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Aurora López Pérez (Maracaibo, Venezuela; 13 de julio de 1911 – 18 de julio de 1993) fue una enfermera líder y pionera del gremio en Venezuela. Presidenta de la Asociación Nacional de Enfermeras de Venezuela y de su Junta Electoral Principal. Fundadora de la Asociación de Enfermeras del estado Zulia y de la Asociación de Enfermeras, Seccional Distrito Bolívar, Estado Zulia.

Datos biográficos

Su padre fue Eduardo López Bustamante, periodista y abogado, Director del Diario El Fonógrafo de Maracaibo, y su madre Aurora Pérez Luzardo, hermana del jurista Néstor Luis Pérez Luzardo. Era la nieta mayor del editor maracaibero Eduardo López Rivas y del General zuliano Eduardo Pérez Fabelo y descendiente consanguínea del General Rafael Urdaneta y del Dr.Joaquín Esteva Parra.

"Su casa materna fue centro de reunión de los intelectuales de la época y en sus memorias puede leerse que solía quedarse dormida en los brazos de escritores y poetas venezolanos, como Udón Pérez y Elías Sánchez Rubio. El mayor impacto de su infancia lo produjo la constante presencia del Dr. Francisco Eugenio Bustamante, iniciador de la cirugía de abdomen en Venezuela. Aurora era sobrina nieta del científico, quien ejerció gran influencia en el despertar de su vocación".

En 1917 el dictador Juan Vicente Gómez dictó orden de encarcelamiento a su padre y confiscó todos los bienes de los hermanos López Bustamante. "Su condición de primogénita, de una familia que percibía en desamparo, despertó en ella un temprano sentido de responsabilidad que formó su carácter. Fue entonces cuando desarrollo el firme temperamento que le permitió gobernar un hospital y protagonizar liderazgo nacional entre las enfermeras".

Temprana vocación
Según la crónica familiar Aurora López Pérez soñó con ser enfermera desde niña, demostrándolo en todos sus juegos infantiles y manifestándolo a sus hermanos. En 1980, en ocasión del Día Internacional de la Enfermera, su hermana Rosario López Pérez de Cova, le dedicó el poema "A Aurora en el Día de la Enfermera", donde queda claramente reflejada su temprana vocación.

Trayectoria en el campo de la salud
En 1940 comenzó su actividad dentro del campo de la salud estudiando becada por los Laboratorios Biogen, mientras trabajaba como practicante en los laboratorios del Hospital Central de Maracaibo. En 1945 se graduó de enfermera, en la primera promoción del estado Zulia, revalidando su título ese mismo año en la Universidad Central de Venezuela.

Desarrolló toda su carrera en del Hospital Central de Maracaibo. Allí se formó pasando por los cargos de enfermera jefe del Servicio de Maternidad, del Puesto de Socorro y del Servicio de Pediatría. En 1951 fue nombrada enfermera jefe, supervisora general, cargo que desempeñó durante 24 años hasta su jubilación en 1975.

Liderazgo gremial
Su liderazgo nace en el período posterior a la muerte del dictador Juan Vicente Gómez, cuyo gobierno protagonizó una de las épocas más oscuras de la historia de Venezuela. En materia de cuidados a los enfermos, como en tantos otros aspectos, la situación en el país era entonces de completo atraso. No existían enfermeras profesionales y entre religiosas y aficionados se apañan para aliviar a los pacientes con procedimientos simples como enemas, fricciones y cataplasmas.

Al comenzar el proceso de transformación del país se abren los estudios de enfermería y en 1945 se gradúa en el Zulia un minúsculo grupo de profesionales. De esta primera promoción de enfermeras forma parte Aurora López Pérez. Ese mismo año revalidó su título en la ciudad de Caracas, en la Universidad Central de Venezuela.

Creadora de la Auxiliar de Enfermería
Su primera causa gremial fue la de crear consciencia, entre las enfermeras recién graduadas, sobre la necesidad de instruir con procedimientos modernos, a las hasta entonces encargadas de cuidar a los enfermos. Miles de personas habían trabajado como colaboradoras y, frente a la labor de las primeras profesionales, su posición dentro del gremio médico comenzaba a dejar de tener importancia. Aurora López Pérez desplegó por primera vez su condición de líder por esta causa y logró que las nuevas profesionales se convirtieran en educadoras de las religiosas y asistentes que antes habían llenado sus espacios. Así nació en el país la figura de la Auxiliar de Enfermería, hoy en día parte importante del sistema nacional de salud de Venezuela.

Esta iniciativa, y la forma en que llegó a convertirse la enfermera auxiliar en integrante del sistema de salud, fue tema de sus ponencias en congresos internacionales. Ello le dio liderazgo entre las representantes de otros países en vías de desarrollo, para quienes el ejemplo sirvió de inspiración y lo aplicaron en sus países.

Los Colegios de Enfermería
Después de algunos meses de haber recibido su título, Aurora López Pérez reunió a sus colegas del Zulia para motivarles a crear una organización que agrupara al gremio. Fue así como en 1946, fundó la Asociación Zuliana de Enfermeras, hoy en día Colegio de Profesionales de Enfermería del Estado Zulia. Años más tarde inició con éxito un proyecto similar, en la Costa Oriental del Lago de Maracaibo, creando la Asociación de Enfermeras del Estado Zulia, Filial Bolívar.

Liderazgo nacional
Aurora López Pérez fue Presidenta de la Asociación Nacional de Enfermeras de Venezuela y de su Junta Electoral Principal durante diez años, además de miembro permanente del Tribunal Disciplinario de la organización. Representó a Venezuela en todos los congresos internacionales de enfermería de su tiempo y, desde 1951 hasta 1975, fue delegada oficial permanente por el Estado Zulia a todas las Convenciones Nacionales de Enfermería. Durante veinte años se desempeñó como Profesora de las Escuelas de Enfermeras de Caracas y Maracaibo, en diez disciplinas, y publicó diversos trabajos sobre la profesión, varios de ellos premiados, que han sido utilizados como textos de estudio.

Artista plástica del gremio
Aurora López Pérez fue también una artista plástica, talento heredado de su bisabuelo, Eduardo López Rivas, célebre por el arte de sus publicaciones. Su género fue la pintura al óleo y se especializó en cuadros sobre episodios de la enfermería a través de la historia. Dos de sus retratos de la fundadora del gremio, Florencia Nightingale, fueron expuestos de forma permanente en los salones de los Colegios de Profesionales de Enfermería de Caracas y Maracaibo. Han sido desde entonces utilizados como ilustración, en las publicaciones oficiales del gremio.

Reconocimientos
La Gobernación del Estado Zulia creó en 1970 el Premio Estatal de Enfermería "Enfermera Aurora López Pérez", en honor a su labor pionera dentro de la enfermería venezolana y a su liderazgo gremial.

Tras su muerte, ocurrida en Maracaibo el 18 de julio de 1993, fue velada con honores en la Escuela de Enfermeras del Estado Zulia y sus restos fueron llevados el Panteón de la Enfermera en el Cementerio Corazón de Jesús de Maracaibo, donde actualmente reposan.

El 18 de julio de 2018, el Colegio de Profesionales de Enfermería del Estado Zulia realizó un homenaje póstumo a la enfermera Aurora López Pérez. El acto fue bautizado con el nombre de "Aurora López Pérez, Ícono de la Enfermería Venezolana" y tuvo lugar en la sede del Colegio de Profesionales de la Enfermería del Zulia.

