San Francisco Opera General Director Matthew Shilvock today announced repertory and casting for the Company's 97th Season, opening Friday, September 6, 2019, with a gala performance of Charles Gounod's Romeo and Juliet (Roméo et Juliette) starring tenor Bryan Hymel and soprano Nadine Sierra in Opéra de Monte-Carlo Director Jean-Louis Grinda's production. In keeping with the Company's time-honored tradition, the new season will be inaugurated with San Francisco Opera Guild's elegant, signature benefit and celebration, Opera Ball 2019.
Highlights of the 2019–20 Season include the production premiere of Wolfgang Amadeus Mozart and librettist Lorenzo Da Ponte's The Marriage of Figaro (Le Nozze di Figaro) marking the beginning of a multi-year presentation of their three immortal collaborations (Figaro, Così fan tutte, Don Giovanni) as a unified cycle, "The Great American House"; Engelbert Humperdinck's Hansel and Gretel in a new, family-friendly co-production with London's Royal Opera; the highly-anticipated local premiere of The (R)evolution of Steve Jobs by Mason Bates and Mark Campbell; new to San Francisco Opera productions of Benjamin Britten's Billy Budd and Giuseppe Verdi's Ernani; and revivals of Giacomo Puccini's Manon Lescaut and George Frideric Handel's Partenope.
With today's announcement, the San Francisco Opera Box Office is now taking full and half season subscription orders. Providing greater flexibility in ticket packages, the Company has rolled out, for the first time at the beginning of the subscription period, a Design Your Own (DYO) option allowing ticket buyers to curate their own series (minimum of four operas) and enjoy subscriber savings and benefits. Concurrent with season renewals and new sales is the introduction of "Opera is Alive," a campaign designed in collaboration with in-demand lifestyle and celebrity photographer Peggy Sirota, where the Company's collateral materials, web interface and promotional displays will feature Sirota's newly photographed gallery of expressive faces. The full campaign launch will coincide with the Company's upcoming summer season.
San Francisco Opera's 2019–20 Season will feature many of the world's finest singers and emerging artists on the stage of the War Memorial Opera House. Artists include sopranos Louise Alder, Michelle Bradley, Jennifer Davis, Jeanine De Bique, Amina Edris, Lianna Haroutounian, Nadine Sierra, Heidi Stober; mezzo-sopranos Catherine Cook, Sasha Cooke, Eve Gigliotti, Stephanie Lauricella, Daniela Mack, Serena Malfi, Michaela Martens; countertenors Franco Fagioli, Jakub Józef Orliński; tenors Robert Brubaker, William Burden, Rafael Davila, Greg Fedderly, Bryan Hymel, Brian Jagde, Daniel Montenegro, Matthew O'Neill, Pene Pati, Brenton Ryan, Alek Shrader, Garrett Sorenson, Russell Thomas; baritones Hadleigh Adams, John Brancy, John Chest, Anthony Clark Evans, Lucas Meachem, Timothy Mix, Levente Molnár, Edward Nelson, Sidney Outlaw, Kenneth Overton, Edward Parks, Simone Piazzola, Eugene Villanueva; bass-baritones Philip Horst, Philip Skinner, Michael Sumuel, Wayne Tigges, Christian Van Horn, Alfred Walker and basses James Creswell, Eric Halfvarson, Wei Wu.
Featured conductors include Yves Abel, Michael Christie, Christopher Franklin, James Gaffigan, Nicola Luisotti, Christopher Moulds, Henrik Nánási, Lawrence Renes; Chorus Director Ian Robertson prepares the San Francisco Opera Chorus and productions are by Christopher Alden, Michael Cavanagh, Jose Maria Condemi, Michael Grandage, Jean-Louis Grinda, Antony McDonald, Kevin Newbury and Olivier Tambosi.
The curtain rises on the 2019–20 Season with Charles Gounod's Romeo and Juliet (Roméo et Juliette), a French operatic adaptation of William Shakespeare's classic love story. Distinguished by rapturous duets and brilliant, show-stopping arias, this sensuous lyric drama returns to San Francisco Opera's repertory, after a 31-year absence, under the baton of French-Canadian conductor Yves Abel. Making his American directorial debut, Opéra de Monte-Carlo Director Jean-Louis Grinda brings his colorful, period staging evoking the Italian Renaissance.
Gounod's music requires virtuosic singers of the first rank. San Francisco Opera's cast is headed by tenor Bryan Hymel and soprano Nadine Sierra as the titular lovers. One of the most in-demand French opera interpreters of his generation, Hymel has earned praise on the world's leading stages, including the Metropolitan Opera, Bavarian State Opera and Royal Opera, Covent Garden, for his momentous portrayals in works by Berlioz, Meyerbeer, Rossini and Verdi. The American tenor first appeared with San Francisco Opera in 2015 as Énée in Berlioz's epic Les Troyens, earning praise for his "bright-toned, tireless tenor" (San Francisco Chronicle). In this return engagement, Hymel makes his role debut as Romeo.
Sierra adds Juliet to her gallery of San Francisco Opera heroines, which includes the Countess in Le Nozze di Figaro, Pamina in Die Zauberflöte and the title role of Lucia di Lammermoor. The recipient of the 2017 Richard Tucker Award and the Metropolitan Opera's Beverly Sills Award in 2018, the former San Francisco Opera Adler Fellow has emerged as one of today's leading sopranos, earning praise from the New York Times for "singing with expressivity and tenderness" and her "bright, agile voice." Sierra's first solo CD, There's a Place for Us, was released last summer by Deutsche Grammophon.
Baritone Lucas Meachem brings his "earnest appealing baritone" (New York Times) to Mercutio, a role he has previously performed with the Metropolitan Opera. Tenor Daniel Montenegro, a former Adler Fellow, is Tybalt. The cast is complemented by bass James Creswell as Friar Lawrence, baritone Timothy Mix as Capulet, bass-baritone Philip Skinner as the Duke of Verona and, in her Company debut, mezzo-soprano Stephanie Lauricella as Stéphano. For the October 1 performance, the title roles will be taken by Samoan tenor Pene Pati and Egyptian-born New Zealand soprano Amina Edris. Adler Fellow graduates and a married couple off-stage, Pati and Edris make role debuts as Romeo and Juliet.
Of the production, director Grinda says, "To ensure this drama of absolute love touches every spectator, we respect its original setting and gracefully simplify its scenographic presentation. Without being minimalistic, we suggest Renaissance splendor and leave the imagination to work, focusing the attention on the stage artists." The staging, originally a co-production by Opéra de Monte-Carlo and Genoa's Teatro Carlo Felice, premiered in 2012 with sets designed by Eric Chevalier, costumes by Carola Volles and lighting by Roberto Venturi.
Marking the return of Benjamin Britten to the War Memorial Opera House after 15 years, Billy Budd, set to a libretto by E.M. Forster and Eric Crozier and based on Herman Melville's seafaring novella, drops anchor in the "powerful" (New York Times) staging by Tony and Olivier Award-winning director Michael Grandage. Unveiled at the 2010 Glyndebourne Festival and revived at the Brooklyn Academy of Music in 2014, the widely-acclaimed production utilizes the two-act version of Britten's masterpiece of law and order at sea during the eighteenth-century Napoleonic wars.
A work of great theatrical power, Billy Budd will be brought to life by high-voltage performances from its all-male cast. American tenor William Burden, who recently added George Bailey in It's a Wonderful Life to his repertory of heroic portrayals at San Francisco Opera, is Edward Fairfax Vere, the ship's captain whose recollection of a disturbing incident sets the story in motion. American baritone and former Merola Opera Program participant John Chest, a leading artist at the Deutsche Oper Berlin who recently sang at the Glyndebourne Festival, makes his Company debut as foretopman Billy Budd, a portrayal for which Opera praised his "tenorishly clear and agile" voice. Bass-baritone Christian Van Horn, winner of the 2018 Richard Tucker Award and recent Mefistofele in Boito's opera at the Metropolitan Opera, portrays John Claggart, the ship's corrupt master-at-arms.
The ensemble cast features Philip Horst as Mr. Redburn, Wayne Tigges as Mr. Flint, Robert Brubaker as Red Whiskers, Brenton Ryan as a Novice, Matthew O'Neill as Squeak, John Brancy as Donald and Edward Nelson as Bosun. Portraying the crew of the Indomitable, the men of the San Francisco Opera Chorus are prepared by chorus director Ian Robertson. Lawrence Renes, who led the San Francisco Opera premiere of John Adams' Nixon in China in 2012, conducts Britten's score. The Glyndebourne production features original lighting design by Paule Constable and Grandage's staging is realized by director Ian Rutherford.
Mozart and Da Ponte's 1786 comic masterpiece The Marriage of Figaro (Le Nozze di Figaro) was the first collaboration in an artistic partnership that would yield three deeply moving, humanist works that are among the most enduring in the operatic repertory. Beginning with a new production of The Marriage of Figaro, San Francisco Opera embarks on a multi-season project to unveil the three Mozart–Da Ponte works—Le Nozze di Figaro, Così fan tutte and Don Giovanni—as a trilogy with a unity of scenic inspiration and narrative linking their stories.
In order to realize a project so important to the Company's legacy, San Francisco Opera has looked to Canadian director Michael Cavanagh, whose War Memorial Opera House credits include Carlisle Floyd's Susannah, John Adams' Nixon in China and Gaetano Donizetti's Lucia di Lammermoor. Together with set designer Erhard Rom, costume designer Constance Hoffman and lighting designer Jane Cox, the creative team has developed "The Great American House," which connects the Mozart–Da Ponte works by following the evolution of relationships, human behavior and society within a single house over three epochs of American history.
The new production sets The Marriage of Figaro during its original period but relocates Count Almaviva's palace in Seville to a mansion in Age of Enlightenment America with architectural references to Thomas Jefferson. Così fan tutte, scheduled for the 2020–21 Season, takes place 150 years after Figaro when the same house has been repurposed as a country club in 1930s America while the winds of war swirl far away in Europe. Concluding the cycle in the 2021–22 Season, Don Giovanni will be set in a crumbling shell of the house in which the characters struggle to survive an uncertain and anxious future.
Following his triumph leading Strauss' Elektra at the War Memorial Opera House in 2017, Hungarian maestro and former music director of Komische Oper Berlin Henrik Nánási returns to the podium to conduct the first installment of "The Great American House." Bass-baritone Michael Sumuel, who has performed many roles with San Francisco Opera including Escamillo in Bizet's Carmen and Masetto in Don Giovanni, takes on the title role, the clever servant who must outmaneuver the nobleman of the house before marrying his love, Susanna.
Sumuel is joined by a quartet of debuting artists. Soprano Jeanine De Bique, who hails from Trinidad and has been praised at the Théâtre des Champs-Elysées in Paris, the Salzburg Festival and Dutch National Opera for her singing and "chrome-plated flair" (The Spectator), is Figaro's bride-to-be, Susanna. Hungarian baritone Levente Molnár recently won acclaim for his portrayal of the title role in the American premiere of Ferenc Erkel's Bánk Bán with the touring Hungarian State Opera and brings his "muscular voiced baritone" (New York Times) to the role of Count Almaviva. "Silvery voiced" (The Times) Irish soprano Jennifer Davis, whose recent credits at London's Royal Opera include Elsa in Lohengrin and Gretel in Hänsel und Gretel, makes her American debut as the Countess. Earning praise for her "sultry tone and lively, expressive face" (Observer) in the Metropolitan Opera's 2017 production of Così fan tutte, Italian mezzo-soprano Serena Malfi depicts the trouser role of Cherubino.
The cast also features mezzo-soprano Catherine Cook as Marcellina, bass James Creswell as Doctor Bartolo, tenor Greg Fedderly as Don Basilio and tenor Brenton Ryan as Don Curzio.
The success and originality of Manon Lescaut thrust Giacomo Puccini to the forefront of opera composers in 1893 and the work continues to command a prominent place in the hearts of opera lovers nearly 130 years later. This early opus, which immediately precedes La Bohème and Tosca in Puccini's output and is set in late eighteenth-century Paris, follows the heroine of the title who forsakes true love for a life of material luxury only to become ensnared by her desire to have both. Olivier Tambosi returns to direct his "stunning" (Musical World) production, last seen on the War Memorial Opera House stage in 2006, with Frank Philipp Schlössmann's "period-perfect sets and rich costumes" (Chicago Tribune) and lighting by Duane Schuler.
Nicola Luisotti makes his highly-anticipated return to the podium to lead the San Francisco Opera Orchestra, Chorus and a powerhouse cast. Praised by the Observer for his "richly shaded and sophisticated conducting" of Verdi's Aida at the Metropolitan Opera this season, the renowned Italian opera interpreter has conducted more than 40 operas and concerts with San Francisco Opera since his 2005 debut and throughout his tenure as music director between 2009 and 2018.
Armenian soprano Lianna Haroutounian and American tenor Brian Jagde portray, each for the first time, the opera's central couple, Manon and Chevalier des Grieux. Haroutounian's searing portrayals of Puccini heroines at the War Memorial Opera House have included the title roles of Tosca and Madama Butterfly, the latter hailed by the Mercury News as a "Butterfly for the ages," and she sang Nedda in Leoncavallo's Pagliacci earlier this season.
Praised by the London Observer for his "pliant tone, pinging accuracy, stamina, shading and an astounding ability to make the voice grow throughout a phrase," Jagde, a former Merola Opera Program participant and Adler Fellow, has enjoyed success on the world's leading opera stages, including Deutsche Oper Berlin and the Royal Opera, Covent Garden. In 2019, the American tenor will have an especially busy year of portraying new roles and is scheduled to perform Enzo Grimaldi in Ponchielli's La Gioconda in Barcelona and Don Alvaro in Verdi's La Forza del Destino in Paris before adding Des Grieux to his repertory with San Francisco Opera.
Baritone Anthony Clark Evans is Lescaut and bass Eric Halfvarson reprises the role of Geronte. For the November 26 performance, Puerto Rican tenor Rafael Davila will make his Company debut at Chevalier des Grieux.
Melding childhood wonder with the heroic sweep of grand opera, Engelbert Humperdinck's Hansel and Gretel (Hänsel und Gretel) is a masterwork of the late nineteenth-century German repertory. Delighting audiences for more than a century, the work, based on a fairy tale by the Brothers Grimm, follows the adventures of two impoverished children who enter a dark forest looking for food only to find themselves facing a sinister threat.
Co-produced with London's Royal Opera, Covent Garden, Hansel and Gretel comes to San Francisco Opera in a family-friendly staging by renowned British director and production designer Antony McDonald. Featuring storybook sets which The Times (UK) called "enchanting," cameos by familiar fairy tale figures and Humperdinck's romantic, sweeping score, the opera, presented during the winter holiday season, offers a musically rich theatrical experience where children emerge as the heroes.
The lush score, with its many memorable musical moments including Hansel and Gretel's prayer, the Dream episode and the Witches Ride, will be conducted by Christopher Franklin. San Francisco-born and based in Lucca, Italy, Franklin made his local debut in 2017 with Puccini's Turandot and returned last month to conduct the Company's resident artists, the Adler Fellows, in concert.
Bringing this cherished story to life on stage are San Francisco Opera veterans mezzo-soprano Sasha Cooke in the pants role of Hansel and soprano Heidi Stober as Gretel. The dangerous and wickedly funny Witch that the children encounter in the forest is performed by tenor Robert Brubaker. Mezzo-soprano Michaela Martens and bass-baritone Alfred Walker are the parents, Gertrude and Peter. The creative team includes associate designer Ricardo Pardo, lighting designer Lucy Carter, revival lighting designer Neill Brinkworth and choreographer Lucy Burge, all in their Company debuts.
This family-friendly production of Hansel and Gretel, performed in English and recommended for children ages 6 and up, includes back-to-back matinee performances on Saturday, November 30 and Sunday, December 1. San Francisco Opera's Education Department will offer Exploration Workshops for Families: All About Hansel and Gretel preceding the November 30 matinee. These interactive family workshops are designed for families to explore the story, music, characters and production of the opera. Visit sfopera.com/community to learn more.
One of the original "hit" operas in San Francisco during the California Gold Rush, Giuseppe Verdi's 1844 work Ernani has retained an important place in the repertory through its profusion of masterful arias and ensembles which thrill audiences and continue to attract opera's leading conductors and singers. American conductor James Gaffigan takes to the podium to lead Verdi's propulsive score and Jose Maria Condemi directs this story of a deposed, sixteenth-century Spanish nobleman living as a bandit on the run who attempts to protect his lover from two powerful suitors and free his country in the process.
Following on his 2018 triumph in Donzietti's Roberto Devereux where the San Francisco Chronicle praised his "tonal clarity and rhythmic vigor,"Russell Thomas stars in the title role. Receiving praise for recent Verdian assignments with London's Royal Opera, Lyric Opera of Chicago and for his Otello with Gustavo Dudamel and the Los Angeles Philharmonic, the American tenor will portray Ernani for the first time in his career. Rising soprano Michelle Bradley, who was singled out by New York Classical Review for her "firm, dark, full-bodied soprano" in her "especially impressive" 2017 Metropolitan Opera debut, makes Company and role debuts as Elvira.
The cast also features Christian Van Horn, "the tall, altogether dashing American bass-baritone who uses his peppery voice and body language to perfection" (Chicago Tribune) as Don Ruy Gomez de Silva. In his first American engagement, Italian baritone Simone Piazzola portrays Don Carlo, the Spanish ruler who becomes Holy Roman Emperor. The San Francisco Opera Chorus, "a harmonious and highly professional group capable of blending soloist-quality voices to any director's wishes" (Bay Area Reporter), are prepared by Ian Robertson. The "handsome" and "sumptuous" (Chicago Tribune) sets and costumes for this Lyric Opera of Chicago production are designed by Scott Marr and Duane Schuler is the lighting designer.
Handel's Partenope returns to the War Memorial Opera House stage in Christopher Alden's Olivier Award-winning "fizzy, delightful" (San Francisco Chronicle) production. Alden's provocative staging which "turns the opera's genderbending plot into a nonstop parade of visual and vocal delights" (Mercury News), updates the composer's battle of the sexes from its mythological era and Neapolitan setting to early twentieth-century Paris when Freudian psychology helped launch the Surrealist and Dadaist movements.
Throughout Europe, soprano Louise Alder has won popular and critical acclaim with the Financial Times observing, "hers is a voice that combines gleaming tone and elegant phrasing with a sense of joyful freedom." The English soprano makes her first American engagement with San Francisco Opera as Handel's title heroine, a sophisticated society woman with a surfeit of romantic suitors. In his first appearance with the Company, Argentine countertenor and featured Deutsche Grammophon recording artist Franco Fagioli portrays Arsace. As Andronico in Teatro alla Scala's first-ever production of Handel's Tamerlano, Fagioli was applauded for his "rich, virtuosic countertenor voice" (Financial Times).
Jakub Józef Orliński, "the much buzzed-about young Polish break-dancing countertenor" who Parterre Boxsaid, "threatened to steal the show" in Handel's Rinaldo at Carnegie Hall, makes his American staged opera debut as Armindo. Mezzo-soprano Daniela Mack reprises the role of Rosmira, for which the Mercury News called her "dazzling" and Alek Shrader returns with his "firm-voiced tenor" as Emilio. New Zealand baritone Hadleigh Adams assumes the role of Ormonte.
English conductor Christopher Moulds, who will be on the podium this summer with Handel's Orlando, leads the Company's orchestral and vocal forces. The creative team includes set designer Andrew Lieberman, costume designer Jon Morrell and lighting designer Adam Silverman. Director Roy Rallo revives Alden's staging.
In a sleek, high-tech conclusion to the season and reflecting the nexus of Silicon Valley innovation, San Francisco Opera launches the Bay Area premiere of The (R)evolution of Steve Jobs by composer Mason Bates and librettist Mark Campbell. A co-commission between San Francisco Opera, the Santa Fe Opera and Seattle Opera with support from Cal Performances and co-produced with Indiana University Jacobs School of Music, the electro-acoustic one-act work explores the iconoclastic visionary in a fascinating interpretation of his life.
The original creative team from the 2017 world premiere in Santa Fe will be reunited in San Francisco under the direction of Kevin Newbury. Making their Company debuts are set designer Victoria Tzykun, costume designer Paul Carey, lighting designer Japhy Weideman, projection designs by London-based 59 Productions and sound designer Rick Jacobsohn. Mason Bates joins the San Francisco Opera Orchestra as a performer and Michael Christie conducts.
The cast features four role creators from the opera's inception, including "rich-voiced" (Chicago Tribune) baritone Edward Parks as Steve Jobs and mezzo-soprano Sasha Cooke, who "radiantly personified" (Dallas Morning News) Jobs' wife, Laurene Powell Jobs. Tenor Garrett Sorenson is Apple co-founder Steve Wozniak and bass Wei Wu portrays Kōbun Chino Otogawa, Jobs' spiritual advisor whose guidance steers him through doubts and personal travails.
With The (R)evolution of Steve Jobs, San Francisco Opera reaffirms its commitment to expanding the operatic repertory. Since the Company's inaugural season in 1923, San Francisco Opera has given 20 world premieres, numerous American premieres and commissioned new operas by living composers. In recent seasons, the Company's presentations of commissioned works include Jake Heggie and Gene Scheer's It's a Wonderful Life (2018), John Adams' Girls of the Golden West (2017), Bright Sheng and David Henry Hwang's Dream of the Red Chamber (2016) and Marco Tutino's Two Women (2015).
San Francisco Opera Guild's signature gala, Opera Ball, celebrates the opening of San Francisco Opera's 97th season with cocktails, a sumptuous dinner, Gounod's Romeo and Juliet, dancing and further celebration. Former Guild President Jane Mudge and Elizabeth Birka-White co-chair Opera Ball 2019, which will also commemorate the 80th anniversary of the Opera Guild. For tickets and more information, contact San Francisco Opera Guild at (415) 565-3204 or visit sfoperaguild.com.
The BRAVO! CLUB's annual black-tie gala will toast the new opera season with pre-performance cocktails and late-night dancing following the opening night performance of Gounod's Romeo and Juliet. Join BRAVO! CLUB to meet other opera-loving, young professionals and enjoy ticket discounts throughout the year along with invitations to educational and social events. For tickets and membership information, visit sfopera.com/bravo.
Sunday, September 8, 2019 at 1:30 p.m.
Presented by the San Francisco Chronicle, Opera in the Park features the stars of the Company's 2019 Fall Season in concert with the San Francisco Opera Orchestra. This annual al fresco event held at Robin Williams Meadow in San Francisco's Golden Gate Park is free and open to the public.
Monday, December 2, 2019 at 6 p.m.
Each year, San Francisco Opera Guild invites guests to honor a community leader with a gala dinner and celebration on the stage of the War Memorial Opera House. Celebrate the power of arts advocacy while dancing the night away on the same stage that has known so many historic performances. For more information, visit sfoperaguild.com.
Friday, December 6, 2019 at 7:30 p.m.
San Francisco Opera Center's 2019 class of Adler Fellowship recipients will be showcased in their final concert of the year performing arias and opera scenes accompanied by the San Francisco Opera Orchestra.
*For the complete press release, including full casting and calendar, please view the attached PDF.


