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A sea of book
Summer is for holidays, relax and reading. With today's post let us introduce Giunti al Punto bookshop in Vicenza to you. We did our research and chose six books, from six different authors, among the various ones we found on the shelves. Take a look at the gallery for an insight to what happened: are you ready to take notes and start our journey?
Colorless Tsukuru Tazaki and His Years of Pilgrimage, by Murakami Haruki, Einaudi
Murakami's latest novel reflects on themes such as happiness, friendship, and desire. And on the importance of realizing that we start living for real only when we start dying a little.
The Long View, by Elizabeth Jane Howard, Fazi Editore
This novel by the acclaimed British novelist is not just a love story, nor the romantic dream of a middle-aged woman who suddenly finds herself alone; it is, in all honesty, the story of a couple. Harsh and true like a whole life can be. But, above all, it's the story of a woman, beautiful and restless, brave and lost, who isn't afraid to disclose the controversies of her private life without shame.
Stoner, by John Williams, Fazi Editore
First published in 1965, and later in 2006, this novel is a classic of the American literature of the 20th century. Stoner is set in the years between 1910 and 1950 and it's about the life of a man: William Stoner, son of farmers, who breaks free from his back-breaking destiny of a farm worker in the fields, follows his passion for literary studies, and becomes an university professor. He gets married, has a daughter, faces a series of professional and romantic vicissitudes, becomes ill, and eventually dies. He is an everyday hero who gathers from the small things in his life the sense of work, love, and passion that give shape to his existence.
Las Vegans – La rivoluzione in cucina, by Paola Maugeri, Mondadori
Paola Maugeri is one of the prominent figures of Italian television journalism (Italia Uno and La7 amongst others), as well as an historical MTV VJ, and she goes by the nickname Wikipaola because of her vast musical knowledge. This cookbook aims at proving that not only is eating vegan healthy, cruelty-free and respectful of the environment; it can also be tasty. This book is a collection of her favourite vegan meals and you can choose from starters, first courses, second coursers, and desserts, each of them accompanied by a song. It's no coincidence that her other great passion is music.
The Desire to Be Like Everyone Else, by Francesco Piccolo, Einaudi
Everyone has, at a certain point in their lives – more or less knowingly -, felt a part of the whole. This is an intuitive experience in which news coming from the outside, from the newspapers and the TV, gather inside of us and mix with our own being. The emotion that comes from this revelation, from finding out that we belong to something that transcends us, is the leitmotiv of Francesco Piccolo's novel. This discovery, as usual, hides dark and tragic aspects, since being part of something or being excluded from something is never painless and can leave deep marks behind.
This novel won Premio Strega in 2014.
Hollow City: The Second Novel of Miss Peregrine's Peculiar Children, by Ransom Riggs, Rizzoli
Who is Jacob Portman? Just a regular boy who happens to live an adventure bigger than himself - or the chosen one, a special being with amazing powers, who is great at investigating in the background and hunting scary monsters? Nobody knows. What is certain is that it's been a while since the mysterious death of his granddad drove him to investigate his past on the island of Cairnholm, Wales. It's in Cairnholm that he meets the bizarre and charming clique of the Peculiar Children: creatures with curious and unique powers, survivors of a mythical descent who, to avoid the persecutions of the Normal World, have to rely on Miss Peregrine, a bird-woman that can manipulate time. But now Miss Peregrine is wounded and and she can't go back to her human shape, so the Peculiar Children and Jacob are alone to fight those who threaten them, and will have to leave the Eternal Present to venture into the real world.
We would like to thank Giunti al Punto bookshop in Vicenza for hosting us, and our photographer Luciano Doria for accompanying our adventures with his passion.
Linguine with Red Mullet ragout
CARLO ZANUSO, SUMMER WITH POMAND
You Khanga
Perhaps there is no woman who loves flat shoes more than us : elegants, cheeky, so chic that suite all of our favorite article of clothing. From real " addicted" to these shoes, we could not be unaware of a...
Production Q: an interview
Let's begin with the series' title, " The Invisible Gap": which are the gaps that we face in our everyday life without seeing them because they're invisible? There's always a distance between people and thatdistance is not measured by a ruler,...


Meaning and definitions of shower, translation in Gujarati language for shower with similar and opposite words. Also find spoken pronunciation of shower in Gujarati and in English language.
