and improve civil and criminal victim notification services. From 2010 – 2018, she worked in the Washington, DC area and focused on global and girls' education policy, practice, and research. She served as the Associate Director of the Center for Universal Education (CUE) at the Brookings Institution, where she accelerated the policy priorities of one of Brookings' fastest growing research centers and developed CUE's girls' education research portfolio. While at Brookings she advised dozens of scholars and country leaders and contributed to various public sector safety and education plans, including the United States Global Strategy To Empower Adolescent Girls (2016), as well as co-chairing the Girls CHARGE collaborative of more than 60 global organizations and overseeing the Echidna Global Scholars program. Gamble has held leadership positions with organizations including the National Alliance to End Homelessness and Discovery Learning Alliance, and consulted to numerous organizations around strategic planning, monitoring and evaluation, and organizational growth.
Matthew is the U.S.-based Director of Finn Church Aid (FCA), Finland's largest international development agency and humanitarian provider focusing on the right to quality education, livelihoods and peace. Mr. Costello leads the organization's external relations, fundraising, and advocacy efforts in Washington, DC.
Previously, Mr. Costello was the Director of Operations at the Brookings Institution where he served as an advisor to the Vice President and Chief Operating Officer on institutional management, administrative and operational matters. Additionally, in his role as Director, he oversaw all of Brookings's capital improvement projects, conference services and facilities operations, food service providers, and organizational space planning. During his nine-year tenure at Brookings, he also served as the Deputy Director of Operations and Strategic Partnerships Director and Board Relations Manager.
Prior to joining Brookings, Mr. Costello worked for Conservation International (CI), a non-profit international environmental organization, for six years in various leadership positions. During his tenure, he primarily served as an adviser and project manager for the CEO and Chairman of the Board as well as the liaison between the Chairman and CI's 34-member Board comprised of CEOs of multinational corporations, celebrities, academics and international conservationists. Prior to working for the Chairman, he served as special events coordinator, managing the organizations Board of Directors meetings and multi-million dollar fundraising events.
From 1998-2000, Mr. Costello gained invaluable experience in consumer promotions, marketing strategy and business-to-business marketing development as the international project coordinator for the Texas Department of Economic Development—now the Economic Development and Tourism Division, Office of the Governor. There, he liaised with convention and visitor bureaus from around the State; wrote copy for advertising buys and press releases; and handled press inquiries from senior representatives of Latin American travel trade and consumer media publications.
Matthew received his bachelor's degree in International Studies from Texas A&M University. He lives in Washington, DC with his husband, Alex.
Dr. Mohamed Elsanousi is the Executive Director of the Network for Religious and Traditional Peacemakers, a global network that builds bridges between grassroots peacemakers and global players to work towards sustainable peace. Most recently, Dr. Elsanousi was the director of Community Outreach and Interfaith Relations for the Islamic Society of North America for twelve years. He also served on the Core Group Taskforce for the Department of State's working group on Religion and Foreign Policy under Secretary Clinton and Kerry, which he was charged with making recommendations to the Secretary of State and the Federal Advisory Commission on how the US government can better engage with civil society and religious actors. Dr. Elsanousi holds a bachelor's degree in Shariah and Law from the International Islamic University in Islamabad, Pakistan, a Master of Laws from Indiana University, a graduate diploma in philanthropic studies from the Indiana University Center on Philanthropy, and a Ph.D. in Law and Society from the Indiana University School of Law.
Dr. Elsanousi is the Founding co-chair of Shoulder to Shoulder, and serves on the board of directors and advisors for numerous interfaith organizations, including the Advisory Board of Louis Finkelstein Institute and Milstein Center for Interreligious Dialogue at the Jewish Theological Seminary in New York City, member of the Advisor Committee for the United Nations Office of the Special Advisor on the Prevention of Genocide and Responsibility to Protect and a trustee for the Forum for Promoting Peace in Muslim Societies and the Parliament of the World's Religions.
Eliza Duquette manages FCA Americas' fundraising efforts and develops opportunities in partnership with FCA's global grants team and country offices. She comes from seven years of fundraising and business development for both international and US-based organizations, including her most recent role as donor relations specialist at Communities In Schools.
Earlier in her career, Eliza was awarded a one-year fellowship to teach, develop programming, and grow new business for The Global Child in Siem Reap, Cambodia. She launched a girls' health course and helped to increase business traffic and revenue for the NGO's two social enterprises.
Eliza holds a BA in Anthropology and Digital Arts from Union College. In her free time, Eliza is a dancer, amateur graphic designer and aspiring rock climber. She is conversational in German, Spanish and Khmer.
Josh was born and raised in Upstate New York and spent most of his life in the Buffalo, NY region. He received his undergraduate degree in political science from Union College, earning the honor of salutatorian. He is very passionate about model united nations and was involved in the National Model United Nations program for four years. During this time, he ran his college's chapter of the organization and served as a head delegate and teaching assistant during the annual international conference in New York City.
Professionally, Josh was a political science research fellow at Union College and studied trends related to state-fragility and gender rights in West Africa. Following his time as a fellow, he worked on two American political campaigns for the Orchard Park Town Supervisor and NYS Supreme Court respectively. His campaign experience motivated him to work for Rep. Barbara Lee on Capitol Hill, in which he focused on issues pertaining to US aid in Sub-Saharan Africa. After his time on the Hill, Josh moved to New York City and worked as the Operations Coordinator at Run for America, an organization that vetted and managed the campaigns of political candidates across the country.
Sarah Tyler is the communications coordinator for the Network for Religious and Traditional Peacemakers. She brings to the Network professional experience in public relations, public affairs and international relations.
Sarah is a recent graduate of Queens University of Belfast with a master's degree in international relations. Her focus area of study while at Queens University pertained to United States public diplomacy and global security. Sarah holds an undergraduate degree in communication from Millersville University of Pennsylvania.


