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'THE PROTECTORS' ARE COMING
Israel Idonije: Creator
Ron Marz: writer
Bart Sears: Illustrator
David Uslan and Aaron Feuer: Business and Creative Advisors
There is a common bond between athletes and superheroes that is hard to overlook. Athletes are the modern day version of superheroes: we marvel at their abilities and their physical prowess, and cheer them on as they lead our teams to victory. It is hard not to see the parallels between these two worlds. What is hard, however, is trying to understand why there has never been a successful convergence of the two. There have been numerous projects attempting to do so, but the results have been nothing short of disastrous. There was NFL Superpro—which has been called one of the worst creations in the history of Marvel Comics—as well as the abysmal animated series, Mighty Ducks, to name a few. But, thanks to Israel Idonije of the Chicago Bears, along with his creative team of experts that could soon change with their upcoming comic book project, The Protectors.
So, what is the story behind The Protectors? While the heroes in the story are athletes, Idonije made it clear at New York Comic Con in October that sports is only a small part of the overall story:
Yeah, they're athletes, but it's not a story about sports, it's not a story about athletes. It's a story about these characters who have these gifts, these abilities. They've been living life—entertaining us here in the present day as athletes—but they ultimately realize that they have these gifts that were given to them for a higher purpose: to save humanity from this evil force. Now, they are each charged with a decision to make: are they going to just continue to live the life they've lived as athletes, or are they going to take on the burden and cause to save humanity? That's really what the core of the story is.
Based on the past failures of other sports/comic book projects, one might think that The Protectors may be destined to suffer the same fate. But, what separates The Protectors from past projects is that this team of writers and creators are aware of the challenge they face in creating a successful comic book, and in fact, they embrace it.
'The Protectors' team at New York Comic Con.
Ron Marz, head writer for The Protectors and well known for his work on other titles such as Green Lantern and Silver Surfer, also worked as a sportswriter for five years, so is familiar with both the world of comics and sports. Marz found The Protectors to be a fascinating project, and one he feels could finally bring these two worlds together successfully, something he spoke about at New York Comic Con:
Let's face it, any time that sports have been shown in comics, for the most part, it sucks. They're generally not done well. They're not done by guys who understand sports, or done by artists who can draw sports well. So for me, part of the interest here was the challenge. Here's something that hasn't ever been done well. Let's be the first ones to do that. Let's prove that in that Venn diagram where sports and comic geekery coincide, there's enough space to do something like this where comic fans can pick it up because it's a great comic, and sports fans can pick it up because that's their way into this universe.
Marz and the rest of The Protectors team understand what makes a good comic book, but more importantly, they have an understanding of the world of sports. They know what tripped up other people in the past, and they know what they need to do to make their comic appealing for fans of both genres.
WHY IT WILL WORK
It's no secret that the popularity of comic books, and namely comic book films, has soared over the last decade. This past summer, The Avengers shattered box office records—grossing over $1.5B worldwide—proving that not only do people love watching superhero films, they love watching a team of heroes fighting together as one. Why else would Warner Bros. be fast tracking a Justice League movie other than to cash in on the superhero team wave?
This idea of creating "super teams" is not confined solely to comic books either. In the NBA, we have seen teams like the Boston Celtics and Miami Heat assemble their own super teams to try and win a championship. In October, Marvel Comics and ESPN The Magazine teamed up to create a comic book on Miami Heat star LeBron James called LeBron: King of the Rings. And, if you go to the NBA online store, you'll even find that a number of teams offer Marvel Comics hats with their team logo on it.
Sports and comics are coming together in a way we have never seen before, and The Protectors will be the perfect ambassador to lead them into the future.
For more information on 'THE PROTECTORS' visit Athleta Comics on Facebook
One-on-One with Israel Idonije of the Chicago Bears: Part One
One-on-One with Israel Idonije of the Chicago Bears: Part Two
Los Angeles Clippers: Chris Paul as Captain America
Los Angeles Clippers: DeAndre Jordan as Thor


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Movie Theater Decides "The Butler" Screening Needs A Bunch Of Armed Guards
"Lee Daniel's The Butler" tells the story of a black butler who spent decades working in the White House. It's a high-grossing star-studded movie -- which is obviously why one Maryland movie theater decided to staff opening weekend with a mini-militia of armed guards. Not because they thought it would draw a large black audience. Right?
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redpajama_set_name: RedPajamaCommonCrawl


