text:
Saudi Aramco signs share purchase agreement to acquire 70% majority stake in SABIC from the Public Investment Fund of Saudi Arabia
Ngày đăng: 14/05/2019 04:10:16
Advances Saudi Aramco's integrated refining and petrochemicals business, provides SABIC with a strategic energy industry shareholder and expanded growth opportunities.
Aligns strengths and interests of two major global companies to enhance competitiveness and address fast growing petrochemicals.
Currently, Saudi Aramco and SABIC have petrochemicals production capacity of 17 and 62 million tons per annum respectively.
Saudi Aramco today announced the signing of a share purchase agreement to acquire a 70% majority stake in Saudi Basic Industries Corporation (SABIC) from the Public Investment Fund of Saudi Arabia, in a private transaction for SAR 259.125 billion (or SAR 123.39 per share), which is equivalent to USD $69.1 billion. The remaining 30% publicly traded shares in SABIC are not part of the transaction, and Saudi Aramco has no plans to acquire these remaining shares. The transaction is subject to certain closing conditions, including regulatory approvals.
Headquartered in Riyadh, Saudi Arabia, SABIC has global operations in over 50 countries with 34,000 employees. In 2018, SABIC's consolidated production volume across its various business units was 75 million metric tons, and recorded net income of USD $5.7 billion, annual sales of USD $45 billion, and total assets of USD $85 billion.
H.E. Yasir Othman Al-Rumayyan, Managing Director, Public Investment Fund of Saudi Arabia said: "This is a win-win-win transaction and a transformational deal for three of Saudi Arabia's most important economic entities. It will unlock significant capital for PIF's continued long-term investment strategy, underpinning sectoral and revenue diversification for Saudi Arabia. Furthermore, it will introduce a strategic owner that can add considerable value to SABIC and all its shareholders, while capitalizing on SABIC's strong capabilities to unlock the opportunities for growth that Saudi Aramco, a key player in energy markets around the world, can offer."
Amin Nasser, President & CEO, Saudi Aramco said: "This transaction is a major step in accelerating Saudi Aramco's transformative downstream growth strategy of integrated refining and petrochemicals. SABIC is a world-class company with an outstanding workforce and chemicals capabilities. As part of the Saudi Aramco family of companies, together we will create a stronger, more robust business to enhance competitiveness and help meet rising demand for energy and chemicals products needed by our customers around the world."
Abdulaziz Al-Judaimi, Senior Vice President of Downstream, Saudi Aramco said: "Saudi Aramco's downstream strategy is focused on meeting global customer needs by securing outlets for our crude oil through the expansion and growth of our refining system and deepening its integration with petrochemicals production. We are pursuing partnerships and acquisitions where we create long-term value, and developing groundbreaking crude-oil-to-chemicals technologies. SABIC is a good strategic fit and a solid platform to support our continued investment for future growth in petrochemicals – the fastest growing sector of oil demand."
The acquisition is in line with Saudi Aramco's long-term strategy to drive growth through an enhanced Downstream portfolio by increasing global participated refining capacity from 4.9 million to 8-10 million barrels per day by 2030, of which 2-3 million barrels per day will be converted into petrochemical products. This Downstream portfolio will consume significant quantities of Arabian crude oil.
RIYADH, March 27, 2019
(Source: https://www.saudiaramco.com/en/news-media/news/2019/aramco-sabic)
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text:
Look for the union label
The Irishman is a pretty big container for what amounts to not all that much.
Directed by Martin Scorsese
Written by Steve Zaillian (based on the book I Heard You Paint Houses by Charles Brandt)
Spoiler alert: N/A
The Irishman is a film I like more than I respect, but I'd almost have to, since even though I only like it a little, I respect it not at all. It's a movie that doesn't really do what it was designed to do, and that puts it on at least the border of failure, considering that this design was invested with both enormous amounts of money (between 150 million and 180 million dollars by streaming giant Netflix, in their ongoing pursuit of legitimacy) and the kind of runtime that would sound like a joke if I quantified it (it is the longest movie Martin Scorsese ever made, which should intimidate if not outright terrify you). But it became an "event" regardless; in twenty years, it will be categorized as minor Scorsese—mark my words, the future will barely care about it—but it might also be the last Scorsese. And, all things being equal (though here they are not remotely equal), it's absolutely better to celebrate a legend during his lifetime rather than afterward, so he can know that he meant something. It's morbid to even acknowledge it, I suppose, but certainly Scorsese himself knows he's mortal. That's why this movie takes on the form that it does. Notionally, then, Scorsese has engaged in a reckoning with the strong possibility that this is his final work, and that his career, often considered synonymous with the cinematic chronicle of American organized crime, will end with The Irishman. Or, if you prefer your titles to not be so beige and boring—as Scorsese himself clearly prefers, since The Irishman is not the name he pasted onto his movie—we could at least mention its real title, I Heard You Paint Houses.
The "you" there is Frank Sheeran (Robert De Niro). The "houses" are indeed sometimes (if not usually) houses. The "paint" is blood, Sheeran being an Irish-American truck driver from Pennsylvania who, in the late 1950s, fell in with mafioso Russell Buffalino (Joe Pesci) by way of Buffalino's cousin, Teamster lawyer Bill Buffalino (Ray Ramono), and thereafter became the trusted weapon of the Buffalino crime family. Meanwhile, Sheeran rose in the ranks of the mobbed-up Teamster union itself, and, ultimately, his criminal handlers placed him alongside the Teamsters' beleaguered president, Jimmy Hoffa (Al Pacino), nominally for Hoffa's protection. I bet you can guess how this works out. The whole long story is related to us by way of one of Scorsese's favored storytelling devices for this kind of film—a shitload of discursive, docudrama-like narration—and this is initially presented as the recollections of Sheeran himself in this film's "present day" (likely 2003, the year of the real Frank Sheeran's death), as Sheeran sits sadly in his wheelchair and directly addresses a camera that has tracked through his old age home, evidently looking specifically for an old mobster to tell it a tale.
The involvement of this filmmaker and those actors—De Niro, Pesci, Pacino (and Harvey Keitel's in it too!)—naturally brings to mind the magisterial mafia epics of decades past, and this is what folks have run with for The Irishman, a movie about an old mobster made by an old mobster movie director. They overemphasize how much it actually does with this idea, though they're not wrong: it's a movie by an old man, about an old man. It moves like an old man. It doesn't have much to say about being an old man, other than being the sum of one's moral choices sucks. It puts no poetry to that at all, which, I grudgingly concede, might be the point. The defining sense of the film is that of a filmmaker whose intoxication with the mobster ethos has diminished, and who now sees in it only its didactic possibilities, the way it offers itself as a particular, well-worn lens through which to view post-war America and the corrupt underpinnings of American capitalism. (Albeit, in this instance, the labor part of that equation, and it's hard not to see some extremely sharp anti-union sentiment in The Irishman, even if it is rooted strongly in fact.)
I guess most of Scorsese's gangster movies wake up to sobriety eventually (not The Departed or Gangs of New York, of course, but they don't count), and their fabulistic quality fades, replaced with the cold, hard facts. The Irishman starts there. All the more enjoyable and energetic Scorsesian moves have been flattened and blunted. They've been replaced by a precise stateliness on the part of constant editor Thelma Schoonmaker and a whole miniseries's worth of functionally bland cinematography on the part of Rodrigo Prieto, with the semi-Gumpian figure of De Niro's Sheeran serving as the largely-unperturbed, modestly-sociopathic center of a story which takes on the basic format of Casino (De Niro providing a canned history of his character's slice of America, though Pesci does not get to join in this time), sans brio and sans verve. On the plus side, it's a Casino that never gets numbingly repetitive, as well as a Casino that gives up even trying to pretend to have an interest in women, or even an interest in its male characters' interest in women, which is jarringly annoying while you're watching it—The Irishman is a 209 minute movie that dispenses with the end of Frank Sheeran's relationship with his first wife and the beginning of his relationship with his second inside a single line of narration and basically one or two cuts—but even that is probably for the best, considering that Casino often pretended to have such an interest, and every time it did it was ghastly. But it's still part of how The Irishman is only theoretically about aging and regret and life: Sheeran's most important daughter (as an adult Anna Paquin, Lucy Gallina as a child) provides the film its "conscience" in that she is permitted five or six displeased reaction shots across its runtime. Just as theoretically, The Irishman becomes a retrospective look upon one of the crucial legacies of American cinema.
In practice, it's more like a repetition of that legacy with very little new insight. In Steve Zaillian's screenplay, based on the real Frank Sheeran's late-life tall-tales, one recognizes that The Irishman is fundamentally just a piece of flabbed-up conspiracy fiction: an Executive Action that purports to explain what (allegedly) happened to Jimmy Hoffa in 1975, instead of to JFK in 1963. (Inevitably, The Irishman does also explain its version of what happened to JFK.) It's more humane and emotional than the bullet-pointed memorandum of Executive Action, but of course it has nothing of its crazed ingenuity—I hope you're sitting down, but Jimmy Hoffa was assassinated by mobsters—and it's more than twice as long. (One wonders in deadly earnest just how many of the "26 million people" that Netflix claimed watched The Irishman actually finished it.)
Even so, it's no accident that The Irishman functions best, and indeed even functions quite well, when Pacino is a force that De Niro and Pesci have to contend with. I'm not much in agreement with the most abiding criticism of the film, that De Niro is doing little besides offering his likeness; his character might be somewhat dim-bulbed and defined by his lack of interiority, but by no means is he wholly inexpessive, and De Niro gets a truly lovely scene where sadness washes over his face for something like three solid minutes. Still, it's hard to argue that Pacino is not by leaps and bounds the film's most dynamic figure, serving up a larger-than-life caricature of the egoistic labor leader who dominates scene after scene. Pesci's also rather good as Sheeran's more subdued father figure, to whom Sheeran's unstated loyalties ultimately lie despite all the overenunciated protestations of "brotherhood" from Pacino's Hoffa. This is only about two of The Irishman's three hours, however, and the other hour is almost objectively less interesting: a big part of it is Sheeran's pre-Hoffa life, which plays well enough even if not all of it is strictly necessary—especially when we're not even supposed to conceive of Sheeran as an emotional anchor during this extremely long journey.
Which again raises the issue of The Irishman's unjustifiable length: Scorsese's previous movie, Silence, was also very long—and, undoubtedly, it was even slower—but it used length and slowness to grapple with the spiritual crisis at its heart, and in doing so Scorsese drew a masterpiece out of the material. The Irishman is long and slow mostly in order to be long and slow. Sheeran's origin story is here, I think, mainly because he said it happened; likewise, the smaller but more damaging part of the film, the framing narrative in the "present," is entirely dispensable, and this is here solely so Scorsese's film can gesture inarticulately toward the idea of the survivor who was diminished by old age, and degraded by the dehumanization of the mob machine. The last twenty minutes in particular are useless for any other purpose. Yet they still never do anything more than just gesture.
Which, in turn, means that The Irishman doesn't come close to earning the right to exist in the form it took: it is a movie, mostly about people saying "cocksucker" in rooms, that cost almost as much as a superhero blockbuster, purely because Martin Scorsese wanted to make a movie with his ancient buddies (and Al Pacino) returned to the bloom of—well, middle-age, but still, that's something. Technologically, it's marvelous and futuristic. Yet somehow it fails to grasp the very thing its "seven ages of De Niro" conceit, its computer-generated faces, and its intense runtime were, in combination, supposed to provide—that is, the feeling of time bearing down upon its protagonist as he inches closer toward his lonely oblivion in 2003, in part because nothing about the film invites you to give a crap. The parts of the movie that were truly worthwhile, Hoffa: The Betrayal or whatever, had they been made with conventional means, could have cost a tenth as much as The Irishman actually did. It would have been better for it, even if it lacked the resonance (and/or the marketing hook) of having the stars of Goodfellas, Casino, and The Godfathers play versions of themselves as younger men who are maybe sometimes a little too arthritic to be entirely convincing as top-notch mafia hitmen. As it stands, it is very much the massive indulgence it always looked like, the kind of waste of resources that could make one slightly ill when one considers the implications: for the same price, literally a dozen mid-budget originals could have been made by a dozen new filmmakers. I'm not sure you could pick a worse standard bearer for "real" cinema than this.
Nonetheless, that does not go to the quality of the object itself. It is still Scorsese, so even if it's sometimes awfully logey, it still takes almost all of its 209 minutes before it becomes a genuine endurance test, though I admit to laughing out loud at the prospect of taking on this fucking behemoth in a movie theater. (Ironically, The Irishman seems built to be the very antithesis of the "theatrical experience.") Yet even the worst bits have flashes of dry mob movie humor built around modestly interesting mob movie scenarios. The best bits aren't amazing—outside of its bona fides as a tech demo, The Irishman is never amazing—but Scorsese does manage a feeling of tragic doom over every scene with Hoffa, one that's compounded by Pacino-Hoffa's apparent belief that it's his very hubris that makes him invincible. And since this is indeed the majority of The Irishman, it would be churlish to say it is not, on balance, good. But it's nowhere near as good as it seems like it ought to be: like Silence, The Irishman was something Scorsese obsessively pursued for years; unlike Silence, whose long-gestating, fussed-over production gave it an immaculate rigidity that served its themes perfectly, The Irishman just feels like three hours chasing sunk costs.
Posted by Hunter Allen at 10:45 PM
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Q: Reporting services expression using Switch I couldn't get this expression working with reporting services. I have to use IF and ELSE IF statement. Thank you for any suggestions.
= Switch( IsNothing(Fields!field_date.Value),"", Fields!set_flag.Value=1,"Declined", Fields!field_name.Value)