What shower means in Gujarati, shower meaning in Gujarati, shower definition, examples and pronunciation of shower in Gujarati language.


I love instant noodles and yes i know its not good for health, but there are certain things in life which we just can't resist anyway. Some people cant overcome the urge to shop (shopaholic), to stores thing (hoarders), to eat or drink (binge eaters and drinkers) etc., For me, i cant resist instant noodle, ice cream, pork, moist chocolate cakes/fudge and the list go on, blame it on my sweet tooth. Well, as long the urge doesnt consume or cripple your life, i dont think its a big issue anyway.
Come back to instant noodle, there are so many flavors and variety of instant noodles nowadays, its easy to prepare, yummy and filling, who can resist a 3 minutes satisfying meal? Mind you, Instant noodle may not necessarally spell for cheap, I still remember there was one time when i ordered this soup noodle called 出前一丁 in a Hong Kong restaurant which cost like RM10++, and only realized later that the noodle was the instant mee noodle. At first i couldnt understand why is it named in such an alien way which confuse people, but if you think logically, 出前一丁means you just 'ding' before you left. I assume that the 'ding' refer to the usual microwave 'ding' sound, which implies fast and simple.
In my recent trip to Vietnam, one of the 'souveniers' i bought for myself are PHO INSTANT NOODLES!! It cost 3000 dong (which is around RM0.75) per pack, and i am amazed with the fact that there are so many different brands and varieties available in the mini mart.
Pho Bo typically means Beef noodles, and Pho Ga means chicken noodles. The dried rice noodles are thinner than the regular PHO rice noodle and i think thats why you can cook/microwave/boil the noodles in 3 minutes. Then they have this usual oil and MSG Pack which contains the granules and dehydrated vegetables, meats and FAT bits (no joking it was stated at the packing). The soup was thick and tasty (a bity oily though), and its taste like cheap vietnamese pho. of course real PHO with freshly prepared broth and nice thin beef slices is the best, but for RM0.75, Not bad at all.
Located beside the Ho Kiem Lake at Hai Ba Trung Street, Alfresco is the perfect Western restaurant to go to in Hanoi if you are over saturated with Vietnamese food and hunger for some good carnivorous meal. It is the home to all western favorites from Pasta, pizza, mexican to burgers, and the self proclaimed 'best ribs in Vietnam'.
The environment inside is cozy and comfortable, with dim lights and warm tranquility. Big colorful menus hanging on the wall, bottles of 'today's special' wine seating on the bar, for westerern tourists , this is very much homey to them. However, for Malaysian like me, this smells of expensive dining and big dollars.
Me and my mates have ordered shop famous Junior Pork Ribs, Alfresco Special very thin crust pizza and apple crumbles. The Pork Ribs here are to die for, so succulent and delicious, even Toni Romas in Singapore cannot beat them. The dish come together with fresh salad roasted potatoes. They also have mini and Jumbo size to cater for the big eaters.
The pizza did not fail us either. The thin crusty pizza was fantastic, its as though you are biting a crunchy tin biscuit rather than the usual Pizza hut thick pizza bread, the topping are consist of Ham, pepperoni, chilli beef, bell peppers, onion, pineapple, mozzarella cheese. Its very fresh and with hot Tabasco oil (its like the chilli oil but not so pepperish, i was tempted to ask whether i can buy one bottle from Alfresco), its tasted perfectly.
Hanoi is indeed a pearl of heritage and culture. Although nowadays it is flooded by sea of foreign tourists (am in no position of complaining as I'm one of them as well), but the deep rooted culture and boundless spirit of the locals is still very much intact and preserved. This has been best portrayed through their culinary and local cuisine.
The local vietnamese cuisine is very much simple (fast to prepare) but absolutely delicious. On top of that, you have the privilege to share the table with the local vietnamese as well as the fellow tourists, very much like in the busy dim sum restaurant in Hongkong. The only thing is that the table and chair are much shorter. And its kinda funny to see the foreigners which is like 5 feet tall sitting on the short chair, its like the giant sitting on the midget chair.
Despite of all the stories of diarrhea threat, I have finally tried the famous hanoi street's PHO at Cham ca street (mind you this is not the KLCC Vietnam Restaurant's Pho which cost a bomb), of course with charcoal tablet ready in my bag. It's a rice noodle which taste heavenly with the clear but tasty soup. For 18,000 dong (around RM4), I've tried tai chin, which means a mixed of half cooked and thoroughly cooked beef slices. I cant describe the different of the pho with Malaysian's rice noodles soup but it just different. The beef was soft and tender, and if you have good toleration towards raw meat, half cooked is always a better choice. Well, not to say we didn't eat raw food like sashimi and sushi in Malaysia.