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Chile's president could be a new model for the left
Gabriel Boric, 36, aims to move Latin America beyond the stifling Leninism that has plagued Cuba and Nicaragua.
By Stephen Kinzer Contributor,Updated March 29, 2022, 11:59 a.m.
Chile's new president, Gabriel Boric, rolled up his sleeves at a press conference on March 14.Esteban Felix/Associated Press
Looking for some good news in today's conflict-torn world? It's coming from near Antarctica — specifically, from the extreme south of Chile. That region produced a bearded, tattooed firebrand who has just been inaugurated as his country's youngest-ever president. Half a century after the United States promoted the overthrow of President Salvador Allende, the Chilean wheel has turned full circle.
"As Salvador Allende predicted nearly 50 years ago, we are once again opening the wide avenues along which free men and women can march toward a better society," the new president said in his inaugural speech this month. In case anyone missed the point, he named Allende's granddaughter minister of defense. She now oversees the army that overthrew her grandfather.
President Gabriel Boric, 36, represents more than simply the reconsolidation of progressive Chilean democracy. He also personifies a new kind of leftist leadership that could be a model for Latin America and beyond.
Related: Marcela García: Hopeful political signs from Central and South America
Boric emerged a decade ago as a student leader. He helped guide nationwide protests against government policies that many saw as favoring the rich. In 2013, as the protests reached a peak, he was elected to Congress from the country's southernmost province, the Magallanes and Chilean Antarctic Region. His dizzying rise to the presidency was propelled by a coalition of students, environmentalists, feminists, Indigenous people, and others who have been left behind by past governments. The cabinet he named after taking office is majority female and includes the country's first openly gay ministers.
Most important, he is committed to the institutions of electoral democracy and categorically rejects the use of force or violence as political tools. That is a quantum leap from the left-revolutionary dogma that embraced Leninist concepts like the "vanguard party" that imposes its will and crushes opponents.
Chile is a logical birthplace for this new approach to politics and government. It has the richest democratic tradition of any Latin American country. In the 140 years after its constitution was proclaimed in 1833, the legal order was interrupted only three times, for brief periods. Then came the catastrophe of the 1973 coup against Allende, a socialist who nationalized the copper industry that is at the heart of Chile's economy. "No impression should be permitted in Latin America that they can get away with this," President Nixon told his National Security Council as he ordered Allende's overthrow.
That coup led to Augusto Pinochet's 17-year dictatorship, during which tens of thousands of Chileans were arrested and tortured. Democracy has been slowly rebuilt, but neoliberal economic policies that were imposed during the dictatorship helped create a society in which 1 percent of the population controls more than one-fourth of the country's wealth. Boric's predecessor was a billionaire. Boric could not be more different.
In his inaugural speech, Boric promised to "leave behind once and for all the patriarchal inheritance of our society." Even more arresting was his repeated emphasis on pluralism and democracy — hardly the principles of old-style leftist regimes like those in Cuba and Venezuela. He said he would "always listen to proposals from those who think differently"; pledged to follow "the path of dialogue, peace, law, and empathy for all victims"; and urged Chileans "not to see each other as enemies but to reunite with ourselves and each other." In world affairs, his main focus has been advocacy of Palestinian rights; he has called Israel a "murderous state."
Nearly a dozen Latin American presidents and prime ministers attended Boric's inauguration. The United States sent an insultingly low-level delegation headed by the administrator of the Small Business Administration.
Perhaps most significant were the Nicaraguans that Boric did and did not invite. President Daniel Ortega of Nicaragua is a poster boy for the moral collapse of what was once considered leftism in Latin America. He spouts anti-imperialist rhetoric while ordering the killing of protesters and jailing all who criticize his corrupt rule. Boric not only refused to invite him but invited two of his most outspoken critics, both of whom would be immediately arrested if they dared to return home. One of them, the poet and novelist Gioconda Belli, had been a fervent Sandinista revolutionary during the 1970s and '80s but said during her visit to Chile that revolutionary governments like the one in Nicaragua have created little but "destruction and polarization."
"Boric represents the new left I've been dreaming of for a long time, a new paradigm for the world," Belli told a Chilean interviewer. "I have completely lost all of the Leninism I once had, and have come to believe that in revolution, social justice is essential. This is the most important principle of the left — but it has to be inclusive and democratic. There must be freedom."
Two other South American countries, Bolivia and Uruguay, have already embraced the democratic leftism that Boric preaches. Brazil and Colombia may elect leaders of the same bent later this year. If they do, Boric mused after his election, "a tremendously interesting axis can be put together."
Stephen Kinzer is a senior fellow at the Watson Institute for International and Public Affairs at Brown University.
Globe Ideas