text:
Carrie Ann Inaba Opens Up About Fibromyalgia Flare-ups: "I Feel So Much Shame"
By admin On May 13, 2019 In Fibromyalgia. English Leave a comment
'The Talk' host admits that living with "invisible illnesses" takes an emotional toll.
SLAVEN VLASICGETTY IMAGES
On Tuesday's episode of The Talk, Carrie Ann Inaba opened up about her struggles with multiple autoimmune conditions.
The Dancing with the Stars coach also opened up to her co-hosts about the emotional struggles and "shame" she feels about her battle with fibromyalgia.
She encourages others living with chronic or invisible illness to practice self acceptance and listen to your body during flare-ups.
Carrie Ann Inaba recently revealed that she is no stranger to chronic illness. The Talkco-host and Dancing with the Stars coach says she's living with a number of conditions, such as spinal stenosis, Sjögren's syndrome, chronic fatigue syndrome, chronic pain, and fibromyalgia.
Though Inaba, 51, appears bubbly and positive while discussing current events and pop culture alongside The Talk co-hosts Sharon Osbourne, Sheryl Underwood, Eve Jihan Jeffers-Cooper, she says the effects of battling autoimmune illness can take its toll, especially during a flare-up.
"I have all these autoimmune conditions, and I'm in a really bad flare," Inaba told her co-hosts on Tuesday's episode of The Talk. "I look healthy and I am really healthy—all things considered, but then I have these incredible sharp pains, like today [the hairstylist] was doing my hair and he barely touched me, but I thought he burnt me with a curling iron because my body is in a fibromyalgia flare."
On the outside, you may not have known that Inaba was fighting a flare or chronic illness, and she admits it takes a toll on her emotionally. "It sounds so silly, but people who have these like invisible illnesses—whether it's rheumatoid arthritis, or a gastrointestinal thing—I feel so much shame when I go through these things, because I want to be what people see. And people see a healthy person, from the outside."
What happens during a fibromyalgia flare-up?
Fibromyalgia is a condition marked by chronic pain, fatigue, memory problems, and mood changes, affecting around 4 million people in the U.S., according to the Centers for Disease Control and Prevention.
Doctors aren't entirely sure what causes the condition, but it tends to affect women more than men. Plus, the Arthritis Foundation reports that about 20 to 30 percent of people with rheumatoid arthritis also develop fibromyalgia, such as the case with Inaba.
at a time. These symptoms can come on suddenly or get worse when a person becomes stressed.
Other triggers like changes in diet, hormones, sleep, and certain treatments can cause a fibromyalgia flare-up, so keeping track of your triggers can help you prevent or alleviate flare-ups. Sometimes, your body may call for rest.
"It's embarrassing… sometimes you just can't get a handle on it, and it's sort of about self-acceptance," Inaba said. "I want to encourage people, because even though I feel shame, I know at the same time I shouldn't feel shame."
Today, Inaba practices yoga, listens to her body, and remains grateful for her health. "After struggling for years with neck pain from my spinal stenosis, from years of dancing and the injuries that came from it, I feel so lucky to be able to work out again, do my yoga, Pilates, and workout with a trainer," she wrote in an Instagram post. "Feeling grateful for my health and well-being. It's not something I take for granted."
Fibromyalgia and Hip Flexor Pain
Fibromyalgia: the pain that society does not see or understand
Frozen Shoulder In Fibromyalgia
Avec la fibromyalgie, je ne peux pas planifier à l'avance… mais je ne peux pas être spontané, que ce soit
WAS IST GUILLAIN-BARRE-SYNDROM? WIE ES MIT FIBROMYALGIE VERBUNDEN IST