Referencias

Maracaiberos
Fallecidos en Maracaibo
Enfermeras de Venezuela


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Film Review: The Island (1980)
This film is not good.
It's not a failure on every level the way something like Maniac was. It's a competently shot film, with strong production values and a very good cast. Michael Caine plays the film's protagonist, Blair Maynard, and opposite him is David Warner as John David Nau. The rest of the cast has plenty of other British actors you've probably encountered before.
The premise is also interesting – a settlement of pirates (lead by Nau) has survived on an island in the Bahamas by raiding ships for supplies and (as their gene pool has thinned), women and young men for breeding purposes. Blair Maynard, a reporter, goes to investigate the disappearances of these ships (bringing, for some reason, his son Justin – played by Jeffrey Frank – with him), only to end up in the pirate's clutches. If you're familiar with the X-Files episode "Home", then you're probably familiar with the premise (that episode did it with rednecks), and know that the idea has promise, with the right execution.
Where things fall apart is the writing. The screenplay and the novel it was based on is written by Peter Benchley, who is best known as the writer of Jaws. This is also where the film falls down – since, as written, the film has a runtime coming it at just under two hours. Of that runtime, after a quick appearance of the pirates in a very violent and bloody opening sequence, we see or hear hide nor hare of the pirates until almost the film's halfway point. Instead, we follow Blair and Justin as they travel to Florida and the Bahamas to investigate. Theoretically, the purpose of these sequences is to show the relationship between the two so it can be tested when they're captured by the pirates, but it doesn't work. Caine and Frank simply don't have much chemistry. I don't know if it's due to inexperience (according to IMDB this is Frank's first and only film role), or something else.
Once Blair and Justin get captured by pirates, things get interesting. We witness Justin's brainwashing at the hands of the pirates, while Blair is used as slave labor and breeding stock. Through all of this, Blair tries to find opportunities to escape and get his son back – getting through his son's brainwashing in the process. This part is the most tightly plotted and well written portion of the film, which makes the fact that it takes so goddamn long to get there a nuisance.
The film's climax comes after the first of two ship raids in the film. The first raid has the pirates attacking a sailboat that's smuggling cocaine, which Blair accompanies them during. Following the raid, Blair leaves a trail of cocaine packets to the island that the pirates are using as a base. This lures the Coast Guard to the base, at which point their cutter is successfully attacked by the pirates, which makes me wonder how they filmmakers got the cooperation of the US Coast Guard on this film, as the film's depiction of the Coast Guard is not what I would call complementary.
This also leads to the film's other weakness – its score. The film's score is composed by Ennio Morricone. If you're familiar with his full range of films, then you know that for every Fistful of Dollars, there's also an OK, Connery/Operation Double 007. The pirate attacks are scored as if the audience is watching something like Captain Blood or one of the other heroic pirate swashbucklers of the 30s. The problem is that in this film, the pirates aren't heroes, they're the monsters in a horror film – we shouldn't be rooting for them. Yet the score has their back, not their victims.
The Island is, ultimately, a film that should have had a 90 minute run-time, with less time spent in Florida, and either should have gotten a different composer, or director Michael Ritchie had gotten more time with Morricone to get a score that tonally fit with the film.
The Island got a DVD and Blu-Ray release from Shout Factory as part of their Scream Factory label, but it's so incredibly bare-bones that I can't recommend buying a copy of the film, unless you're a Scream Factory completionist.
Should for some reason you want to pick up this film, it is available from Amazon.com
Alexander Case October 24, 2016 October 24, 2016 film, Film criticism, Film Review, horror, Horror film
One thought on "Film Review: The Island (1980)"
Sounds like a stinker!
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For Lena Altmann, every Sunday felt like the first day of summer vacation after a long, hard year of straight lines and wrong answers. Sunday was the day she made the trip across Berlin to visit her Uncle Erich in the neighborhood of Prenzlauer Berg.
There were many significant Erichs in the Better Germany, but in Lena's life her uncle was the most important one. He was a writer; he knew what it was like to make up places in his head and live in them as if they were real. For the rest of the week, Lena lived with his sister, Sausage Auntie — six days that felt like a year.
Be grateful for Sausage Auntie, Mausi. She gave you a home when you lost yours.
But today was Sunday, and Lena was strolling down an uneven sidewalk with her uncle, trying to control vanilla ice cream on a mid-September afternoon. If she could stay ahead of it, she could keep the runnels of sweet cream from reaching her hands and making them sticky.
Every time Lena visited her uncle's neighborhood, she felt as if she needed a passport. The roads were narrow and full of potholes. The buildings were smaller and older than the ones where she lived, and on the main street where they walked, the walls were only painted to the top of the first story.
"See?" Erich crouched down. "It looks fine from this angle. Volvo level. That's what the dignitaries see from their car windows when they pass in their motorcades." He was frowning.
"Your ice cream is melting," she said, and he stuck out his tongue and licked the ice cream right off his hand.
Lena liked his neighborhood because there were trees, and there was something about trees that felt solid and dependable, and a bit wild.
"Have you thought of a name yet for your made-up world?" Erich asked her.
"Yes. The schrullig world." Things that were schrullig were quirky, strange, outlandish.
Erich's eyes brightened, as if he'd spied a flower coming up through the pavement, or a street sign hanging upside down. Each time the two of them discussed her imaginary world, he would ask questions, and she would think up a new detail. That was how the world grew.
Lena was grateful to talk to her uncle about this. At seventeen, she should have outgrown make-believe — or so said Auntie. There were the doctors at the mental hospital to consider, the ones with pudding voices who used Lena's name over and over when they spoke to her, and gave her "a little something" to calm her down, and told her everything would be all right when it wasn't.
"Tell me about your world," Erich said.
"Into space?" Erich paid such close attention it was as if a pencil in his mind were taking notes.
on a cake." Palm trees, white sand. Impossible places. "If you go into this office and say, 'I want to go to Coconut Island,' the lady will give you a ticket and that's that. You pack your bag and go." That wasn't exactly the truth. The posters were of Rügen Island and Prague, places Germans were allowed to go. Sometimes Lena embellished to make herself feel better.
They arrived at the park, which was busy with couples picnicking, parents chasing little boys who'd just learned to walk and looked like gunslingers from the Wild West, old ladies with stump-ankles dragging small fat dogs behind them. When a couple gave up one of the benches, Erich and Lena sat down.
"Ah. Nobody buys them." He blew a line of smoke into the air.
"It is." But also it wasn't. Lena pushed too hard on the ice cream with her tongue and some of it ran down the side of the cone. That was a mistake. Things are getting out of control. Your hands will end up sticky.
She wasn't sure how to explain this aspect of the schrullig world to her uncle. She couldn't even explain it to herself without making the wasps in her head come back. Don't make the wasps come back, Mausi. If Auntie knew, she'd tell the doctors. No sudden movements. No sharp edges. Auntie said it was important that Lena's life remain tranquil and uncomplicated. If the doctors got involved again, they might not let her out of the hospital.
Auntie saved you. Yes, she did. But the prize was that now she got to live with Auntie so Auntie could straighten her out — for the rest of her life.
"Now who's being the silly one?" Erich poked her in the arm. Bananas were a luxury in the Better Germany. In Magdeburg, where Lena had grown up, they'd only been available twice a year. The green Cuban oranges — when they were in stores — were chewy and tough to eat.
You're her mission. Auntie believed that Lena was broken and she could fix her. It was another one of those things that was both true and not true at the same time.
They walked, they chatted, and, too quickly, the air grew cooler and it was time to return to Erich's apartment. The afternoon was coming to an end.
no one would bang on the door.
Inside, the apartment was cold. The walls were lined with cracks that had blackened over time. There was the houseplant, looking as if it had shrunk since she'd last seen it, one step away from dead. There was Erich's typewriter on a small desk beside the window, because he said writers and windows went together like bratwurst and mustard. Lena sat on a stained armchair and Erich fetched her a Vita Cola. Another Sunday-afternoon treat — Sausage Auntie never bought Vita Cola. Lena took the first sip, letting the bubbles burst inside her mouth and savoring the lemon tang.
She imagined Erich at his desk, a cigarette in one corner of his mouth, eyes squinting at the smoke, dreaming lives out of thin air.
Lena opened the magazine, even though part of her worried that Auntie was watching somehow, waiting to take it away from her. She flipped through the pages until she found more pictures of the actress. "She's very glamorous." Such curly hair. Dresses Lena had only seen on Western television, at her friend Danika's house. Red lipstick. Lena was not allowed to wear lipstick because Auntie didn't want anyone to think she worked in a textile factory.
Erich went to fetch scissors, but the blades were so dull they didn't cut.
Auntie. Lena folded the edges of the picture and licked them.
Then she tore, a little at a time.
A loud knock at the door startled her so badly she ripped the picture. Her hands trembled as she shut the magazine and hid it behind her back.
Erich called, "Who is it?" Lena had never heard him sound so cold.
He rose to open the door, and Lena prepared herself for a storm of heels and gum-chewing and hands that moved like crazy caged birds. It took a moment before she realized Steffi hadn't crashed into the room in her usual way. Instead, a low and urgent conversation was taking place at the door.
"I'm not afraid of them," Erich said.
If he's not afraid, why is his voice rising? Why is he rubbing his hands on his pants like they're dirty?
Steffi's angry red boots clipped into the room.
Erich disappeared into his bedroom and Steffi stood there with her short black hair, shorter than Erich's shoulder-length tangles. No wonder he can't find a respectable job, Auntie would have said. Steffi looked around until her eyes fixed on Lena and then, "Oh. You're here." Snap snap went her gum.
Lena forced a smile. She could hear Erich coughing in the other room, a long bout this time, one that would bend him over with a hand to his chest. He had been coughing ever since his work in the mines, though lately it seemed to be worse.
He emerged red-faced and wet-eyed, a stack of brown books in his arms. Lena recognized them as his writing notebooks. Normally he kept them hidden beneath his bed. When he handed them to Steffi, Lena wanted to run over and kick her in the shins.
"What are you doing?" she said to her uncle, but he didn't answer.
Steffi glanced down at her full arms, eyebrows raised in a question.
There was only ever one They: the State Security Service. That was the Stasi's formal name, but everyone knew them as the secret police. And regardless of what Erich had said at the door, everyone was afraid of them. If you had a subversive thought or wrong opinion, if you made an off-color joke to the wrong person — even something as harmless as saying Scheiss Osten — you risked arrest, imprisonment, ruin. The Stasi were experts at destroying lives.
You didn't just think that. Unthink it this instant. Where was the Wall? Not the real Wall — everyone knew where it was. The one in her mind. There, she could see it rising and she hurried to get on the right side. "Everything for the good of the People," as the slogan went. There was an idea at stake, a Better Germany to create. Naturally, with such a difficult task, there would be casualties.
"I'll leave you," Steffi said. The way she walked in her short red boots made the spindly houseplant lose another leaf. "I'll be back in a Schni for the rest of them." She shut the door behind her.
"Take your time," Erich called, winking at Lena — but there was no fun left on his face.
Lena waited for the air to calm. "What if she reads them?" Those notebooks were not meant to be read by anyone. Erich had told her that the one and only time she'd asked.
"She doesn't like anyone." Erich sat across from her, lit a cigarette, and blew out a stream of smoke. Lena watched his hands. They were strong and square, though the hand holding the cigarette was jittery. He had lost his left pinkie finger in a mining accident. He never spoke of how it had happened, but it must have hurt. She wondered if the missing finger made his typing come out crooked.
She knew. Lena worked as a night janitor at Stasi headquarters — the place Berliners called the House of One Thousand Eyes. Working for the Stasi turned real conversations into chitchat about the weather or last year's football results at the World Cup. People didn't treat her the same way once they knew. They acted as if the thousand eyes were pollen, clinging to her hair or dress. Like she was a giant microphone, recording everything and then running back to headquarters with secret information about who was reading the wrong books or receiving packages from Western relatives.
"Nothing's been the same since the accident." The accident at the freight car factory in Magdeburg had killed so many people. The news reporters had given it a name — tragedy — but it was like trying to stuff a thunderstorm into a garden shed. There was no word big enough for that kind of sadness. "You want to know a secret?" she said, because all at once she was bursting with it.
"That's not what I mean." Lena twisted the bottom of her sweater, embarrassed by what she was about to say. You've got both feet in the conversation now. You may as well say it out loud.
"I wish it had been someone's fault." A crime with criminals; a mystery with a solution. It made her feel mean to say it, but it would have been so satisfying. Accidents weren't like that. They happened. They were stories that had come to a sudden end for no reason at all, and the people left behind had to find some way to survive.
"No. Only you." Lena shifted in her seat. What had she said wrong? Her mind raced, searching for something that might make it better. "Do you remember the solyanka Mama used to make whenever you came to visit?" It was Lena's favorite soup.
"It tasted sweet. And sour. Both at the same time. Will I have to live with Auntie forever?" This was the big question. Lena couldn't even look at Erich when she asked it. I wanted to live with you.
"No. Why would anyone do that?" Oh. Her job. Not even her uncle trusted her. If only it would wash off. Even having a mechanic's grease-stained fingers would be better than this. Everyone assumed she was a Spitzel — an informer. A spy.
The clock in the kitchen measured the moments between them that had somehow become awkward, and there were so few of them left before Lena had to go home for supper. She remembered the magazine behind her back. She pulled it out and finished extracting the photograph, and Erich repaired the rip with sticky tape that didn't stick very well.
"She'll never know." Lena smoothed the picture on her lap, then folded it and tucked it into her front pocket.
What? Was he going somewhere? Why in the world would he want her to do that? Well. His freezer was a prized possession, probably the most valuable thing in the apartment. Not everyone had a fridge with a freezer; they were expensive, and even if you could afford one, that didn't mean the shops would have any.
Lena reached for her uncle and hugged him goodbye for another week, memorizing his arms and the smell of him — tobacco, vanilla, ink. She held him so tightly she imagined breaking him in half and taking part of him home. And that was it — her daylong summer vacation was over.
Uncle Erich didn't break in half. But the way he waved from the window when she looked up from the street filled her with a strange and terrible feeling. As if she might never see him again.


