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Poor Whites & Photography in South Africa: The Backstory
Nanny with Stroller Strikes Terror in Hearts of Millions!
Ok, that's a bit of a stretch. But, when Constance Stuart Larrabee made this photo of a black woman looking down at a white man (with revulsion, pity, or some combination of the two), she captured the anxiety that virtually all white South Africans felt when they contemplated the "poor white problem."
Constance Stuart Larrabee: Homeless man, 1947-48. [Published caption, not by Larrabee, to a similar photo of the same man, made at nearly the same moment, Libertas magazine, June, 1947: On a bench in the heart of Johannesburg a hobo lies sleeping. Little can be done to make him useful to society. But by influencing the young child and curing his personality defects, social welfare workers can prevent this waste of human material.] (Click directly on any of these photos to see much larger versions.)
From the 1880s until the 1940s, the "poor white problem" was one of the most pressing issues in white South African politics. Poverty was pervasive among white bywoners [sharecroppers] and small farmers. It worsened as drought, war, agricultural mechanization, and the increasing dominance of large, commercial farms combined to push tens of thousands of them, mostly Afrikaners, out of the countryside and into the cities. It was a process that South African historian Herman Giliomee calls "rapid, chaotic, and almost always traumatic." Farming people found that they were ill-equipped to compete against either urban whites for skilled jobs and blacks for unskilled labor. Many became desperately poor.
Elite and middle-class whites were certainly concerned about the well-being of their impoverished brethren. But, as far as they were concerned, something larger was also at stake: the preservation of South Africa's system of white supremacy. As E.G. Malherbe, a rising social scientist and someone we will see more of below, wrote, in 1921, poor whites were "a menace to the self-preservation and prestige of our White people, living as we do in the midst of the native population that outnumbers us 5 to 1." They were a "skeleton in our cupboard, raising questions about the capacity of the ruling white race to maintain its dominance."
Constance Stuart Larrabee: Johannesburg social welfare, poor relief, 1947-48. [Published caption, Libertas magazine, June, 1947: Although food and other assistance are given under poor relief scheme, the poor are helped to help themselves.]
From the point-of-view of mid-twentieth-century white South Africans, this photo is less fraught -- nobody here is physically defenseless, incapacitated by drink -- but it would still have been troubling. Black is again positioned above white; a black man is bringing aid and succor to whites. The fact that the man is dressed in laborer's clothes would have lessened the tension only a bit.
Over the last few weeks, I've been wondering how aware Larrabee was about making images that captured so precisely the anxieties that poor whites evoked. My guess is that she knew exactly what she was doing. Not only did she possess an extraordinary ability to express herself visually, but, as a white South African whose friends included artists and intellectuals, she was inevitably aware of the debates that raged around the poor white problem.
Larrabee made the photos in this post to illustrate a story on social welfare programs in Johannesburg that ran in the June, 1947, issue of Libertas, which called itself South Africa's first illustrated magazine. As far as I've been able to determine, she was the first professional photographer to make pictures of poor whites. (I'll be happy to hear about any earlier examples.) Others photographers -- both amateur and professional -- had made photos of people who were poor and who happened to be white. But Larrabee's photos are as much about a social social phenomenon and political issue as they are about individuals. These are pictures of "poor whites," not whites who are poor.
It turns out, however, that an avid amateur photographer made what might have been the earliest photos of "poor whites" in South Africa. (Again, I'm eager to hear new information.)
Photo by E.G. Malherbe, in The Poor White Problem in South Africa: Report of the Carnegie Commission, Vol. III, Education and the Poor White (1932). (Remember, you can click directly on any of these images to see much larger versions.)
E.G. Malherbe, the man who called poor whites the "skeleton in our cupboard," made them while he was conducting research for the report on education that he wrote as a member of the Carnegie Commission of Investigation on the Poor White Question in South Africa. (The commission began its work in 1928 and published its findings in 1932.) A specialist in educational policy at the University of Cape Town, with a B.A. from South Africa's Stellenbosch University and a Ph.D. from Columbia University, Malherbe was an obvious choice for the job.
As luck would have it, he was a life-long shutterbug, and he took his cameras with him when he conducted his fieldwork.
Photo by E.G. Malherbe, in The Poor White Problem in South Africa: Report of the Carnegie Commission, Vol. III, Education and the Poor White (1932).
By the 1920s, photographers such as Jacob Riis and Lewis Hine had long since demonstrated that the camera could be an investigative tool and that photographs could impart information that words couldn't duplicate. This wasn't the way that Malherbe saw things. For him, photos served merely to illustrate his text. But the text, of course, was explicitly about the poor white question, and his photos are fascinating documents of the way in which poor whites lived. Just as importantly, they document they way which Malherbe wanted them to be seen.
The Carnegie Commission, which was funded by the Carnegie Corporation, accepted white South Africans' fears that poor whites threatened the integrity of white supremacy and that this constituted a problem that had to addressed urgently. The racial agenda wasn't hidden. The commission admitted that the very "term 'poor white' could hardly have come into common usage except in a country inhabited by an inferior non-European population as well as by Europeans. The term 'poor white' itself implies that traditionally the European inhabitants have a higher standard of living."
As an American foundation, the Carnegie Corporation would have been quite familiar with the "poor white problem." In fact, the term "poor white" first came into general usage in the United States, during the last quarter of the nineteenth century. In his memoir, Never a Dull Moment, Malherbe drew a direct comparison between the United States and South Africa. In both countries, he wrote,the issue was the preservation of white supremacy. A concern for poor whites "is tinged with the fear that in open competition, the lower 10% of Whites will become subordinate to, say, the upper 10% of Blacks." As impoverished as most black South Africans were at the time, the whites in Malherbe's photos certainly seem to be at risk of becoming part of that 10%.
My interest in this subject -- photography and poor whites in South Africa -- was sparked by a superb photo-essay that Reuters photographer Finbarr O'Reilly did, earlier this year, on poor whites in contemporary, post-apartheid South Africa. (The essay received considerable attention, appearing, for instance, on the Reuters photographers' blog, the New York Times' Lens blog, and the Boston Globe's Big Picture blog. The fascination with poor whites -- at least in cultures that, like America's, insist on connecting poverty with blackness, making poor whites compelling anomalies -- clearly hasn't gone away.)
When I wrote about O'Reilly's work, he sent me an email, gently correcting some mistakes that I'd made. We exchanged several emails, afterwards. In one of them, he generously told me about the photos that Larrabee had made for Libertas and suggested that I take a look.
Constance Stuart Larrabee: Mother and children, 1947-48.
Obviously, Larrabee's photos are vastly different from Malherbe's, and vastly better. He was a social scientist, after all, and she was an exquisite photographer, one of the finest of her generation (a fact that has been recognized by museums and galleries all over the world). Her vision was shaped primarily by her training, while in Germany, in the aesthetic of Neue Sachlichkeit, that is, New Objectivity or New Realism. As Brenda Danilowitz has pointed out, Larrabee's "smooth surfaces, clear design, sharp tonal contrasts, uncluttered design, textural veracity, and the elimination of extraneous detail" place her firmly within this modernist photographic tradition.
In her rare interviews, Larrabee spoke of being influenced, as well, by the American photographer Margaret Bourke-White. That makes sense on several levels. Bourke-White was, in her day, one of the most successful photographers in the world and one of the most famous. Like Larrabee, she was also a committed modernist. The most powerful connection was probably the fact that she and Larrabee had both photographed combat during World War II, making them two of the tiny handful of women to have done so.
Nevertheless, you can't look at the photos directly above and below without thinking of another American photographer, Dorothea Lange.
Constance Stuart Larrabee: Girl with puppy, 1947-48.
Lange is best known as one of the photographers who worked the American government's legendary Farm Security Administration photo documentary project, during the 1930s and early '40s. Many of her iconic photos are portraits, in which she was able to reveal beauty and humanity, even in the midst of hardship. The fact that both Larrabee and Lange began their professional lives as highly regarded portrait photographers may account for the stylistic similarities. More likely, Larrabee had seen Lange's work, which was widely reproduced in newspapers and magazines worldwide.
Constance Stuart Larrabee: Children in ruined building, 1947-48.
Like Lange, Larrabee was doing more than making pretty pictures. Probably as a result of her experience as a war photographer, she understood the ability of the camera to show things that words struggle to tell. Here, white poverty is the problem, and the camera the tool that she uses to uncover some of the answers.
Constance Stuart Larrabee: White South African woman and child, 1947-48.
Not surprisingly, some of Larrabee's poor white photos are mundane. Even these, however, demonstrate the ways that poverty among whites had changed over the last two decades. It was now as much an urban problem as a rural one. Even though the expansion of industry during World War II had gone a long way towards solving the poor white problem, unemployment had nearly doubled since the end of the war, and the cost of living was rising rapidly. Poor whites were still on white South Africa's radar screen.
Constance Stuart Larrabee: Three homeless men, 1947-48.
Mainstream social science of the day tended to blame the poor for their misery. A photo of homeless men sharing a bottle in the middle of the day would seem to demonstrate the accuracy of that analysis.
Constance Stuart Larrabee: Woman researching the homeless, 1947-48.
Even though the article that Larrabee's photos accompany suggests that adults are beyond help, this young social worker seems to be unwilling to give up the fight.
Constance Stuart Larrabee: Cobbler, 1947-48. [Published caption to a similar photo of the same man, made within a few moments of this one, Libertas magazine, June, 1947: In the sheltered workshop handicapped men unable to compete in the open labour market are helped to become self-supporting. Weaving and boot repairing are among the jobs they do.]
And why would she give up? The article goes on to extol the success that social welfare programs have had in offering employment to handicapped men, many of whom were ex-servicemen. (There's that modernist lens, again. In this case, it makes us wonder how a man so ruggedly strong and self-contained could possibly need help.)
Constance Stuart Larrabee: Children painting at play center, 1947-48. [Published caption to a similar photo of the same children, made at approximately the same time, Libertas magazine, June, 1947: At the play centres children occupy themselves usefully in leisure time. They are guided by specialists in social welfare work, in music, arts and crafts, and physical-training. The workers aim at turning out balanced citizens.]
The article was especially proud of the work that social welfare agencies were doing with children -- enlightening them, as it were.
Constance Stuart Larrabee: Boys with ball at Booysens play center, 1947-48.
I don't know whether to be appalled or amused by the fact that this classically modernist composition could easily have been made by a photographer working in Nazi Germany or Stalinist Russia. In any case, what modern state wouldn't want healthy, happy, disciplined, and cooperative young people such as these.
Constance Stuart Larrabee: Research charts on social welfare, 1947-48.
On the other hand, there something awfully American about the faith that, given enough time and sufficient funding, social science can solve any problem it confronts.
I'd like to believe that Larrabee was being ironic when she photographed this carefully constructed homage to social science. But I'd be wrong. It's the wrong era for that, and, besides, irony was never a part of her visual vocabulary.
A final note... Just as some of Larrbee's photos resemble Dorothea Lange's, some of Finbarr O'Reilly's have an uncanny resonance with Larrabee's, a point that I've explored here and here.
Update, 7 January 2011: Ben Krewinkle, who has recently completed a superb thesis on the photography of poor whites in South Africa -- "Arm maar niet langer blank: De ambigue verbeelding van de Zuid-Afrikaanse 'armblankes'" ["Poor but no longer white: The ambiguous image of South African 'poor whites'"] -- has written an important comment on one of my earlier posts about poor whites and photography. With his permission, I'm adding it to this post.
Hello John, thank you for those interesting posts on 'Poor Whites and photography'. Especially on the photographs by Larrabee, a photographer I hadn't heard of before. I've finished a thesis on this topic last year in a Master of Photographic Studies. Last winter I visited South Africa and photographed some impoverished whites in the Western part of Pretoria. I also did reseach on the original photoalbums made by E.G. Malherbe. In my thesis I wrote on the photographs of the Carnegie Commission as well as on David Goldblatt and the controversial photographs by Roger Ballen in his publications Dorps and Platteland. Malherbe was not the first one who photographed the Poor White Community. Marijke du Toit wrote an interesting article ('Blank Verbeeld' published in Hayes (P.) & Bank (A.) eds. KRONOS, journal of Cape history, no.27, November 2001, special issue: visual history) on the way the Poor Whites had been represented in an Afrikaner nationalistic magazine called Die Huisgenoot. You might be interested in this article. I'm planning to write an article on this topic and also on the photographs made by E.G. Malherbe. I'm also producing an article on Some Afrikaners Photographed [by David Goldblatt] since this year there is an exhibition planned on this work in Huis Marseile, a photo museum in Amsterdam.
All of Larrabee's photos in this post are from the Constance Stuart Larrabee Collection at the Eliot Elisofon Photographic Archives, National Museum of African Art, Washington, DC.
Text copyright John Edwin Mason, 2010. Another version of this article is under review for publication.
Posted by John Edwin Mason on 23 October 2010 at 04:36 PM in Africa, Constance Stuart Larrabee, Farm Security Administration, Photo History, Photographers, Photography and Diversity, Poor Whites, South Africa, South African Photography | Permalink
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Your posts on the work of Larrabee should be required reading for discussing Pieter Hugo's Hyena Men, no matter one's particular slant on it. Leni Riefenstahl's work in Africa also comes to mind after her "conversion." I'm sure many would say there's certainly nothing wrong in capturing for posterity the way a proud people "once" were- or even how a pristine land once looked (Ansel Adams). Again, as you point out, it very much depends on just how much you leave out (even Ansel had to struggle to leave out electric poles and wires- as well as the indigenous peoples that traversed his photographic territory), and how you set about portraying that selected imagery.
Of course, one can not help but marvel at just why white South Africans wanted to help out their poor brethren, not from the goodness of their collective heart, but simply to uphold their racist mythology.
Posted by: Stan B. | 24 October 2010 at 12:45 AM
@Stan
Thanks very much for the comments.
You're absolutely right that a similar story can be told about other photographers, in other places.
Posted by: John Edwin Mason | 24 October 2010 at 09:34 AM
Were the subjects of these photographs Afrikaners or English? Seems like that would make a big difference for the meaning of the representations.
Posted by: Jason | 24 October 2010 at 08:00 PM
"Were the subjects of these photographs Afrikaners or English?"
In Malherbe's photos the answer is "yes," except where he identified one of his subjects as English-speaking.
In Larrabee's photos, it's unclear -- in both the original magazine article and in her archive at the National Museum of African Art. The answer can only be "probably." "Poor whites" were usually thought of as the rural poor or as people who had left the countryside for the cities. That population was overwhelmingly Afrikaner.
It was ministers in the largely-Afrikaans Dutch Reformed Church who, in the late nineteenth century, first identified "poor whites" as a problem.
Soon afterward, the idea of uplifting poor whites became a central theme in Afrikaner nationalist politics.
There were two worries: (1) that poor Afrikaners would sink to the level of blacks, live amongst them, and see them as equals and (2) that poor Afrikaners might come to believe that their political interests were best served by working-class politics, rather than Afrikaner nationalist politics.
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Album Reviews : Vanishing Point – Tangled in a Dream (Reissue)
By Rod Whitfield on March 8, 2017
Vanishing Point are an institution in Australian heavy music, and are arguably the Australian power metal institution. More than two decades into their career, they are re-issuing their all-time classic Tangled in a Dream album, which originally surfaced 17 years ago. This time, it is a double-CD set, with a b-side featuring a whole bunch of very rare and tasty tidbits that fans will adore.
The album itself is a beauty, taking the listener on a journey across lush and emotional power metal soundscapes, sometimes heavy and pounding, sometimes symphonic and majestic, and sometimes even acoustic and wistful (The Real You). It's a dynamic and diverse ride, even within the somewhat restricting power metal framework, and soaring above it all is the fabled voice of frontman Silvio Massaro. He truly is an underrated gem in the global metal scene. The crafty and creative guitar riffs, licks, tricks and solos of Chris Porcianko are not hard to handle either.
Tangled in a Dream is a classic.
As for the second CD, it's a delight. A couple of covers that they very much put their own distinctive VP stamp on, Journey's Separate Ways, which is soaring and superb, and the classic Pink Floyd track On the Turning Away from 1987's superb and underrated A Momentary Lapse of Reason album, which they transform into a, up-tempo, celtic-sounding song of their own. A couple of excellent Japanese bonus tracks from two of their subsequent albums, and then five tracks that the band did acoustically at Melbourne's PBS radio station, which are just sweet as honey. You really do feel like you're in the studio with them.
Again, Massaro's voice is evocative, emotional and dead on the money.
This is a brilliant package. If you haven't checked this band out before, this is an excellent place to start, and if you have, this is a prime opportunity to re-visit and re-appreciate this illustrious slice of Aussie heavy music. Head to the band's official Facebook page to secure your personalised copy of Tangled In A Dream, today! www.facebook.com/vanishingpointaustralia
Band: Vanishing Point
Album: Tangled in a Dream (reissue)
Year: 2017 (Originally released 2000)
Genre: Power metal
Origin: Australia
About Rod Whitfield
Rod Whitfield is a Melbourne-based writer and retired musician who has been writing about music since 1995. He has worked for Team Rock, Beat Magazine, themusic.com.au, Heavy Mag, Mixdown, The Metal Forge, Metal Obsession and many others. He has written and published his memoirs of his life and times in the music biz, and also writes books, screenplays, short stories, blogs and more.