Bun cha is another great local dish, it's a dish consist of barbeque pork cutlet, char siew, fresh salad (mint leaves, salad leaves, coriander and some other herbs), rice noodle and a funny tasted soup (sweet and sour) which has pieces of vegetable (carrot, cucumber in it. The way to eat the dish is to mix everything in one small bowl and eat together in a mouthful. The pork comes with some fat and burned choacoal taste, exactly how i wanted it to be. yummy! Apart from that, i've also ordered 1 roll of nem (by showing '1' finger), which i have no idea why they have served me a plateful of at least 3 rolls of nem.
If you ask anyone what they know about vietnam cuisine, Nem is definitely in their list. Nem is like the veitnamese version of popiah, with pork, glass noodles and some vege in it. They have two types which is the grilled and non-grilled type. Well, unhealthy oily grilled food always tasted better, arent you agree?
More vieliscious food to come!


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Ultratravel
Inside the world's best art hotels, from celebrity favourites to a national gallery
One of the rooms at the newly opened Puro Vik in Chile
Claire Wrathall, Travel writer
5 June 2019 • 6:00am
Claire Wrathall
Luxury art
Wise to the fact that fine art appeals to ultra-high-net-worth guests, many of whom are probably collectors, hotel owners are investing in some truly exceptional pieces.
The art-all-over hotel
In Paris, guests at the Hôtel de Crillon will see art everywhere they look. Its collection of 1,000-odd works by living artists are not just prominently displayed in the hotel's public areas, but also decorate bedrooms and suites.
Most of the artists such as Jules de Balincourt and Antoine Poncet are French, but there are also high-profile Brits on show including Mat Collishaw, Kate MccGwire and Gavin Turk. The collection was purposely acquired by the Saudi prince who owns the hotel, prior to its reopening in 2017.
The Park Hyatt Chicago
Or take the contributions of the Pritzker family, owners of the Hyatt Hotels Corporation. Back in 1998, "When we were building the [Park Hyatt Chicago]," Thomas J Pritzker told an interviewer, "my cousin Nick said, 'Let's go all in and get a great piece of art'."
They spent $2.2 million on a Gerhard Richter, which 16 years later they sold for $37.1m. Guests loved it. Journalists wrote about it. "It worked out really well," said Pritzker.
The Sigmar Polke that hangs in its place used to be in the lobby of its New York flagship, where it's been replaced by Leo Villareal's compelling Star 2008.
It's prime Instagram fodder (Gwyneth Paltrow posted a video of herself in front of it when she stayed there in March), while upstairs you'll find works by the likes of Darren Almond, Rob Fischer, Ellsworth Kelly and Sol LeWitt.
The art collector showcase
A spider sculpture by Louise Bourgeois at Villa La Coste in France
Established art aficionados are now investing in and even opening hotels to showcase their collections. Greek lawyer Dimitris Tsitouras did not set out to be a hotelier; he had bought a handful of houses on the island of Santorini to house his assemblage of artworks, including a Picasso and various Greek antiquities.
A chance meeting with Gianni Versace led to the designer suggesting that he should turn his antique-filled 18th-century houses into a hotel - and so The Tsitouras Collection was born.
In Chile's wine country, activist investor Alexander Vik and his wife Carrie have used the creation of newly opened Puro Vik, their sixth art-filled Vik Retreat, as an excuse to invest in an eclectic range of works for the retreat's seven glass bungalows.
These range from prints by the 19th-century Japanese artist Utagawa Hiroshige to paintings by Richard Brown Lethem and Luciano Castelli, prints by Roy Lichtenstein, a glass sculpture by Dale Chihuly and six lenticular holographic works by Dominique Mulhem.
In combining its owners' passions - fine wine, fine art and stellar architecture - it calls to mind Château La Coste near Aix-en-Provence in the South of France.
This wine estate owned by businessman and property investor Paddy McKillen is home to an outstanding collection of contemporary sculpture, including works by Ai Weiwei, Louise Bourgeois, Alexander Calder, Tracey Emin and Hiroshi Sugimoto, as well as a delightful art-filled 28-suite hotel, Villa La Coste.