SAGAMORE – If you're hitting the roads to travel for Thanksgiving, you won't be alone.
AAA predicts this year will be the busiest Turkey Day travel period in nearly a decade, spurred by an improving economy and lower gas prices.
In total, 48.7 million Americans are expected to travel 50 miles or more from home this holiday, representing an increase of over one million travelers from 2015.
"A substantial increase," AAA Northeast spokesperson Mary Maguire said of this year's travel volume. "It's actually the most Thanksgiving travelers since 2007.
Massachusetts roads could see a 5 percent increase in drivers this year.
1.1 million Bay State residents in total are expected to travel for Thanksgiving across all forms of transportation.
The influx of drivers across the state comes as crews tear down the old toll booths on the Massachusetts Turnpike. MassDOT plans to suspend all demolition projects across the Mass Pike system at 5 a.m. Wednesday.
Many of the booths have already been torn down.
Triple-A defines the Thanksgiving travel period as Wednesday through Sunday, but the Tuesday before the holiday has seen an increase in travel volume in recent years.
89 percent of travelers will drive to their destinations this Thanksgiving, according to AAA.
Gas prices this holiday are the second-cheapest they have been in almost a decade. The price at the pump in Massachusetts fell 4 cents Monday in AAA's weekly survey to an average of $2.08 per gallon. The Bay State price was 6 cents below the national average.
Rising wages, increased consumer spending, and overall strong consumer confidence are also contributing factors in this year's increase in travelers, according to AAA.


Check_disk is a plugin that will return the Total, Free and Used space in MB/GB And % of a given drive.
I'm doing some Nagios deployment, and I used your Nagios plugin check_disk.wsf, which is excellent BUT, you didn't added performance data. It is not difficult to add this functionality.
Just add the pipe in your echo file, I made a small modification as an example (see attachment).
Do not use my file since it's probably not working, I added the | as an example in the stdout.
You may consider to modify your script and upload it with the performance data capability.


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Senate Postal Reform: A Lot of Money, Little Change
James Gattuso	/ @Jamesgattuso / November 07, 2011 / 8 comments
With nine days to go before the U.S. Postal Service (USPS) faces default, a Senate committee on Wednesday is expected to vote on a new plan to address the crisis. The plan takes a few steps in the right direction, but it falls short of the comprehensive reform that is needed.
The immediate problem for USPS is a $5.5 billion payment to the federal treasury to fund retiree health benefits that is due on November 18, and it doesn't have the money to pay. But USPS's problem is much deeper than a cash-flow hiccup: in the face of plummeting mail volumes, USPS is losing money at an accelerating rate. Without comprehensive reform, it will fail, potentially saddling taxpayers with billions in costs annually.
On Wednesday, the Senate Homeland Security and Government Reform committee is expected to vote on a package of reforms (S. 1789) sponsored by a bipartisan group of Senators led by Joe Lieberman (I–CT), the committee's chairman. The plan would allow the postal service to save money by replacing door-to-door service with curbside deliveries, requiring labor arbitrators to consider the financial state of USPS in their rulings, lifting the ban on delivery of wine and beer, and reducing worker compensation costs.
But the Senators balked on many of the key big-ticket reforms that USPS management had urgently requested. Saturday delivery of mail will still be mandated (at least for two years), blocking billions in possible savings. USPS is permitted to close processing facilities but only after lengthy procedures are followed. The workforce would be trimmed by 100,000, less than the 220,000 sought by USPS.
The legislation would also provide USPS billions in cash from taxpayers. Specifically, it would hand over some $7 billion in supposedly "surplus" contributions the government has made to the Federal Employees Retirement System. Such temporary surpluses, however, are common and are typically erased by normal financial swings or amortization over time. Transfer of the entire pot to USPS leaves taxpayers vulnerable if USPS later falls behind (which, given its condition, is not unlikely) while allowing needed structural reforms to be delayed.
Meanwhile, the $5.5 billion payment due to Treasury on the 18th for retiree health care benefits is tucked under the rug. The bill replaces the current 10-year amortization schedule with a 40-year payment period.
USPS, and mail delivery itself, faces an uncertain future. Comprehensive change is needed to prevent massive losses and virtual bankruptcy. The reforms being considered by the Senate, however, fall short—while putting taxpayers even more at risk for the consequences of failure.
@Jamesgattuso
James Gattuso
James Gattuso handles regulatory and telecommunications issues for The Heritage Foundation as a Senior Research Fellow in its Roe Institute for Economic Policy Studies. Read his research.