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Home » Events, Headline, Mobile
NECC Presents "Avenue Q"
Submitted by on March 23, 2015 – 5:38 pm
Members of the cast of "Avenue Q" presented by NECC's Top Notch Players next month.
Find out what happens to starry eyed children when they become adults in "Avenue Q" presented by Northern Essex Community College's Top Notch Players on Friday, April 10, Saturday, April 11, Friday, April 17, and Saturday, April 18, at 7:30 p.m. and Thursday, April 16, at 4 p.m. in the Top Notch Theatre on the third floor of the Spurk Building on the Haverhill campus, 100 Elliott St.
Tickets are $10 for general admission and $8 for students and senior citizens. Tickets are available at the door and through Eventbrite.com.
"Avenue Q" is an American play. It is an "autobiographical and biographical" coming-of-age parable, addressing and satirizing the issues and anxieties associated with entering adulthood. Its characters lament that as children, they were assured by their parents, and by children's television programs such as PBS's Sesame Street, that they were "special" and "could do anything"; but as adults, they have discovered to their surprise and dismay that in the real world their options are limited, and they are no more "special" than anyone else.
The musical is notable for the use of 11 puppets, animated by unconcealed puppeteers, alongside three human actors.
The music and lyrics were written by Robert Lopez and Jeff Marx.
Music and Lyrics by Robert Lopez and Jeff Marx Book By Jeff Whitty. It is based on an original concept by Robert Lopez and Jeff Marx
It was originally produced on Broadway by Kevin McCollum, Robyn Goodman, Jeffrey Seller Vineyard Theater and The New Group.
The cast includes:
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Hannah Heckman – McKenna — Kate Monster
Arianna Crawford – Mrs.Thistletwat
Kelly Schwing –Lucy
Kristopher Schooner – Nicky
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Caitlin Kennedy – Bad Idea Bear
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Jay Lancaster — Ricky
Michael Jw Ross – Trekkie Monster
Christian Doyle — Princeton
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Robert Peter Mantegani — Stage Manager
Amanda Kehoe – Assistant Stage Manager
Nick Siess
Nick Stuart
Susan Padrone
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Northern Essex offers associate degrees in dance, music, or theater. These degree programs prepare student for transfer into a four-year degree program.