The hotel owners with galleries
Child Portrait (Annie), by Lucian Freud at The Fife Arms
The Fife Arms may be located just off the A93 in Scotland's Cairngorms National Park, but, yes, that is a Picasso in the lounge, a Lucian Freud near reception and a Gerhard Richter and a Brueghel in the dining room... All of these, plus 14,000 other works, objets and antiques are spread throughout the hotel, which belongs to Iwan and Manuela Wirth, co-founders of the international art gallery Hauser & Wirth.
There's even a watercolour Queen Victoria painted of her ghillie John Brown, hung in a bedroom.
The beach at Tulum, Mexico, is another unlikely place to encounter blue-chip art, but Casa Malca is another stellar repository, with a Kaws in the lounge, a Keith Haring lobby bar and works by George Condo and Vik Muniz in the guestrooms.
They are all owned, like the hotel, by Lio Malca, proprietor of the New York gallery that bears his name.
The galleries with hotels
A sculpture at The Silo in Cape Town
The Official State Hermitage Hotel, St Petersburg, partners Russia's great museum. Guests can stay among fabulous objets in rooms, where the neoclassical décor echoes the interiors of the Winter Palace. It's just a shame that the hotel is not nearer the Hermitage Museum, which is a two-mile walk away.
In Cape Town, the upper six floors of the former grainstore that Thomas Heatherwick configured as the Zeitz Museum of Contemporary Art Africa have been transformed into The Silo hotel.
The abundant African art within it includes works by artists including Frances Goodman, Cyrus Kabiru and Mohau Modisakeng and is curated by its owner, Liz Biden, rather than the museum.
The hotel as national art gallery
A painting by Sean Scully at Dublin's Merrion Hotel
The Merrion Hotel in Dublin has a collection of Irish paintings to rival many of those in the nearby National Gallery of Ireland - by artists ranging from Sir John Lavery to a hyperrealist street scene by John Doherty, by way of Louis Le Brocquy, William Leech, Daniel Maclise, Roderic O'Connor, William Scott, Sean Scully and Jack B Yeats.
It's a display of such quality that guests should set time aside to explore it during their stay, accompanied by a fascinating audio guide.
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redpajama_set_name: RedPajamaCommonCrawl


Coarsely chop the dates in a food processor. Transfer to a 32-ounce jar. Add the brandy, pistachios and ginger. Seal, and then shake until well combined. Store the mixture in a cool, dry place away from direct sunlight for 3 days, shaking once a day. Preheat the oven to 300 degrees F. Spray an 8- by 3-inch round springform pan with cooking spray and line the bottom and sides with wax paper. Have the wax paper go a little taller than the sides of the pan.
In a small bowl, sift together the flour, cardamom and coriander (if using), and reserve. In a stand mixer, or using a hand mixer, beat the butter and sugar together until light and fluffy. Gradually whisk in the eggs, one at a time, beating in between additions, until combined. Add the molasses, vanilla extract, salt and brandied fruit mixture, and gently beat until well combined. Add the sifted flour mixture, a little at a time. When it is all mixed in, beat at high speed for about 10 seconds. Pour into the prepared springform pan.
Place a metal brownie pan on the floor of your oven. Fill with water; this will keep your cake moist. Pop the cake into the middle of your oven, and cook for 3 to 3 1/4 hours, turning once halfway through. You'll know the cake is cooked when a skewer pushed into the center of the cake, all the way to the bottom, comes out clean.
Remove from the oven, and allow to rest in the pan on a cooling rack. Once completely cool, remove the cake from the pan, but keep covered in the wax paper to keep moist.
To serve: Make a snowflake out of a piece of paper like you did in primary school (you can also use a doily for this). Place it gently on top of the cake. Spoon a little powdered sugar in a strainer and dust the surface of the cake. Remove the paper to reveal a powdered sugar snowflake. You can serve with a dollop of whipped cream and minced pistachios too if you like.
Cake is best 3 days after baking.


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Q: Problem with Principal Component Analysis I'm not sure this is the right place but here I go:
I have a database of 300 picture in high-resolution. I want to compute the PCA on this database and so far here is what I do: - reshape every image as a single column vector - create a matrix of all my data (500x300) - compute the average column and substract it to my matrix, this gives me X - compute the correlation C = X'X (300x300) - find the eigenvectors V and Eigen Values D of C. - the PCA matrix is given by XV*D^-1/2, where each column is a Principal Component
This is great and gives me correct component.