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Protecting Motoring Heritage
The Future Belongs To Those Who Know History
FIVA HomeAdmin-12022-05-27T06:44:31+00:00
Protecting our heritage
The Future Belongs To Those Who Know Their History
FIVA (the Fédération Internationale des Véhicules Anciens) is a worldwide non-profit organisation dedicated to the protection, preservation and promotion of historic vehicles. Established in 1966, it is active in more than 80 countries, representing millions of historic vehicle enthusiasts around the globe. Since 2017, FIVA has been a partner of UNESCO with consultative status, representing world motoring heritage and related culture.
But what is a historic vehicle?
FIVA defines it as a mechanically propelled road vehicle at least 30 years old, preserved and maintained in a historically correct condition, which is not used as means of daily transport and which is therefore part of our technical and cultural heritage. A youngtimer is a similar vehicle between 20 and 29 years old.
Curious about FIVA, its goals and objectives? This 3-minute video gives a quick overview.
FIVA Position Papers
FIVA outlines its position on current topics of international importance
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Road charging and Vehicle Tax
Alternative Fuels for Historic Vehicles
End of Life Regulations
Electrification of Historical Vehicles
Road Safety and Intelligent Transport Systems
Historic Vehicles in the Age of Climate Changes
Definition of a Youngtimer Vehicle
Definition of a Historic Vehicle
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FIVA Heritage Hall of Fame
Not every hero of the motoring world is a household name. Induction into the FIVA Heritage Hall of Fame is a tribute to an individual's genuine lifetime achievements, but it's a very personal selection. It reflects the opinions of FIVA clubs around the world, who nominate their own favourite national figures. Some of these heroes are world-famous, others are names you might not know – but each has made a real and long-lasting impact on automotive history.
In the first year of FIVA's Hall of Fame initiative, individuals were first nominated by FIVA clubs across the globe, from which 14 individuals – of the past and present – were selected by a knowledgeable and prestigious panel of international judges.
MORE ON THE FIVA HERITAGE HALL OF FAME
The FIVA Card
The FIVA Identity (or ID) Card is issued for a historic vehicle, defined as being a mechanically driven (powered) street vehicle (car, motorcycle, utilitarian) that is:
in a historically correct and maintained state
not used as everyday transport and is thus part of our technical and cultural heritage
A FIVA ID Card is only issued after a physical inspection of the vehicle to ensure it complies with the FIVA Technical Code.
Benefits of the FIVA ID Card include:
extensive independent documentation of vehicle data
modifications and remodeling recorded on the card
data and pictures clearly attributed to the vehicle
national and international recognition that might be reflected in beneficial regulations
limited validity (10 years or change of owner) that increases credibility
potential increase in value of the vehicle
statistical data on models in existence to enhance the likelihood of spare parts manufacture and other maintenance support
A FIVA Youngtimer Registration Document is issued for a vehicle that is:
between 20 and 29 years of age
in good condition and preservation
generally used during leisure time only
potentially eligible for a FIVA Identity Card when it becomes 30 years old
The FIVA Youngtimer Registration Document may be issued without a physical inspection of the vehicle.
APPLY FOR YOUR FIVA CARD HERE
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A worldwide list of museums displaying historic vehicles
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…is dedicated to utilitarian vehicles, including trucks, buses, campers, agricultural machinery and military vehicles of all kinds.
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redpajama_set_name: RedPajamaCommonCrawl