Rose Hill is a city in Butler County, Kansas. The population was 3,432 at the 2000 census. It is very near to the western county line, and thus is very close to Wichita, approximately 10 miles as the crow flies.
Rose Hill is a 4-A school district that serves more than 1,800 students in South Central Kansas. It is located in Butler County, just twelve miles southeast of Wichita.Rose Hill High School, a part of USD 394, is a 4A high school with an enrollment of 580 students. Rose Hill High School is located on the southern edge of Rose Hill. Students moved into the new facility in October of 1995. Rose Hill High School offers a strong college-bound curriculum as well as a general education program. Rose Hill High School sponsors a wide range of student activities for the purpose of providing students with additional opportunities to develop into leaders and citizens. Also as of 2005 Rose Hill High School has become one of the few schools in Kansas to give a laptop to every pupil in the school.
Rose Hill is located at 37°34'5N, 97°8'1W (37.567951, -97.133719). According to the United States Census Bureau, the city has a total area of 4.1 km² (1.6 mi²), all land.
As of the census of 2000, there are 3,432 people, 1,039 households, and 906 families residing in the city. The population density is 828.2/km² (2,151.0/mi²). There are 1,098 housing units at an average density of 265.0/km² (688.2/mi²). The racial makeup of the city is 96.91% White, 0.26% African American, 0.67% Native American, 0.41% Asian, 0.12% Pacific Islander, 0.35% from other races, and 1.28% from two or more races. 1.81% of the population are Hispanic or Latino of any race.
There were 1,039 households out of which 59.4% had children under the age of 18 living with them, 74.5% were married couples living together, 9.9% had a female householder with no husband present, and 12.8% were non-families. 11.3% of all households were made up of individuals and 3.7% had someone living alone who was 65 years of age or older. The average household size was 3.25 and the average family size was 3.51. There are currently 632 students enrolled in highschool at Rose Hill High.
In the city the population was spread out with 37.7% under the age of 18, 6.6% from 18 to 24, 33.4% from 25 to 44, 17.0% from 45 to 64, and 5.3% who were 65 years of age or older. The median age was 31 years. For every 100 females there were 99.7 males. For every 100 females age 18 and over, there were 91.6 males.
The median income for a household in the city was $63,750, and the median income for a family was $67,770. Males had a median income of $47,019 versus $31,082 for females. The per capita income for the city was $20,221. About 2.6% of families and 3.3% of the population were below the poverty line, including 4.1% of those under age 18 and 11.6% of those age 65 or over.