Now what I'm doing is doing the same PCA on the same database, except that the images have a lower resolution.

Here are my results, low-res on the left and high-res on the right. Has you can see most of them are similar but SOME images are not the same (the ones I circled)
Is there any way to explain this? I need for my algorithm to have the same images, but one set in high-res and the other one in low-res, how can I make this happen?
thanks

A: It is very possible that the filter you used could have done a thing or two to some of the components. After all, lower resolution images don't contain higher frequencies that, too, contribute to which components you're going to get. If component weights (lambdas) at those images are small, there's also a good possibility of errors.
I'm guessing your component images are sorted by weight. If they are, I would try to use a different pre-downsampling filter and see if it gives different results (essentially obtain lower resolution images by different means). It is possible that the components that come out differently have lots of frequency content in the transition band of that filter. It looks like images circled with red are nearly perfect inversions of each other. Filters can cause such things.
If your images are not sorted by weight, I wouldn't be surprised if the ones you circled have very little weight and that could simply be a computational precision error or something of that sort. In any case, we would probably need a little more information about how you downsample, how you sort the images before displaying them. Also, I wouldn't expect all images to be extremely similar because you're essentially getting rid of quite a few frequency components. I'm pretty sure it wouldn't have anything to do with the fact that you're stretching out images into vectors to compute PCA, but try to stretch them out in a different direction (take columns instead of rows or vice versa) and try that. If it changes the result, then perhaps you might want to try to perform PCA somewhat differently, not sure how.

redpajama_set_name: RedPajamaStackExchange


Around the outdoors, it might appear there are no major variations between cable assemblies and wire harnesses. Oftentimes you'll hear the 2 terms used interchangeably by experts and professionals alike, be responsible for confusion, as well as the opportunity of wasted money and time. A few of the primary variations are highlighted here so that you can possess a obvious concept of just what makes cable assemblies and wire harnesses so distinct.
As suggested by its name, to be able to assemble this you may need a wire, that is also called a conductor. The wire is definitely an individual strand or perhaps a group of strands that is then included in sheathing, which is generally a kind of thermoplastic or thermoset. These groupings of wires have to be bound together and locked in place with whether cable tie, tubing or woven braiding. Among the slight drawbacks of wire harnesses is because the wires have only one layer of sheathing, defense against natural elements for example rain is restricted.
A significant upside is it is a lot smaller sized in weight and size than the usual cable set up. Which means that you'll save cash on both material and labor costs. If you're not worried about ecological vulnerability and exposure, or perhaps your installation is minimal, then this can be the most well-liked selection for you. Generally, a wire harness is going to be found inside products for example vehicles, computers, control cabinets and electronic assemblies.
They are present in various places and generally they're uncovered, unlike wire harnesses. You are able to found cable assemblies in medical devices, military electronics, industrial controls and security products, simply to name a couple of. An advantage of the cable set up is the fact that, unlike a wire harness, you will find extra layers of plastic sheathing that will provide more protection from the elements. This is particularly important if you're employed in volatile environments. Getting all your conductors in a single neat bundle also causes it to be simpler to operate around and transport.
With assemblies, you might also need the power of having the ability to permit connectors around the ends from the cables to become over molded. This basically seals the whole cable off and additional protects against deterioration and potential damages. The primary downside of a cable set up is a result of all of the extra layers of sheathing, the weight and size is going to be significantly elevated. In a few instances this makes transportation and set up harder and also the cost for materials and labor increases. However, the cash you'll save from ecological damages far outweighs these initial investments in security.
If you need to know the code without e-commerce provides low cost web services at an electronic store, which provides you with a complete design or professional e-commerce website for DL technology. The store makes website easy to use solutions, making online businesses easy to work on the Internet E-Commerce Cart is the leading provider of electronic store web hosting, windows, web design and e-commerce shopping cart.


Hannah Godfrey is a formidable storyteller, so much so that even a thoroughly academic dissection of the vagus nerve becomes emotive prose in her chapbook Not For The World Would I Compare It To Anything. The ambitious collection of short stories and essays was published this spring by Parameter Press as part of their Riso duplicator publication project. Godfrey is a writer, interdisciplinary artist, DJ, and designer; the director of the artist-run gallery aceartinc., co-founder of the Flux Gallery and the Cartae Open School; and hosts the weekly storytelling radio spot The MonkeySparrow—all this to say her vitality and versatility push through in this latest project.