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Arrabawn's milk processing plant in Nenagh, Co Tipperary.
"A record year," or "no longer in a position to pay"? Co-op locked in redundancy terms row
The mid-size dairy processor Arrabawn and Siptu took their dispute over exit pay to the Labour Court on the week the business reported strong results. The court has now made a recommendation.
30th Jun, 2022 - 2 min read
On June 10, the Labour Court made a recommendation to Arrabawn, the dairy farmers' co-op headquartered in Nenagh, Co Tipperary, and its staff of around 400, represented by Siptu. The two sides have been locked in a dispute over proposed changes to redundancy terms agreed 18 years ago. The court heard that current arrangements guarantee any redundant worker will get 6.5 weeks of pay per year of service, inclusive of statutory provisions, with no cap applicable. The union deemed company proposals to introduce lower redundancy terms "unacceptable" to its members. Arrabawn, meanwhile, told the Labour Court that "the Company is…


With almost three million motor insurance claims made in 2012, it's clear that Britain's roads can be dangerous. The number of uninsured car and van drivers on our roads is a huge concern for motorists, but, even if both parties are fully covered, insurance claims can be a tricky business.
Making a speedy and accurate report of the details can make all the difference in ensuring a claim runs smoothly. A new mobile app service from the Motor Insurers' Bureau, allows drivers involved in an accident to access the online Motor Insurance Database from a smartphone at the scene.
The Motor Insurance Database, run by the MIB, is the central repository for vehicle insurance details, covering both private and motor trade insurance. The MIB provides help to victims of accidents involving uninsured drivers, and works to cut down the numbers of uninsured drivers by helping to identify uninsured vehicles.
Using the mobile app, drivers can enter the details of vehicles involved in an accident, and check that the driver's details match the information provided at the scene. Uninsured vehicles and false information can then be flagged up immediately.
The database also provides the name of the other party's insurer, and their contact details, so both insurers can be kept informed of events. You will also have an immediate email record of your enquiry and the details.
In the event of an accident, you simply visit the website through your smart phone and enter your email address, along with the registration numbers of all the vehicles involved. Don't forget to take down the contact details of any witnesses, and, if possible, to take photos of the vehicles' positions and the damage done.
Click here for our FREE (to Unicom customers only) Mobile Apps.
You can now also update the motor insurance database (M.I.D.) while you're on the move! For more information visit the following link: http://stayinsured.askmid.com/roadside.html.
This entry was posted in News on June 24, 2014 by Lee.Middleton.