text:
ArcelorMittal (the "Company") today announces a proposed[1] capital raise of US$3.0[2] billion which, alongside the sale of its minority stake in Gestamp for approximately US$1 billion also announced today, would reduce pro forma net debt as of 31 December 2015 by US$4 billion to below US$12 billion.
NOT FOR RELEASE, PUBLICATION OR DISTRIBUTION DIRECTLY OR INDIRECTLY IN OR INTO CANADA, AUSTRALIA, JAPAN OR ANY OTHER JURISDICTION IN WHICH TO DO SO WOULD BE PROHIBITED BY APPLICABLE LAW
US$3.0 billion capital raise
US$1.0 billion from sale of Gestamp
Pro forma net debt below US$12 billion
The Company separately announces today a five-year strategic roadmap, the ArcelorMittal Action 2020 plan, which sets out improvement plans for each of its five business segments and aims to improve Ebitda and free cash flow performance.
Features of the c.US$3.0 billion share capital increase, expected to be completed in H1 2016, include:
Capital increase by way of a rights issue for ArcelorMittal shareholders[3]
The Mittal family has committed to take up its pro-rata entitlement corresponding to approximately US$1.1 billion
ArcelorMittal has entered into a standby underwriting commitment with Goldman Sachs International, BofA Merrill Lynch and Crédit Agricole Corporate and Investment Bank, acting as Joint Global Coordinators, pursuant to which the Joint Global Coordinators undertook to underwrite the capital increase for the remaining amount, subject to customary conditions.
Additionally the Company will receive approximately US$1 billion from today's separately announced sale of its 35% shareholding in Gestamp which is expected to be closed by the end of June 2016. ArcelorMittal will continue its supply relationship with Gestamp through its 35% shareholding in Gonvarri, a sister company of Gestamp.
Assuming completion of the rights issue and factoring in the Gestamp sale proceeds, the Company's net debt at 31 December 2015 would be less than $12bn representing 2.2x 2015 Ebitda.
Mr. Lakshmi Mittal, chairman and CEO of ArcelorMittal, commented:
"This capital raise, combined with the sale of our minority shareholding in Gestamp, will accelerate the company's debt reduction plans and enable us to reduce net debt to less than US$12 billion. This will help ensure that the business is resilient in any market environment and puts ArcelorMittal in a position of strength from which to further improve performance.
"The Company had already announced plans to reduce the cash requirements of the business and improve Ebitda in 2016. A more detailed long-term strategic review has now been completed, setting out the performance improvement potential for the five year period to 2020.
"Looking ahead it is clear that those steel companies with a combination of the right assets, the right strategy and the right balance sheet will prosper. We are confident ArcelorMittal has this combination and that we are in a strong position to deliver on the targets identified and cement our position as the world's leading steel company."
The Board of Directors has proposed that an Extraordinary General Meeting will be held to pass the resolutions necessary for the capital increase. The exact date, expected to be in the first half of March, will be confirmed in due course. Further details can be found in the presentation published on the Company's website corporate.arcelormittal.com.
ArcelorMittal management will host a conference call for members of the investment community to discuss these strategic initiatives on:
US Eastern time
Friday February 5, 2016 8am 1pm 2pm
The dial in numbers:
Location Toll free dial in numbers Local dial in numbers Participant
UK local: 0800 051 5931 +44 (0)203 364 5807 33346616#
France: 0800 914780 +33 1 7071 2916 33346616#
Germany: 0800 965 6288 +49 692 7134 0801 33346616#
Spain: 90 099 4930 +34 911 143436 33346616#
Luxembourg: 800 26908 +352 27 86 05 07 33346616#
US: 1 866 7192 729 +1 240 6450345 33346616#
There will be an accompanying presentation via a live video webcast that can be accessed here.
This press release may contain forward-looking information and statements about ArcelorMittal and its subsidiaries. These statements include financial projections and estimates and their underlying assumptions, statements regarding plans, objectives and expectations with respect to future operations, products and services, and statements regarding future performance. Forward-looking statements may be identified by the words "believe," "expect," "anticipate," "target" or similar expressions. Although ArcelorMittal's management believes that the expectations reflected in such forward-looking statements are reasonable, investors and holders of ArcelorMittal's securities are cautioned that forward-looking information and statements are subject to numerous risks and uncertainties, many of which are difficult to predict and generally beyond the control of ArcelorMittal, that could cause actual results and developments to differ materially and adversely from those expressed in, or implied or projected by, the forward-looking information and statements. These risks and uncertainties include those discussed or identified in the filings with the Luxembourg supervisory authority for the financial sector (Commission de Surveillance du Secteur Financier – CSSF) and the United States Securities and Exchange Commission (the "SEC") made or to be made by ArcelorMittal, including ArcelorMittal's latest Annual Report on Form 20-F filed with the SEC, ArcelorMittal undertakes no obligation to publicly update its forward-looking statements, whether as a result of new information, future events, or otherwise.
This press release does not constitute an offer to sell, or the solicitation of an offer to buy or subscribe for, any securities of ArcelorMittal within the meaning of Luxembourg law and/or the laws of any other member state of the European Economic Area. This document does not constitute a prospectus within the meaning of EC Directive 2003/71/EC of the European Parliament and of the Council dated 4 November 2003, as amended (the "Prospectus Directive"), which expression includes any relevant implementing measure in the member state concerned, and should not be the basis for any agreement or decision to invest. The Company has not made any final decision whether to proceed with any offering of securities or to admit new securities to trading on a regulated market. Any such offering or new admission will be based exclusively on a prospectus prepared for that purpose. Further, ArcelorMittal has not authorized any offer to the public of securities in any member state of the European Economic Area that has implemented the Prospectus Directive, other than Luxembourg, the Netherlands, France and Spain, (each, a "Relevant Member State"). With respect to each Relevant Member State, no action has been undertaken or will be undertaken to make an offer to the public of securities requiring publication of a prospectus in any Relevant Member State. Should an offering or new admission of subscription rights and new shares be conducted, as is currently planned, in Luxembourg, the Netherlands, France and Spain, a securities prospectus will be produced, which is to be published following its approval by the Luxembourg supervisory authority for the financial sector ( Commission de Surveillance du Secteur Financier – CSSF) and after it has been passported into the Netherlands, France and Spain subsequent to notification having been given to the competent regulatory authorities in those jurisdictions. Any decision to purchase, subscribe for or otherwise acquire any subscription rights or new shares of the Company must be made only on the basis of the information in a securities prospectus (if published in due course by the Company), which will then be available for download on the internet site of ArcelorMittal (www.arcelormittal.com). Copies of the prospectus will then also be readily available upon request and free of charge at 24-26, boulevard d'Avranches, L-1160 Luxembourg, Grand-Duchy of Luxembourg.
This communication is only being distributed to, and is only directed at, (i) persons who are outside the United Kingdom or (ii) investment professionals falling within Article 19(5) of the Financial Services and Markets Act 2000 (Financial Promotion) Order 2005 (the "Order") or (iii) high net worth companies, and other persons to whom it may lawfully be communicated, falling within Article 49(2)(a) to (d) of the Order (all such persons together being referred to as "relevant persons"). The subscription rights and new shares are only available to, and any invitation, offer or agreement to subscribe for, purchase or otherwise acquire such subscription rights or new shares will be engaged in only with, relevant persons. Any person who is not a relevant person should not act or rely on this document or any of its contents.
ArcelorMittal has filed a registration statement (including a prospectus) with the United States Securities and Exchange Commission (the "SEC") for the offering to which this communication relates. Before you invest, you should read the prospectus in that registration statement, the supplement to that prospectus ArcelorMittal expects to file with the SEC and other documents ArcelorMittal has filed and will file with the SEC for more complete information about ArcelorMittal and this offering. You may get these documents, once filed, free of charge by visiting EDGAR on the SEC Web site at www.sec.gov. Alternatively, ArcelorMittal, any underwriter or any dealer participating in the offering will arrange to send you the prospectus after filing if you request it by writing or telephoning ArcelorMittal at ArcelorMittal USA LLC, 1 South Dearborn Street, 19th Floor, Chicago, IL 60603, Attention: Ms. Lisa M. Fortuna, Manager, Investor Relations, telephone number: (312) 899-3985.
[1]Subject to shareholder approval. An extraordinary general meeting of shareholders will be called in this respect.
[2]As the subscription price will be denominated in euros, the capital increase amount will correspond to the euro equivalent of $3 billion upon the rights offering launch. The actual amount of the capital increase in USD will depend on f/x at closing.
[3]Structured as non-statutory preferential subscription rights.


text:
QSC Announces 2.1 Upgrade For TouchMix Mixers
QSC has announced a new 2.1 firmware upgrade for its TouchMix-8 and TouchMix-16 digital mixers that retains all of the previous features and performance while providing updates that improve mixer stability and add new capabilities.
"We are strongly urging every TouchMix user to upgrade to 2.1," says Gerry Tschetter, vice president, professional product development at QSC. "This release not only offers improved stability but adds a few new features as well including support for MIDI-over-USB footswitches."
A new feature of special interest around the world is the a multi-language Info system. The mixer's built-in Info system and demo screens now include user-selectable options for Chinese (Mandarin), French, German, Russian and Spanish.
In addition, 2.1 users will find support for MIDI-over-USB footswitches, more flexible scene recall functions, along with the ability to use auxiliary mixes as sub-groups and improved Wi-Fi connectivity.
"Since the release of TouchMix we've received lots of suggestions for additional features and improvements," notes product manager Jon Graves. "The 2.1 release implements the best of these, as well as a few of our own. If you're still using an earlier firmware version on your mixer, you really owe it to yourself to load up 2.1."
The new TouchMix 2.1 firmware, available for download here, is compatible with the newly updated TouchMix iOS App version 2.1, which is available for download here from the Apple App Store. It provides wireless remote control of the TouchMix hardware via iPad, iPhone and iPod Touch.
EVO By Audient Adds Software Control App & Audio Loop-Back Mixer


text:
VP Investigates: NTUC Health
Did you know that NTUC Health started out with only dental services? Today, they provide a wide range of quality and affordable health and eldercare services to meet the needs of families and their dependents. Learn how NTUC Health has evolved since the 1970s in this video.
TAGS: seniors, ntuc health, ntuc enterprise, active ageing, senior activity centre
Masked Heroes: Telling Our Stories in Times of Crisis
This National Day, we wanted to create a short film to celebrate what it means to be Singaporean, that also reflected the very real challenges we faced from the COVID-19 pandemic. In these trying times, it is all the more important we stay resilient as a community and show kindness to one another, despite the trials we face.
What NTUC Enterprise's $50M Support Package Means for You
By now, you may have heard of NTUC Enterprise's S$50 million support package. Launched in June 2020, it's meant to help Singaporeans manage the cost of living amid COVID-19. We recognise that each family is facing unique challenges and has had to adapt differently to the pandemic. That's why our group of social enterprises has come together to offer practical support to Singaporeans in the widest way possible.
From NTUC Welcome to NTUC FairPrice
Find out more about the social mission of NTUC FairPrice in this video
Want to know what benefits are in store for you? Explore these related initiatives by our social enterprises to enjoy rebates, discounts and privileges.


Amber Thompson of Botetourt County won $1 million on Powerball last November 28. It was her first time to play the Powerball Lottery.
Her ticket was one of the four winning tickets which matched the five main numbers but not the Powerball. The winning numbers were 5,16,22,23,29 and Powerball 6.


Please note: Product packaging as shipped, may not match image on website due to packaging updates by the manufacturer.
Clinically proven to instantly relieve dry, itchy skin and help control future flare-ups.
Ceramides are naturally found in skin's vulnerable outer layer and help skin retain moisture. When skin's ceramide levels are low, skin has difficulty retaining moisture. While traditional lotions only hydrate skin's surface, Curel® moisturizers work at the source of dryness to help replenish skin's ceramide levels, not just relieving symptoms, but actually, over time, preventing symptoms from recurring.
Curel® Itch Defense® Lotion instantly relieves dry, itchy skin and helps control flare-ups, while restoring skin's moisture barrier to keep irritation from coming back.
Curel® Itch Defense® lotion was also granted the National Eczema Association Seal of Acceptance™. Products eligible for the Seal of Acceptance can be used for people with eczema or severe sensitive skin conditions and have satisfied the NEA Seal of Acceptance Criteria.
For best results, apply daily to dry, itchy skin immediately after the shower or bath. Reapply as necessary. © 2016 Kao USA Inc.