Here is what I am trying to do.
If(IsNothing(Fields!field_date.Value)) Then "";

ElseIf Fields!set_flag.Value=1 Then "Declined";

Else Fields!field_name.Value

A: Doesn't SSRS use the VB Runtime Library? In which case, the switch statement is documented here and states that you must have an even number of elements passed in.  If this is your issue, you're probably getting an ArgumentException thrown.
If you want to have a default return value, you'd have to add a dummy condition that always evaluates to true:
= Switch( IsNothing(Fields!field_date.Value),"", Fields!set_flag.Value=1,"Declined", True, Fields!field_name.Value)

A: I would use a code block like gbn suggested.  It will be easier to read.  Here is a how to from Microsoft about used code blocks in Reporting Services: http://msdn.microsoft.com/en-us/library/ms156028%28v=sql.100%29.aspx
If you don't want to use a code block then you can chain IIF statements in your expression.  Looking at your example it would be something like
=IIF(IsNothing(Fields!field_date.Value),"",IIF(Fields!set_flag.Value=1,"Declined",Fields!field_name.Value)

Any more than 2 IIF or anything more complex than just return a value, then I would definitely go for a code block.  Otherwise you are just making it that much worse for the person who has to maintain the report after you.

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We do run a background check.Must be on island. Bring proof of employment, check stub is fine.
No pets allowed. Non-smokers only. Sorry, No Section 8.
First showing December 24, 2014, after 5:00 pm (when tenant will move out and apartment will be clean and empty).
You can reply by email WITH YOUR PHONE NUMBER, I will call you back.
I will NOT answering any emails (Spam).


text:
Some In Trump's Own Party Criticize Him For Congratulating Putin
President Donald Trump is still receiving criticism after he congratulated Russian President Vladimir Putin for winning the country's recent election.
Article by Katie Cammarata
President Donald Trump is still being criticized for congratulating Russian President Vladimir Putin for winning the country's recent election — and some of those critics are members of Trump's own party.
"I think Putin's a criminal," said Sen. Chuck Grassley, R-Iowa. "What he did in Georgia, what he did in Ukraine, what he's done in the Baltics, what he's done in London — poisoning people with nerve gas, that's a criminal activity. I wouldn't have a conversation with a criminal."
After Trump's call with Putin, news outlets soon reported Trump's national security advisers had told him not to congratulate the Russian leader. And some weren't happy that bit of information got out.
"I don't like what he did, but I really hate that there's someone in his inner circle that's willing to leak this stuff," said Sen. Marco Rubio, R-Fla.
Trump called whoever leaked the information a "sick individual" and said the administration would get to the bottom of it.
Additional reporting from Newsy affiliate CNN.
Latest in Politics
Washington may be divided, but one-party rule is common in most states
This "government trifecta" is when one political party controls the governor's office, the state Senate and the state House.
George Santos not taking committee assignments amid calls to resign
Reports in recent weeks have surfaced that Santos fabricated his background before being elected to Congress in November 2022.
By Patrick Semansky / AP
News outlets, citing unnamed sources, reported witnesses started testifying before a grand jury to hear evidence against Trump in a years-old probe.
By Alex Brandon / AP


text:
Q: Load URL into parent keep child I want to make this code load new URL in parent and open child page as it does now...how can i accomplish this?
<form action="<?php echo $_SERVER['SCRIPT_NAME']; ?>" method="post" target="foo" onSubmit="window.open('', 'foo', 'width=1040,height=900,status=yes,resizable=yes,scrollbars=yes')">