David Yezzi is the author of The Hidden Model (TriQuarterly, 2003); Azores (Swallow, 2008), a Slate magazine book of the year; and Birds of the Air (2013), a Publishers Weekly pick. He is the editor of The Swallow Anthology of New American Poets (2009).
His libretto for a chamber opera by David Conte, Firebird Motel, received its premiere in San Francisco in 2003 and was released on CD from Arsis in 2007. His libretto of F. Scott Fitzgerald's The Last Tycoon for composer Cyril Deaconoff received a workshop production at West Bay Opera in California in 2010. And his verse dramas On the Rocks and Dirty Dan & Other Travesties have been produced by Verse Theater Manhattan. As an actor and co-founder of Thick Description, a San Francisco theater company, Mr. Yezzi has performed in works by Shakespeare, Shaw, Brecht, Goethe, Williams, and others, in the United States and Europe.
A former director of the Unterberg Poetry Center of the 92nd Street Y in New York, he is poetry editor of The New Criterion and an editor of The Hopkins Review. A Stegner Fellow in poetry at Stanford University from 1998 to 2000, his poems have appeared in The Atlantic, The Paris Review, The New Republic, The Best American Poetry, The Yale Review, Poetry, The Pushcart Anthology, and elsewhere. He teaches in the Writing Seminars at Johns Hopkins.
I don't find a great difference between reading a poem silently and reading a poem aloud—though not for the reasons you might think! I agree with those poets and critics—like Yvor Winters, in his essay "The Audible Reading of Poetry," for example—who believe that, when it comes to poetry, there's no such thing as silent reading.
Even when I am reading a poem silently to myself, the voice in my head is pronouncing every word. Winters writes: "I mean to indicate the reading of poetry not merely for the sensual ear, but for the mind's ear as well; yet the minds ear can be trained only by way of the other, and the matter, practically considered, comes inescapably back to reading poetry aloud." Speed readers read without hearing the words, but it is not possible to speed read a poem. In poetry, the sound is the meaning, since poems are concerned with the emotional content of language and sound is one of the chief ways that emotion in language is communicated.
You've taught a course on reading poems aloud at the 92nd Street Y and at Johns Hopkins University. What are some important strategies and tips for us as we read, recite, and perform our own poems and poems by others?
As a speech-coach friend of mine likes to say, No one ever complained that a speaker read too slowly, too loudly, or too briefly.
Performing poetry is really an act of generosity. The audience wants to hear you. They've gone out of their way, so it's important to be heard. You only have one chance to get the poem across, so slow down. Speak loudly and clearly, breathe, articulate. If you lose the audience because they can't make out what you're saying it's very hard to get them back. They've lost the thread.
Also: I always time my reading beforehand, and I keep a watch handy at the podium. There is a special circle in hell for readers who hog the mic.
Aside from these, the main thing is relaxation. Physical tension stops the voice from expressing the necessary range of sound and feeling. Again: breathe. Concentrate on the task at hand. I try to remind myself that reading to an audience is fun (and a privilege!). It's like going on a ride: you can ride the music of the poem like surfing a wave.
What various influences do you draw from in your poems, in terms of sound-play and performance? Are there important models for how you perform your poems?
I listen to lots of poetry online these days. The Poetry Foundation and the Poetry Archive in England have an unbelievable number of recordings of poets reading their own work. Hearing a poem in the poet's own voice can be an great key to understanding the poem. Also: there is often a strong connection between a poet's writing "voice" and his or her speaking voice.
I like to collect audio recordings of poets. Caedmon has some great ones from back in the day. Random house brought out a series called the Poet's Voice. The one's I use often in my classes are Elizabeth Bishop, Philip Larkin, Langston Hughes, John Berryman, T. S. Eliot, W. H. Auden, Gwendolyn Brooks, Anthony Hecht, Kay Ryan, John Gielgud reading Shakespeare's Sonnets, Paul Scofield's Lear, Robert Hayden, Geoffrey Hill, Robert Frost, Richard Burton reading Thomas Hardy, Sylvia Plath, and others.
I have recordings of Auden reading at the 92nd Street Y that I love. His reading style is clear and quietly musical, not showy but effortless and powerful. Whenever I read his poems, I always hear his voice in my head. If you get enough poetry in your head, it influences your writing in a good way. It's possible, for instance, to quote the music of a poem without quoting any of the words.
Some of your poems are dramatic monologues. Is there a difference, in terms of definition, between a dramatic monologue and a persona poem?
I might make one small distinction, though others might disagree. (I sometimes wonder if all poems aren't persona poems to some degree.) Persona poems include a speaker that is distinctly different from the poet. In "The Love Song of J. Alfred Prufrock," the "I" is the character of Prufrock speaking to himself or to the audience—what Eliot calls the second voice of poetry. Gwendolyn Brooks's pool players in "We Real Cool" are another example.
A dramatic monologue has a speaker who is talking to another character or to a group of characters in a dramatic situation. As in a play, there is a discernable scene that is portrayed in the poem that might be staged. Browning's "My Last Duchess" is a classic example of this, as is Hecht's "Death the Whore." Dramatic monologues are part of what Eliot called the third voice of poetry—characters talking to other characters.