We are living in a digital age where TV has taken a backseat. The new-age business is thriving primarily on media channels via podiums like the YouTube or Facebook.
There are many success stories. And if you too wish to be a video entrepreneur, then this research of mine will really help you buy everything you need for start a YouTube channel, all from under one roof.
You can find a variety of equipment to start your own work….the main ones being different types of microphones, video cameras, webcams, sports cameras, etc. But how to find out which one is the best? In terms of sound, picture quality, etc, etc?
So below I list out the gear you primarily equipment to start a YouTube channel, regardless of what kind of channel you want to start or content you want to share.
Use a camera with minimum 14 megapixel resolution and which is portable, lightweight and easy to use on the go. A GoPro or a handheld camera or a DSLR is what we suggest.
In-fact a DSLR is your best bet to get started if you need a high-quality video, say for example to start a travelogue. I think a perfect camera is most important equipment to start a YouTube channel.
Full-length HD Videos can be shot easily.
But then a DSLR is a little high scale investment as you can compare through the links provided here. Check Best recommend DSLR cameras on Amazon.
All smart phone cameras in the rage of INR 12,000 to 25,00 come with a great resolution power. They are more than adequate in video quality to capture a vlog.
Many top youtubers use their cell phone camera to record video like Bhuvan Bam an Indian youtuber use nexus 5 front camera to record videos…So you can also start with whatever mobile phone you have or choose any other in medium range phone with high MP camera.
Simply ensure a horizontal view of the camera as the vertical view will capture a crunched video plus it is quite uncomfortable for the viewer as well.
For the above cameras ensure you must carry a extra battery as well as a larger Memory card (above 8GB). You can pick and buy everything above by a simple click recommended on this page.
Unless no other option avoid these since they aren't as good as the above two cameras in quality. But then these are quite cost effective as you can see on shopping link provided here. All you need to remember: Message must be powerful and captured well. Check High quality & top selling web cameras.
Webcam help you when you are creating videos by just sitting one place using your laptop or desktop video.
See, I believe it is really not needed, but I recommend to buy one for more control as well be hands free. Why waste energy holding a camera?
And if you are alone and shooting your own video then tripod is most recommend YouTube equipment. Just have a look on top tripod.
Again you will need to choose from the following few we recommend you will need to be in more control of your video, especially if you are shooting a personal experience LIVE!
My technical team picked out a few good ones here.
Voice quality is second most important element of perfect YouTube vlog. We suggest you use something like the Logitech ClearChat. It is simple to use, sans complicated features and can very easily capture RAW audio straight to your computer.
And all this happens without any filters or compression. Add on advantage: very economical & portable. You can check most recommend and high rating microphone here.
Simply go for a condenser mike a condenser eg. a Blue Snowball microphone.
Word of caution: Sensitive mike, so background sounds will be recorded too. Ensure silence around, unless you wish to capture ambience. Or go for buying a pop filter that helps neutralise explosive surrounding sounds.
DWPs are a fantastic teaching tool as well as save time in producing even a regular blog post or a podcast depending on your tutorial.
Here are the links for comparison and buying at ease.
All you will need a good quality laptop which you can pick from the links provided.
As well as easy-to-self teach software like "Adobe Premiere ProEditing Software" or "Adobe Premiere Pro" . Just undergo a training session like me through any Premiere Pro Essentials Training. And boom! You are all set to get your recording finish up into a Product. So add the links here to your shopping cart.
If you are new to video editing then you can use android apps for video editing as they are easy to use and understand.
Last but not the least, we are giving you links of the books to Best Buy and Be Your Own Teacher. Saves time and money right?
Still have money left after shopping the above? Ok, then I will suggest purchase a softbox kit. This is what in-house Youtubers are using these days. As you can see on the shopping links given here, it is cheap, and it will enhance your videos.
Remember! It is not just the equipment that will get your YouTube Channel going, but it is the message. So find your target audience, frame a strong message, buy the suitable equipment as guided…and…Hey, what are you waiting for…get going! All the best!
I you are using any other YouTube equipment to start a channel then please write us in comment and if you have Any queries? Send us here in the comments column. Our technical staff will answer each one. Cheers!


text:
Less Known Facts
Less Known Facts that You Should Know
10 Facts about Luhan
Post On: March 24, 2017
By: Agustina
In: Celebrities
Home > Celebrities > 10 Facts about Luhan
Let us find out the prominent Chinese singer and actor on facts about Luhan. He was born on 20th April 1990. His name is written Lu Han. However, he is mostly known as Luhan. In October 2014, he left EXO and EXO-M after terminating the contract. EXO is a famous South Korean-Chinese boy group. China National Radio called him as the sixth most popular entertainment star in China in 2014.
Facts about Luhan 1: the birthplace
The birthplace of Luhan was located in Haidian, Beijing on 20th April 1990.
Facts about Luhan 2: education
Luhan was educated at Beijing Shida Middle School and Beijing Haidian Foreign Language Shi Yan School. He was appointed as exchange student in South Korea. He attended Seoul Institute of the Arts with the major of Applied Music.
Facts about Luhan
Facts about Luhan 3: the global audition
When JYP Entertainment held a global audition in China, Luhan took part. However, he was unsuccessful in 2008.
Facts about Luhan 4: as a trainee
Luhan was appointed as a trainee at S.M. Entertainment after he followed an audition in 2010.
Read Also: 10 Facts about Liza Soberano
Facts about Luhan 5: the first televised performance
The first televised performance of Luhan was along with Kai, Chen and Tao on 29th December 2011 at SBS Gayo Daejeon. He was introduced as the second member of EXO. He was also the member of EXO-M, the sub group.
Luhan Facts
Facts about Luhan 6: the prologue singles
The prologue singles of Luhan include "History" and "What Is Love". The latter one was released on 30th January 2012. The former one was released on 9th March 2012.
Check Also: 10 facts about Logan Lerman
Facts about Luhan 7: the official debut single
On 8th April 2012, "Mama" was released as the official debut single. On April 9th, the EP with the title Mama was released. XOXO is the first studio album, which receives commercial success. The sales reached more than one million copies in South Korea.
Facts about Luhan 8: Overdose
Overdose was released in 2014, which received positive reception overseas. He holds the title as the "Most Comments on a Weibo Post. It was written on Guinness World Record on 5th August 2014.
Luhan
Facts about Luhan 9: leaving EXO
Since SM Entertainment nullified his contract, Luhan filed a lawsuit on 10 October 2014.
Related Article: 10 Facts about Lucille Ball
Facts about Luhan 10: the first album
The first album of Luhan was entitled Reloaded. On 10th September 2015, the first part of the album was released via QQ Music charts. On QQ music, it has been sold more than one million copies.
What do you think on facts about Luhan?
Tags: Chinese singer
Share the post "10 Facts about Luhan"
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Less Known Facts © 2018


text:
Q: Multiline \operation inside figure I am trying to use pgf-umlcd to create a class diagram.  The class includes a method name with long types for the parameter, so I am using \\ to split the definition over two lines.  The following works to create that diagram.
\documentclass[10pt,letterpaper,notitlepage]{article}

\usepackage{tikz}
\usepackage{pgf-umlcd}

\begin{document}
%\begin{figure}[ht] % Remove this and it works
\begin{tikzpicture}[show background grid]
  \begin{class}[text width=15 cm]{MyClass}{1, 12}
    \operation{-someMethod( longVarName : LongClassName \&, \\
      \hspace{3 cm}otherLongVarName : OtherLongClassName const \&): void}
  \end{class}

\end{tikzpicture}
%\end{figure} % Remove this and it works
\end{document}

I can compile this with
export TEXINPUTS=$HOME/doc/texmf/tex//:`kpsepath tex`; pdflatex test.tex

I would like to put this inside a figure, so that I can caption it and reference it elsewhere.  If I do so by uncommenting the figure lines, then it fails to compile.
export TEXINPUTS=$HOME/doc/texmf/tex//:`kpsepath tex`; pdflatex test.tex
This is pdfTeX, Version 3.1415926-2.5-1.40.14 (TeX Live 2013/Cygwin)
 restricted \write18 enabled.
entering extended mode
(./test.tex
<snip>
(/usr/share/texmf-dist/tex/latex/latexconfig/epstopdf-sys.cfg))
! Undefined control sequence.
\\->\let \reserved@e
                 \relax \let \reserved@f \relax \@ifstar {\let \reserved...
l.12 ...Name : OtherLongClassName const \&): void}

?