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Jean-Abdo Arbach BC (Jabrud, 28 de junho de 1952) - clérigo sírio melquita, arcebispo de Homs.

Foi ordenado presbitério em 24 de agosto de 1980 na congregação dos Basilianos Soyan. Ele foi, entre outros, conselheiro geral da ordem, pároco da paróquia religiosa de Córdoba e diretor do colégio basiliano de Zahla .

Em 17 de outubro de 2006, foi nomeado exarca apostólico da Argentina com sede titular em Hilta. Em 11 de novembro de 2006, foi nomeado bispo titular de Palmira. Ele foi consagrado em 3 de fevereiro de 2007 pelo Patriarca Melquita de Antioquia, Gregório III Laham, acompanhado pelo Arcebispo Melquita aposentado de Himsu Abraham Nehmé e pelo Arcebispo Melquita de Petra e Filadélfia, Georges El-Murr.

Em 23 de junho de 2012, foi nomeado Arcebispo de Homs.

Ver também

Arcebispos católicos da Síria

redpajama_set_name: RedPajamaWikipedia


Like arbitration, mediation is an alternative method to resolve a dispute rather than using the customary route of litigation in our traditional court system. However, unlike arbitration, mediation is typically non-binding which means the mediator will not render a decision that is binding on the parties. Rather, the mediator will work as a facilitator attempting to get the parties to reach an agreed compromise settlement.


Forgive the slightly off the wall title of this blog, but I want to just mull over an observation about the different speeds at which photographers process and share their images. I wonder if you fall into the pan fried or slow-roasted variety?
After sharing both my Dolomiti Winter series across my various social media pages from April-June I got a couple of messages and comments about how they weren't quite 'in season'! It was all light hearted jest and perfectly fair to say but it reminded me how many of us operate at different speeds not just in the field, but with relevance to this blog, in our post processing, curation and publishing of images.
On the one hand I see images processed and posted from photographers within minutes or hours of shooting. The weekly competitions run by various companies and social groups on Twitter/FB etc no doubt encourage this quick turnaround but I know plenty of photographers at all levels who actually prefer to work this way.
My good friend and colleague Paul Sanders generally prefers this 'quick release', and it's not just about the processing and sharing but it reflects how he shoots generally. The focus is very much on him reacting and responding to the landscape around him emotionally, as such he wants the edits to be as fresh as possible to really capture the spirit of the moment. There are exceptions where he's worked on longer series of work but that has tended to be a rarer approach for him.
Paul posted this at the time with the following text: "Just because something or someone looks ruined it doesn't mean they aren't beautiful"
There can be commercial requirements to share images in a timely manner, for example you may be leading a workshop during that week and as such it's relevant to put something out at the time. However, it's commonly not about that and Paul is by no means the only highly respected professional who works in this way. It creates a sense of raw energy, spontaneity and truth in images for the viewer and for the artist. It doesn't mean you can't go back and re-assess images for later prints or books etc but it does perhaps free your mind of carrying around what I'm going to call 'image baggage'.
I must admit I'm firmly a slow roasted kind of guy. The Dolimiti Winter series were shot over a 3 year period and I decided to wait until they were curated into a couple of sets before letting any of them 'out' into the big wide world. I'm currently working on a series that has been 12 months in the making and this is both good and bad. I lie awake at night thinking of how the series may be curated, mulling over images and the meanings, and I'll go through ups and downs of really liking the work and other days wanting to delete it all! It can also make producing other work difficult because you have that aforementioned 'image baggage' getting in the way.
A mental distance from the image created by time away from it can perhaps let you have a more critical eye on the composition and processing. I like others often do this over two or three passes over the work. The time away may also let you shake off some of the personal background that was associated with making the image...if indeed you want to! Perhaps some photographers don't want to loose that immediate connection that helps them process it in the most truthful way to their freshly experienced moment.
There is no right or wrong, only different approaches that suit different personalities. I'd be interested to hear from you in the comments below if you're one way or the other, or perhaps a bit of both and why.
There can sometimes be commercial reasons for me to speed up my 'digesting time' - If a client is waiting for an image, or set of images there can be deadlines but in my personal work I try as much as possible to give the work space to breathe, time for me to re-check processing and pull it all together slowly. I'll often print images and leave them around my home office for a few weeks for me to let them seep in.
The short answer is that however the proverbial image is 'cooked', the main thing is that it tastes great and the chef enjoyed 'cooking' it...the method and journey to the diner is of secondary importance.
In this blog I use one image and demonstrate its interpretation through a variety of aspect ratios. You can even place your vote on which you prefer at the bottom of the blog!
I was recently out leading a workshop with my friend and colleague Paul Sanders on the Dorset coast. We had a lovely group of clients with us who'd got in touch originally through 'The Togcast Podcast' that we host and we ended up running a small weekend event for them (ps If you'd like to do this as well please do get in touch). As ever it was a mix of helping to inspire people with different locations, varying conditions and also talking them through different ways to approach a scene based on our experiences.
It was a muted day on the Jurassic Coast and there were lovely pastel colours in the sky and the clouds were blending into the horizon nicely. Looking out to sea there was a sense of just drifting out to infinity and so my initial inspirations were to create an ordered, tonally muted, simple composition to complement the peaceful view we were experiencing and to highlight the interesting (and fairly delicate) textures in the cloud and use the loan boat as a source of scale.
Commonly I walk round with my camera set to 1:1 and use it in Live View mode. It has become my 'go-to' and that brings it's own dangers. It's easy to become reliant on something and use it as a safety blanket, this can lead to your images becoming repetitive and also it can limit (or at least stifle) your creative eye. However, on this occasion I was quite sure that a 1:1 square would complement the scene nicely. When shooting in a very minimalist style the square aspect ratio can be a good option as it's equally balanced shape brings a natural sense of order. Also the story in this image is not a front to back, or left to right narrative - more on this later in the other aspect ratios! In the square you can leave a good amount of space and it can work well with straight horizontal or vertical lines such as the horizon here.
I find that a rough 80/20 rule can work well for horizon placement in a square if it's an image that has a simple horizon and not much else. This can work both ways; you may have a more interesting foreground that you wish to highlight and a flat sky in which case you can push that horizon way up on a square without it feeling cramped like it would in 3:2 or many other aspect ratios.
I really love 5:4 in many situations (although perhaps not here). If you're a square fan generally then you'll find that 5:4 is a great addition to your arsenal. It is generally much better at coping with scenes where a more vertical story needs to be told. For example if you have an element that people are used to seeing in an up/down state visually: high waterfalls, trees, certain buildings, people etc. It can also be a better way of letting the eye 'travel' through an image if you're using a foreground element to guide the viewer into the scene, think about a path into a woodland or a rock into a seascape etc. The slightly more vertical shape of 5:4 vs 1:1 is often more complementary to those scenarios. It comes down to how you want the viewer to travel through the image.
In this situation for me it doesn't add anything to the square. We're just seeing more sky and it's making the boat seem too tiny (it's probably too tiny in all of these but that's all the more reason not to exacerbate things!).
This is one of my more commonly used aspect ratios. If we refer back to my comment about the directional narrative of a scene then I would say that 16:9 often works really well for scenes where there is a left to right flow (or perhaps right to left - thats a blog for another day!). For example a distant set of peaks with fluctuating heights where the story is about the line of peaks not the foreground. Or perhaps a longer lens compression of a rolling countryside scene. Anything where you want to show lines, flow, rhythm from a left to right point of view. Obviously because this aspect ratio is very short and wide it doesn't tend to be great if you're wanting to lead the viewer in from the bottom of the scene as discussed in the 5:4 section.
It can also work well with minimalist scenes if you're trying to show a wide expanse, think of some of the great cinematic uses of 16:9 as a format at the movies. I particularly enjoyed a scene in the latest James Bond film 'Spectre' where they had a train snaking in left to right across the scene, or think of the classic American mid-west shots of the impressive rock stacks and the sense of grandeur and open space it brings.
If you're going to go wide, go really wide ;) Sometimes (just sometimes) the 16:7 is a great option. Obviously it has a very panoramic feel and the same suggestions apply about it suiting left to right compositions. Often it can feel a little too compressed though if you have any jagged peaks or elements too close to the top and bottom. In fact this is true of 16:9 as well, I find that leaving a little room top and bottom is beneficial to let the scene breathe, otherwise it will feel crammed in. If there is a fair amount going on in a scene I usually find 16:9 works better but it's worth experimenting with yourself. Use the 16:9 in live view and cover over the top and bottom to see if the scene can take stretching even further. Bear in mind that 16:7 images when shared on the web (especially via social media) can loose impact because they just feel small. They're best shown large, and/or printed large.
In this scene I actually prefer the 16:7 to 16:9, perhaps because it's so simple and when we think of a horizon it is of course naturally a horizontal element, as such giving it an aspect ratio that enhances that element tends to work. It adds to the sense of scale of the boat being out at sea alone, more than the vertical aspect ratios which just gave us more sky, which whilst you could argue that also gives scale, it's worth remembering it's a boat not a plane! It belongs on the water and as such that is the element we perhaps need to highlight more with this elongated horizontal aspect ratio.
I'll be completely honest and say that putting the image into 3:2 was the reason for this blog being created. Imagine the horror, shock and surprise when I found I actually quite liked it! There is a good balance between sky, sea, the use of the boat, a sense of space and expanse.
It reminded me that we can all too easily fall into our 'routine' when out shooting. Using the same ideas, techniques and visual strategies can be comfortable for us but commonly it can limit our creativity. This applies to people who only ever shoot in 3:2 and it applies to others like myself who have maybe found another safety blanket.
This blog is not about which aspect ratio is best for you, for any one scene or indeed necessarily even for this scene. I wanted to try and give some pointers about when you could consider using certain aspect ratios to enhance your compositions. Be it to introduce more flow from bottom to top, or left to right. Perhaps you want to really simplify and emphasise graphic lines and shape, whatever the scene the point is to consider WHY you're attracted to it and HOW you can use your composition to accentuate and highlight the spirit and flow of the image. It's far more beneficial to use these aspect ratios at the point of capture than to apply them after the fact.
ps - I was going to go into the use of that boat and show you some with boat and without boat, but that's another blog for another day! In the meantime just cover it with your thumb and see what you think!
Which aspect ratio do you prefer for this image?