Smithsonian Tropical Research Institute, Balboa, Republic of Panama, and Departamento de Zoología, Universidad de Panamá, Republic of Panama.
Division of Vertebrate Zoology (Herpetology), American Museum of Natural History, and Departamento de Zoologia, Instituto de Biociências, Universidade de São Paulo, Brazil.
Facultad de Medicina, Departamento Histología y Neuroanatomía Humana, Universidad de Panamá, Republic of Panama, and Círculo Herpetológico de Panamá, Republic of Panama.
The occurrence in Panama is documented for the South American frog genus Anomaloglossus (Dendrobatoidea: Aromobatidae). Two species are described from a low, forested uplift in eastcentral Panama, just northeast of Panama City. These low mountains, unnamed on maps, are designated the "Chagres Highlands" because a large part of the uplift lies in the Río Chagres drainage (which provides water critical to lock operation in the Panama Canal). The Chagres Highlands may be a lower montane forest refuge for some amphibians and reptiles, including the two Anomaloglossus and Atelopus limosus, and the rare snakes Atractus depressiocellus, A. imperfectus, Geophis bellus, and Rhadinaea sargenti. Several other rare species are not endemic but include the Chagres Highland area as part of their individually fragmented or mosaic distributions (Adinobates fulguritus, Anolis kunayalae, Coniophanes joanae, Geophis bracycephalus, Dipsas nicholsi).
The two new frogs are at least broadly sympatric in the Chagres Highlands, but both species are rare. Anomaloglossus astralogaster, new species, is known only from the adult female holotype (22 mm SVL). Its ventral surfaces are covered overall with whitish dots (≤ 0.1 mm) somewhat similar to large chromatophores but possibly glandular; there is no appearance of glandular structure at ×50 magnification, but the edges of some of the pale dots can be "felt" with a fine (0.1 mm diameter) teasing needle and histological examination is needed.
The other taxon is Anomaloglossus isthminus, new species, which is described from six specimens including four adult males (19–21 mm SVL), one adult female (23 mm SVL), and a juvenile female. Dorsal surfaces are basically brown mottled with darker brown. Small pale yellowish spots located proximally above the insertions of arm and thigh are not well defined and tend to disappear after preservation (unlike normal dendrobatid flash markings). Ventral surfaces are pale blue with some dark mottling but no pale dots. The vocalization of A. isthminus resembles calls of some South American species in being a train of "peeplike" notes, but there are fundamental interspecific differences in frequency modulation, note repetition rate, and call length.


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Climate Change & Satellites
Thales Alenia Space Earth Observation
Acting together!
Scientists, government agencies and industry are teaming up as never before to design and build increasingly accurate instruments and satellites. Authorities naturally need reliable data to ensure the continuity of environmental surveillance and make the right decisions. Satellites are one of the most vital components in better understanding our planet. And it's no accident that the latest edition of the book Climate Change & Satellites, published by Sud[s] Concepts for Thales Alenia Space, is entitled "Acting Together".
Astronauts including Samantha Cristoforetti, Tim Peake and Thomas Pesquet have taken superb photos of our planet from the Cupola, part of the International Space Station with an observation window looking out over the Earth. Seen from above, the Earth's atmosphere seems incredibly fragile. And when the elements go crazy, a phenomenon that's happened several times in the last two years, these spaceborne snapshots immortalize very tangible evidence of how a deregulated climate can impact our lives. Unfortunately, climate change has become a societal challenge for the entire world.
According to climate expert Jean Jouzel, the surface temperature of the Earth has already increased by 0.6°C since the start of the industrial era, and carbon dioxide (CO2) levels continue to rise. If the temperature were to increase 4°C, the consequences could well be disastrous by the end of this century. Furthermore, despite the protests of climate change skeptics, these changes, coupled with increasing pollution in certain regions, already has a very real impact. The Great Barrier Reef is in the throes of agony, arctic ice is melting and certain species are disappearing. Climate change also has a very real impact on human activities, for instance in the form of the first "climate refugees". In short, the climate is everybody's business!
At Thales Alenia Space, we help further the understanding of our planet by contributing advanced satellite technology, especially Earth observation. Recent months have seen several milestones. We were delighted to see the Sentinel-3B satellite lift off very successfully in April. Following Sentinel-1A, -1B and -3A, Sentinel-3B is the fourth satellite built by Thales Alenia Space as prime contractor on behalf of the European Space Agency, for the European Commission's Copernicus program. Sentinel-3B is now orbiting the Earth at an altitude of 815 kilometers, in conjunction with its twin brother, Sentinel-3A, to carry out a mission covering both sea and land in the fields of oceanography, land hydrology and vegetation monitoring.
We are now looking to the future, by working on Meteosat Third Generation (MTG) satellites. Over the decades, European meteorology has become increasingly accurate. With the first generation of Meteosat, images were updated every 30 minutes, a rate that dropped to 15 minutes for the second generation. With MTG, images will now be updated every ten minutes, making weather forecasts increasingly reliable. All of Europe's geostationary weather satellites were built by Thales Alenia Space. Today, we are gearing up for other, equally fascinating programs, such as the SWOT space altimetry mission, on behalf of CNES and NASA, along with future Copernicus missions.
The upcoming political and societal choices, in Europe and worldwide, will clearly impact future generations, who will be inheriting a planet facing a very uncertain future in terms of the long-term viability of its resources.
"We face a daunting challenge, one that implies abandoning our current development-focused society and transitioning to a more carbon-stingy model" says Jean Jouzel. "Solutions do exist – energy efficiency, renewable energies, but they have to be deployed without further ado".
Analyzing the huge streams of satellite data could help authorities make the best decisions, in particular to facilitate meeting our commitments within the scope of the Paris Climate Agreement, COP21.
Thales Alenia Space would also like to express its thanks to everybody who contributed to this book including ASI, CERFACS, CNES, ESA, EUMETSAT, GEO, Mercator Océan, Météo France, Telespazio and e-GEOS.
Clich here to read the book on-line
Cover: Plancton bloom © Contains modified Copernicus Sentinel data, processed by ESA
Polar Bear © Staffan Widstrand/WWF
Samantha Cristoforetti © ESA/NASA
Sentinel-3 © ESA/Pierre Carril
The Bahamas as seen from Envisat © ESA
Antarctic ice ©M. Perrey/Wild Touch
Africa: ©UNICEF 2017, Nahom Tesfaye