Replacing \\ with \newline will compile, but the \hspace after it no longer indents.
Is there a problem with using \\ inside a figure?  Alternately, is there a better way to do what I am trying to do within pgf-umlcd?

A: For reasons that are not explained in source2e, inside a \parbox the definition of \\ is made not robust by the \@parboxrestore command, which is also called when starting a float.
Since the \operation macro does \protected@xdef, \\ doesn't survive, having become fragile. So the solution is to precede it by \protect; even better, use \newline and \hspace*{3cm} (which is to be preferred anyway when adding space at the beginning of a line). Here are both methods:
\documentclass[10pt,letterpaper,notitlepage]{article}

\usepackage{tikz}
\usepackage{pgf-umlcd}

\begin{document}
\begin{figure}[htp]
\begin{tikzpicture}[show background grid]
  \begin{class}[text width=15 cm]{MyClass}{1, 12}
    \operation{-someMethod( longVarName : LongClassName \&, \protect\\
      \hspace*{3cm}otherLongVarName : OtherLongClassName const \&): void}
  \end{class}

\end{tikzpicture}
\end{figure}

\begin{figure}[htp]
\begin{tikzpicture}[show background grid]
  \begin{class}[text width=15 cm]{MyClass}{1, 12}
    \operation{-someMethod( longVarName : LongClassName \&, \newline
      \hspace*{3cm}otherLongVarName : OtherLongClassName const \&): void}
  \end{class}

\end{tikzpicture}
\end{figure}
\end{document}

redpajama_set_name: RedPajamaStackExchange


Remarks : formerly Leo SLF; previously owned by Shelly Fowler, Beach Bum Exotics - Proven Leu het; produces 100% docile joeys and very dark Black Beauties also.
Genetics : 66-100% Cino, 25% Albino, 50% Leu Het, 50% Plat Het. Possible piebald from piebald producing line.


text:
Craig Idso, Ph.D.
Co2 Science
Dr. Idso is the founder, former president, and currently chairman of the Center for the Study of Carbon Dioxide and Global Change.
Dr. Craig D. Idso is the coauthor, with Dr. Robert M. Carter and Dr. S. Fred Singer, of Climate Change Reconsidered: 2011 Interim Report of the Nongovernmental International Panel on Climate Change (NIPCC) (The Heartland Institute, 2011), and with Dr. Singer of a preceding volume titled Climate Change Reconsidered: The 2009 Report of the Nongovernmental International Panel on Climate Change (NIPCC) (The Heartland Institute, 2009). He is leading an international panel of scientists that is writing a comprehensive assessment of climate science to be published in 2013.
Dr. Idso is the founder, former president, and currently chairman of the Center for the Study of Carbon Dioxide and Global Change. The Center was founded in 1998 as a non-profit public charity dedicated to discovering and disseminating scientific information pertaining to the effects of atmospheric carbon dioxide enrichment on climate and the biosphere. The Center produces a weekly online newsletter, CO2 Science, and maintains a massive online collection of editorials on and reviews of peer-reviewed scientific journal articles relating to global climate change.
Dr. Idso's research has appeared many times in peer-reviewed journals, including Geophysical Research Letters, Energy & Environment, Atmospheric Environment, Technology, The Quarterly Review of Biology, Journal of Climate, Environmental and Experimental Botany, Physical Geography, and the Journal of the Arizona-Nevada Academy of Science.
Dr. Idso is the author or coauthor of several books, including The Many Benefits of Atmospheric CO2 Enrichment (Vales Lake Publishing, LLC, 2011), CO2, Global Warming and Coral Reefs (Vales Lake Publishing, LLC, 2009); Enhanced or Impaired? Human Health in a CO2-Enriched Warmer World(Center for the Study of Carbon Dioxide and Global Change, 2003); and The Specter of Species Extinction: Will Global Warming Decimate Earth's Biosphere? (George C. Marshall Institute, 2003). He contributed chapters to McKittrick, R. (Ed.), Critical Topics in Global Warming (Fraser Institute, 2009) and Encyclopedia of Soil Science (Marcel Dekker, 2002).
Dr. Idso received a B.S. in Geography from Arizona State University, an M.S. in Agronomy from the University of Nebraska – Lincoln, and a Ph.D. in Geography from Arizona State University, where he also studied as one of a small group of University Graduate Scholars. He was a faculty researcher in the Office of Climatology at Arizona State University and has lectured in Meteorology at Arizona State University.
Dr. Idso is a member of the American Association for the Advancement of Science, American Geophysical Union, American Meteorological Society, Arizona-Nevada Academy of Sciences, Association of American Geographers, Ecological Society of America, and The Honor Society of Phi Kappa Phi.
Panel 3: Scientific Observations


a glance at God's instructions to not rebuke scorners and the depraved, and reasons why God says so.
A name to be clever and a glance on the indisputable fact that the clever will reply properly to rebuke simply because they wish to admit their sins and be correct with the Lord they love and cherish.
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Despite the sound reasoning for vetoing these bills, they likely will be reintroduced next legislative session when a new Governor is in place.
In a victory for the defense and honest statutory construction, the Court of Appeal overturned the WCAB in Dept. of Corrections v. WCAB (Fitzpatrick) (2018) by confirming per L.C. 4600 that determining whether an applicant is 100% in a pre - 2013 date of injury case is to be based upon the the AMA Guides and PDRS unless the rating schedule is rebutted. In this case, the Board inappropriately ignored L.C. 4600 and found 100% disability based upon the overall record per L.C. 4662(b) which allows 100% based upon the overall "fact".
In Vazquez v. Pacific Specialty Insurance (2018), the law firm successfully obtained a take-nothing trial decision on 9/4/2018 by proving a self-employed house painter did not qualify as a residential employee as defined under Labor Code Section 3352(h) because he was injured on the third day of the job per the defense witnesses and documentary evidence, and not on the seventh day as he alleged. Attorney H. Neal Wells handled the case involving four witnesses in an all day trial.


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Q: NavigationServiceNavigate not working WP7 When I use this in my .NET codebehind:
NavigationService.Navigate(new Uri("DetailsPage.xaml", UriKind.Relative));

I get redirected to App.xaml.cs and it points to this code.
    // Code to execute if a navigation fails
    private void RootFrame_NavigationFailed(object sender, NavigationFailedEventArgs e)
    {
        if (System.Diagnostics.Debugger.IsAttached)
        {
            // A navigation has failed; break into the debugger
            System.Diagnostics.Debugger.Break();
        }
    }

What am I doing wrong? The files are in the same directory.. and the spelling is correct. I'm using the navigation from MainPage.xaml going to DetailsPage.xaml.. using an application bar.

A: You need to use this instead:
NavigationService.Navigate(new Uri("/Folder/DetailsPage.xaml", UriKind.Relative));

Where Folder - location of where pages located.

A: you are missing a /
it should be like NavigationService.Navigate(new Uri("/DetailsPage.xaml", UriKind.Relative));