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Facing Philly at a Crossroads: An Un-sarcastic Look Ahead
By Buddy Grizzard
I recently penned a trilogy of articles for Hoopinion in response to Atlanta Journal-Constitution columnist Jeff Schultz' opinion piece, "Larry Drew deserves credit for holding Hawks together," in which I sarcastically accused Schultz of nominating Drew as an early candidate for Coach of the Year. Since that time, noted NBA.com blogger and former AJC Hawks beat writer Sekou Smith has stated without sarcasm that "Drew's name should come up in conversations about Coach of the Year."
In that spirit, I would like to make an honest assessment of where the Hawks stand as they continue a brutal February schedule against their Atlantic Division-leading nemesis tonight. At this point in Hawks history, I believe you have three main factors that are going to determine if the team continues its surprising run and earns a high-enough playoff seed to avoid Chicago or Miami in the first round, as Hoopinion's James Goeders suggests they could. Those factors are (1) the center position, (2) Josh Smith's nascent stardom and (3) Larry Drew's coaching.
1. The Center Position
In the Hawks' Jan. 23rd win at Milwaukee, Zaza Pachulia outplayed former #1 overall draft pick Andrew Bogut at both ends of the floor. Bogut, when healthy (and he was at the time of that game), is considered one of the top centers in the NBA. I was looking forward to Thursday's match-up with Memphis to see Zaza face off against potential Western Conference All-Star Marc Gasol. Unfortunately Zaza only played 21 minutes, making it hard to draw any conclusions. One interesting comparison is that Ivan Johnson, who entered the game as the Hawks' third option at center, had virtually identical production to Gasol while matched up with him much of the game.
When Jason Collins left the game with a sprained elbow, it prompted many to panic. The Hawks were already perilously thin in the power rotation after the loss of Al Horford. This left the Hawks with only Zaza and Ivan as viable options at the 5. However, I believe there may be a silver lining.
If you go to John Hollinger's player statistics and click on PER at the top of the highlighted column, you will see players listed in reverse order. Unsurprisingly, Hollinger has Collins listed second from the bottom in Player Efficiency Rating among all active NBA players averaging at least 6 minutes per game. I'm not here to argue the validity of Hollinger's PER rankings. What's inarguable is that for the second year in a row, Larry Drew is giving significant minutes to a player who is in the conversation as possibly the worst player in the league.
The silver lining is that the Hawks will face the 76ers tonight without the slow-footed Collins. Ivan Johnson played credible defense on Gasol and matched his production in 6 fewer minutes (although he needed three more shots). He is still making rookie mistakes but I predict that Friday you will see him guard Dwight Howard man-to-man and not embarrass himself. He's that strong, which makes up for what he lacks in height. He's already a better NBA center than Kendrick Perkins.
The Hawks did not get killed in the post against Memphis (Atlanta outscored Memphis at the position 17-13 and only trailed 12-11 in rebounds). Where the Hawks got killed was on dribble penetration, brought on by the type of defense Radmanovic displays at the 1:15 mark of this game recap. Collins' absence can do nothing but help the Hawks as it takes a slow-footed player out of the rotation against one of the fastest teams in the league.
2. Josh Smith's Nascent Stardom
On ESPN TrueHoop Network Affiliate HoopSpeak.com yesterday, Ethan Sherwood Strauss gave voice to an opinion I have long held: Josh Smith may be a better player than Carmelo Anthony. I've long held this belief because I see Carmelo as a player in the Dominique Wilkins mold, a quintessential me-first, personal-stat-obsessed player who does not want to exert energy on the defensive end. Wilkins' aversion to defense prompted the Hawks organization to fire Mike Fratello and bring in "players' coach" Bob Weiss, a move that precipitated the controlled demolition of a Hawks era, as many reading this will recall.
If anything, I think Josh Smith is not stat-obsessed ENOUGH. Tracy McGrady has been trying to instruct Josh on the finer points of getting to the foul line to up his scoring average. Despite the tutelage, Smith has only scored 6, 7 and 11 points in the last three games against relatively weak opposition. I think all it will take for Smith to vault into the stratosphere is for someone to flip a switch and get him to play consistently like he did in game Game 4 of the playoff series against the Bulls. In that game he showed the player we all knew he could be by attacking the basket, posting up and completely dominating the league's deepest front line with 23 points, 16 rebounds and 8 assists.
I think Smith is a better player than Carmelo, despite not being near the offensive talent, because he is an outstanding team basketball player (note the assist total mentioned above) and because he impacts the game at the defensive end like no other player on the planet. Where Josh goes wrong is in trying to do too much, as when he refuses to give the ball up to Teague on the fast break. Josh has the ball handling ability to take it coast-to-coast or set up a teammate with a pinpoint pass, but he's also shown the frequent capacity to throw the ball away. Is Larry Drew the coach who can flip that switch?
3. Larry Drew's Coaching
The last two times the Hawks have gone into a game ranked first in the Southeast Division, the team has been blown out in humiliating fashion. Thursday against Memphis was the most recent instance, and tonight the Hawks get a rematch with the 76ers squad that destroyed them 90-76 in a meeting of division leaders Jan. 20th.
My sharpest criticism after that game was of Drew's deployment of Collins against possibly the fastest team in the NBA. Afterward, Drew said his players quit in the third quarter, a characterization I strenuously objected to. This becomes significant because I think Drew may have made the accusation in a calculating fashion, looking ahead to tonight's rematch. Given the poor efforts the Hawks have shown against the 76ers, dating back to last season, he may have decided to challenge their pride.
If I'm right, then tonight's game will serve as a litmus test for Drew's coaching style. If the Hawks win, the team regains stature and Drew's approach is validated. If the team lays down again, it may be an indication that the players have started to tune Drew out.
As far as the more recent game against Memphis, LD took out Ivan Johnson with 4:42 to play in the half with the Hawks trailing 36-35. He played Josh Smith at center as Memphis closed on a 17-8 run to lead 53-43 at halftime. It was Drew who threw in the towel in that game, yanking his starters early in the third quarter and letting the reserves play out the string.
Which brings me back to NBA.com's Sekou Smith and his opinion of Drew's coaching ability. This is the same Sekou Smith who wrote in the wake of the Hawks' trade for Kirk Hinrich that, "Jeff Teague, the Hawks' second-year point guard, is clearly not ready... He's the latest in a long line of supposed point guard solutions that ended up being a problem."
This is the same Sekou Smith that I booked several times for Art Mehring's sports talk program on 640 WGST in the Summer of 2005, when the hot topic was the upcoming NBA draft. The consensus was that Marvin Williams would go to the Hawks at the #2 pick, but I had misgivings. I emailed Sekou and asked a direct question. Given the Hawks' obvious need at point guard, and given that this was the strongest point guard draft in a generation, shouldn't the Hawks draft for need rather than gamble on Williams' potential at a position the Hawks already had depth at? Smith responded that no, in his opinion the Hawks should draft Williams on the basis of his superstar potential.
My opinion, and I say this without the slightest sarcasm, is that Sekou's ability to evaluate coaching talent is roughly on par with his ability to evaluate player talent.
Posted by Bret LaGree at 10:11 AM
Labels: 76ers, Hawks
ChakkECheeZe said...
What's Beef?
11:23 AM, February 04, 2012
Yeah, I haven't missed Sekou Smith at all. Michael Cunningham has been great.
Also, nice article. Larry Drew is ridiculous, and I'm sure once we get to March all of the "Coach of the Year" talk will have stopped. Memphis looks like one of the easier games this month.
Buddy Grizzard said...
Apparently ESPN.com updated Hollinger's stats since last night when I was writing this. He was right there second to Jamaal Magloire with a 2.31 PER. Now you have to filter for all players... apparently he's off the list of qualified players since he's injured.
Adam, thanks for the feedback. ChakkECheeZe you have beef? I will show you flying fist of Judah! I represent!
tell us how you really feel. I just know that you better not say nothing bad about Al Horford or you'll be off this blog in no time flat
Wait, what? I'm a Horford fan but what I liked most about him was the trade bait he represented for Dwight. That's what I get for snickering at the Nets after Brook Lopez went down to injury.
Great piece, Buddy.
We all know the knock on Carmelo as not much more than an impressive ISO player, though his rebounding skills often get overlooked.
However, witnessing the pathetic shooting night for Josh Smith from the field and from the line makes me hesitate in declaring him better than Melo. It become very easy for a defense to gameplan against a 30% midrange shooter and a 45% FT shooter regardless of the havoc he wreaks (at times) on defense.
There becomes a point where Larry Drew (or someone else) has to convince him to cut out the midrange jumpers and put in the work on his free throw shooting if he really desires to make an All-Star team, or more importantly, help this team take the next step in the playoff (which most would agree is substantially more important than regular season blowouts).
As you'll see when my initial feedback gets posted, I believe the question at this point is, given the fact that we know what Josh is capable of, is he saving it for his next team?
Initial Feedback: The Return of Real Basketball
Possible Trades
Assessing the Hawks at the Midway Point or "How I ...
Initial Feedback: Oh, Orlando, Always There When Y...
Initial Feedback: Pessimism Is in the Title of Thi...
Initial Feedback: Volume Shooting Almost Works
Quote of the Day -- February 19, 2012
Initial Feedback: Zero Effect
Shot Location and Success
Smoove Criminal: Who's to Blame for the Faulty Jum...
Initial Feedback: Josh F. Smith
Initial Feedback: A Tale of Two Halves
Previewing Hawks/Lakers with Andy Kamenetzky of La...
The Hawks Against Opponents of Quality
Initial Feedback: Hawks Win (The Part of the Game ...
What Quality of Opponent Means to the Atlanta Hawk...
Initial Feedback: Atlanta at Orlando, February 10
Initial Feedback: The Old Guys Snapped
Initial Feedback: The Sad Events Supporting Pessim...
Josh Smith: Field Goal Percentage By Location
Initial Feedback: Teams With Winning Records Are T...
Facing Philly at a Crossroads: An Un-sarcastic Loo...
ESPN.com: Hollinger: Claw Power
Initial Feedback: Some Thoughts
AJC.com: Cunningham: Joe Johnson's D has been stro...
Grantland: Ivan Johnson on Ivan Johnson
How Many Wins Do the Hawks Need For a Top 4 Seed?