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Shipping Routes
Hub-Ports
Snow Dragon
Snow Dragon in the Arctic
(Photo: Arctic Portal) Xuelong, click to enlarge and see more information about the vesselXuelong, the Snow Dragon, is the icebreaker of the Polar Research Institute of China (PRIC). It is the largest non-nuclear powered icebreaker in the world.
It was built as an ice-strengthened cargo ship, in Ukraine in 1993 but is now a floating laboratory with state of the art facilities and equipment for polar research. It was modified in 1994.
The Xuelong is 167m long, almost 23 meters wide and the ice class is B1 level, it can break through 1.1m of ice, including 20cm of snow by 1,5 knots continously.
It is both a supply vessel for the four research stations PRIC has, one in Svalbard and three in Antarctica, and a scientific research platform in both Poles. This will be the fifth expeditions of the icebreaker in the Arctic; the others were in 1999, 2003, 2008 and 2010. It has made 17 explorations near the South Pole.
The Xuelong is equipped with advanced systems for self-contained navigation and for weather observation, both extremely important qualities for polar expeditions.
There are also excellent facilities for the scientist. The icebreaker has a data processing center and seven laboratories with over 500sq meters of working space, it has operational equipment, a freezer to store samples, a low temperature cultivation room, a clean laboratory, a marine biological laboratory, a marine chemical laboratory, a geological laboratory, and a CTD winch, a biological winch, a geological laboratory, and a hallow-section device of EK-500 model.
(Map: Arctic Portal) Estimated Arctic Route of the 5th Chinese ExpeditionFurthermore it contains three operating boats and a helicopter for the transportation and research purposes in the Arctic and Antarctic regions.
China is now designing a new research icebreaker, to be launched in 2014. It will be equipped with the most advanced appliances for marine, polar and astronomical research. The icebreaker will be stronger then the Xuelong, able to sail through rougher ice conditions.
In the end of June 2012 the Snow Dragon began his expedition to Iceland. It is China´s 5th National Arctic Expedition, CHINARE5, is a historic expedition for the history of China's polar exploration. It will be the first time that a Chinese expedition sails through the Arctic through the Northern Sea Route, east of the North Pole.
More information about the Xuelong´s trip to the Arctic is avalaible on the expedition´s homepage.
Source: Snow Dragon´s 5th expedition.


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Higbee és una població dels Estats Units a l'estat de Missouri. Segons el cens del 2000 tenia una població de 623 habitants.

Demografia
Segons el cens del 2000, Higbee tenia 623 habitants, 264 habitatges, i 170 famílies. La densitat de població era de 559,4 habitants per km².

Dels 264 habitatges en un 28% hi vivien nens de menys de 18 anys, en un 47,7% hi vivien parelles casades, en un 11,7% dones solteres, i en un 35,6% no eren unitats familiars. En el 31,1% dels habitatges hi vivien persones soles el 14,4% de les quals corresponia a persones de 65 anys o més que vivien soles. El nombre mitjà de persones vivint en cada habitatge era de 2,36 i el nombre mitjà de persones que vivien en cada família era de 2,92.

Per edats la població es repartia de la següent manera: un 25,5% tenia menys de 18 anys, un 7,9% entre 18 i 24, un 27,3% entre 25 i 44, un 23,4% de 45 a 60 i un 15,9% 65 anys o més.

L'edat mediana era de 39 anys. Per cada 100 dones de 18 o més anys hi havia 98,3 homes.

La renda mediana per habitatge era de 26.813 $ i la renda mediana per família de 31.806 $. Els homes tenien una renda mediana de 26.477 $ mentre que les dones 20.694 $. La renda per capita de la població era de 16.709 $. Entorn del 10,2% de les famílies i el 13,3% de la població estaven per davall del llindar de pobresa.

Poblacions més properes
El següent diagrama mostra les poblacions més properes.