A: <form action="<?php echo $_SERVER['SCRIPT_NAME']; ?>" method="post" target="foo" onSubmit="window.open('', 'foo', 'width=1040,height=900,status=yes,resizable=yes,scrollbars=yes'); document.location='http://google.com/'">

A: You can simply put Javascript code in the child window, triggered by onLoad (but it's not necessary), that will set window.opener.location.href to point somewhere else.
When you POST the form, the form result will open in a new window, and that window .opener property should be set to the parent (the page where the input form is still displayed). Then the child page will be able to know its parent.
You might try to bind submit to a function which will open the new window AND refresh current page, but I've had mixed (and browser-dependent) results with that [Edit: my results might well be obsolete]


As he wraps this chapter up, James is speaking to Christian businessmen who have compartmentalized their faith. In other words they were presumptuously making plans for tomorrow, and even a year in advance, in order to have profitable businesses, without any regard for God whatsoever, and in the midst of it all, boasting about their successes. A shameful yet accurate summary of this can be seen in v. 16: "but now you boast in your arrogances . . ." This piercing indictment demonstrates these Christian men were glorying in their own greatness, and James appropriately concludes in v. 16 that all such boasting is evil.
Consequently, after James first reminds the people that Jesus is Lord – over all (see previous blog), he then proceeds to remind them of two more indispensable truths.
In many ways, in vv. 13-14, James could be restating Proverbs 27:1 – "Do not boast about tomorrow, because you do not know what a day may bring." (NIV). But James goes further with v. 14. He reminds the businessmen that life, especially a life that fails to acknowledge God, is fleeting, and ultimately inconsequential.
In v. 14, James declares, "You are a mist that appears for a little while and then vanishes." In the original language this rare word for "mist" can also mean "vapor" or "smoke", therefore the image should be of something that is fleeting and yes, as a whole, of no consequence: here for one moment, and gone the next.
Yet observe that James isn't reprimanding the people, but simply reminding them of a fact they were failing to heed: although they were bragging about all there great achievements, in reality, all their trifling successes were nothing compared to the actions of an eternal God on a mission to save humanity for eternity!
And, as a corollary, what makes life "consequential"? It's true that running a profitable business can be good, and there's absolutely nothing wrong with planning and devoting time to that, but better as a Christian businessman is not to be presumptuous and arrogant but to involve Jesus in your plans and business, and give all glory to him for the successes.
Furthermore, as to what is truly consequential, Jesus taught to seek the things of his kingdom and his righteousness, or in the context of this passage – the good (see Matthew 6:33). While life may be fleeting, it is in pursuing these two noble goals, that it will be of substantial consequence as eternity is changed.
If you know (the truth, or in this context the good to do) then go and do it!
This is obvious when you see this sentence in the original language because the first word is "to the one knowing". In short, James asserts once you know something, then you should go and do it!
We are meant to do good acts and/or works!
Often, it seems Christians think Christianity is nothing but "don't do this" and "don't do that." As Paul and James remind us, true Christianity is unequivocally concerned with being free to do the good we were created to do! Anything less is not Christianity but legalism!
Behold the logic: once you know, you're expected to go and do the good you know. If you don't, then you're held accountable, and since you failed to do the good you know, logic dictates that it is sin.
As stated in the previous point, we have to stop thinking that sin is only the wrong we do; it's also the good we fail to do!
Do I truly understand Christianity has liberated me to do good (works), rather than hindering me with a list of things I can't do?
Is there a good I know I need to do today?
Thanks Manny! I know I've learned so much from studying James! Have a great day!


On October 28, 2016 at 15:00 the National Gallery of Armenia will host the anniversary exhibition dedicated to the 100th anniversary of the artist Arpenik Nalbandian.
The exhibition dedicated to the 100th anniversary of Arpenik Nalbandian encompasses artworks of various creative periods: about 48 paintings from the collection of the Fund and the National Gallery of Armenia and 17 paintings from the collection of the artist's family.Thanks to the cooperation of the National Gallery with the artist's family 65 works by Nalbandian will be presented to public attention.On the occasion of the anniversary exhibition will also be released an album which includes works by the artist. Arpenik Nalbandian worked in various genres of painting (portrait, landscape, still life), but the portrait has always occupied a dominant place in her art. The artist has created about 300 paintings which are stored at the National Gallery, the Museum of History of Armenia, the family collection and other private collections.
Arpenik Nalbandian was born in 1916 in Georgia, vocational training received in the Tbilisi Academy of Arts. In 1941, after her marriage with the artist Edward Isabekyan A. Nalbandian moved to Yerevan and was involved in the cultural life of the country. Arpenik Nalbandian died in 1964 in Yerevan.


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11 employees resign from New York hospital over state vaccine mandate
Kelly Gooch - Tuesday, September 14th, 2021 Print	| Email
Eleven Olean (N.Y.) General Hospital workers have resigned because of the state's mandate requiring COVID-19 vaccination for healthcare workers, the hospital confirmed to Becker's.
Olean General, a member of Kaleida Health and part of the Upper Allegheny Health System, has 840 employees. It is subject to New York state's vaccine mandate, which requires healthcare workers at hospitals and nursing homes to receive their first vaccine dose by Sept. 27. Workers at additional entities covered by the mandate, including diagnostic and treatment centers, home health agencies, long-term home healthcare programs, school-based clinics, and hospice care programs, must have at least one dose by Oct. 7.
"To be clear, Upper Allegheny Health System supports vaccination for all employees. We believe having a 100 percent vaccinated workforce is one of the best measures we can take to protect our patients, employees and the community," the hospital said in a statement. "While the majority of OGH's 840 employees are on record as being vaccinated (68 percent), there are still more than 250 employees who have chosen to decline vaccination, enough to push the hospital into a disaster status, should these employees elect to leave the organization as a result of the mandate. These are employees from nearly every department across the organization, including nursing, who have thus far declined vaccination. This situation is playing out not only here in the Southern Tier, but across New York state."
Olean General said its administration is analyzing the jobs and locations of unvaccinated employees to see the effect their departure would have on specific hospital services.
"An emergency plan will be implemented accordingly and likely include, shift of employees and the limitation or the shutdown of some services," the hospital said.
Olean General is not the only healthcare organization in the state grappling with an exodus of workers. Lewis County Health System, a single-hospital system in Lowville, N.Y., for instance, announced it will temporarily close its maternity unit after staff resigned over the state mandate.
"The mandate is causing hospitals and nursing homes across New York, particularly rural facilities, grave concerns to the extent they are preparing disaster plans given the large number of employees who play a critical role in care delivery and support and thus far have refused vaccination. Olean General Hospital is no exception," said Olean General.
Olean General is advocating for a testing opt-out system for unvaccinated employees to avoid a potential mass exodus of critically needed healthcare workers.
Omicron greater risk for young than other variants; US trends follow South Africa, UK
How Florida hospitals are juggling plans over COVID-19 vaccination mandates
5 recent hospital, health system CEO resignations
Mayo Clinic to give employees 2% raises, less than national trend