How do you work, even in your poems in meter, to capture the peculiarities of a particular speaking voice?
Ah, great question. That's really the whole ballgame, isn't it—capturing the way we talk. It's different from the way people spoke even ten or twenty years ago. The music of our speech changes over time, and I don't simply mean new jargon or brand names. The blank verse of Shakespeare sounds different from that of Milton or Cowper or Wheatley or Wordsworth or Browning or Frost or Hecht. Meter is not a prefabbed sound; it's a tool for organizing and releasing the affective music of language. Even Frost, as great as he is, sounds dated to us. The poets—often quite different from each other—who can capture the way we speak now excite me. They play the audio of ourselves to us for the first time.
You've said, "The poem isn't complete on the page; it needs to be spoken out loud. The performance is just as important as the poem itself." Is there a way writing poetry is a form of acting?
The rhythm of a poem does not exist on the page, though it's indicated there, the way a score indicates a tune. Is the rhythm created the voice? Partly. Though what about the listener? The rhythm exits, then, in the body of the person saying and hearing the poem. For the Ancient Greeks, dance and music and poetry were all a single expression, what they called mousike. It's a practice that goes back many thousands of years.
I did plays as a kid and memorized lines, which were sometimes in verse. I heard Biblical poetry in church, which was often chanted or sung. I think that stuck to some extent.
I learned the most from teachers who guided me though great poems and showed me how they worked. I was fortunate, too, to have teachers early on who encouraged my writing, which was mostly crudely imitative. They didn't dismiss writing poetry as silly or a waste of time.
Shakespeare's plays. Other things drop off the list or get added at different times.
My wife, Sarah Harrison Smith, always tells me not to worry so much if what I'm doing is any good but to just write. A writer is someone who writes. If you write, you're a writer. If you don't write, well . . . There's always time later on to figure out if what you've written is any good and to revise.
I've been writing obliquely about moving with my family to Baltimore. Change is good, but it's also emotionally fraught and complex. And I'm finishing a verse play, which will be performed by the Baltimore Poets Theatre. I'm also working on a biography of Anthony Hecht, which is like mountain climbing, alternately scary and exhilarating.
Can you provide us with a prompt for our students?
Here's a prompt that was given to me by Marie Ponsot, who invented the tritina form. A tritina is a kind of mini sestina. There are three stanzas of three lines each, followed by a final line, ten lines in all. The three stanza's use the same three end words, and the final line uses all three end words.
Last line uses all three end words A, B, C (though possibly in a different order).
How does David Yezzi capture the peculiarities of his speaker's voice in "Schnauzer"? What do you learn about the speaker of this poem from how his voice appears in the poem—not only what the speaker says, but how the speaker says it?
In what ways does "Schnauzer" fit David Yezzi's definition of the dramatic monologue that he gives in his Lightbox interview? How would you describe the "dramatic situation" of his poems?
What strategies does David Yezzi use in "Dirty Dan" to make the poem seem like a story really being told to someone, and not simply dialogue in a story? What do you think is the difference between a poem and a monologue in a play?
What role does the metaphor of the radio play in "Lazy"? How is that metaphor in agreement and in tension with the poem's form—lineation, stanza, sound?
The poem, "Cough," is constructed from a variety of pieces of language from different realms—which realms of language do you notice in the poem? How do these seemingly disparate registers of language interact in the poem?
Read the selection of David Yezzi poems we've linked on the Lightbox website. What traditional, or received, forms do you notice? Which formal elements can you describe in his poems? Take your observations a step further and begin to consider how David Yezzi's formal practice helps to enact the content of his poems?
In his Lightbox interview, David Yezzi writes, "Performing poetry is really an act of generosity. The audience wants to hear you. They've gone out of their way, so it's important to be heard. You only have one chance to get the poem across, so slow down. Speak loudly and clearly, breathe, articulate." In this in-class activity, we'll consider what strategies poets employ when they read poems out loud and get to practice sharing our own work.
Each writer should bring a few copies of a poem they have written during the class.
Write a poem in a voice other than your own, one that seeks to capture the psychology, emotion, and speech patterns of a speaker who is not you. This might be a fictional character, an historical figure, or simply someone from your own life. For this prompt, you will not only be writing as another speaker, but writing in a "dramatic situation." David Yezzi reminds us this entails, "a speaker who is talking to another character or to a group of characters…As in a play, there is a discernable scene that is portrayed in the poem that might be staged. Browning's 'My Last Duchess' is a classic example of this, as is Hecht's 'Death the Whore.' Dramatic monologues are part of what Eliot called the third voice of poetry—characters talking to other characters." As you write, reflect on how the presence of the listening character (who is spoken to but does not speak) affects the choices you make in the poem.