Do Effective Managers Inspire or Direct? - Innova Group, Inc.Innova Group, Inc.
Home| Organizational Development| Do Effective Managers Inspire or Direct?
Contemporary organizational stakeholders are constantly seeking inspiration.
However, most managers either don't know what that means, don't know why it's needed, or don't feel comfortable with the concept. This is completely understandable. Managers have traditionally been selected for their expertise and experience, not their capability to inspire and energize others, to think rationally, be self-governing, and share accountability.
Inspiration is all about emotion. It is being able to communicate a vision, create work relationships based on sincerity and commitment, and instill the energy and confidence to engage and act. To inspire others is a personal investment of one's time and energy in the potential of others.
Telling and delegating are not inspiring. These communication behaviors transfer information and direct others in what to do. The focus is on an outcome or result and requires no personal investment of time or emotion. They mainly involve assigning or allocating tasks as well as applying experiential or expert judgments to the actions of others.
In the past, possessing experience or expertise was enough to make a manager effective. However, as organizations have become more virtual and fast paced learning environments, inspiration has become just as important in governing others as job knowledge. Contemporary managers can't just tell, delegate and direct. They must also inspire organizational stakeholders and empower them to embrace risk, be innovative and transform marketplace or organizational liabilities into possibilities. To achieve and sustain success in the 21st century marketplace, today's managers are required to be inspiring. They must empower organizational stakeholders to be self-directed, accountable, and united in pursuing excellence for the common good if they want to be successful. Inspiration is the emotional catalyst for establishing and sustaining the proactive, adaptive learning culture organizational stakeholders need to maximize business enterprise and human potential.


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The most important event of the week was the US announcement that it intended to pull out its military personnel from Syria. An ITIC analysis of ISIS's situation in Syria, Iraq, and the various provinces abroad shows that the organization has not been defeated, even though it was weakened following the collapse of the Islamic Caliphate. After the Caliphate collapsed, ISIS once again changed its methods and adapted itself to the changing realities. Read more...
The impact of the withdrawal of the American troops from Syria on the campaign against ISIS (Initial Assessment)
On December 19, 2018, four years after the American campaign against ISIS began, President Trump announced that ISIS had been defeated and America had won. Therefore, Trump and the American administration announced that the United States would withdraw its troops from Syria over a period of several months. Read more...
Iranian Responses to Trump's Statement and Initial Assessment of the Statement's Effect on Iranian Policy in Syria – Dr. Raz Zimmt
The decision of Unites States (U.S.) President Donald Trump to withdraw American forces from Syria was met in Iran with surprise and satisfaction by most senior officials and commentators. The drawdown of American troops from Syria is being presented as proof of the failure of U.S. strategy in the region, particularly in Syria, and another achievement of the "Resistance Front" led by the Islamic Republic. Read more...
In eastern Syria, the SDF forces, with Coalition air support, managed to take over most of the city of Hajin (ISIS's main stronghold in the enclave under its control east of the Euphrates River). ISIS continues its terrorist attacks and guerrilla warfare in in the various provinces in Iraq, despite the preventive actions of the Iraqi security forces. Read more...
Spotlight on Global Jihad (December 6-12, 2018)
In eastern Syria, SDF forces, with massive air and artillery support from the Coalition countries, launched an attack on ISIS in the city of Hajin, ISIS's stronghold in the enclave north of Albukamal. In the Idlib area incidents continued, consisting mainly of exchanges of artillery fire between the Syrian army and the jihadi rebel organizations. On December 12, 2018, a shooting attack was carried out in the Christmas market in Strasbourg, France. Four people were apparently killed and around 12 wounded Read more...
The United States proposed a UN General Assembly resolution condemning Hamas and other terrorist organizations in the Gaza Strip
On November 30, 2018, the United States Mission to the United Nations proposed a resolution calling for the condemnation of Hamas for its terrorist activities in the Gaza Strip. According to the proposed resolution, Hamas is to be condemned for its repeated firing of rockets into Israel, inciting violence and putting civilians at risk, and using airborne incendiary devices [such as kites and balloons]. Read more...