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Central San Diego
University Heights Real Estate
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University Heights is a neighborhood in Central San Diego, bordered by Hillcrest, Normal Heights, and North Park. The neighborhood has a number of restaurants, coffee shops, boutiques, and artist studios primarily on Park Boulevard and Adams Avenue. Homes in the area range from Craftsman cottages, apartments and condominiums, to million-dollar homes. Due to its central location, it's just a short drive to Downtown, Balboa Park, San Diego Airport, and San Diego State University.
3 MO6 MO1 YR
Average Listings
Sale Price as % of Asking Price
University Heights Homes For Sale
Featured University Heights Real Estate Listings
4017-4021 Georgia Street
Commercial-Res Income, MLS# 180066127
Listing provided by Apartment Consultants, Inc.
1411 Tyler Ave.
Listing provided by RE/MAX Solutions
4040 PARK
Lot/Land, MLS# 180048533
Listing provided by Realty Sales Pros, Inc.
4040 PARK BLVD.
Commercial-Lnd/Rn/Grv, MLS# 180037870
4533 North Avenue
Listing provided by Acre Investment Real Estate
4460 Georgia St
4744 PANORAMA DRIVE
Search for Properties in University Heights
Property Type Property Type Residential Rentals Land & Lots Commercial
Min Price Min Price $1,000 $2,000 $3,000 $4,000 $5,000 $6,000 $7,000 $8,000 $9,000 $10,000 $25,000 $50,000 $100,000 $150,000 $200,000 $250,000 $300,000 $350,000 $400,000 $450,000 $500,000 $550,000 $600,000 $650,000 $700,000 $750,000 $800,000 $850,000 $900,000 $950,000 $1,000,000 $1,050,000 $1,100,000 $1,150,000 $1,200,000 $1,250,000 $1,300,000 $1,350,000 $1,400,000 $1,450,000 $1,500,000 $1,550,000 $1,600,000 $1,650,000 $1,700,000 $1,750,000 $1,800,000 $1,850,000 $1,900,000 $1,950,000 $2,000,000 $2,050,000 $2,100,000 $2,150,000 $2,200,000 $2,250,000 $2,300,000 $2,350,000 $2,400,000 $2,450,000 $2,500,000 $2,550,000 $2,600,000 $2,650,000 $2,700,000 $2,750,000 $2,800,000 $2,850,000 $2,900,000 $2,950,000 $3,000,000 $3,050,000 $3,100,000 $3,150,000 $3,200,000 $3,250,000 $3,300,000 $3,350,000 $3,400,000 $3,450,000 $3,500,000 $3,550,000 $3,600,000 $3,650,000 $3,700,000 $3,750,000 $3,800,000 $3,850,000 $3,900,000 $3,950,000 $4,000,000 $4,050,000 $4,100,000 $4,150,000 $4,200,000 $4,250,000 $4,300,000 $4,350,000 $4,400,000 $4,450,000 $4,500,000 $4,550,000 $4,600,000 $4,650,000 $4,700,000 $4,750,000 $4,800,000 $4,850,000 $4,900,000 $4,950,000 $5,000,000 $5,050,000 $5,100,000 $5,150,000 $5,200,000 $5,250,000 $5,300,000 $5,350,000 $5,400,000 $5,450,000 $5,500,000 $5,550,000 $5,600,000 $5,650,000 $5,700,000 $5,750,000 $5,800,000 $5,850,000 $5,900,000 $5,950,000 $6,000,000 $6,050,000 $6,100,000 $6,150,000 $6,200,000 $6,250,000 $6,300,000 $6,350,000 $6,400,000 $6,450,000 $6,500,000 $6,550,000 $6,600,000 $6,650,000 $6,700,000 $6,750,000 $6,800,000 $6,850,000 $6,900,000 $6,950,000 $7,000,000 $7,050,000 $7,100,000 $7,150,000 $7,200,000 $7,250,000 $7,300,000 $7,350,000 $7,400,000 $7,450,000 $7,500,000 $7,550,000 $7,600,000 $7,650,000 $7,700,000 $7,750,000 $7,800,000 $7,850,000 $7,900,000 $7,950,000 $8,000,000 $8,050,000 $8,100,000 $8,150,000 $8,200,000 $8,250,000 $8,300,000 $8,350,000 $8,400,000 $8,450,000 $8,500,000 $8,550,000 $8,600,000 $8,650,000 $8,700,000 $8,750,000 $8,800,000 $8,850,000 $8,900,000 $8,950,000 $9,000,000 $9,050,000 $9,100,000 $9,150,000 $9,200,000 $9,250,000 $9,300,000 $9,350,000 $9,400,000 $9,450,000 $9,500,000 $9,550,000 $9,600,000 $9,650,000 $9,700,000 $9,750,000 $9,800,000 $9,850,000 $9,900,000 $9,950,000 $10,000,000
Max Price Max Price $1,000 $2,000 $3,000 $4,000 $5,000 $6,000 $7,000 $8,000 $9,000 $10,000 $25,000 $50,000 $100,000 $150,000 $200,000 $250,000 $300,000 $350,000 $400,000 $450,000 $500,000 $550,000 $600,000 $650,000 $700,000 $750,000 $800,000 $850,000 $900,000 $950,000 $1,000,000 $1,050,000 $1,100,000 $1,150,000 $1,200,000 $1,250,000 $1,300,000 $1,350,000 $1,400,000 $1,450,000 $1,500,000 $1,550,000 $1,600,000 $1,650,000 $1,700,000 $1,750,000 $1,800,000 $1,850,000 $1,900,000 $1,950,000 $2,000,000 $2,050,000 $2,100,000 $2,150,000 $2,200,000 $2,250,000 $2,300,000 $2,350,000 $2,400,000 $2,450,000 $2,500,000 $2,550,000 $2,600,000 $2,650,000 $2,700,000 $2,750,000 $2,800,000 $2,850,000 $2,900,000 $2,950,000 $3,000,000 $3,050,000 $3,100,000 $3,150,000 $3,200,000 $3,250,000 $3,300,000 $3,350,000 $3,400,000 $3,450,000 $3,500,000 $3,550,000 $3,600,000 $3,650,000 $3,700,000 $3,750,000 $3,800,000 $3,850,000 $3,900,000 $3,950,000 $4,000,000 $4,050,000 $4,100,000 $4,150,000 $4,200,000 $4,250,000 $4,300,000 $4,350,000 $4,400,000 $4,450,000 $4,500,000 $4,550,000 $4,600,000 $4,650,000 $4,700,000 $4,750,000 $4,800,000 $4,850,000 $4,900,000 $4,950,000 $5,000,000 $5,050,000 $5,100,000 $5,150,000 $5,200,000 $5,250,000 $5,300,000 $5,350,000 $5,400,000 $5,450,000 $5,500,000 $5,550,000 $5,600,000 $5,650,000 $5,700,000 $5,750,000 $5,800,000 $5,850,000 $5,900,000 $5,950,000 $6,000,000 $6,050,000 $6,100,000 $6,150,000 $6,200,000 $6,250,000 $6,300,000 $6,350,000 $6,400,000 $6,450,000 $6,500,000 $6,550,000 $6,600,000 $6,650,000 $6,700,000 $6,750,000 $6,800,000 $6,850,000 $6,900,000 $6,950,000 $7,000,000 $7,050,000 $7,100,000 $7,150,000 $7,200,000 $7,250,000 $7,300,000 $7,350,000 $7,400,000 $7,450,000 $7,500,000 $7,550,000 $7,600,000 $7,650,000 $7,700,000 $7,750,000 $7,800,000 $7,850,000 $7,900,000 $7,950,000 $8,000,000 $8,050,000 $8,100,000 $8,150,000 $8,200,000 $8,250,000 $8,300,000 $8,350,000 $8,400,000 $8,450,000 $8,500,000 $8,550,000 $8,600,000 $8,650,000 $8,700,000 $8,750,000 $8,800,000 $8,850,000 $8,900,000 $8,950,000 $9,000,000 $9,050,000 $9,100,000 $9,150,000 $9,200,000 $9,250,000 $9,300,000 $9,350,000 $9,400,000 $9,450,000 $9,500,000 $9,550,000 $9,600,000 $9,650,000 $9,700,000 $9,750,000 $9,800,000 $9,850,000 $9,900,000 $9,950,000 $10,000,000
Bedrooms Bedrooms 1+ 2+ 3+ 4+ 5+ 6+ 7+ 8+ 9+ 10+
Bathrooms Bathrooms 1+ 2+ 3+ 4+ 5+ 6+ 7+ 8+ 9+ 10+
View All University Heights Listings
'); // lifestyle_chart_loaded = true; // $('.lifestyle-iframe').load(function(){	// $(this).height($(this).contents().find('body').height()); // }); // } // break; // case '#real-estate-tab': // if(!real_estate_loaded) { // $(atr).append(' '); // real_estate_loaded = true; // $('.real-estate-iframe').load(function(){	// $(this).height($(this).contents().find('body').height()); // }); // } // break; case '#schools-tab': if(!schools_loaded) { $(atr).append(' '); schools_loaded = true; } break; // case '#commute-tab': // if(!commute_loaded) { // $(atr).append(' '); // commute_loaded = true; // $('.commute-iframe').load(function(){	// $(this).height($(this).contents().find('body').height()); // }); // } // break; // case '#population-tab': // if(!population_loaded) { // $(atr).append(' '); // population_loaded = true; // $('.population-iframe').load(function(){	// $(this).height($(this).contents().find('body').height()); // }); // } // break; // case '#crime-tab': // if(!crime_loaded) { // $(atr).append(' '); // crime_loaded = true; // $('.crime-iframe').load(function(){	// $(this).height($(this).contents().find('body').height()); // }); // } // break; case '#stats-tab': if (!stats_loaded) { stats_loaded = true; setTimeout(function() { if (typeof googleChartsDrawingMethods === 'object') { if (googleChartsDrawingMethods.visualsLoaded === false) { var waitForChart = setInterval(function() { if (googleChartsDrawingMethods.visualsLoaded) { clearInterval(waitForChart); googleChartsDrawingMethods.drawAvgSalePriceChart(12); googleChartsDrawingMethods.drawAvgDaysOnMarketChart(12); googleChartsDrawingMethods.drawSalePriceVsAskingPriceChart(12); googleChartsDrawingMethods.drawAvgNumPropertiesListed(12); googleChartsDrawingMethods.getCurrentStatsWithTrends(); } }, 500); } else { googleChartsDrawingMethods.drawAvgSalePriceChart(12); googleChartsDrawingMethods.drawAvgDaysOnMarketChart(12); googleChartsDrawingMethods.drawSalePriceVsAskingPriceChart(12); googleChartsDrawingMethods.drawAvgNumPropertiesListed(12); googleChartsDrawingMethods.getCurrentStatsWithTrends(); } } }, 500); } break; } } }); //Fullscreen Gallery $('#full-screen-gallery').fullScreen({ openTrigger: 'a[data-action="open-fullscreen-gallery"]', images: '#fullscreen-images' }); // Slick Gallery plugin $('#community-gallery').slick ({ lazyload: 'progressive', slidesToShow: 1, centerMode: true, centerPadding: '290px', prevArrow: '', nextArrow: '', responsive: [ { breakpoint: 1200, settings: { centerPadding: '220px' } }, { breakpoint: 991, settings: { centerPadding: '100px' } }, { breakpoint: 768, settings: { centerMode: false } } ] }); // open thumbnails $('a[data-action="thumbs-open-toggle"]').on('click', function (e) { e.preventDefault(); var el = $(this); var el_data = el.data(); var tgt = $(el_data.target); tgt.removeClass('hide'); el.addClass('hidden'); if (!thumbsLoaded) { $('#prop-thumbs-gallery').slick ({ lazyload: 'ondemand', slidesToShow: 9, slidesToScroll: 9, prevArrow: '', nextArrow: '', responsive: [ { breakpoint: 1200, settings: { slidesToShow: 7, slidesToScroll: 7 } }, { breakpoint: 991, settings: { slidesToShow: 5, slidesToScroll: 5 } }, { breakpoint: 768, settings: { slidesToShow: 3, slidesToScroll: 3 } } ] }); thumbsLoaded = true; } }); // new link to close thumbnailsz $('a[data-action="thumbs-close-toggle"]').on('click', function (e) { e.preventDefault(); var el = $(this); var el_data = el.data(); var tgt = $(el_data.target); var $openToggle = $('a[data-action="thumbs-open-toggle"]'); $openToggle.removeClass('hidden'); tgt.addClass('hide'); }); $('#community-property-gallery').slick ({ slidesToShow: 1, prevArrow: '', nextArrow: '' }); var polygons=[]; polygons.push({ 'wkt': 'POLYGON((-117.13921879999998 32.764155,-117.13916990000001 32.763745,-117.13889990000001 32.762612,-117.13884910000002 32.76184,-117.1388048 32.750311,-117.14634430000001 32.750289,-117.15031620000002 32.7517218,-117.15169100000003 32.751166,-117.15274399999998 32.750838,-117.1535551 32.750655,-117.15532310000003 32.7503925,-117.15540770000001 32.7509533,-117.15576880000003 32.7515262,-117.1559704 32.7517457,-117.15618280000001 32.7519814,-117.15741400000002 32.752879,-117.157892 32.753344,-117.15813609999998 32.753676,-117.15842020000002 32.7542206,-117.1585624 32.7544252,-117.15889500000003 32.755496,-117.15907070000003 32.7560399,-117.15972520000003 32.757147,-117.16002609999998 32.757505,-117.16125299999999 32.7586838,-117.16055389999997 32.759428,-117.16036380000003 32.7599118,-117.16049859999998 32.7606675,-117.1604059 32.760999,-117.15748880000001 32.762554,-117.15105310000001 32.764214,-117.1510409 32.764055,-117.14964910000003 32.764049,-117.14964800000001 32.764571,-117.14797399999998 32.765004,-117.1471871 32.76502,-117.14303919999998 32.765987,-117.14071669999998 32.7659916,-117.14014800000001 32.7659927,-117.13927390000003 32.7659944,-117.13893300000001 32.765995,-117.1389532 32.765594,-117.13918610000002 32.764633,-117.13921879999998 32.764155))', 'strokeColor': '#666666', 'fillColor': '#666666', 'highlight':true }); resultsPropertyMapObject = $('#llp-map').resultsPropertyMap({ mapVersion: '3.28', client: 'gme-activewebsite', appId: '42', hide_if_no_results: false, center_lat: 0, center_long: 0, scroll_wheel: false, mapTypeControl: true, streetViewControl: true, polygons: polygons }).data('resultsPropertyMap'); $('.scroll-link').on('click', function(e) { e.preventDefault(); // account for sticky header if ($(window).width() > 991) { var headerHeight = $('#site-header').outerHeight(); } else { var headerHeight = 0; } $('html,body').animate( { scrollTop:$(this.hash).offset().top - headerHeight }, 1000); }); });