Jagdeep is the director of research - Asia and a senior research analyst for the Real Assets investment team, specializing in Asia ex-Japan infrastructure and REITs. He is based in Hong Kong.
Jagdeep began working in the financial services industry in 2004 and joined the firm in 2008. Previously, he was at Credit Suisse where he was a senior analyst in equity research. Prior to that, he was an associate analyst in equity research at Avondale Partners, LLC and a management analyst with KPMG Consulting.
Jagdeep received a B.A. in economics and sociology from New York University and an M.B.A. in finance from Auburn University.


text:
import {Component, listenTo, dispatch, stopPropagationHandler} from '../CarbonFlux';
import * as PropTypes from "prop-types";
import * as React from "react";
import * as cx from "classnames";
import ScrollContainer from "../shared/ScrollContainer";
import bem from '../utils/commonUtils';
import Dots from "../shared/dots";
import SimpleList from '../shared/SimpleList';
import {FormattedMessage} from "react-intl";

function bem_stories_panel(elem, mods?, mix?) {
    return bem("stories-panel", elem, mods, mix)
}

export class StoriesListItem extends Component<any, any> {
    render() {
        var story = this.props.story;
        var page = story.pageName || '';
        var name = story.name;
        var type = story.type;
        return

<FormattedMessage id={['@flow.header', '@prototype.header'][type]} values={{name:name}}/>

                {/*24 steps*/}
                {page}

    }
}

export class StoriesPopupList extends Component<any, any> {
    static propTypes = {
        stories      : PropTypes.any,
        padding      : PropTypes.any,
        insideFlyout : PropTypes.any,
        selectStory  : PropTypes.func,
        activeStory  : PropTypes.any
    }

    render() {
        var items = [];
        this.props.stories.map((story)=>{
            items.push({
                id      : story.id,
                content : <StoriesListItem story={story}/>
            }
        )});

        var simpleListProps = {
            className      : bem_stories_panel('list-container'),
            boxClassName   : bem_stories_panel('list'),
            padding        : this.props.padding,
            insideFlyout   : this.props.insideFlyout,
            emptyMessage   : <FormattedMessage id="@stories.empty"/>,
            items          : items,
            onClick        : this.props.selectStory
        };

        return (<SimpleList {...simpleListProps}/>) ;
    }
}

export default class StoriesList extends Component<any, any> {
    static propTypes = {
        stories      : PropTypes.any,
        selectStory  : PropTypes.func,
        activeStory  : PropTypes.any,
        viewDetails  : PropTypes.func
    }

    render() {
        var emptyMessage = null;

        let activeStoryId = null;
        if(this.props.activeStory){
            activeStoryId = this.props.activeStory.id;
        }

        var stories = this.props.stories.map(story =>

this.props.selectStory(story)}>
                    <StoriesListItem story={story} />

this.props.viewDetails(story)}>

<Dots/>

        );

        return <ScrollContainer
            className={bem("editable-list", "scroll-container", null, "wrap thin")}
            boxClassName={bem_stories_panel('list', null, 'editable-list')}
        >
            {emptyMessage}
            {stories}
        </ScrollContainer>
    }
}