In Not For The World Would I Compare It To Anything, Godfrey gracefully negotiates self, solitude, and connection as she moves readers through snapshot journeys and investigations. Her stories invest huge meaning in small moments. By paying careful attention to the time, space, and sensation in which her subjects are situated, Godfrey invites readers to tip fully into their anxieties, desires, and reconciliations.
In "Like Music" a lone hiker, overstimulated by the penetrating call of loons over a secluded lake, becomes immersed in grief. Godfrey is able to leave her subject's grief loosely defined, and it is all the more relatable for its looseness, because by skillfully immersing the reader in the bodily sensation of loss instead of its superfluous details, we are consumed by grief as we carry it in our own bodies. Our grief is amplified in the chasmic darkness which Godfrey evokes, making space for the body which folds in on itself again and again until, deeming the sensation sufficiently excruciating, Godfrey plucks us from the void, settles us upon the shoreline, and instructs us to wait for the sun to rise.
The destabilizing aloneness that Godfrey establishes in "Like Music" runs through the chapbook's stories, a recurring and gently stinging reminder of how easily we are found strange in our bodies.
In "Divinities of the Place" our narrator discovers the infinite history of all life—self dissolving into other—in a stampede of reindeer.
The wandering narrator in "The Scent of Peppers" is annoyed by an alley cat that repeatedly brushes against their leg, pulling them from the edge of nostalgic vacuum, until a kick of the cat has them confronted by a stranger with a potent warning not to forget "now time".
In each of these stories we find the subject at risk of disappearing into themselves yet pulled (sometimes literally kicking and screaming) back into an insistent present. It is this ebb and flow of attention that creates such a strong affective connection between the reader and Godfrey's subjects, and what makes Godfrey such an effective writer.
The essays which pepper the chapbook position scientific and critical investigations among personal anecdote so that the affective push and pull of the stories are not punctuated by critical reflections but are instead expanded by them. The essays become the liminal betweens in which we have brief pause to unpack her stories and, of course, the betweens are found to be as essentially a place as the stories themselves. As Godfrey asks in "Committing".
Godfrey orients and reorients her readers gently, her explanations are patient and kind, she strikes a skillful balance of detailed description with the generous unknown, and she evokes symbolisms that are powerful in their aching simplicity.
Jennifer Ilse Black is a queer/femme Hungarian settler living, making art, and writing in Winnipeg, Manitoba. Black's poetry has been published in the University of Manitoba Feminist and Queer Review and PaperWait. Her experimental novel, Small Predators, was published in spring 2018 with Arbieter Ring Publishing.


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History of the CAS
Members 2019-2022
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Arbitration Rules - CAS ADD
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Mr John D. Coates
ICAS President
Lawyer, LLB Sydney University; IOC Vice-President (2013-2017 and 2020- ); Chair IOC Tokyo 2020 Coordination and Legal Affairs Commissions; President, Australian Olympic Committee (since 1990); former Council Member, International Rowing Federation (FISA, 1992-2014); former Senior Vice President, Sydney 2000 Organising Committee of the Games (SOCOG) and Chef de Mission of Australian Olympic Teams in Seoul, Barcelona, Atlanta, Sydney, Athens and Beijing; Director various Australian public companies and statutory boards.
Mr Michael B. Lenard
ICAS Vice President
Bachelor of Business Administration (Accounting; Finance); Doctor of Law; Lawyer; former Senior Managing Director of Paladin Realty Partners/William E. Simon & Sons private equity firm; former Partner in the international law firm of Latham & Watkins; with respect to the United States Olympic Committee, formerly, inter alia, its Vice-President, member of its Executive Committee and Board of Directors, Chair of its Key Strategies Task Force and Joint Marketing Committee, Special Counsel to its Ethics Committee, head of its Athletes Performance Group and member and Vice-Chair of its Athletes' Advisory Council; former member of the Board of Directors of the Organizing Committee for the 1996 Olympic Games and its Audit and Ethics Committee; member of the United States Olympic Team of Handball in the 1984 Olympic Games.