text:
Title: you, in your robes
Warnings: character death
Category: ST:ENT
Codes: Archer, T'Pol, future fic
Spoilers: Season 3, some Trek history
Summary: After the war, Archer makes a visit to Vulcan.
Disclaimer: Star Trek is owned by Paramount. The story is mine.
Archival: Permission to Warp 5 Complex (EntSTCommunity). Anyone else, please link to my website. Please keep all my headers intact.
Notes: Title from "Full Circle" by Loreena McKennitt. I struggled to put this idea down for a while, and until I watched "Twilight" it didn't come together, and then I had to finish "Sono". This has been jossed all to pieces by now, but who cares? Let's just say my backstory is different and leave it at that.
The shuttlecraft panel emitted a warning beep and Archer looked down, noting the hail came from the surface, as he'd expected. A few more minutes and he would be entering Vulcan's atmosphere. He opened the channel. A brisk voice said, "This is Sethor, Customs Authority. Please state your reason for visiting, personal or business, and your length of stay."
"This is Admiral Archer of the United Federation of Planets. I'm just here to visit a friend for the day."
"Personal, then. Please transmit your ship registry and final destination coordinates."
Archer replied, "On its way."
"Enjoy your stay."
Archer coughed in surprise. A polite Vulcan, by God. Of course, he then thought. The newer generation was a little more sensitive to the niceties of other cultures. A decade of affiliation had certainly made a difference.
He broke through the atmosphere, just as the sun slipped over the mountains in the far distance. He slowed the craft down, admiring the way the mountains stood out with fierce brilliance against the red sky.
He sighed, resisting the lure of the mountains and the urge to point his craft toward them. He could not and would not let his second thoughts get the best of him. With renewed determination, he continued on his course. Within minutes he caught sight of T'Pol's family house and spied a figure standing before the doors. He squinted.
She was wearing robes not unlike the first time he met her. She waited until he touched down before walking to meet him. He winced against the already hot air that pushed against him as he opened the craft's door. Feeling under-prepared, he avoided T'Pol's gaze by focusing on closing the door. Having squelched the childish desire to hide, he turned to face her, smiling.
"T'Pol," he said, "you haven't changed at all."
She turned her body to the side, a wordless invitation to follow her. He fell in step beside her as she led them back to her house. She said, "The same cannot be said about you."
He touched a hand to his head, fingering the grey streak that had grown in. He smiled again, self-conscious. "You can't have expected ten years to have not left its mark, could you?"
They entered the front hall and she locked the doors behind them, with a finger press to the pad beside the doors.
"I suppose it was too much to hope for," she responded. "Although, it has treated you kindly."
"You don't look half-bad yourself." Archer paused there, considering whether he should say more. T'Pol's face showed no signs of age, but her appearance was much as it had been the last time he'd seen her, her hair soft around her shoulders. He weighed the risk and opted to broach a comment. He continued, "I always thought that look suited you. Trip would have--"
"Please come this way, Admiral."
She swept in front of him, her robes whispering behind her and Archer, stung by her quick interruption, took a few moments to follow after her. That had gone badly. Of course it had. What else could he have expected? He'd rattled her, however, and that gave him a peculiar thrill of pride and guilt intertwined.
He said, "I think, after all this time, you could call me Jonathan."
She swiftly turned to look at him. A moment, and then the barest dip of her head as she acknowledged the request.
"Very well," she answered and continued to lead him into a sitting area. She asked, "Would you like some tea?"
"I'd love some," he said. She nodded and went into an adjoining room. He looked around at the clean-lined furniture, the layout designed for utmost convenience, the lack of ostentatious decoration. It was pleasing and restful to the eye.
Beside a chair was a small table. A grouping of photographs were clustered on top of the glass surface. Curious, he drew closer. There were the faces of Malcolm, Hoshi, one with himself, his arm thrown across the back of Trip's shoulders. He picked up one he had a duplicate of--Hoshi, sitting beside Malcolm, both of them not looking at the camera, but down into the face of a newborn baby. He smiled, then jumped as he heard T'Pol say, "He liked having them there."
Archer placed the photograph back and turned to face her. She was putting a tray down. He said, "And you kept them around."
"They are mementos."
He joined her, taking the cup she'd prepared for him. 'Pictures of friends,' he thought, ' none of herself and Trip.' He sipped from his cup and then said, "Malcolm sends his greetings and requests that you not send your god-daughter a sehlat."
His attempt at levity was rewarded with a sparkle in her eyes. She said, "The domesticated varieties are less troublesome than one would think."
"I've seen them. I think you might be wrong there."
"Eire would be more than capable--"
Archer set his cup down into its saucer. It clattered against it, and the tea sloshed against the inside edge of the cup, but not over. T'Pol's eyes focused on him, Archer noticed, not on the cup.
"T'Pol, you know why I've come, don't you?"
"I would not venture to guess."
"It's been ten years."
"I am aware of the passage of time."
"We, all of us, want to honor his memory by coming together. I came to invite you."
"I fail to see how my presence would be beneficial. The past is past. If I choose to decline?"
He let out a puff of air and shook his head. "That's your choice, but can't you see, we want you--I can't believe this. T'Pol. You were his wife."
"I was."
"I was there, T'Pol. I saw how devasted you were. You might have hidden it, but I know."
"All wars have their casualties. I do honor his memory. I only choose to do it alone."
He stared at her, as if by doing so, he'd break something down in her. When she didn't react, he let loose an angry huff of air, saying, "God. All this time and you haven't changed. I thought-- I was sure-- You were always welcome in our midst."
"Admiral--"
"Jonathan," he snapped, not intending to use such a savage tone. He closed his eyes and brought a hand to his face, turning slightly away from her. In a softer, wearied tone he repeated, "Jonathan." He turned back to her. "I knew it," he said, "I should never have come here. You're still the same rock and I don't have the energy to wear you down."
"Jonathan, you do not understand."
"I think I do. I get it. You aren't unfeeling, you simply just don't care. I thought, given enough time...but that's the problem, isn't it, T'Pol. Too much time."
"Perhaps. You are right. It is not a place I can be any longer."
"And there's no place for me here, much as I wish. I should have known better.... I've been foolish, T'Pol."
She looked at him for a long moment, as though weighing his statement. He grit his teeth and tried not to give away more than he already had.
She said, "I disagree. I have learned that it is not always foolish to seek an answer to a long unanswered question."
"So, here I am, no better and much lonelier."
"But at peace, as am I."
"Are you?" He looked at her, coming to the only conclusion. "You are. You've used the time to get there."
She did not reply. 'Of course not,' he thought, 'there was nothing else to say.'
"I should be going," he said. "No sense in wasting."
She walked him out. At the door, he turned to her.
"I'll miss you." And there was more there that he would not say, could not say.
"Live long and prosper," she answered.
He nodded, resigned. "I'll try. Goodbye, T'Pol."
She followed him out into the hot glare of Vulcan and stood away from his shuttlecraft. He didn't expect, when he looked out after he lifted off, to still see her there.
She was, and he watched her robes whipping around her, her face as impassive as ever. And this, he knew, would be the image of her he would never forget.
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text:
Hooijer nacque a Medan, sull'isola di Sumatra, ma trascorse la giovinezza a Bogor, sull'isola di Giava. Nel 1932, la sua famiglia si trasferì a L'Aia, dove Hooijer terminò gli studi nel 1937, alla Dalton Den Haag School. In seguito studiò geologia presso l'università di Leida. Nel 1941 si unì allo staff del museo naturale di questa città, interessandosi in particolar modo alle specie fossili di rinoceronti e ippopotami. Nel 1946, divenne curatore della collezione Dubois. Nello stesso anno, dopo la pubblicazione di Prehistoric and fossil Rhinoceroses from the Malay Archipelago and India, venne promosso dal professor Hilbrand Boschma. Tra il 1950 e il 1951 fu membro della Fondazione Rockefeller e lavorò presso il Museo di Storia Naturale di New York. Dal 1970 fino al suo ritiro, avvenuto nel 1979, fu professore all'Università della California di Irvine.

Hooijer pubblicò 267 articoli scientifici sui vertebrati fossili di Indonesia, Africa, Medio Oriente (specialmente Israele), Paesi Bassi, Antille e Sudamerica. Molti di questi studi riguardavano specie estinte di rinoceronti, felini, suini, roditori, primati e proboscidati. Descrisse per la prima volta sei nuovi generi, Celebochoerus, Chilotheridium, Epileptobos, Paradiceros, Paulocnus e Spelaeomys, e 47 nuove specie e sottospecie, tra le quali Babyrousa bolabatuensis, Elephas celebensis e Spelaeomys florensis.

Hooijer fu padre di tre figli, due femmine e un maschio. Morì a Leida (Paesi Bassi).