redpajama_set_name: RedPajamaGithub


In March of this year, Gartner released a report by Research Vice President Pierfrancesco Manenti and Researcher Xiao Chen titled, "Jumpstarting Your Digital Roadmap." The report takes results from a survey by the same title and provides insight into why companies must begin digitalizing their supply chains, and which areas are most in need of new technology solutions. These ideas were elaborated on at Gartner's recent Supply Chain Executive Conference. Below is a summary of the report.
The survey results framed the report with the idea that, "Digital supply chain has become—by far—the number one discussion subject among Gartner SCM World community members." This trend was continued during the Gartner Supply Chain Executive Conference, where a large portion of the event was spent discussion the digital supply chain.
Supply chains are being digitalized, there's no question about that, but some areas are developing much faster than others, creating digital gaps. For example, shipment workflow visibility (or end-to-end visibility as the report calls it) has digital gaps resulting from the way data is shared by legacy technologies across internal and external partners. Those digital gaps are highlighted specifically across transportation and logistics functions. The industry's long-term reliance on these legacy technologies has perpetuated these gaps—essentially putting bandaids over the issue by connecting newer systems to legacy sources, or providing fancy user interfaces to access legacy data. The problem remains however, the data is simply not up to date or normalized. project44, on the other hand, gives you the software building blocks to create a truly integrated and predictable end-to-end transportation experience.
The report explains that there is simply too much data to effectively turn into insights. Recent advancements in technology both inside and outside of the supply chain ecosystem have allowed for a sharp increase in data sources and the amount of data produced, but compiling that data in a way that makes it actionable and useful requires technology systems that not everyone is currently utilizing.
What's more, it's siloed. Without the ability to connect systems so that they can transmit valuable data to each in real-time, the data just sits where it's stored and has no meaningful way to interact with the supply chain as a whole. While this ability exists, not enough companies have adopted it yet.
Where is Supply Chain Technology Headed?
Looking at the issues outlined in Gartner's report, it's easy to see where technology is headed. The industry needs technology solutions that address the siloed communication – especially when it comes to transportation and inventory management. That's where building blocks like APIs come into play. Supply chain leaders need a stronger connective tissue between their different systems (ERP, TMS, WMS, OMS, Inventory Database, etc). Unlike the legacy technologies causing these problems, project44's digital logistics and transportation network transmits data in real-time and normalizes it across different platforms. Our API-first approach is capable of providing the right data to inform more advanced and proactive measures like big data analytics, AI IoT, cloud computing, machine learning, robotics, and blockchain. These solutions will provide valuable insights that can be used to address other issues like customer management and product development as well.
There's no denying that change is coming. Gartner's report is clear that digitalization is happening all over the supply chain, but there are significant gaps causing problems in the effectiveness of technology. Connecting disparate systems and efficiently utilizing and transmitting data between them will eliminate these gaps. project44's logistics and transportation network is best suited to seamlessly connect applications and data across your transportation network.


Use this app to come prepared for any meeting.
If you are in any sort of sales or development position, have you ever been thrown into a last minute meeting with a stranger at the request of your boss? Or have you gotten connected to a new lead through a pre-existing contact, but don't really know all that much about them?
Well there's a free app that does all of the digital stalking you would do on your own. Before you take a step into a meeting, the app sends you both an email and push notification with all of that information in one place.
By linking your LinkedIn, Calendar, Facebook, Salesforce Account, Email, and Twitter accounts, Charlie will scour those outlets informing you of both personal and professional items of interest for anyone you have a meeting scheduled with.
Charlie will suggest what interests you may have in common with that person. What company highlights you may be able to bring up in the conversation, and if the person you are meeting with has been featured in any published articles.
Not only does this open up some time in your schedule, but it will also make you look like a well researched profession in any meeting.
Part of being a successful sales or development professional is being able to weave in topics with the person you are meeting with without forcing it, and having the meeting turn into an interview.
We recommend glancing through the email and the app before you walk into a meeting, choosing a few things to catalog in the back of your head to bring up throughout the meeting, and then don't reference it again until the meeting is over.
Just because you DO know a fair amount of things about the person you are meeting with, DOES NOT mean you have to interrogate them, or regurgitate all of the research you have done back to them.
Yes, while iCloud is convenient for sharing your photo library between iDevices and making sure that you have things automatically backed up. It's a bit of a challenge to delete a photo from your phone, without it also being deleted from iCloud.
Well the solution is easy -- Google Photos automatically syncs with your iDevice Library: uploading pictures to the cloud, so that you can delete the original and free up some more space on your iPhone or iPad. Google Photos isn't the only one that does this, if you are an Amazon Prime user: Prime Photos is an alternative solution. And there is always setting up your Dropbox to auto sync with your iPhone Library as well.
Needless to say -- get the originals off your Phone. There is little to no time we are left without Wifi or LTE that we won't be able to pull them from a cloud based storage solution.
Here are some other useful iDevice Photo tips to make sure you are optimizing your storage!
Feel free to put some comments with questions below, or shoot us an email. We'd love to chat!