Referències

Entitats de població del comtat de Randolph

redpajama_set_name: RedPajamaWikipedia


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text:
Reviews by Amos Lassen
Books, Movies and Judaica and Random Thoughts About Whatever
ROBIN ANDERSON, WRITER
"OPERATION FINALE"— Finding Eichmann
Finding Eichmann
Fifteen years after World War II, a team of secret agents comes together to track down Adolf Eichmann, the infamous Nazi architect of the Holocaust. It was Eichmann who organized the transport of Jews from countries all over Europe to concentration camps where millions were murdered. After the war, he fled to his home country of Austria and then moved to Argentina. The Israeli intelligence agency Mossad uncovered the whereabouts of the infamous Nazi in 1960, and teams of Mossad and Shin Bet agents staged a raid to capture the war criminal and brought him to Israel to face crimes against humanity and the Jewish people. He was sentenced to hang and was executed in 1962 and remained unrepentant all the way to noose. This is the story of the manhunt for one of the most diabolical war criminals of the 20th century.
Ben Kingsley plays Eichmann and Oscar Isaac is Peter Malkin, the Mossad member and head of a group of Israeli spies who took him down. Eichmann had murdered Malkin's sister and her children so he had his own personal interest in capturing the man. He was sentenced and executed by hanging. Writer, humanitarian and Holocaust survivor Simon Wiesenthal was instrumental in finding the location of Eichmann. The reaction of the world to the entire affair was as different as can be imagined and debates took place about Israel's right to extradite and try the man for crimes against humanity. Hannah Arendt's "Eichmann in Jerusalem" and her theory of the banality of evil both hurt and helped her career as a political philosopher and perhaps even tarnished her reputation as one of the most brilliant minds of the twentieth century.
In the newly released trailer, we see Eichmann supervising the mass murder of hundreds of concentration camp prisoners, then defending his actions in a voiceover, "You have no interest in what I have to say," he says. "Unless it confirms what you think you already know. My job was simple: save the country I love from being destroyed. Is your job any different?"
Chris Weitz directed the drama from Matthew Orton's screenplay about the capture of Eichmann, who organized the transport of Jews from all over Europe to concentration camps, where an estimated 6 million people were killed.
In the same trailer, Isaac's Peter Malkin is warned," If you succeed, for the first time in our history, we will judge our executioner… If you fail, he escapes justice, perhaps forever. I beg of you, do not fail."
The film also stars Lior Raz, Melanie Laurent, Nick Kroll, Joe Alwyn, Haley Lu Richardson, Michael Aronov, Ohad Knoller, Greg Hill, Torben Liebrecht, Mike Hernandez, Greta Scacchi and Pêpê Rapazote. "Operation Finale" opens in theaters on August 24, 2018.
This entry was posted in Film, Hannah Arendt, Israel, Judaica on July 31, 2018 by Amos.
"BILLIONAIRE BOYS CLUB"— Based on a True Story
Billionaire Boys Club tells the true story about Joe Hunt (Ansel Elgort), an ambitious entrepreneur who join forces with tennis pro Dean Karny (Taron Egerton) to establish an investment-and-social club known as the BBC in 1983. They gain some financial assistance from some of their wealthy former classmates and their get-rich-quick "investment" scam quickly becomes the talk of the social scene in Los Angeles.
However, things get out of hand when Ron Levin (Kevin Spacey), a Beverly Hills con artist who made a huge investment on the BBC turns out to be a total fraud. "Billionaire Boys Club" has an excellent young cast is thankfully blessed with a top-notch young cast but Kevin Spacey steals most of the show in a supporting slithery role.
Director James Cox manages his ensemble cast well even though his direction is nothing special. The young guys are lucky to be a part of the swinging social scene of Los Angeles. Hunt creates
"The Paradox Theory" in which bad can be good, and lines can be crossed once a perspective is changed and it does not take long before the Billionaire Boys Club is running a disarmingly straightforward Ponzi scheme, using funds from new investors to pay off old ones and support a lifestyle of sex, drugs and expensive living.
After a rocky start that attempts to cover too much ground, the movie settles down and becomes a passable version of a true-crime saga but it could have been so much better. The plot involves a lot of panicked decisions are not always the best decisions. When the Ponzi scheme crashes the focus of the movie changes and I cant share that with you so you will just have to see for yourselves.
This is simply a generic rise-and-fall movie that does nothing to elevate itself or differentiate itself. The characters are bland, the dialogue is wooden and even the best actors can't do much with the plot. I understand that the film was finished before Spacey's scandal.
"Billionaire Boys Club" is an entertaining film but not more than that.
This entry was posted in Film on July 31, 2018 by Amos.
"RETABLO"— A Peruvian Coming-of-Age Story
"Retablo"
A Peruvian Coming-of-Age Story
Filmmaker Álvaro Delgado-Aparicio L. takes us to Peru where the beautiful landscape hides an intolerant and ugly undercurrent. The people that live in the rural villages of Peru are seen as having reactionary and religiously motivated attitudes towards same sex relationships. This is something fourteen-year-old Segundo (Junior Béjar Roca) finds out the hard way.
Segundo is training to follow in the footsteps of his artisan father Noe, (Amiel Cayo), a man whose artfully crafted story-boxes have earned him the undying respect of numerous Peruvian mountain communities. He may be a father to Segundo, but the townsfolk all unanimously refer to him as "maestro" or "master" without a lick of irony. On the drive to a community celebration, thanking the father and son team for a story-box they made, Segundo witnesses his dad in the midst of a sexual act with another man and his entire world falls Segundo is going through puberty in a toxically masculine landscape, where his father is the only role model worth looking up to. He slowly begins to realize that he has more in common with his dad than initially realized and this something which is going to cause considerable trouble.
The film is a visual feast. Álvaro Delgado-Aparicio L. and cinematographer Mario Bassino use long takes throughout the entire film, mainly focusing on characters staring in to the distance before we see what they see. From the beginning we are made aware of the father's considerable attention to detail and the long shots evidence this. In the second half the focus is on Segundo's coming to terms with the life altering sex act he saw and it's here this motif changes. We see his gaze struggle to permanently fix in any direction like it did before thus giving the suggestion that he is trying to ignore a reality he can't alter.
This is an emotionally brutal tale of self-realization that depicts the terror of a closeted life for people of different generations and it is haunting. The relationship between 14-year-old Segundo and his artisan father is the main point. They are isolated in the rural mountains of Peru and pass their time creating retablos of important families in the nearby city. The first ten minutes of this film are a study in mutual father-son love as both males hone their craft.
The delivery of the retablos that hint at the film's conflict. The son first notices his father getting carried away with the celebrations in town and coming home drunk. Then he witnesses something that he can never forget and fractures within his close-knit family and society erupt and threaten to destabilize everything the boy knows.
Just the intricate artwork of the retablos and the insights into a Peruvian cultural tradition make this film worthy of seeing alone but then there is also the dynamic relationship between father and son artisans that that is going to face very difficult times.
This entry was posted in GLBT Film on July 31, 2018 by Amos.
"Munbai Matinee" by Ajay Kaul— Mumbai Through Stories
Kaul. Ajay. "Mumbai Matinee", CreateSpace, 2017.
Mumbai Through Stories
The eight interconnected stories of Ajay Kaul's "Mumbai Matinee" show the life and culture around the city of Mumbai. Ajay who comes from North India had no idea of what to expect when he moved to urban Mumbai. The culture shock of the dynamic city takes getting used to. He's captivated, though, and soon falls in love with Mumbai and its many inhabitants. In is the city where he will find love, friendship, and community yet he is aware that there is also danger and the threat of disaster.
It all began in 1993, when Ajay came to Mumbai on a short assignment. He was quickly pulled into the shock wave of the 1993 serial bombings. Despite a brush with death, Ajay was determined to learn the secrets of the city.
After graduation, he came back and found new stories in the city's streets. Ajay met an interfaith couple that taught him about the power of love, a local labor leader who was more than he seemed, and an acting teacher. He also had troubling experiences and there was one that pushed him beyond his comfort zone and taught him to love his adopted city and all it had to offer.
While this is a memoir, it is also a guide to Indian philosophy and a look at how the corporate world affects society. We really become aware of how much Mumbai has grown of late and we also get a peek at the impact of global terrorism and violence on this notoriously peaceful center of our planet (as seen through Ajay's eyes). This also happens to be one of those books in which you feel the presence of the author throughout— so much so that I was surprised he was not sitting opposite me when I looked up. (Yes I know that is an exaggeration).
I really enjoyed reading about how the was able to bring the ancient customs into the modern world. In effect, Ajay introduces us to India and he does so with enthusiasm. It was really enlightening for me since I know nothing about India. The short stories might be fiction but they are based on Ajay's real experiences and each one is a gem.
Because Ajay was living in Mumbai during some of the terrorist bombings, his descriptions of the dangers and the joy of watching people help each other during the danger really brings terrorism home.
Ajay's memoir is memoir well written and fascinating. One of the wonderful things about reading is that we learn so much and here in just 200 pages I found myself becoming familiar with a place I had never been or even read about. I truly enjoyed Ajay's observations and descriptions and I look forward to reading more by him. As I said earlier, the stories are interconnected but the characters are not. I am sure that this is intentional as I believe jay wanted to show a city with many different personalities and how they often disappear. Such is life.
This entry was posted in Uncategorized on July 30, 2018 by Amos.
"90s Bitch: Media, Culture, and the Failed Promise of Gender Equality" by Allison Yarrow— Overcoming "Bitchification"
Yarrow, Allison. "90s Bitch: Media, Culture, and the Failed Promise of Gender Equality", Harper Perennial, 2018.
Overcoming "Bitchification"
I was out of the country during the 90s in America as well as during the years leading up to the 90s so I honestly have little memory of how women and girls were treated by the media. I was living in Israel where equally between the sexes is upheld (by and large) and I had forgotten how women in this country have been "maligned by the media, vilified by popular culture, and objectified in the marketplace." This excellent new book by Allison Yarrow wonderfully filled me in on what I did not remember or even know. Strong women such as Hilary Clinton and Anita Hill were undermined by the media while others were put to shame and misunderstanding. With television and radio news shows becoming available 24/7 women were once again mistreated when they were spoken of and the sexism that seemed to be part of this country raised its ugly head once again. The remnants of this treatment or as Yarrow names it "bitchification" is still omnipresent in our society. The roots for this come from the 90s when "female empowerment was twisted into objectification, exploitation, and subjugation." Be prepared that no one is safe from Yarrows probing of the patriarchal society that demands women to be quiet and obedient to men. We are reminded (as if we need to be) that the age of Trump is also an age of masculine insecurity.
There is a feminist backlash going on right before our eyes and in order to deal with it, we must look back to find where it began and how it can be stopped. Allison Yarrow presents that history to us in excellent prose in which she shows us that society has now embraced "the post feminist moment." We become very aware here of women being subjected to double standards, negative portrayals and mistreatment.
We learn something about sexism on almost every page and there are many revelations that have been carefully studied and researched. To understand the state of gender equality today, we must understand the state of gender equality of the 1990s. We begin to see things from a different perspective. For those of you who lived through the 9os, you probably feel that you know what happened back then but the truth is that we have to look back at the period from today in order to understand it. The dynamic of today was created back then and I am pretty sure that many realized that this was happening.
I could tell just from reading the names of the chapters that this was going to be a fascinating and eye-opening read and I was not disappointed. In her prologue Yarrow tells us that she is using the verb "bitchify" and the noun "bitchification" to show how the media and society looked at women only by their sexual function and in this way they could stop whatever progress women were making. The word "bitch" in itself is insulting but it is also the best word to describe what we have here. I believe I read this entire book with my mouth open as surprise after surprise came through. For anyone who cares about gender equality, this is a must read.
"1982: THE US GENERATION"— The Authorized Story (on Blu ray)
"1982: The US Generation"
The Authorized Story
This film is the authorized story of the 1982 Us Festival and features remastered live performances of the Police, Fleetwood Mac, Tom Petty and more. I was out of the country when this festival took place but I understand that it is considered one of the most influential music festivals of all time.
The Us Generation was directed by award winning filmmaker and rockumentarian Glenn Aveni and it is fascinating and fun from start to finish. The film is made up of rare concert footage and interviews with both organizers and performers. The 1982 Us Festival was an epic three-day event featuring an eclectic and unprecedented lineup of some of the biggest names in music, performing live in front of over one million people at Glen Helen Regional Park in San Bernardino, CA. It was the brainchild of Apple visionary Steve Wozniak, who wanted to create something that was a true celebration of Americana. His idea was to cultivate positive vibes and building a deep sense of community through the power of technology and music. There are performances by superstars Tom Petty & The Heartbreakers, alt-rock trio The Police, blues rock heroes Fleetwood Mac, guitar virtuoso Carlos Santana, retro-chic favorites The B-52s, and new wave icons The Cars; as well as appearances by Johnny & Joey Ramone, Carlos Santana, Sting, Ric Ocasek, Danny Elfman, and Fred Schneider; plus exclusive sit-downs with festival founder Steve Wozniak, Mick Fleetwood, Eddie Money, Marky Ramone, Kate Pierson, Stewart Copeland, and Mickey Hart, among others.
Unfortunately there is no movie of the entire concert and what was released here is only parts of songs. There is great music and fun loving people. I had a great time watching it.
"RECORDS COLLECTING DUST II"— The 1980s Hardcore Punk Scene
"Records Collecting Dust II"
The 1980s Hardcore Punk Scene
"Records Collecting Dust II" is a look at 28 influential people from the 1980's hardcore punk rock music scene people in Boston, New York and Washington DC and is made up of in depth interviews. They talk about the music, the bands and the records that changed their lives. We hear from Ian MacKaye of Minor Threat, John Joseph of Cro-Mags, Dave Smalley of DYS, Roger Miret of Agnostic Front and Clif Croce of The Freeze and to be honest I had never heard of any of them before watching the film.
I understand that this is a follow-up DVD to a 2015 documentary of the same name that I have yet to see. It helps if you know the bands profiled here but I enjoyed it without knowing them. We see the musicians as they answer questions such as
"What was the first record you heard?" or "what was the first record you bought?" Most of those the interviewed grew up in the 1960s and 70s, we learn that a lot of the first records they bought were The Beach Boys, The Who, Alice Cooper, Kiss and Led Zeppelin. Most of them seem to be just average collectors and it is interesting that none of them speak of "hard core" bands as influences.
We do not get to hear any of the recordings mentioned and there is practically no music except an occasional clip from a heavy metal performance that is not identified. I am quite sure that there is a limited audience for this but I did enjoy watching it and I learned a bit.
"MOHSEN MAKHMALBAF: THE POETIC TRILOGY"— Three Lyrical Films
"Mohsen Makhmalbaf: The Poetic Trilogy"
Three Lyrical Films
Mohsen Makhmalbaf is one of the preeminent figures of Iranian cinema. He has written and directed an impressive array of acclaimed films and has been acclaimed at international film festivals and globally admired cinema audiences. This collection brings us three of Makhmalbaf's most lyrical films. He calls these films his poetic trilogy.
"Gabbeh" is the story of an elderly couple that stops by a stream to wash a vividly woven traditional Persian rug (Gabbeh). Suddenly a beautiful woman, who is depicted in the rug's elaborate design, appears and shares a heart-rending story of love and loss. The film is filled with the ideas of Sufism.
"The Silence" is about tells of Khorshid, a young blind boy from Tajikistan who earns rent money for his family by tuning rare instruments. He is enchanted and enraptured by the music he hears on his way to work each day.
"The Gardener" is an imaginative documentary that follows Makhmalbaf, and his son Maysam, to Israel to investigate the Bahá'í Faith, a religion with 7 million followers, which originated in Iran 170 years ago. I love this movie and it is very special for me. When I lived in Haifa, Israel my front porch was about up the mountain and three blocks from the Bahai gardens and I would awake every day to quite a beautiful view.
The three films here have been extensively restored and they are beautiful to watch. If that is not enough there are many bonus extras here:
High Definition Blu-ray (1080p) presentations of all three films
Original Persian soundtracks with uncompressed LPCM audio
Newly translated English subtitles
Audio commentary on Gabbeh by critic Godfrey Cheshire
Poetry in Motion: An Interview with Mohsen Makhmalbaf, an in-depth conversation between the Iranian auteur and film critic Jonathan Romney, newly produced for this edition
Mohsen with Closed Eyes, an imaginatively filmed archival interview with Makhmalbaf on The Silence
Original trailers
Stills and collections gallery
Reversible sleeve featuring original and newly commissioned artwork by Scott Saslow
FIRST PRESSING ONLY: Illustrated booklet featuring new writing by film academic Negar Mottahedeh and Mohsen Makhmalbaf
"THE OSLO DIARIES"— Trying for Peace
Trying for Peace
The Oslo accords eventually allowed for the recognition of the Palestinian authority over the West Bank and Gaza and this was certainly a consequential conclusion. Directors Mor Loushy and Daniel make sense of both the political realities of the talks and how they were received outside the rooms where negotiations took place. This documentary film is an excellent introduction to a much larger conversation, and while it avoids as many subjects as it addresses, it documents a time when peace, so complicated in this region, might have taken place.
In 1993 Israeli Prime Minister Yitzhak Rabin and PLO leader Yasser Arafat shook hands on an agreement that began a way for Israelis and Palestinians to live together in peace. The peace agreement was called the Oslo Accords after the place where the negotiations were held. The accords took place in 1990s, a time when Mideast peace was tantalizingly close at hand. The film is a sentimental look back at what could have been for Israel and Palestine. Using extensive footage from that time period, "The Oslo Diaries" is an emotional look at what might have been.. The film also includes re-enactments of the meetings in Oslo with actors who look remarkably like their real-life counterparts. They impersonate the Israelis and Palestinians who participated in negotiating the accords. While that fictionalizing approach gives the documentary certain energy, it also adds a modicum of confusion. What works more effectively is the way the film uses voiceovers and diary excerpts from the actual players involved in the peace negotiations.
What ultimately emerges is that both Israelis and Palestinians must live with the fact that the Accords have come to represent a missed opportunity. We see newsreel footage of upsetting moments like when Rabin was shouted down for his attempts to make peace. There is also the intense rally in which Benjamin Netanyahu did not stop demonstrators from screaming, "Death to Rabin." We see footage of the peace rally in which Rabin was assassinated. Minutes before his death, he publicly sang a song for peace with his friend and lieutenant Shimon Peres.
Twenty-five years later, many of the surviving figures of the negotiations are close friends. The filmmakers successfully show the political contrast between Rabin and Netanyahu, who became Israel's prime minister in 1996 by the slimmest of margins. There's a profound lesson to be learned here in this important and depressing film.
Loushy and Sivan begin in 1992, during the violent intifada that threatened to topple Rabin's government. Two Israeli academics, Ron Pundak and Yair Hirschfeld who are committed to the cause of peace but unaffiliated with the state were dispatched to Oslo, Norway, by then Deputy Foreign Minister Yossi Beili, for secret negotiations with members of the PLO, including Arafat confidante Abu Ala (Ahmed Ali Mohammed Qurei). We hear their own words spoken, read from their diaries and see them in action. We are behind the scenes of history, and it is fascinating. The most severe disagreements focus on the land – who gets to live where – and the status of Jerusalem. This is not an easy conversation.
Soon, word leaks out about the clandestine meetings, and so Rabin has no choice but to send official government representatives. Chief Israeli negotiator Uri Savir meets with Abu Ala and a new member of the Palestinian team, Nabil Shaath. We hear their diaries are read. Some of the surviving participants appear in recently filmed talking-head interviews, including Shimon Peres, himself (though he died in 2016, so this was his last interview). There was a notable lack of women in the but Palestinian activist and legislator Hanan Ashrawi still makes her presence felt (even if she was not a fan of the eventual accords, feeling that they gave too much away to Israel). The film is an excellent and powerful close examination of a painful process that led to the 1993 signing of the Oslo Accords. and subsequent Oslo II in 1995. Sadly and unfortunately the assassination of Yitzhak Rabin in 1995 derailed everything.
The most effective part of "The Oslo Diaries" is how it reveals the forces aligned against the peace process, particularly on the Israeli side, where Benjamin Netanyahu openly waited for more violence to erupt so he could swoop in as savior and take over. Whether or not he actively wished for Rabin's death or just didn't see how his followers' chants for that death created the vitriolic climate that led to it, Netanyahu was very much opposed to any land concessions to the Palestinians, and when he became Prime Minister, in 1996, with 50.4% of the vote, the peace process effectively died, as well.
A title card at the end of the movie informs the viewer that 16,000 people – Jews and Palestinians – have died since 1996, and the situation in the region today is far from good. The film shines a light on the choices of both sides, and is clearly in favor of Israel. The film leaves the viewer frustrated, but maybe it will give that same viewer hope that such a process can begin again.
This entry was posted in Film, Israel on July 27, 2018 by Amos.
"THE SIGN FOR LOVE"— Gay, Deaf and Israeli
"The Sign for Love"
Gay, Deaf and Israeli
From the time that Elad was small, he has felt guilty for being deaf, and has tried extra hard to be like everyone else. He became even more alienated after the tragic death of his mother and the breakdown of his family. He later started a family of his own, becoming a father through a shared parenting arrangement with his friend Yaeli, who is also deaf. They have many deaf friends. "The Sign For Love" is Elad's first-person account of the life he created for himself and it is his attempt to show viewers his version of family and parenthood.
In this documentary, co-director and subject Elad Cohen explores the meaning and experience of family. Growing up deaf and gay in a family of hearing people, Cohen never felt at home and always felt alone. That feeling of estrangement was exacerbated during his adolescence by the sudden death of his mother and the subsequent rift with his father as the family scattered in different directions. Cohen's creates a sense of family with a small group of friends, including his best friend, Yaeli, a deaf woman. While he wants a child and a life partner, he fears that he won't find the right man in the small deaf community in Israel. Sharing the desire with Yaeli to be parents, the new "couple" decides to have a child in a shared parenting arrangement.
Clips from Cohen's childhood, footage of family members and friends and his day-to-day life Make up the film. As new parents, they soon realize the naïveté in their expectations about bringing up a baby together. Their journey shows the challenges of parenting, the bias against deaf individuals and the intricacies of human relationships. Ultimately their newborn helps Cohen become a more complete person and allows him to mend his relationship with his own father.
"BEFORE STONEWALL: THE MAKING OF A GAY AND LESBIAN COMMUNITY"— Newly Restored for the 50th Anniversary of the Stonewall Riots
"ALICE SWEET ALICE"— A Horror Film
"Covenant & Conversation: Deuteronomy: Renewal of the Sinai Covenant" by Rabbi Jonathan Sacks— The Final Volume
"Feast Day of the Cannibals" by Norman Lock— The Sixth Book in the American Novels Series
"45 DAYS AWAY FROM YOU"— After the Breakup
"Visually Beautiful and Strangely Funny." Amos Lassen Says of BLOOD PARADISE | on "BLOOD PARADISE"— Finding Inspiration
jon on "How a Gay Boy Became a Straight Man: My Story" by David Robinson— Garbage
Amos on "ALWAYS SAY YES"— Sexuality and Desire
Rod on "ALWAYS SAY YES"— Sexuality and Desire
Chasse à l'homme, film Court-métrage 2010 - FURY on "MANHUNT" (Chasse a l'homme)— Domination
Boston Jewish Film Festival
Boston LGBT Film Festival
GLBT documentary
GLBT fiction
GLBT Film
GLBT memoir and/or biography
GLBT non-fiction
GLBT poetry
GLBT short stories
Jewish and Gay— Books
Jewish and Gay— Movies
LGBT at Sundance 2015
Amos at Facebook
Amos at Lambda Literary
Literary Pride at Facebook
Movie reviews on Facebook by Amos
Written Word reviews on facebook