Owning and operating a McDonald's franchise business is complicated, and even more challenging if you're looking for growth and rewrite opportunities.
Our latest whitepaper discusses the key elements of a Financial Viability Assessment (FVA) that will help you monitor, strategize, and improve your financial health.
An overview of Working Capital and the Liability Turnover Ratio, including tips on how to improve these numbers.
Understanding your Cash Flow Coverage Ratio (CFCR) and red flags that could be early warning signs for financial trouble.
Managing your Monthly Pre-Debt Cash Flow (MPDCF) — a fundamental part of decision-making agility for your operations and finance.
Financial Viabilty Assessment — a guide to "YOUR NUMBER".
Examples of reports you'll want for understanding your FVA and "YOUR NUMBER".
Simply complete and submit the form for these valuable insights and guidance. You'll be on your way to greater financial viability for your franchise organization!


text:
Q: React: Communicate between sibling components Hi I am new to React and wrote a small app with one form to get some practice. It consists of 4 components other than the App.js file. I am trying to have my Checkbox.js component communicate to my SubmitButton.js component whether or not it is checked so that the submit button will only be enabled if the user checks the box. I tried using props as you can see in the code below but I am probably doing this horribly wrong. Can anyone help me learn the correct way to do this? Not sure if it matters, but I am using the Material-UI library. Thanks.
App.js
import React from 'react';
import NavBar from './Components/NavBar'
import Form from './Components/InfoForm'
import SubmitButton from './Components/SubmitButton';
import Container from '@material-ui/core/Container';
import Checkbox from './Components/Checkbox';
import './App.css';

function App() {

  const [state, setState] = React.useState({
    checked: false,
});

const handleChange = name => event => {
  setState({ ...state, [name]: event.target.checked });
};

  return (

     <Container maxWidth="md">
     <NavBar />
     <Form />

     <Checkbox onChange={handleChange('checked')} checked={state.checked} />
     <SubmitButton isEnabled={state.checked} />
     </Container>

  );
}

export default App;

Checkbox.js
import React from 'react';
import Checkbox from '@material-ui/core/Checkbox';

function Checkboxes() {

  return (

      <Checkbox
        name = 'checkbox'
        value="checked"
        inputProps={{ 'aria-label': 'primary checkbox', }}
      /> By checking this box you agree to all terms and conditions specified above.

  );
}

export default Checkboxes;

SubmitButton.js
    import React from 'react';
import { makeStyles } from '@material-ui/core/styles';
import Button from '@material-ui/core/Button';

const useStyles = makeStyles(theme => ({
  button: {  margin: theme.spacing(1), },
  input: { display: 'none', },
}));

export default function ContainedButtons(props) {
  const classes = useStyles();
  if (props.isEnabled === 'true') {
    return (

        <Button variant="contained" color="primary" className={classes.button}>
          Submit
        </Button>

    );
  } else
  {
    return (

        <Button variant="contained" color="primary" className={classes.button} disabled = 'true'>
          Submit
        </Button>

    );
  }
}

A: The most basic and straightforward way is to lift shared functionality into the parent component, and pass the values and functions to the child components as props.
In your case, have some state in App that maintains if checkbox is checked, then pass the value and update function into the checkbox via props.  You can then toggle your button in App based on the value of checkbox indicator in the App state as well
In other words, you have got the right idea with using your indicator on the global window object, however, use the parent component instead of global variables.  When you find a need to really make things 'global' or accessible from various parts of your app, look at the likes of Redux for state management
e.g.
function App() {
    const [state, setState] = React.useState({
        checked: false,
  });
  return (

     <Container maxWidth="md">
     <NavBar />
     <Form />

     <Checkbox onChange={handleChange('checked')} checked={checked}/>
     <SubmitButton isEnabled={checked}/>
     </Container>