The site is divided into three clearly defined neighbourhoods, where the rows of houses in each of the neighbourhoods form the wall of the three large, open spaces, the 'greens'.
The greens all have their own character, inviting social interaction, and in due course could be eqipped with open-air grilling facilities, pavilions, sheltered outdoor seating and play areas.
The three neighbourhoods are linked by a well-defined, attractive promenade, a narrow village street, with wide pavements for playing and local parking.
The pavements are laid with cobblestones and concrete flagstones and lined with trees; the rows of houses forming a wall to the street, as in the traditional village.
Apart from providing the residents with essential communal areas, the separate greens will contribute to give each house a unique quality.
All houses permit through-dayligh and make full use of the beautiful local landscape, unifying house and nature.
The aim was to create an attractive village, composed of simple, pure nordic houses.
The site possesses a rich variety of forms.
The details are simple, sober and elegant.


In life and in business, Tony Stephen has always held strong to one basic yet defining guiding principle.
"A belief and core strength in our family has always been to treat others the way that you would expect to be treated yourself," said Stephen, who has owned and operated Tower Cleaners since 1978.
What started as a small family business has grown into one of Canada's largest privately-owned dry cleaners with 27 locations scattered throughout Calgary and Airdrie, Alta.
Despite the growth, Stephen has never let go of that guiding principle, and just recently Tower Cleaners has been recognized for it.
The Calgary-based company is an Immigrants of Distinction Awards finalist in the Organizational Diversity category.
"We've got one big family here … you name the country, they're probably here working with us," Stephen said.
It's estimated up to 30 different nationalities are represented amongst the more than 100 employees who work at Tower Cleaners.
Stephen said employees stay about an average of 17 years, many for even longer.
Originally from Laos, daily production manager Nicky Pathammawong has been with Tower Cleaners for nearly 30 years. She was originally hired to wash floors.
"I'm happy every day to get up, like early morning, to be here," Pathammawong said, adding that Stephen is like family.
Olga Butenko, meanwhile, moved to Canada from Kazakhstan about two years ago, and will soon be leaving her position on the plant floor to take over accounting and book-keeping duties.
Business development manager Dalmy Manan says Tower Clearners embraces diversity within the workplace and does not tolerate discrimination.


He was a German composer and musician of the Baroque period. He enriched established German styles through his skill in counterpoint, harmonic and motivic organisation, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. His music is revered for its intellectual depth, technical command, and artistic beauty.


I don't know about you, but I always love having a bit of a blogging binge every now and again and catching up on the blogs I love and religiously read, as well as reading and discovering new blogs in the blogging world. I thought I would make made a list of bloggers I've been LAVING for the past few months that are definitely worth subscribing to, if you to are like moi and have started to invest your reading time into something that is a little bit more worthy. I always love getting notifications whenever these babes post and had to share them with you if you don't already follow them!
I have loved reading Taylor's posts for a while now. Her beauty reviews are always so helpful and honest and her photos are just gorgeousss. Her post ideas are always so different and interesting to read so if you're a makeup/beauty junkie like me who also loves a bit of lifestyle, I know your going to love her blog.
Like all of these lovely bloggers, if you're not subscribed to Maria, what the hell are you doing!? I will never know how she works all of those stun outfit shots on the daily and I always absolutely love reading her posts. She has such a talent for camera work which makes everything she does so aesthetically pleasing. She's such an inspiration to other bloggers and did I mention she also has a FAB fashion sense too!?
Lauren is another blogger who's posts are so inspiring. She's such a hilarious gem who you NEED to follow. She posts everything from beauty, fashion, lifestyle to mental health which I know you will all love like me. Her blog style is also so unique! The internet needs more people like Lauren.
Jessica's blog is so so pretty- just look at it! If you're a lover of lifestyle, beauty and blogging tips, you will absolutely love her blog. She seems so lovely and her beauty reviews are always so in detail and helpful! You definitely need to give her a follow!
After reading Lexi's blog, I decided to give her YouTube videos a go. I have been watching her content over the past few months and absolutely love it so far and always die laughing all the way through- she's hilarious! I certainly will be keeping up with her videos this year! I always love seeing her photos of her trips and her outfit shots are beautt. She definitely has an eye for style and photography. I will never know how she gets her product shots to look that good! You need to follow this gem!
Abbie is another blogger who I've been loving following for the past few months who seems so friendly. Her makeup ability is out of this world and I always love seeing the amazing looks she creates. She blogs about health, beauty and has some great advice for bloggers. As well as her blog, she also has an amazing YouTube channel.
Reading Alice's blog always makes me feel so cosy and at home with her being a Yorkshire gal like me and I love seeing her snaps of our local area and of her life. I've definitely learnt a few good coffee shops to go to from her! You need to go and subscribe to this angel if you're not already.
Last but certainly no means least, Samantha's blog has been another favourite of mine to read recently. I always love hearing her blogging advice and what natural beauty products she's loving which I know you will too! She seems so lovely and is definitely worth a follow!
Who's blogs do you like to read?
Absolutely adore everyone else too! Such a lovely post!
follow, some here I'm already filling but will check out the others!


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SELF-PROPELLED ARTILLERY
M43 Howitzer Motor Carriage
203mm Self-Propelled Artillery (SPA)
The M3 Howitzer Motor Carriage fielded the massive 203mm M115 howitzer gun and was based on the preceding M40 155mm SPA development.
Credit: Image courtesy of the Public Domain.
Manufacturer(s): Pressed Steel Car Company - USA
Capabilities: Fire Support/Assault/Breaching;
Length: 24.08 ft (7.34 m)
Width: 10.33 ft (3.15 m)
Power: 1 x Continental R975-C4 engine of 400 horsepower.
Speed: 24 mph (38 kph)
Range: 107 miles (172 km)
The M43 Howitzer Motor Carriage was a World War 2 (1939-1945) development and a further evolution of the M40 Gun Motor Carriage line. The two were, therefore, closely related products from the Pressed Steel Car Company and emerged in 1945. The hull, chassis and running of the M40 was retained (itself taken from the M4 Sherman line) though the M43 mounted the massive 203mm howitzer system and early trials were carried out through the T89 Howitzer Motor Carriage pilot vehicle. After their acceptance in November of 1945 - following the end of war - the T89 emerged as the standardized M43. 576 units were part of the original U.S. Army order but the end of the war reduced total procurement to just 48 - twenty-four of these completed by war's end and a further twenty-four converted from existing M40 systems. The single pilot vehicle did, in fact, see combat service before the close of the war though its production brethren were not used in anger until the Korean War (1950-1953).
The finalized vehicle was a 41.5-ton product requiring a crew of eight with the gunnery section operating in an open-air environment (the driver was in the hull). The main gun was the M115 land howitzer standardized in 1941. It fired a 240lb shell at a muzzle velocity of 1,925 feet per second out to 10.5 miles away. It was typically arranged atop an eight-wheeled, twin-axle carriage system that included the tow arms, recoil mechanism and mounting hardware. Beyond the carriage, this was carried over to the M43 vehicle. A rear-mounted recoil support was lowered prior to firing to help counter some of the violent effects of the action.
Drive power was through a Continental R975-C4 engine of 400 horsepower which, as a self-propelled vehicle, allowed the M43 a maximum road speed of 24 miles per hour and a driving range out to 105 miles. The performance was eventually found wanting as the heavy vehicle struggled to keep up for mechanized forces of the U.S. Army. As a stationary battlefield artillery piece, however, the M43 did not disappoint in Korea.
1 x 203mm M115 Howitzer main gun.
• M43 Howitzer Motor Carriage - Base Series Designation.