Bibliografia
 L. B. Holthuis: 1820 - 1958 Rijksmuseum van Natuurlijke Historie C.h.j.m. Fransen, C. van Achterberg, P.j. van Helsdingen (editors) Nationaal Natuurhistorisch Museum 1995 (PDF online) (in Dutch)

Collegamenti esterni

Nati in Indonesia

redpajama_set_name: RedPajamaWikipedia


Backyard Homesteading addresses the needs of many people who want to take control of the food they eat and the products they use-even if they live in an urban or suburban house on a typical-size lot. It shows homeowners how to turn their yard into a productive and wholesome "homestead" that allows them to grow their own fruits and vegetables and raise farm animals, including chickens, ducks and goats. Backyard Homesteading covers the laws and regulations of raising livestock in populated areas and demonstrates to readers how to use and preserve the bounty they produce.
This is truly a how-to guide for people who want to take control of what they eat and the products they use.
Packed with valuable, firsthand information from visionaries in the field, Earth Repair empowers communities and individuals to take action and heal contaminated and damaged land. Encompassing everything from remediating and regenerating abandoned city lots for urban farmers and gardeners, to recovering from environmental disasters and industrial catastrophes such as oil spills and nuclear fallout, this fertile toolbox is essential reading for anyone who wishes to transform environmental despair into constructive action.
This practical guide covers everything you need to know about the types of electric fencing available, how to choose the type that is right for your needs, how electric fencing works, how to put an electric fencing system together, and even how to use portable electric fencing for rotational grazing. Whether you need to keep livestock in or predators out, you'll find the information you need in this comprehensive handbook.
Nearly a century ago, the idea of "local food" would have seemed perplexing, because virtually all food was local. Food for daily consumption (fruits, vegetables, grains, meat, and dairy products) was grown at home or sourced from local farms. Today, most of the food consumed in the United States and, increasingly, around the globe, is sourced from industrial farms and concentrated animal feeding operations (CAFOs), which power a food system rife with environmental, economic, and health-related problems.
Divided into two distinct but complementary halves, "Farm" and "Table," Farm to Table first examines the roots of our contemporary industrial food system, from the technological advances that presaged the "Green Revolution" to U.S. Secretary of Agriculture Earl Butz's infamous dictum to farmers to "Get big or get out" in the 1970s. Readers will explore the many threats to ecology and human health that our corporatized food system poses, but also the many alternatives (from permaculture to rotation-intensive grazing) that small farmers are now adopting to meet growing consumer demand. The second half of the book is dedicated to illuminating best practices and strategies for schools, restaurants, health care facilities, and other businesses and institutions to partner with local farmers and food producers, from purchasing to marketing.
No longer restricted to the elite segments of society, the farm-to-table movement now reaches a wide spectrum of Americans from all economic strata and in a number of settings, from hospital and office cafeterias, from elementary schools to fast-casual restaurants. Farm to Table is a one-of-a-kind resource on how to integrate sustainable principles into each of these settings and facilitate intelligent, healthful food choices at every juncture as our food system evolves. While borrowing from the best ideas of the past, the lessons herein are designed to help contribute to a healthier, more sustainable, and more equitable tomorrow.
This book tackles an increasingly crucial question: What can we do about the seemingly intractable challenges confronting all of humanity today, including climate change, global hunger, water scarcity, environmental stress and economic instability?
The quick answers are: Build topsoil. Fix creeks. Eat meat from pasture-raised animals. Soil scientists maintain that a mere 2 percent increase in the carbon content of the planet's soils could offset 100 percent of all greenhouse gas emissions going into the atmosphere. But how could this be accomplished? What would it cost? Is it even possible?
Yes, says author Courtney White, it is not only possible, but essential for the long-term health and sustainability of our environment and our economy.
Right now, the only possibility of large-scale removal of greenhouse gases from the atmosphere is through plant photosynthesis and related land-based carbon sequestration activities. These include a range of already existing, low-tech, and proven practices: composting, no-till farming, climate-friendly livestock practices, conserving natural habitat, restoring degraded watersheds and rangelands, increasing biodiversity, and producing local food.
In Grass, Soil, Hope, the author shows how all these practical strategies can be bundled together into an economic and ecological whole, with the aim of reducing atmospheric CO2 while producing substantial co-benefits for all living things. Soil is a huge natural sink for carbon dioxide. If we can draw increasing amounts of carbon out of the atmosphere and store it safely in the soil, we can significantly address all the multiple challenges that now appear so intractable.
In 2010, Cody and his Wranglerstar family decided to turn their backs on a comfortable city life and become modern-day homesteaders. Their adventure starts in the rugged mountains of the Pacific Northwest. They are now popular pioneers in a growing movement of people seeking independence from debt, freedom to raise their family with values and faith, and the peace of a simpler, more meaningful approach to life.
The story of the four-wheel-drive tractors built by Steiger, International Harvester, Case, and Case IH is told in dramatic fashion in this authoritative guide. Starting with the development of early four-wheel-drive systems at International Harvester, the book traces the evolution and design some of the most powerful and capable tractors of the twentieth century. With fresh detail on the 4300, 4100, Steiger-built IH tractors, and the 2+2 tractors including the Super 70 series, the book offers prototype drawings of several models--including the complete story of the never-before-published Magnum 2+2-- as well as inside stories and backroom drama that is a must for any enthusiast for farm history or tractors. Learn the complete story of Steiger tractors, which were originally designed and built in the barn of John, Douglass, and Maurice Steiger located near Red Lake Falls, Minnesota. Containing interviews with more than 50 of the people who built Steiger from its humble origin to a world leader, the book traces the evolution of the lime green Steigers in engrossing detail. The book also covers the J.I. Case 4WD line in great detail. In addition, the book tells the story of how each of these significant players in the industry combined under one banner and—together—created one of the current industry-leading technologies, the Quadtrac. The modern evolution of the Steigers and the introduction of the STX Series (and more) also receive in-depth coverage.
Such self-sufficiency is largely the result of basing their farming practices around intensive pasture management. witty and welcoming style, The Independent Farmstead covers everything from choosing a species of ruminant and incorporating it into a grass-based system to innovative electric fencing and watering systems. Best of all, it's the kind of rare how-to book that the authors themselves view not as a compendium of one-size-fits-all instructions but as "the beginning of a conversation," one that is utterly informative, sincere, and inspiring.


Our web shop follow Samsung Warranty Policy.
The warranted period will be count 12 Months after SAMSUNG production date.
Customer are responsible for the freight shipping back and forth.
1)1MB = 1,000,000 Bytes, 1GB = 1,000,000,000 Bytes, Unformatted Capacity.
3) Actual performance may vary depending on use conditions and environment.
5) Active power is measured on sequential write and read.
6) Idle Power is measured on Idle status with L1.


text:
OSHA Fines Amazon 'Roughly 0.000013%' of Annual Revenue for Worker Safety Hazards
For serious injuries linked to the company's insistence that employees maintain a relentless pace of work, Amazon was fined $60,000—the amount it made "every four seconds in 2022."
By Julia Conley. Published 1-19-2023 by Common Dreams
Amazon Warehouse. Photo: Jaimie Wilson/flickr/CC
A paltry $60,000 fine for failing to keep employees safe at one of the world's richest companies offered the latest evidence, according to one critic, that the system ostensibly meant to protect workers "is so broken."
That was the assessment of Paris Marx, host of the podcast "Tech Won't Save Us," after the Occupational Safety and Health Administration (OSHA) announced Wednesday it had issued a citation to Amazon for worker safety violations at three of its warehouses in Deltona, Florida; Waukegan, Illinois; and New Windsor, New York.
As part of an investigation that is still ongoing, OSHA found that Amazon warehouse employees experience "high rates of musculoskeletal disorders" and are at high risk for lower back injuries due to frequently being required to lift heavy packages for long hours.
A log of injuries sustained by workers at the warehouse in Waukegan showed one employee suffered a foot fracture while handling a 55-pound package, another person's face was "crushed/smashed" by a 61-pound piece of furniture, and another worker sprained their lower leg while handling a 148-pound item.
NEW: Dept of Labor is preparing to fine Amazon $60K for workplace safety hazards.
Recent injuries at a warehouse in Waukegan, IL include:
-a 61 lb piece of furniture smashing a worker's face
-a 90 lb TV spraining a shoulder
-a bed cutting a worker's nose pic.twitter.com/uztatUVNkV
— Lauren Kaori Gurley (@LaurenKGurley) January 18, 2023
While many warehouse workers at a variety of companies lift heavy objects during their workdays, Amazon has been denounced by workers and labor rights groups for requiring employees to maintain a grueling pace in order to meet quotas and ensure deliveries are made rapidly.
As the Strategic Organizing Center (SOC) said in its report Primed for Pain: Amazon's Epidemic of Workplace Injuries in 2021, "the company's obsession with speed has come at a huge cost for Amazon's workforce," with workers suffering serious injuries at a rate 80% higher than warehouse employees at other companies.
"Each of these inspections found work processes that were designed for speed but not safety, and they resulted in serious worker injuries," said Doug Parker, assistant secretary for occupational safety and health at the U.S. Department of Labor.
Despite OSHA's findings, noted Mother Jones, the agency fined the e-commerce giant "roughly 0.000013% of its reported $469,822,000,000 2021 revenue," or as progressive journalist Timothy Burke put it, the amount the company made every four seconds last year.
Amazon made $60,000 every four seconds in 2022. https://t.co/jn3whNbUZe
— Timothy Burke (@bubbaprog) January 18, 2023
Amazon said Wednesday it plans to appeal OSHA's citation and appeared to reject the agency's findings, which represent the first time the Labor Department has accused a employer of maintaining an excessive work pace.
"The government's allegations don't reflect the reality of safety at our sites," Kelly Nantel, a spokesperson for Amazon, toldWired. "The vast majority of our employees tell us they feel our workplace is safe."
Eric Frumin, health and safety director at SOC, called on Amazon "to drop its relentless resistance to OSHA's orders to fix these hazards."
"Today's OSHA citations are the latest evidence that Amazon has company-wide, corporate-level policies and practices that create hazardous workplaces, and may result in medical mistreatment or denial of treatment for seriously injured workers," said Frumin. "Amazon treats its workers from the warehouse to the delivery route as disposable in its relentless drive for profit."
OSHA's investigation into the company is continuing at warehouses in Aurora, Colorado; Nampa, Idaho; and Castleton, New York.
This entry was posted in Civil Rights, Corruption, Government, Health Care, Human Rights, Income Inequality, Social Justice, Workers' Issues and tagged Amazon, Aurora, Capitalism, Castleton, Civil Rights, Colorado, Corruption, Deltona, Economics, Florida, Health Care, Human rights, Idaho, Illinois, Income Inequality, Nampa, New Windsor, New York, OSHA, social justice, Waukegan, workers' issues, workplace safety on January 20, 2023 by MNgranny.
About MNgranny
MNgranny has been an activist since the age of 17. After earning a BA in Mass Communications and enjoying a 30 year career, she is now disabled and dedicates her life to that activism. Her experiences include volunteering in community service organizations and taking leadership roles throughout her academic and professional life. She is also a survivor of rape and domestic violence, a published author and a master naturalist. She is also a professional member of the United States Press Association. She has focused for the last several years and specializes in Kurdish history, culture and politics.
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Q: When is cellForRowAtIndexPath method called? When exactly is this method called ? Suppose at a time I have 4 of my tableview cells visible on the screen then for how many cells will this method be called. Also, what if a cell is partially visible, will the method be called for the next cell as well in this case ?
P.S. I am not stuck anywhere, so showing some code doesn't make any sense. Its just a fundamental doubt.