  );
}

A: The solution to my issue was the following code:
App.js
import React from 'react';
import NavBar from './Components/NavBar'
import Form from './Components/InfoForm'
import SubmitButton from './Components/SubmitButton';
import Container from '@material-ui/core/Container';
import Checkbox from './Components/Checkbox';
import './App.css';

function App() {

  const [state, setState] = React.useState({
    checkbox: false,
});

const handleChange = event => {
  setState({ ...state, [event.target.name]: event.target.checked });
};

  return (

     <Container maxWidth="md">
     <NavBar />

     <Form />
     <Checkbox name="checkbox" onChange={handleChange} checked={state.checkbox} />
     <SubmitButton isEnabled={state.checkbox} />
     </Container>

  );
}

export default App;

Checkbox.js
import React from 'react';
import Checkbox from '@material-ui/core/Checkbox';

function Checkboxes(props) {
  const {onChange, checked} = props;
  return (

      <Checkbox
        name = 'checkbox'
        value={checked}
        onChange={onChange}
        inputProps={{ 'aria-label': 'primary checkbox', }}
      /> By checking this box you agree to all terms and conditions specified above.

  );
}

export default Checkboxes;

SubmitButton.js
import React from 'react';
import { makeStyles } from '@material-ui/core/styles';
import Button from '@material-ui/core/Button';

const useStyles = makeStyles(theme => ({
  button: {  margin: theme.spacing(1), },
  input: { display: 'none', },
}));

export default function ContainedButtons(props) {
  const classes = useStyles();

    return (

        <Button variant="contained" color="primary" className={classes.button} disabled = {!props.isEnabled}>
          Submit
        </Button>

    );
}

redpajama_set_name: RedPajamaStackExchange


text:
Scholastic Stars: About this the 2021 teams
This week we recognize 46 students from across the region who each aspire to a different path.
Students were nominated as Scholastic Stars for not only their academic achievements, but also their involvement in school activities and in their communities. Make no mistake, however, each is unique in her or his aspirations.
Take, for example, the 22 students who plan to pursue careers in the medical field. These students have picked 12 different areas of study outside of practicing medicine with one who is undecided on a focus. Those areas of study are:
Nursing.
Pediatrics.
Pharmacy.
Trauma surgery.
Physical therapy.
Psychiatry.
Physicians assistant.
Optometry.
Dentistry.
Anesthesiology.
Radiology.
And even those areas of study aren't necessarily the same. Of the three who aspire to study pediatrics, for example, each plans to focus on a different area from being a pediatrician to studying pediatric neurology or pediatric occupational therapy.
The same can be said of this year's stars who plan to pursue engineering or an agriculture-related field of study. The three students pursuing engineering are focusing on three different areas — mechanical, aerospace and computer engineering.
As for the agriculture-related Stars, they plan to study agronomy, ag business and precision ag. And two said they plan to take that education and return home to the farm.
The vast majority of the Scholastic Stars are pursuing their college education in South Dakota or one of the neighboring states. Of the 43 who identified where they plan to attend college, 27 selected campuses in South Dakota, with South Dakota State University and Northern State University as the top selections. Of those students, one also has an out-of-state campus as a finalist.
Taking a broader look, 90% are looking at campuses in South Dakota, Minnesota, North Dakota or Nebraska, with one possibly heading out of the region.
The academic strength of these young adults is also high, with more than one noting that they are the top student in their class. Of the students who listed their ACT scores, 12 have scores of 31 or higher with two posting a 34 and one earning a 35. That's one point away from a top score of 36. That was Central High School student Samuel Calvert, who also took the SAT, earning a score of 1,560 out of a possible 1,600.
In all, this year's Scholastic Stars have an average ACT of 26.8 and an average GPA of 4.05.


There is more than one artists sharing this name: 1- Austrian singer 'Angie', also known as Angie Mörth, who is probably most well-known as a member of the band Astaron. She released the 7'' single Scheue Treue in 1983. 2-Her real name is María de los Angeles Taddei Cella, but most people know her as Angie. Angie was born in Buenos Aires, Argentina, but moved to Mexico with her family when she was little. She started out her singing career as part of the succesful Mexican girl band named Jeans in 1996. She stayed in the band for about 4 years and in 2000 she decided to leave the band to persuade a solo career. In 2002 she released an EP titled Extended Play, however it didn't have as much success as she expected. As for now, she stopped persuading her singing career, however she has hosted plenty of TV shows in Mexico in Cable TV In the channel Tele Hit after her singing career. It also seems that Angie may be back persuing her singing career. As some of us know, she is part of the new band called Casino Deville, something very different from what she's done before. 3-Turning is the debut LP by Angie, a Sydney-based musician whose guises include Circle Pit, Southern Comfort, Ruined Fortune and Straight Arrows. (http://www.riceisnice.net/artists/angie/) 4-The Angie with the 1984 song Clouds also recorded as Angie Care Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.