Treat yourself to a test drive in the 2010 Ford F-150. This 4 door, 6 passenger truck has just over 90,000 miles. It features an automatic transmission, rear-wheel drive, and a powerful 8 cylinder engine. Ford infused the interior with top shelf amenities, such as: variably intermittent wipers, a rear step bumper, a front bench seat, tilt steering wheel, power door mirrors, remote keyless entry, and a split folding rear seat. Audio features include an AM/FM radio, and 4 speakers, providing excellent sound throughout the cabin. Passenger security is always assured thanks to various safety features, such as: dual front impact airbags with occupant sensing airbag, front side impact airbags, traction control, a panic alarm, and 4 wheel disc brakes with ABS. For added security, dynamic Stability Control supplements the drivetrain. It also arrives with a Carfax history report, providing you peace of mind with detailed information. Our team is professional, and we offer a no-pressure environment. We'd be happy to answer any questions that you may have. Please don't hesitate to give us a call.


Made to last and styled to please, these abandoned firehalls silently linger on long after the factories and buildings they were built to protect have gone.
Built in 1890, the squat, red brick Centennial Fire Co. #4 in Peekskill, New York appears positively ancient in contrast with the circa-1932 iron bridge looming just overhead. The two-story structure featured an attached outbuilding that once housed a pair of horses, Homer and John, who pulled the station's fire-wagon in times of need. Full credit to Flickr user donbco for the image above, taken on a beautiful sunny spring day in April of 2008.
Centennial Fire Co. #4 was closed on Oct. 19th, 1980, and sat abandoned beneath its sheltering bridge for nearly 30 years. Finally in 2008, funding was arranged to move the historic structure a short block away to a city park where it was to be incorporated into a firefighter's memorial. Unfortunately, the move ended before it really began when, on August 21st of 2008, a hydraulic jack failed and the building crumpled (see it here!) like a house of cards.
Outwardly resembling a mid-century American ranch-style bunglow, this abandoned firehouse in Harju County, Estonia, is anything but. As captured in 2010 by Panoramio user Salasilm, this plain and pleasant building in the village of Suurpea, about 30 miles east of Talinn, is just beginning to display signs of neglect and abandonment. It's not alone – only a couple hundred people still live in the village which seems to have enjoyed much better days as a Soviet-era military base and housing estate.
Engine House 22, Detroit Fire Dept.
Built in 1895, the Detroit Fire Department's Engine House 22 witnessed the much-maligned city's rise and fall. The firehall itself fell silent in 1983, only to reopen in 1991 as a Spanish restaurant called Casa de Espana. The twin "skylights" above make more sense when one imagines the original pair of fire poles in place. Kudos to DetroitUrbex for these inside & out images of this forlorn firehall.
Shortly after one of the restaurant's owners lost his life in an auto accident, the business closed and the building resumed its slide into neglect and decay along with so many other examples of classic Detroit architecture. Recent reports state the structure may implode on its own before the wrecking ball swings; part of the roof has already fallen in.
Built in 1869, one year before the town of Dorchester was annexed by Boston, the Engine Co. 18 Firehouse certainly has a lot of history behind it. Located at 30 Harvard Street in the Four Corners section of Dorchester, the station closed on June 11th of 1960 and spent the next 45 years as a pre-school and daycare center. Abandoned since 2005, the historic building was finally sold in 2012 to a young couple who plan to restore the building as a live-in arts space.


Reinventing the chill Articube is a hi-tech, high design innovative concept that is revolutionizing the hotel and catering world.
FRINDHER, S.L. came about as a result of merger between two traditional family businesses with more than 40 years' experience, GAUGOR and CALDERERÍA CESAR. In 2009, after years of research, development and collaboration with various technology centres, FRINDHER launches ARTICUBE onto the market, an innovative chilling system that uses food grade liquid carbon dioxide.