A: The most simple explanation I can give you is - cellForRowAtIndexPath, will call when a cell is about to be shown in the screen of your view controller. So this condition is valid whenever

*

*Tableview is being reloaded [tableview reloadData], thus every cell will be dequeued/ populated again.

*Every time you scroll and are about to see a new cell. UITableview uses the cell that is going out of the view (visible area), and uses that particular cell to populate new data.

*After numberOfRows. If your View Controller has a tableview in the storyboard. This is called in viewDidLoad as when the VC inspects a tableview in the storyboard, it will call the mandatory tableview datasource numberOfRows first and then it will call cellForRowAtIndexpath, that amount of time, the number of cells visible in the screen.

Hope could solve your confusion.

A: This method will called for the number of time for your number of cell visible.

Suppose current 4 cell visible(row0,row1,row2,row3). it call for 4 time.

when you scroll and now again visible 4 cell like (row2,row3,row4,row5). It again for 4 time for row 2...5.

So this method will call for each visible cell in tableview every time when your scroll table.

A: This method will be called whenever tableview display the cell.
e.g. if table display 4 cell then cellForRowAtIndexPath will called 4 times, and as you scroll the tableView this method will called once again.
cellForRowAtIndexPath will called whenever cell will be created or reuse.

A: Every time when your cell creates cellForRowAtIndexPath method will be called.
Suppose u have 4 cells then cellForRowAtIndexPath method will call 4 times.

A: The cellForRowAtIndexPath method will be called when you reload tableView and will be called the time for how many rows you return in numberOfRowsInSection method.

A: -(UITableViewCell *)tableView:(UITableView *)tableView  cellForRowAtIndexPath:(NSIndexPath *)indexPath

This is a datasorurce method of tableView.
This is called for all the visible cells initially, though cell is partially visible it will be called.
Consider if you have 10 cells are 5 are visible. Firstly it will be called for 5 cells, and as you scroll down for other cells it will be called for next visible cells.
you can refer for more details.

A: This Method will called whenever the cell get hit...
i.e.if u have 5 cell will called 5 times the method get hit and while scroll the tableview it will again hit based on the Resuse cell identifier Method...


text:
Q: (LikesController#create) expected #count to have changed by 1, but was changed by 0 ,Please teach me a hint I'm biginer.
I studied Rspec.
I made an implementation that allowed me to do good on my posts.
But on the browser I do the expected move, but the test does not pass.
The destroy action goes through the test, but the create action does not pass the test.
My error is
Failure/Error: expect { post :create, format: :js, params: { post_id: post1.id, id: like.id } }.to change(Like, :count).by(1)
       expected #count to have changed by 1, but was changed by 0

My code is
require 'rails_helper'

RSpec.describe LikesController, type: :controller do
  let!(:user) { create(:user) }
  let!(:post1) { create(:post, user: user) }
  let!(:like) { create(:like, user_id: user.id, post_id: post1.id) }

  describe "#create" do
    before do
      sign_in user
    end

    it "response Ajex" do
      post :create, format: :js, params: { post_id: post1.id, id: like.id }
      expect(response.content_type).to eq 'text/javascript'
    end

    it "success like function" do
      expect { post :create, format: :js, params: { post_id: post1.id, id: like.id } }.to change(Like, :count).by(1)
    end
  end

  describe "#destroy" do
    before do
      sign_in user
    end

    it "response Ajex" do
      delete :destroy, format: :js, params: { post_id: post1.id, user_id: user.id, id: like.id }
      expect(response.content_type).to eq 'text/javascript'
    end

    it "delete like function" do
      expect { delete :destroy, format: :js, params: { post_id: post1.id, user_id: user.id, id: like.id } }.to change(Like, :count).by(-1)
    end
  end
end

likes_controller.rb
 class LikesController < ApplicationController
  def create
    @like =
current_user.likes.find_or_create_by(post_id:params[:post_id])
    @likes = Like.where(post_id: params[:post_id])
    @post = Post.find(params[:post_id])
  end

  def destroy
    like = current_user.likes.find_by(post_id: params[:post_id])
    like.destroy
    @likes = Like.where(post_id: params[:post_id])
    @post = Post.find(params[:post_id])
  end
end

I cannot solove this problem.
Please teach me a hint.

A: You've got an error in your code somewhere, most likely, which is why the Like count fails to increment. First, I'd try and figure out why it isn't incrementing. Since you asked for a hint, here's one way you can split out the "success like function" block:
context "valid" do
  before do
    post :create, format: :js, params: { post_id: post1.id, id: like.id }
  end

  it "success" do
    # You can inject a binding.pry here if needed
    expect(response.status).to eq(200)
  end

  it "response" do
    # You can inject a `binding.pry` here if needed
    # You can also inspect the `response.body` with puts if needed
    expect(JSON.parse(response.body)).to include(
      # You would modify this to match the shape of your response
      post: a_hash_including(
        like: like.id
      )
    )
  end
end

You'll want to install pry-rails and pry-byebug gems (for inspecting).
The reason behind splitting them up is it makes it easier to determine the issue (you can have a valid response code but not the expected result, for example). This comes with some caveats (it will make for slower tests) but in this example it will make it easier to determine why your post is failing.
The snippet above should help you debug the error; once you fix it you can revert back to your previous method of checking.