text:
package com.saptarshidebnath.lib.processrunner.output;

import com.saptarshidebnath.lib.processrunner.configuration.Configuration;
import org.slf4j.Logger;
import org.slf4j.LoggerFactory;

/**
 * Factory class to create reference for {@link Output}. It uses the {@link OutputImpl} which
 * implementes {@link Output}.
 */
public class OutputFactory {
  private static final Logger logger = LoggerFactory.getLogger(OutputFactory.class);

  /**
   * Creates a object of type {@link Output}.
   *
   * @param configuration Accepts a valid {@link Configuration} reference.
   * @param returnCode Accepts the exit code of process / script executed.
   * @return a reference of type {@link Output}
   */
  public Output createOutput(final Configuration configuration, final int returnCode) {
    logger.debug(
        "Creating Output for configuration {} with return code {}", configuration, returnCode);
    return new OutputImpl(configuration, returnCode);
  }
}

redpajama_set_name: RedPajamaGithub


text:
Trump Coalition After Election Day
Posted on Sunday, Oct 16, 2016 5:29PM Friday, December 8, 2017 by Azra Raza
Ryan Lizza in The New Yorker:
The man behind this new message is Steve Bannon, who became the C.E.O. of the Trump campaign in August. Bannon is on leave from Breitbart, the right-wing news site where he served as executive chairman, and where he honed a view of international politics that Trump now parrots. Bannon, who is sixty-two, is new to right-wing rabble-rousing, compared to someone like Stone. Bannon was raised in a blue-collar Democratic family around Norfolk and Richmond, Virginia. He served in the Navy, went to the Harvard Business School, and became wealthy as a mergers-and-acquisition deal-maker for Goldman Sachs, in the nineteen-eighties. He made a fortune by buying a share of the royalties for "Seinfeld" back in 1993, and receives them to this day. Bannon met Andrew Breitbart, the founder of the news Web site, when Bannon was financing conservative documentaries in Los Angeles in the aughts. Breitbart, who previously worked with the Drudge Report, started Breitbart in 2005 as a conservative news aggregator, much like his former employer. In the fall of 2009, Bannon and Breitbart worked together on a business plan to launch a more ambitious version of the site, and Bannon joined its board in 2011, once the financing deal closed. When Andrew Breitbart died, in 2012, Bannon became executive chairman and took over the site. Back then Breitbart was a pugnacious but still recognizably conservative site, but, with Bannon in charge, its politics started to change.
Bannon embraced the growing populist movement in America, including the "alt-right," a new term for white nationalists, who care little about traditional conservative economic ideas and instead stress the need to preserve America's European heritage and keep out non-whites and non-Christians. Under Bannon, Breitbart promoted similar movements in Europe, including the United Kingdom Independence Party, the National Front in France, Alternative for Germany, and the Freedom Party in the Netherlands. Bannon likes to say that his goal is "to build a global, center-right, populist, anti-establishment news site." After the election is over, Breitbart, which has offices in London and Rome, plans to open up new bureaus in France and Germany.
Matt Taibbi on The Fury and Failure of Donald Trump
Why policy needs philosophers as much as it needs science
"I like to check in from time to time with 3 Quarks Daily."
—Michael Chabon, Pulitzer Prize-winning novelist. "One of the most celebrated writers of his generation," according to the Virginia Quarterly Review.