Mme Tjasa Andrée-Prosenc
Vice Présidente du CIAS
Master of laws; Attorney at law; former Yugoslav champion in figure skating and roller skating, singles and pairs; International Skating Union (ISU) Council Member (1998-2016); Honorary ISU Council Member (2016- ); Member of the Executive Board of the Slovenia National Olympic Committee (1992- ); President of the Slovenia Skating Union (1991-2010); Vice President of the Slovenia Skating Union (2010- ); ISU Appeals Commission Chair (1986-1998); Participation in 7 Olympic Winter Games in various ISU roles (judge, referee, technical delegate) and well as at the 2018 PyeongChang Olympic Winter Games as Deputy President of the CAS ADD.
Ms Carole Malinvaud
President of the CAS Ordinary Division
Partner Co-head in the Arbitration practice group of Gide Loyrette Nouel; specialist in international commercial law and international arbitration; graduate of Paris II University and Harvard law School; member of the Paris and New York bar; Chair of the International Chamber of Commerce French international arbtiration commission (ICC France) (2013-present); Chair of the Comité Français de l'Arbitrage (2013-2016); Chair of the first instance disciplinary commission of the French Golf Federation; former member of French Junior National Golf Team.
Ms Corinne Schmidhauser
President of the Appeals Arbitration Division
Attorney-at-law; President of Sportschool Feusi Bern; Former President Anti-doping Switzerland; Former member of the FIS Legal Committee (2002-2014); Former Head of the Legal Committee of Swiss Ski; Member of parliament Bern; Former CAS arbitrator; Former President of the Swiss Sports Lawyer Association (ASDS); Winner of the World Cup overall slalom (alpine skiing) 1987. Participant in the Olympic Games in Calgary, 1988.
Secretary (non member)
Mr Matthieu Reeb
CAS Director General
ICAS in images
Mr John Coates, President (2011 - )
ICAS 2019-2022
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S.E. le juge Kéba Mbaye, Président fondateur du TAS 1984-2007
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ICAS/CAS pay tribute to François Carrard


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mon 30/01/2023
Home > we made it > We Made It: 'Carol' Costume Designer Sandy Powell
We Made It: 'Carol' Costume Designer Sandy Powell | reviews, news & interviews
We Made It: 'Carol' Costume Designer Sandy Powell
How she brought a melange of styles to Todd Haynes's sublime period romance
by Graham FullerTuesday, 16 February 2016
Sandy Powell's designs for 'Carol' and 'Cinderella' have earned her competing 2016 Oscar nominations
If there is a successor to the great Hollywood costume designer Edith Head, it is Sandy Powell, the British designer of six films directed by Martin Scorsese, three each by Todd Haynes and Neil Jordan, and others by the likes of Derek Jarman, Sally Potter, Stephen Frears and Julie Taymor.
Powell's recent Oscar nominations for designing the costumes for Haynes's Carol and Kenneth Branagh's Cinderella raised her total to 12: her wins have come for Shakespeare in Love, Scorsese's The Aviator, and Young Victoria.
For all the fairytale flamboyance of Powell's Cinderella gowns and tunics, closer scrutiny is invited by the subtle looks she created for early 1950s lovers Carol Aird (Cate Blanchett) and Therese Belivet (Rooney Mara), as well as for Carol's husband Harge (Kyle Chandler), her best friend Abby (Sarah Paulson), and Therese's young male friends. This interview with Powell, which took place last November, focuses on her designs for Haynes's vision of repressive pre-Eisenhower America, rather than for Disney's latest magic kingdom.
GRAHAM FULLER: The dominant pattern in Carol is check [pictured right, Rooney Mara], though not for Carol herself. I know some of the male characters have check on their clothes, but I wondered if the criss-cross bars in Therese's and Abby's outfits were intended to symbolise entrapment?
SANDY POWELL: I never, ever thought about that! [laughs]. I think it's really funny when people look at my work and find all these deep, meaningful things behind it. I can understand that and I think it's quite good, but, no, that wasn't intentional. I tend to work instinctively and don't over-analyse anything but do what comes from the gut and what I feel. But I like your interpretation, and it could be true – maybe I did that on purpose.
Was check popular in the early 1950s?