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text:
▶ Артур Конан Дойл
✔ The Lost World
1 2 3 4 5 ... 9 >>
Irish athletic reporter Malone narrates tale of bold squat quarrelsome Professor Challenger seeking remote Amazonian plateau where "the ordinary laws of Nature are suspended" with prehistoric creatures and ape-men. Other armed British whites are spare skeptic Professor Summerlee, and ginger dead-shot Lord John, supported by colored bearers.
Chapter I. "There are heroisms all round us"
Mr. Hungerton, her father, really was the most tactless person upon earth, – a fluffy, feathery, untidy cockatoo of a man, perfectly good-natured, but absolutely centered upon his own silly self. If anything could have driven me from Gladys, it would have been the thought of such a father-in-law. I am convinced that he really believed in his heart that I came round to the Chestnuts three days a week for the pleasure of his company, and very especially to hear his views upon bimetallism, a subject upon which he was by way of being an authority.
For an hour or more that evening I listened to his monotonous chirrup about bad money driving out good, the token value of silver, the depreciation of the rupee, and the true standards of exchange.
"Suppose," he cried with feeble violence, "that all the debts in the world were called up simultaneously, and immediate payment insisted upon, – what under our present conditions would happen then?"
I gave the self-evident answer that I should be a ruined man, upon which he jumped from his chair, reproved me for my habitual levity, which made it impossible for him to discuss any reasonable subject in my presence, and bounced off out of the room to dress for a Masonic meeting.
At last I was alone with Gladys, and the moment of Fate had come! All that evening I had felt like the soldier who awaits the signal which will send him on a forlorn hope; hope of victory and fear of repulse alternating in his mind.
She sat with that proud, delicate profile of hers outlined against the red curtain. How beautiful she was! And yet how aloof! We had been friends, quite good friends; but never could I get beyond the same comradeship which I might have established with one of my fellow-reporters upon the Gazette, – perfectly frank, perfectly kindly, and perfectly unsexual. My instincts are all against a woman being too frank and at her ease with me. It is no compliment to a man. Where the real sex feeling begins, timidity and distrust are its companions, heritage from old wicked days when love and violence went often hand in hand. The bent head, the averted eye, the faltering voice, the wincing figure – these, and not the unshrinking gaze and frank reply, are the true signals of passion. Even in my short life I had learned as much as that – or had inherited it in that race memory which we call instinct.
Gladys was full of every womanly quality. Some judged her to be cold and hard; but such a thought was treason. That delicately bronzed skin, almost oriental in its coloring, that raven hair, the large liquid eyes, the full but exquisite lips, – all the stigmata of passion were there. But I was sadly conscious that up to now I had never found the secret of drawing it forth. However, come what might, I should have done with suspense and bring matters to a head to-night. She could but refuse me, and better be a repulsed lover than an accepted brother.
So far my thoughts had carried me, and I was about to break the long and uneasy silence, when two critical, dark eyes looked round at me, and the proud head was shaken in smiling reproof. "I have a presentiment that you are going to propose, Ned. I do wish you wouldn't; for things are so much nicer as they are."
I drew my chair a little nearer. "Now, how did you know that I was going to propose?" I asked in genuine wonder.
"Don't women always know? Do you suppose any woman in the world was ever taken unawares? But – oh, Ned, our friendship has been so good and so pleasant! What a pity to spoil it! Don't you feel how splendid it is that a young man and a young woman should be able to talk face to face as we have talked?"
"I don't know, Gladys. You see, I can talk face to face with – with the station-master." I can't imagine how that official came into the matter; but in he trotted, and set us both laughing. "That does not satisfy me in the least. I want my arms round you, and your head on my breast, and – oh, Gladys, I want – "
She had sprung from her chair, as she saw signs that I proposed to demonstrate some of my wants. "You've spoiled everything, Ned," she said. "It's all so beautiful and natural until this kind of thing comes in! It is such a pity! Why can't you control yourself?"
"I didn't invent it," I pleaded. "It's nature. It's love."
"Well, perhaps if both love, it may be different. I have never felt it."
"But you must – you, with your beauty, with your soul! Oh, Gladys, you were made for love! You must love!"
"One must wait till it comes."
"But why can't you love me, Gladys? Is it my appearance, or what?"
She did unbend a little. She put forward a hand – such a gracious, stooping attitude it was – and she pressed back my head. Then she looked into my upturned face with a very wistful smile.
"No it isn't that," she said at last. "You're not a conceited boy by nature, and so I can safely tell you it is not that. It's deeper."
"My character?"
She nodded severely.
"What can I do to mend it? Do sit down and talk it over. No, really, I won't if you'll only sit down!"
She looked at me with a wondering distrust which was much more to my mind than her whole-hearted confidence. How primitive and bestial it looks when you put it down in black and white! – and perhaps after all it is only a feeling peculiar to myself. Anyhow, she sat down.
"Now tell me what's amiss with me?"
"I'm in love with somebody else," said she.
It was my turn to jump out of my chair.
"It's nobody in particular," she explained, laughing at the expression of my face: "only an ideal. I've never met the kind of man I mean."
"Tell me about him. What does he look like?"
"Oh, he might look very much like you."
"How dear of you to say that! Well, what is it that he does that I don't do? Just say the word, – teetotal, vegetarian, aeronaut, theosophist, superman. I'll have a try at it, Gladys, if you will only give me an idea what would please you."
She laughed at the elasticity of my character. "Well, in the first place, I don't think my ideal would speak like that," said she. "He would be a harder, sterner man, not so ready to adapt himself to a silly girl's whim. But, above all, he must be a man who could do, who could act, who could look Death in the face and have no fear of him, a man of great deeds and strange experiences. It is never a man that I should love, but always the glories he had won; for they would be reflected upon me. Think of Richard Burton! When I read his wife's life of him I could so understand her love! And Lady Stanley! Did you ever read the wonderful last chapter of that book about her husband? These are the sort of men that a woman could worship with all her soul, and yet be the greater, not the less, on account of her love, honored by all the world as the inspirer of noble deeds."
She looked so beautiful in her enthusiasm that I nearly brought down the whole level of the interview. I gripped myself hard, and went on with the argument.
"We can't all be Stanleys and Burtons," said I; "besides, we don't get the chance, – at least, I never had the chance. If I did, I should try to take it."
"But chances are all around you. It is the mark of the kind of man I mean that he makes his own chances. You can't hold him back. I've never met him, and yet I seem to know him so well. There are heroisms all round us waiting to be done. It's for men to do them, and for women to reserve their love as a reward for such men. Look at that young Frenchman who went up last week in a balloon. It was blowing a gale of wind; but because he was announced to go he insisted on starting. The wind blew him fifteen hundred miles in twenty-four hours, and he fell in the middle of Russia. That was the kind of man I mean. Think of the woman he loved, and how other women must have envied her! That's what I should like to be, – envied for my man."
"I'd have done it to please you."
"But you shouldn't do it merely to please me. You should do it because you can't help yourself, because it's natural to you, because the man in you is crying out for heroic expression. Now, when you described the Wigan coal explosion last month, could you not have gone down and helped those people, in spite of the choke-damp?"
"I did."
"You never said so."
"There was nothing worth bucking about."
"I didn't know." She looked at me with rather more interest. "That was brave of you."
"I had to. If you want to write good copy, you must be where the things are."
"What a prosaic motive! It seems to take all the romance out of it. But, still, whatever your motive, I am glad that you went down that mine." She gave me her hand; but with such sweetness and dignity that I could only stoop and kiss it. "I dare say I am merely a foolish woman with a young girl's fancies. And yet it is so real with me, so entirely part of my very self, that I cannot help acting upon it. If I marry, I do want to marry a famous man!"
"Why should you not?" I cried. "It is women like you who brace men up. Give me a chance, and see if I will take it! Besides, as you say, men ought to MAKE their own chances, and not wait until they are given. Look at Clive – just a clerk, and he conquered India! By George! I'll do something in the world yet!"
She laughed at my sudden Irish effervescence. "Why not?" she said. "You have everything a man could have, – youth, health, strength, education, energy. I was sorry you spoke. And now I am glad – so glad – if it wakens these thoughts in you!"
"And if I do – "
Sue Burke
Д. Фиальтова
PricewaterhouseCoopers LLP
Александр Фрост
Ольга Меккинг
Андрей Андреевич Мовчан
Михаил Николаевич Алексеев
Вольф Шмид
Михаил Михайлович Богословский
Масаси Оучи


A cost comparison report of army regular and reserve sub-units undertaken by Defence Science and Technology laboratory (Dstl) for MOD.
The cost comparison analysis looked at 5 types of army regular and reserve sub-units. It identified the cost of ownership and use of these sub-units which enabled the different costs between the regulars and reserves to be better understood. The reports purpose was not to investigate their relative effectiveness on operations with regards to training standards and readiness states.