As part of the recently concluded Metro Manila Shake Drill, a simulation activity about the setting-up of an Incident Command Post was held at the City Hall grounds. The occasion also served as the culminating activity of the comprehensive disaster preparedness training course attended by the staff and officials of the city government. Also in attendance were representatives from national government offices and non-government organizations.
Mayor Mel Aguilar underscored the importance of this activity in preparing Las Piñas City to become disaster resilient. The City Disaster Risk Reduction Management spearheaded the activity with the support of Mayor Mel Aguilar, VM Louie Bustamante, and the City Council.


text:
Role of edge oxygen atoms on the adhesive interaction between carbon fiber and epoxy resin
Takayuki Semoto, Yuta Tsuji, Hiromasa Tanaka, Kazunari Yoshizawa
Fundamental Organic Chemistry
A mechanism of the adhesion between carbon fiber and epoxy resin is studied by using density functional theory (DFT) calculations. Surface structures of carbon fiber were modeled by the armchair-edge structure of graphite functionalized with OH and COOH groups. DFT calculations were performed to construct two realistic models of adhesion interface consisting of the functionalized carbon surface and a fragment of epoxy resin. Adhesive properties of the model interfaces were evaluated based on the binding energy (E b) between the carbon surface and the resin as well as the maximum adhesive force (Fmax) acting at the interface. Calculated values of Eb are 13.8 kcal/mol for the OH-functionalized surface and 19.1 kcal/mol for the COOH-functionalized surface. The binding energy per hydrogen bond is calculated to be 6.9 kcal/mol (OH model; two H-bonds) and 6.3 kcal/mol (COOH model; three H-bonds), both of which are virtually similar and reasonable for the bond energy of a typical OH···O hydrogen bond. Analysis of adhesive force-displacement curves derived from energy-displacement plots revealed that Fmax is 0.52 nN for the OH model and 0.70 nN for the COOH model. Calculated adhesive properties are in good agreement with those previously reported for the interface between an aluminum oxide surface and an epoxy resin [J. Phys. Chem. C 2011, 115, 11701], strongly suggesting that hydrogen bonds between the oxygen-containing functional groups play a crucial role in the adhesive interaction in the carbon fiber/epoxy resin system.
Journal of Physical Chemistry C
https://doi.org/10.1021/jp407835d
carbon fibers
oxygen atoms
Hydrogen bonds
Binding energy
Density functional theory
Energy(all)
Semoto, T., Tsuji, Y., Tanaka, H., & Yoshizawa, K. (2013). Role of edge oxygen atoms on the adhesive interaction between carbon fiber and epoxy resin. Journal of Physical Chemistry C, 117(47), 24830-24835. https://doi.org/10.1021/jp407835d
Role of edge oxygen atoms on the adhesive interaction between carbon fiber and epoxy resin. / Semoto, Takayuki; Tsuji, Yuta; Tanaka, Hiromasa; Yoshizawa, Kazunari.
In: Journal of Physical Chemistry C, Vol. 117, No. 47, 27.11.2013, p. 24830-24835.
Semoto, T, Tsuji, Y, Tanaka, H & Yoshizawa, K 2013, 'Role of edge oxygen atoms on the adhesive interaction between carbon fiber and epoxy resin', Journal of Physical Chemistry C, vol. 117, no. 47, pp. 24830-24835. https://doi.org/10.1021/jp407835d
Semoto T, Tsuji Y, Tanaka H, Yoshizawa K. Role of edge oxygen atoms on the adhesive interaction between carbon fiber and epoxy resin. Journal of Physical Chemistry C. 2013 Nov 27;117(47):24830-24835. https://doi.org/10.1021/jp407835d
Semoto, Takayuki ; Tsuji, Yuta ; Tanaka, Hiromasa ; Yoshizawa, Kazunari. / Role of edge oxygen atoms on the adhesive interaction between carbon fiber and epoxy resin. In: Journal of Physical Chemistry C. 2013 ; Vol. 117, No. 47. pp. 24830-24835.
@article{aa08c34d041b4aee9cdb43effc9334b6,
title = "Role of edge oxygen atoms on the adhesive interaction between carbon fiber and epoxy resin",
abstract = "A mechanism of the adhesion between carbon fiber and epoxy resin is studied by using density functional theory (DFT) calculations. Surface structures of carbon fiber were modeled by the armchair-edge structure of graphite functionalized with OH and COOH groups. DFT calculations were performed to construct two realistic models of adhesion interface consisting of the functionalized carbon surface and a fragment of epoxy resin. Adhesive properties of the model interfaces were evaluated based on the binding energy (E b) between the carbon surface and the resin as well as the maximum adhesive force (Fmax) acting at the interface. Calculated values of Eb are 13.8 kcal/mol for the OH-functionalized surface and 19.1 kcal/mol for the COOH-functionalized surface. The binding energy per hydrogen bond is calculated to be 6.9 kcal/mol (OH model; two H-bonds) and 6.3 kcal/mol (COOH model; three H-bonds), both of which are virtually similar and reasonable for the bond energy of a typical OH···O hydrogen bond. Analysis of adhesive force-displacement curves derived from energy-displacement plots revealed that Fmax is 0.52 nN for the OH model and 0.70 nN for the COOH model. Calculated adhesive properties are in good agreement with those previously reported for the interface between an aluminum oxide surface and an epoxy resin [J. Phys. Chem. C 2011, 115, 11701], strongly suggesting that hydrogen bonds between the oxygen-containing functional groups play a crucial role in the adhesive interaction in the carbon fiber/epoxy resin system.",
author = "Takayuki Semoto and Yuta Tsuji and Hiromasa Tanaka and Kazunari Yoshizawa",
doi = "10.1021/jp407835d",
journal = "Journal of Physical Chemistry C",
T1 - Role of edge oxygen atoms on the adhesive interaction between carbon fiber and epoxy resin
AU - Semoto, Takayuki
AU - Tsuji, Yuta
AU - Tanaka, Hiromasa
AU - Yoshizawa, Kazunari
N2 - A mechanism of the adhesion between carbon fiber and epoxy resin is studied by using density functional theory (DFT) calculations. Surface structures of carbon fiber were modeled by the armchair-edge structure of graphite functionalized with OH and COOH groups. DFT calculations were performed to construct two realistic models of adhesion interface consisting of the functionalized carbon surface and a fragment of epoxy resin. Adhesive properties of the model interfaces were evaluated based on the binding energy (E b) between the carbon surface and the resin as well as the maximum adhesive force (Fmax) acting at the interface. Calculated values of Eb are 13.8 kcal/mol for the OH-functionalized surface and 19.1 kcal/mol for the COOH-functionalized surface. The binding energy per hydrogen bond is calculated to be 6.9 kcal/mol (OH model; two H-bonds) and 6.3 kcal/mol (COOH model; three H-bonds), both of which are virtually similar and reasonable for the bond energy of a typical OH···O hydrogen bond. Analysis of adhesive force-displacement curves derived from energy-displacement plots revealed that Fmax is 0.52 nN for the OH model and 0.70 nN for the COOH model. Calculated adhesive properties are in good agreement with those previously reported for the interface between an aluminum oxide surface and an epoxy resin [J. Phys. Chem. C 2011, 115, 11701], strongly suggesting that hydrogen bonds between the oxygen-containing functional groups play a crucial role in the adhesive interaction in the carbon fiber/epoxy resin system.
AB - A mechanism of the adhesion between carbon fiber and epoxy resin is studied by using density functional theory (DFT) calculations. Surface structures of carbon fiber were modeled by the armchair-edge structure of graphite functionalized with OH and COOH groups. DFT calculations were performed to construct two realistic models of adhesion interface consisting of the functionalized carbon surface and a fragment of epoxy resin. Adhesive properties of the model interfaces were evaluated based on the binding energy (E b) between the carbon surface and the resin as well as the maximum adhesive force (Fmax) acting at the interface. Calculated values of Eb are 13.8 kcal/mol for the OH-functionalized surface and 19.1 kcal/mol for the COOH-functionalized surface. The binding energy per hydrogen bond is calculated to be 6.9 kcal/mol (OH model; two H-bonds) and 6.3 kcal/mol (COOH model; three H-bonds), both of which are virtually similar and reasonable for the bond energy of a typical OH···O hydrogen bond. Analysis of adhesive force-displacement curves derived from energy-displacement plots revealed that Fmax is 0.52 nN for the OH model and 0.70 nN for the COOH model. Calculated adhesive properties are in good agreement with those previously reported for the interface between an aluminum oxide surface and an epoxy resin [J. Phys. Chem. C 2011, 115, 11701], strongly suggesting that hydrogen bonds between the oxygen-containing functional groups play a crucial role in the adhesive interaction in the carbon fiber/epoxy resin system.
U2 - 10.1021/jp407835d
DO - 10.1021/jp407835d
JO - Journal of Physical Chemistry C
JF - Journal of Physical Chemistry C
10.1021/jp407835d


Your search to find apartments in Gilbert has led you to the right place. Explore our studio, one, two, and three bedroom apartment homes. See how making The Sterling your home is a priceless decision at a price you can afford.


text:
Thursday | 23 Apr 2015
Drivers warn of rough ride in Argentina
Leading World Rally Championship drivers have warned that some stages of XION Rally Argentina (23 - 26 April) will push their cars to breaking point.
The gravel rally is known to be one of the toughest of the season, but this year the challenge has been made more intense by heavy rains and flooding that devastated the region in February.
In many places the event's characteristic sandy road surface has been washed away to reveal sharp stones and rocks, while other sections have been badly damaged. Earlier this week organisers cut 14km from Saturday's test from San Marcos to Characato because thick mud left it impassable.
"It's as bad as I've seen in a long time." DS 3 driver Kris Meeke told wrc.com. "Now that we don't have Greece in the championship this is by far the roughest rally we have. It is exceptional in some places."
"They've tried to repair the roads as much as they can but it's still very difficult. There is bedrock, huge rocks and the road has washed away right and left, creating holes and dips."
Volkswagen's Jari-Matti Latvala singled out Friday's opening stage, the 51.99km Agua de Oro - Ascochinga, as the worst of the lot. "The first 23km are very rough - that's going to be the big challenge," he said. "It's quite technical, so the speed won't be high, but you'll have to use your head. Saturday's San Marcos - Characato also has some nasty holes and water crossings I expect to cause problems."
"It is getting rougher and rougher every year," added Hyundai i20 driver Thierry Neuville. "It's a very demanding rally for the car. This year there are more than 30 water splashes - more than double the number last year. El Condor is very bumpy indeed, they've had to repair the roads but they are still in quite a poor state. That's going to be a big, big challenge for the final stage."
LIVE STAGES XION RALLY ARGENTINA
Kubica pulls out of Argentina
Polish star withdraws Rally Argentina entry
Ogier and Meeke tied in Argentina shakedown
Volkswagen and Citroën top the timesheets in warm-up