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Q: During running my app logcat looks horrible and i am unable to get anything: LogCat looks like:
I am unable to get anything why it is happening.I searched on google but i did'nt get anything.
11-02 17:44:54.303 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:54.342 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:54.824 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:54.841 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:54.856 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:54.883 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:54.942 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:54.954 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:55.025 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:55.042 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:55.051 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:55.076 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:55.095 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:55.113 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:55.129 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:55.137 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:55.142 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:55.366 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:55.379 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:55.383 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:55.430 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:55.441 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:55.450 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:55.485 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:55.498 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:55.502 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:55.570 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:55.579 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:55.585 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:55.612 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:55.621 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:55.630 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:55.649 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:55.661 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:55.667 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:55.694 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:56.022 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:56.028 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:56.070 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:56.075 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:56.079 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:56.098 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:56.102 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:56.109 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:56.125 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:56.526 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:56.530 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:56.713 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:56.722 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:56.728 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:56.746 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:56.751 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:56.764 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:56.848 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:56.860 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:56.864 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:56.890 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:56.896 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:56.903 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:56.982 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:56.996 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:57.001 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:57.028 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:57.031 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:57.039 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:57.062 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:57.079 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:57.085 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:57.179 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:57.185 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:57.189 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:57.201 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:57.206 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:57.215 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:57.233 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:57.369 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:57.372 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:57.453 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:57.458 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:57.462 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:57.477 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:57.480 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:57.485 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:57.507 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:57.823 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:57.832 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:57.908 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:57.914 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:57.919 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:57.931 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:57.935 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:57.940 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:57.957 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:58.037 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:58.042 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:58.120 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:58.127 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:58.131 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:58.146 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:58.150 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:58.156 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:58.171 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:58.367 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:58.371 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:58.477 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:58.483 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:58.489 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:58.503 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:58.508 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:58.519 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:58.534 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:58.861 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:58.869 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:58.912 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:58.919 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:58.923 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:58.937 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:58.940 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:58.944 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:58.961 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:59.012 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:59.019 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:59.105 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:59.118 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:59.121 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:59.137 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:59.139 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:59.146 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:59.176 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:59.201 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:59.220 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:59.301 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:59.308 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:59.312 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:59.328 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:59.335 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:59.342 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:59.454 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:59.468 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:59.472 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:59.502 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:59.509 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:59.519 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:59.617 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:59.631 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:59.637 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:59.670 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:44:59.674 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:44:59.680 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:44:59.695 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:45:00.025 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:45:00.033 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:45:00.073 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:45:00.077 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:45:00.080 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:45:00.093 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:45:00.100 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:45:00.104 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:45:00.121 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:45:00.139 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:45:00.148 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:45:00.191 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:45:00.197 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:45:00.201 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:45:00.214 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:45:00.526 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:45:00.531 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:45:00.574 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:45:00.578 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:45:00.582 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:45:00.606 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:45:00.609 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000b44
11-02 17:45:00.615 6115-6266/com.example.android.buyhatke E/eglCodecCommon: glUtilsParamSize: unknow param 0x00000bd0
11-02 17:45:00.631 6115-6266/com.example.android.buyhatke E/eglCodecCommon: **** ERROR unknown type 0x0 (glSizeof,73)
11-02 17:45:01.023 6115-6115/com.example.android.buyhatke W/IInputConnectionWrapper: requestCursorAnchorInfo on inactive InputConnection
11-02 17:45:01.027 6115-6115/com.example.android.buyhatke W/IInputConnectionWrapper: getTextBeforeCursor on inactive InputConnection
11-02 17:45:01.028 6115-6115/com.example.android.buyhatke W/IInputConnectionWrapper: getTextBeforeCursor on inactive InputConnection
11-02 17:45:01.030 6115-6115/com.example.android.buyhatke W/IInputConnectionWrapper: getTextBeforeCursor on inactive InputConnection

and it(above code) is repeating my numbers of time.
I am new to android.so,i am unable to understand much.
Please help.
Thanks

redpajama_set_name: RedPajamaStackExchange


As a strategic partner in the North Somerset Teaching School Alliance we are working to ensure that high quality training in teaching special needs children can be delivered locally. This will include short courses and placements in a special school for teachers on the initial training.
Ravenswood staff are familiar in training colleagues in mainstream schools on TEACCH and P-scales and providing guidance on behaviour management, e-safety, and ICT skills.
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21 Sep 2017: Drama in p-16!
24 Mar 2017: What will you do when you grow up?
03 Jan 2017: Thanks to our volunteers!
09 Dec 2016: "Friends, Romans, Countrymen" A rousing Julius Caesar!
18 Nov 2016: P16 put on a spectacular performance at the Tobacco Factory!
07 Oct 2016: School Council gathers in the harvest!
24 Jun 2016: Summer fayre thanks!
15 May 2014: How should we use the land?
12 May 2014: Big Song and Dance!
11 Jul 2013: Outdoor and Adventure!
03 Jun 2013: Cricket Challenge!
23 May 2012: Olympic Flame Welcome!


So quickly do things turn around. From Ploy having to pawn some of her gold so we can keep everything running for the business we are now buying that gold back, my new Dell workstation computer arrives next Tuesday, I shall probably purchase a new laptop next week and we treated ourselves to a new TV, I have another article due to be published this month, we are still awaiting another payment and are very likely to receive another order very soon. And after all of that we will still have money in the bank and to top it all Ploy's agency job is also starting to bring money in. And finally I may be able to recover some of my pension money from the UK using these QROPS schemes which although parasitic, for me at least, mean something instead of nothing.
Money goes to those who have it (or at least a little bit of it). When we had no money everything seemed to put further drains on our empty piggy bank, like the TV breaking down or customers paying late. When we have a little money customers pay quicker and a cold caller might actually bring in a little money from nowhere.
It was my birthday last week and it is our intention this year to celebrate a little at Christmas. Attempts to find somewhere for a spot of turkey and sage and onion stuffing on Christmas Day have been thwarted by the silly prices some places are asking and not wanting to travel all the way to Bangkok just to fight obese and drunk foreigners in a pub for a luke warm brussel sprout. But we have found our old Christmas decorations and the tree we bought from Singapore seems to have weathered its travels well enough so we intend to decorate the house a little this Christmas and perhaps we can find a small turkey in Bangkok to cook ourselves.
And as we settle even more comfortably into life here I have began to get a little itch to return to the UK for a short holiday. Although Ploy and I love each other's company we also like very different things in a holiday; both being only children we also retain that need for our own time and independence. If we stayed in Thailand I would take a few books (and my new laptop!) to Koh Chang whereas Ploy would prefer the bustle of a big city. I like to spend hours in classical CD shops and art museums (not something easy to do here anyway) whereas Ploy tolerates that only because she loves me. And if we returned to the UK together we would have the hassle of getting a visitor visa for Ploy and I really don't need further form filling at this point. So I thought of returning by myself.
A further prompt for this came from an article about the world's best airlines which Singapore air was top of yet again. I instinctively went to check prices for the flights to London on Singapore Air and they were 48,000 baht which is quite reasonable for that level of service. However I still only have Silver card status and even after that trip am still short of the necessary Gold card miles. So I looked at Eva Air who I know fly direct to London from Bangkok; (travelling via Singapore either means an overnight flight which I don't like - you arrive early morning in the UK and no hotel will let you check in, or you stay overnight in Singapore for the early morning flight from there which adds expense but also wastes a day of the holiday). And I remembered they also had executive economy seats which from experience on Thai airways are well worth the little extra. And there they were, 67,000 baht for executive economy on Eva, number 11 in that airline review and I also noticed they fly to LA, San Francisco, Toronto, Vancouver and New York, all with executive economy seating, the US being my most frequent destination as we have most customers from there. And flying executive economy with a Silver card from them also gives you access to lounges and faster check-in. Why didn't I see this before. So it looks like goodbye Singapore Air after 11 years together, I will miss you.
So 3 days in London with perhaps one of those days a trip down to Portsmouth, (my home town), meals at Porters or the Lancaster hotel (not the best food - although it used to be very good - but the places have fond memories for me), visits to Tate Modern, warm dark beer in musty pubs, CD shops, Foyles bookstore, (no longer the biggest in the world but big enough), and then the train to Edinburgh for three days there, meals at Creelers and Monteiths, trawl the pubs and walks along Portobello beach. I am looking forward to it. Immensely. Perhaps later in January or early February while there is still a frost on the ground and log fires in the inns, (and assuming I can find our warm clothes from Canada). A chance to recharge batteries before making 2013 an even better year than this one.