Joanne Chin is a graduate of the creative writing MFA program at Rutgers-Newark and her work has appeared in KL Stories: Urban Odysseys, published by MPH Group Publishing, Malaysia, and in The Waiting Room Reader II, published by CavanKerry Press. Her stories have been finalists in Glimmer Train's Short Story Award for New Writers (twice) and Very Short Fiction Award.
Ruth Danon is the author of the poetry collections Limitless Tiny Boat, (new from BlazeVOX, 2015) Living with the Fireman (Ziesing Brothers, 1981), and Triangulation from a Known Point (North Star Line, 1990), and a book of literary criticism, Work in the English Novel (Croom-Helm, 1985). New work is forthcoming in NOON: The Journal of the Small Poem, Post Road, The Florida Review, and Mead. Her poetry was selected by Robert Creeley for Best American Poetry, 2002, and her poetry and prose have appeared in Versal, Mead, BOMB, the Paris Review, Fence, the Boston Review, 3rd Bed, Crayon, and many other publications in the U.S. and abroad. She is a professor of creative and expository writing in the School of Professional Studies of New York University.
Tony Paterniti is an actor, singer-songwriter and performing poet. He has appeared as the lead character in an Off-Broadway version of Phantom of the Opera, and in the New York debut of Ken Ludwig's Shakespeare in Hollywood. He is actively involved in Song of Solomon, a through-composed musical working its way towards Broadway, and also performs with the Caribbean American Repertory Theater. In 2008, Tony published a collection of 424 ghazals entitled, 424 Ways to Find Your Lover and has a successor volume on the way. Frankly, he has many books stockpiled, as he writes way faster than he can collect his work! Tony has also featured on Poet-to-Poet cable TV series, Mike Geffner's Inspired Word Series, and at the Queens Literary Festival held this past August. He has frequently performed his songs in the General Assembly Hall in the United Nations, where he worked for 30 years—mainly as a writer, editor, press officer and information officer. Tony leads a very synchronistic life and shares his stories freely, as well as in several unpublished books. He is also working on his "six story building"—a collection of six unique movies connected by a single underlying plot line. You can find some of his work on two Facebook pages: Tony Paterniti, Poet and Tony Paterniti, Musician. Preview samples from his book 424 Ways to Find Your Lover are available on http://www.lulu.com.


text:
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Michael Furman has shot cats, prefers photographing cars
Jeff Peek
Skill, high standards, hard work and good timing. All have played a role in making Michael Furman one of the best-known automotive photographers in the world. His stunning photography has graced the pages of 15 highly acclaimed automotive books and he holds celebrity status from Amelia Island to Pebble Beach. Furman is thoughtful, self-deprecating and enormously talented. His ability to place cars in the best possible light — literally and figuratively — is his signature. We spoke to him after the 2016 Amelia Island Concours d'Elegance.
Where did your love of cars come from?
MF: I grew up in Philadelphia, and my dad (Mitchell) always liked cars, but he really loved trucks. He grew up poor during the Depression, working for my grandfather, who had a rug cleaning business. If you can find something else to do with your life, I would recommend it. The rug cleaning business is hard, dirty work. The business had a number of trucks, and my father really loved them. During WWII, he drove a lot of vehicles in the military motor pool. His love for cars and trucks rubbed off on me and my twin brother (Marc).
Are there any cars from your childhood that stand out?
MF: A neighbor to our business had some nice cars — a Mercedes 190SL, a Jaguar XK120. He let my father take them home on weekends sometimes. I can remember sitting in the boot (trunk) with my brother and making car noises.
Growing up, Philadelphia didn't have much of a car culture. It wasn't like Detroit or California; it wasn't American Graffiti. We were a bunch of Jewish kids who didn't get our hands dirty. We'd whine to our parents and they'd buy us a car. (Laughs)
All the guys I grew up with loved cars and imagined driving cars. A car meant freedom — a means to get out of the house. It isn't the same today. Kids today don't need a car for freedom. They have phones. They can text their friends. They text friends who are sitting right next to them.
How did you get involved in photography?
MF: A neighbor of mine had a camera, and we started taking pictures of things. That was 50 years ago, and we're still friends. His father knew I was interested in photography and taught me some things. The first car I photographed was a 1963 Split-Window Corvette. I photographed all sorts of things.
My mother (Eleanor) wouldn't let me play sports, because she thought I'd get hurt. So I photographed sports instead. People photograph whatever it is they want to have a relationship with, whether it's girls or cars or sports or whatever. Quite often photography is the only thing that gets you access to the stuff you'd like to be close to. A lot of people in my photography classes just wanted to shoot bands because they wanted to be part of the music scene.
When did photography become a career ambition?
MF: Pretty early on. In junior high I'd sit in class and stare out the window and watch what the light was doing, how it changed the look of things as it moved from one place to another. That fascinated me.
I was lucky at a young age to stumble upon my future career. A lot of kids wonder what they're going to do with their life. I wanted to be a photographer.
When I went to college (at Rochester Institute of Technology), my classmates were mostly men. I had no car. I rode a bicycle. I didn't have a lot to do. I had keys to the darkroom and I started doing studio work. By the time I graduated I had a good portfolio of studio work, and I was able to start working right away.
Over the years I photographed just about everything. I've shot clothing, appliances, shoes. I shot for a pharmaceutical firm. I've photographed puppies, rabbits, camels, cows, fish, birds, cats… If you didn't know it already, cats are a real pain in the ass, by the way.
You started in New York?
MF: I lived in New York City for a while but didn't like it. I knew I could exist there photographically, but could I exist there personally? I decided I couldn't. So I moved home to Philadelphia. I asked my dad if I could open a studio in the garage, and he said, 'If you clean it, you can do anything you want.' So MF Photography was born.
Federal Express came along about that time (it opened for business in 1973, one year after Furman graduated from RIT). And FAX machines. You could send photos anywhere pretty quickly. And you could share a layout by FAX. I didn't need to drive across town or ride a bus anywhere. I could pull work from all over the country and live where I wanted to live. Taking the pressure off of me personally allowed me to flourish professionally.
What was the first car you photographed professionally?
MF: The first was for Mercedes. I took some shots and sent the photos to the Mercedes-Benz offices in New York, and the next day they brought me in for a shoot. That seems unbelievable by today's standards, but that's absolutely how it happened.
I shot a lot of new cars over the years, and at some point someone asked me to shoot classic cars. About 15 or 20 years ago I started doing that exclusively. I got into it just as concours and auctions were taking off. I just followed my passion, and as often happens, I had the good fortune of being in the right place at the right time.
At some point you decided to start publishing books, and now you have your own publishing company, Coachbuilt Press. How did that come about?
MF: I started a publishing company because I wasn't happy with a certain major publishing company that wouldn't publish my work. Major publishing companies are all about making money. Period. They should just skip printing books and go straight to printing money. It would save time. They don't care about how good the photos look, how they're cropped or if there are printing mistakes in the copy. As long as they can make money, they'll let it go. My standards are much higher than that. It drove me crazy.
People say I'm meticulous, and yes, I'm meticulous. I can't deny that. I want to do everything the very best that I can, starting with the first book I did. I care so much about the cars. I feel an obligation to each one I photograph. It's my job to express that car. If I do right by the car, then I'm satisfied. If I don't make money, that's just how it goes.
My philosophy is, if you do something worthwhile, then you'll make money. But if your number one goal is to make money, you're going to take shortcuts. I'm not willing to do that. I've been told, 'You have too many assistants.' I only have as many assistants as I need. If we could fit everybody into a Motel 6, I would do that. But I have to live by my own standards. My standards are definitely high — my shrink says they're too high. F*** my shrink. (Laughs)
If I charge somebody to do a job and it costs me just as much to do it right, so be it. At least it's something I can be proud of. Would you rather have a guy who does $50 worth of work and charges you $1,000 for a sh***y job?
What cars have you most enjoyed photographing?
MF: That's really tough. They're all wonderful for different reasons. The one I remember most was a Stout Scarab (a 1930s–40s "minivan") that I photographed in Detroit. When we were finished the owner asked, 'Do you want to go for a ride?' So we all got in. But it had 'occasional seating,' which means only the driver's seat was bolted to the floor. The rest of us sat in lawn chairs. Every time we turned a corner, we all fell over. It was hilarious, but it said a lot about the lack of amenities in a lot of classic cars.
People love cars for different reasons. My love for cars started as purely aesthetic. Now I have historical appreciation of them, too. Some people see a car and say, 'Man, I'd love to drive that.' I don't do that, but who cares? If you say you like cars, it doesn't matter what you like about them. The fact is, you like them, and that makes you part of the club. That's all that's required for membership.
There's so much out there. We're lucky if we get a small peek at it.
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Archived More essential pointers for safe winter car storage
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A Customer brought in a classic silver Mazda RX7, with the idea of wanting to restore the bodywork. What better way to return the shine to a vehicle than a full car body respray? So, that's what we did, ensuring we covered every nook and cranny, including inside the panels, shuts and jams. As you may be able to notice in the photographs below, the bodywork didn't seem to need any work from afar, however, when you look close-up, some abrasions litter the paintwork and there's an overall dullness to the paint. Essentially, the paintwork had seen better days and the owner had recognised this and wanted it to be show-room standard again! Have you noticed your vehicle is looking a little worn and dull? Well, this service may be the one for you, so contact Bodyteq for a free quote today. Whether it's the full car body respray or just specific panels that need special attention, we have a range of bodywork services that will cater to your vehicle's needs.