It's super adorable & sweet. Jam Jar would be an excellent addition to a font collection for use in headlines, branding, and quote graphics. It's also a fantastic crafting font – endless possibilities for vinyl cutting machine fanatics!
You'll find many uses for Jam Jar Script! With it's thick down strokes and thin up strokes, this calligraphy font is very versatile. In fact, one great use for Jam Jar would be for vinyl cutting machines, such as Cricut or Silhouette. Because Jam Jar is extremely legible and has clean edges, it makes it the perfect crafting font!


text:
Q: Simplifying multiple model validation error messages into a nicer sentence How can I simplify an error message on model attributes validation like this:
Categories can't be blank, Topics can't be blank
Into this:
Categories and Topics can't be blank

A: You could write a helper function that does that. Not pretty (and should definitely be improved) but to get you started something like
messages = "Categories can't be blank, Topics can't be blank, Bla can't be negative"

def split_and_combine(messages)
  parts = messages.split(',').map{|p| p.strip}.map do |p|
    i = p.index(' ')
    { base: p[0...i].strip, rest: p[i..].strip}
  end
  result = ''
  parts.each do |p|
    i = result.index(p[:rest])
    if i
      result = result.insert(i, "and #{p[:base]} ")
    else
      result = "#{p[:base]} #{p[:rest]}#{',' if result.length > 0} #{result}"
    end
  end
  result
end

puts split_and_combine messages

Would output
Bla can't be negative, Categories and Topics can't be blank

redpajama_set_name: RedPajamaStackExchange


text:
The Anti-Zionist blog of Mark Elf - browsing the media and posting as Levi9909
Martin Buber, the kibbutz movement and "socialism" in Israel
I was in a chat on a message board recently and I mentioned, in passing, that I doubted the sincerity of Martin Buber's so-called bi-nationalist zionism. I couldn't quite remember why I doubted it but it had to do with a story I heard about how Martin Buber came to occupy the former house of Edward Said's family. I just googled "Martin Buber" "Edward Said" and I eventually found this little gem, in Peace News, by Uri Davis:
Like Buber, one of my father's relatives (Leon Roth), was a professor of philosophy at the Hebrew University in Jerusalem at the time. He also witnessed the atrocities committed against the Palestinian Arabs in the name of the "Jewish State". Unlike his colleague Buber, however, he resigned his post and returned to Britain.
Buber, on the other hand, sold out. In 1963 he had this to say: "I have accepted as mine the state of Israel, the form of the new Jewish community that has arisen from the war. I have nothing in common with those Jews who imagine that they may contest the factual shape which Jewish independence has taken." (Martin Buber, "Israel and the Command of the Spirit", Israel and the World, p257.) According to Edward Said, prior to 1948 the Buber family were tenants of the Saids in Jerusalem. They paid their rent for their house in the wealthy mixed Arab-Jewish Talbiyya Quarter to Edward Said's father. Sometime towards 1948, a tenant-landlord dispute erupted between Mr Said and Professor Buber, and the case was taken for adjudication before the British Mandate court. Buber lost the case and had to leave the premises.
At the door, after returning the keys to Edward Said's father, Buber turned round and said: "Mr Said, you just wait. I will be back."
Buber: comeback kid
The war that began with the Israeli declaration of independence in 1948 ended in 1949 with the expulsion of approximately 75 per cent of the indigenous Palestinian Arab populations from some 400 Arab localities that came under the control of the Israeli army.
In the armistice agreements between Israel and the Hashemite Kingdom of Jordan, Jerusalem was partitioned and Talbiyya was ceded to Israel. In consequence, the Said family were classified under Israeli law as "absentees", their rights to their properties in Jerusalem and elsewhere in Israel were nullified and vested with the Israeli Custodian for Absentees' Property.
Immediately after the war Buber was as good as his word. He returned to take residence in the Saids' house in Talbiyya, now as tenant of the Custodian. He lived there for the rest of his life. (Uri Davis, op cit, p54.)
Against the backdrop of the continuing Israeli denial of the rights of the 1948 Palestine refugees to return, and the occupation since 1967 of the West Bank and teh Gaza Strip, Martin Buber's "Epilogue" in Paths in Utopia makes for an almost surreal reading.
Read on for an article exposing the sheer hypocrisy of Martin Buber and the whole of the kibbutz movement for which he was something of an ideologue.
I should point out for those who go a-googling some more, that as with the Joan Peters hoax there are many zionists outlets trying to make out that the Buber/Said saga never happened. On that matter, here is Edward Said.
Posted by levi9909 @ 10:55 am
Labels: Edward Said, JNF, kibbutz, Martin Buber, palestine, Peace News, Uri Davis, Zionism
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