Gambling online is sure fun and (can be) even financially rewarding. There is no greater pleasure than winning another spin and feeling the rush. Nonetheless, before starting depositing online and putting your trust in some site's policies and support, there are a few things worth checking; by doing so, you can guarantee yourself not only a fun experience while gambling but also afterwards, knowing your money is deposited in a fine place and the support system will always be there for you if and when needed. After all, you want to choose an online casino that is fun AND safe. So, what should you be considering when looking for such an online casino?
One of the main tips to choosing a safe online casino is to pick one that is highly reputable. You want your online casino to be known for its good games, happy customers, no shady history of money disappearing or not being paid when needed and so on. How many gamblers are subscribed to this online casino? How long is it in the air? Does it have reviews for being considered as one of the trusted online casinos or are there rumors that customers did not receive what they deserve? Check closely whether this casino contains main parameters to be considered as reputable.
When it comes to money, what makes online casinos really trusted? Besides their reviews and customers' opinions: programs. Check out if and how your spins are being recorded, what is the "fair game" policy and whether you are able to access the details of your incomes and outcomes in this casino. Some online casinos even put your pocket in such a high priority they supply you different tools to choose in advance how much money you are willing to spend, and to restrict your own gambling if you feel you cross some lines. Ask yourself, before opting your casino, does this place really care for my fun and for my security? Remember, you want to choose an online casino that is safe and fun.
Two things need to be taken into consideration regarding encryption: the first is the companies involved in the creation process of this site, and the second is the type of encryptions used. If you see SSL, for example, you know you are on the safe side. Microgaming, PlayTech, and NetEnt are well known developers. It would be efficient to make a quick check on the developers and making sure they are credible. When talking about the banking methods, however, it is essential to check several things: do you find it easy to deposit and withdraw your money? Are multiple credit cards accepted at this casino? (And specifically yours?). Can you access conveniently to the banking methods explanations, and are they clear and coherent? Ask yourself how much confidence this casino gives you when you consider confiding it with your cash.
Maybe the most important parts of them all. Out of all the tips to choose safe online casino, you certainly wish to make sure these two areas are well covered. It is usually easy to find the licensing of the trusted online casinos, since they are placed in a comfortable location and easy to access and examine. Once the license is found, it is good to check which govern/regulator has approved this casino. This way you will be able to supply yourself a calm and joyful atmosphere of worries-free gaming and gambling.
Now, when dealing with the customer support, it is helpful to do your homework before, and not after you are really a part of the deal. Pick up the phone and call to ask a few questions. If the site is as good as it should be, this whole process should not take much of your time and is surely not meant to be nerves-racking. The support system is expected to answer you quite rapidly and be understanding towards your concerns and questions. You can use your gaming experience to ask a few questions, or open an account and find a fictitious problem to ask the casino's help for. One way or another, this is a nice method to make sure you are facing some trusted online casinos.
Last but not least, do not forget the experience! Although we are focusing here on the safe side of the casinos, always put in mind you eventually want to have a good time. Remember to scroll down on the games' lists, both online and mobile, check out the Flash versions options and be sure to like the games suggested and the experienced supplied. Although opting the optimal casinos which put in high priority every pre-condition essential for your safety, your gambling satisfaction is just as important. Flash games are a great way to check it out, since usually you are not required to register as long as you don't deposit. If the site has already benefited from a fine variety of gamblers during the time it is on air, gamblers' opinions may already be available for you. Just remember, you want to make a decision benefiting you with online casino that is both safe and fun. Enjoy!


text:
Assignment of Program Code "C5" to Track Contributions of Funds that have been Credited to the Afghanistan Security Forces Funds (ASFF), DSCA Policy 11-52, [SAMM E-Change 190]
Program Code "C5" is assigned to track contributions of funds from any person, foreign government or international organization that have been credited to the Afghanistan Security Forces Funds (ASFF) as authorized by the Supplemental Appropriations Act, 2010 (P.L. 111-212). Contributions credited to ASFF pursuant to the authority of this act remain available until expended. As a matter of policy, ASFF (C5) cases are to be fully expended and closed no later than July 31st of the 5th year after case Implementation.
Table C4.T2, Country and International Organization Codes and FMS Eligibility, in the automated version of the SAMM found on the DSCA Web Page, is updated as follows:
Afghanistan Security Forces Fund (ASFF) Contributions C5 CE NR AECA Only N/A
The year that contributions are received and credited to ASFF will be treated as the year of Appropriation for non-expiring funds; this data will be provided in the Memorandum of Request (MOR) and reflected in the fund source. Instructions and notes for preparation of C5 LOAs are attached to this memorandum. The following ASFF C5 Program information is provided:
ASFF C5 P.L. 111-212 Provide assistance to the Afghanistan National Security Forces 21 X 2091 FY__ (insert year of contribution) Various N/A N/A
Instructions and Notes for Preparing ASFF (C5) LOAs
Any sole source purchases must be justified and approved in accordance with statutory authority using procedures applicable to United States Government appropriated-funded purchases. Contracts may not rely on Title 10 United States Code (U.S.C.) Section 2304 (c) (4), implemented by the Federal Acquisition Regulation (FAR) 6.302-4(a)(2), International Agreement (directed source), as authority to award using other than full and open competition.
Nickname Field. Enter "ASFF/CTRB, P.L. 111-212."
Authority Field. Select "ASFFCont." The program Authority will be printed on the LOA following the Terms of Sale.
Authority Fiscal Year. Select the fiscal year in which funds were contributed. This field only appears in DSAMS.
S1 Description Field. Enter the Afghanistan benefitting organization code followed by a dash, and then a short description of the articles and services being provided. This field allows no more than 45 characters.
Notes for ASFF (C5) LOAs
Case Closure - ASFF Contributions
Mandatory for all C5 LOAs
"Closure activities will begin once all lines are supply service complete. Case closure will be completed not later than July 31, [Implementation FY+5]."
Fund Source, Availability and Amount - ASFF Contributions
The funds are subject to all the requirements and restrictions under the heading of P.L. 111-212. Funds not obligated within three years of LOA implementation may be returned to the Funding Authority.
The funds carry the same time, purpose, and availability restrictions associated with fund source 21 X 2091 FY__ [insert year of contribution].
All funds must be expended on or before July 31, [Implementation FY+5]"
Mandatory for all ASFF LOAs-


text:
This is to bring to your notice the application window for the PhD Scholarship Awards For Ghanaians at McGill University, Canada 2023-24
Listed below are the key points to be noted about PhD Scholarship Awards For Ghanaians at McGill University, Canada 2023-24:
They take engineering courses at McGill University.
All Master and PhD applicants are eligible
The Ghana Scholarship Secretariat – McGill Scholarships are being offered by McGill University in collaboration with the Ghana Scholarship Secretariat to enable Ghanaian nationals to pursue higher education in Canada. The academic year 2023–2024 is eligible for the scholarship.
See also: WRT Scholarships at the University of British Columbia, Canada 2023-24
Ghanaian nationals will be able to attend McGill University in Canada to complete their master's or PhD programs because to this scholarship. The scholarship will be given with the intention of educating students at McGill who would then use their knowledge and expertise to enhance Ghana's socioeconomic situation after graduating. This scholarship award, which covers tuition costs, a stipend, travel expenses, and more, is open to students who have been accepted into the applied program.
PhD Scholarship Awards For Ghanaians at McGill University, Canada 2023-24 is a scheme that looks to reward high-achieving internationals, and it is only available for the course below:
Quebec-based tuition rates for McGill students
Unrelated costs
a monthly living allowance
Plan for health and life insurance
Price of round-trip airfare
Additional $5,000 per year
PhD Scholarship Awards For Ghanaians at McGill University, Canada 2023-24 is primarily for Master and PhD students.
All applicants must meet the following criteria to be considered for the PhD Scholarship Awards For Ghanaians at McGill University, Canada 2023-24:
The candidates must be Ghanaian nationals.
The applicants must submit an application and obtain a McGill Offer of Admission for a PhD or Masters Thesis program in one of the recognized fields of study..
The students should submit an online application for admission to McGill University. On this page, you can submit your application for the scholarship.
Sample of writing
Admission Requirements: The candidates must have a 3.0 GPA and a Bachelor's degree (or an equivalent degree recognized by McGill University) in a field closely relevant to the graduate field they are applying for.
Language prerequisite: The following English language proficiency exams' results must be submitted by the students:
Please click the PhD Scholarship Awards For Ghanaians at McGill University, Canada 2023-24 to begin your application.
PhD Scholarship Awards For Ghanaians at McGill University, Canada 2023-24 ?
It is a Master and PhD position for only high-achieving applicants of the scholarship at McGill University.


This is a stunning set of rosary beads, quite delicate and very feminine. Made from glass pearls in a 'rose white' colour, the Hail Mary beads, even though glass pearls, have a beautiful lustre. But the black pater beads are the real star of the show, with striking silver-toned bead caps making them stan out even more. The centrepiece is Miraculous, and the crucifix is base silver-plated base metal. These can be changed and upgraded to sterling silver, and changing the centrepiece means that you can change it to celebrate special sacraments such as a first holy communion or a confirmation. Due to the colour of this set of rosary beads, it would certainly make a beautiful gift for a little girls first holy communion, or even a special gift for your grandmother, due to the 'olde worlde' charm they have. These beautiful rosary beads can also be personalised with sterling silver alphabet beads, creating the perfect keepsake rosary beads. Please note that the rosary beads do not include personalisation. If you wish to personalise them, please use that option during checkout 6mm 'rose white' Hail Mary beads 6mm black pater beads with silver-tone bead caps 5 decade base metal crucifix Miraculous centrepiece Able to be upgraded to sterling silver Can be personalised with sterling silver alphabet beads Presented in a plastic display box, or a presentation gift box if it is personalised.