It was prevalent, yes. It was obviously a fashionable pattern for skirts, even pleated skirts. There is a lot of plaid in Therese's clothes because the more I looked at vintage pieces from the period, the more I found. I use it to break up the plain look. Carol's clothes, for instance, are very simple; they aren't patterned, and the only embellishment is jewellery. I think check was the only pattern I used – there aren't any florals or anything like that. Also, the film is set during the winter, so the fabric that's used the most is wool, and quite often wool clothes are check.
Therese initially wears a red, yellow, and black tam o' shanter, which seems a little childlike, like her headbands, but later on she favours a black beret. Is that a sign of her maturing over the space of a few months?
Again, I didn't consciously use one and then move on to the other. I gave her two hats, though, in retrospect, I don't know if I should have done; she has two scarves as well. She alternates the hats, but I think you just notice it more when she isn't wearing the tam o' shanter. It's not really childish or childlike but a freer look for younger women, as headbands were for women whose hair is natural and who haven't had a hairdo like an older, more sophisticated woman such as Carol would have.
Carol wears red occasionally and favours red or orange accents in her clothes – a muted pink with matching nail polish at one point…
It's a sort of pinky-orange or salmony-orangey colour – coral is the correct name (pictured left, Cate Blanchett). It was very fashionable in the period and incredibly flattering, I think, to Carol's skin and her blonde hair. Because a lot of her colours are muted, I wanted her to have some bright-coloured highlights, whereas Therese's highlights are primary colours, which goes with her being younger.
In Patricia Highsmith's novel, Carol's reds suggest blood and associate her with female predators in fairytales.
I am wary of using red because it does make people think you are telling a particular kind of story. Carol does wear a red hat and coat in one scene. The reds and the yellows come from a reference Todd provided at the start of filming. He had a look-book of images from street photographers, including Saul Leiter, whose work contains dark or muted colours or were shot at night or in rain. Reds and yellows are the colours that stand out in them under street lighting or neon lighting or in taxi cabs. That's what I was doing with the reds. Carol doesn't wear a red coat because it's significant. I chose it for when she visits her lawyer's office and visits Therese and goes with her onto her rooftop.
As Therese and Carol become intimate and their values start to coalesce, did you see their clothes becoming a little more similar?
Yes, though I don't think it really shows until the end after they've been separated for a bit and Therese has been forced to get her life together and grow up, as it were. She gets a job and spends money on clothes – including that suit she wears at the end – and gets a haircut. She looks more sophisticated, and that's the influence of Carol rubbing off on her. She doesn't emulate her exactly. She has a different silhouette and is finding her own style.
It seems important that Carol doesn't wear her mink at the end.
It's significant at the beginning because that's what draws your eye to her in the department store. She doesn't wear it at the end because three months have passed and spring is coming, so she's wearing a lighter fabric and lighter colours. It's a whole new start.
When you're working with Todd Haynes (pictured right, with Powell), whose films aren't as highly financed as some of the Hollywood movies you work on, do you have to strike a balance between designing clothes and using existing clothes?
Todd's film are made for considerably less money than big Hollywood films! [laughs]. I use existing clothes if they are right for a character and if they fit, but quite often they don't. A lot of the original clothing from the 1950s is much smaller than what women wear today. Whereas I could get a lot of clothing to fit Rooney in the style I'd created for Therese, which was more casual than Carol's, it was harder to get original clothing to fit Cate, though she does wear a few original pieces. I much prefer to design clothes because then I can get the exact colour, shape and proportion that I want, so I try where possible to make the clothes, even on a tight budget. I'll cut back somewhere else in order to be able to build something.
What was the biggest challenge of making clothes for Carol?
It wasn't difficult designing and making them, but the challenge was overcoming the lack of time and money. It's about being creative and resourceful.
Did you work with [cinematographer] Ed Lachman on how the colours would look when photographed?
Ed and Todd, yes. We had a very short prep time, so there wasn't time to do camera tests. Todd's references were the key thing, and when I saw the finished film, I was amazed by how much it looks like his original look-book.
So he'd thought carefully about the clothes before you came on board?
Not specifically about the clothes. Todd thinks about everything, but he won't give me an image of a person and say, "That's exactly what I want her to look like", or "I want her to wear that shaped skirt", or "that colour skirt". It's more general than that, but from talking to him I know where he's headed.
Was it a different kind of experience from working with him on Far From Heaven?
No, very similar, in that Todd is well-organised and good at conveying information. Not all directors are so visual or as good at communicating what they want, surprisingly. Quite often they don't know what they want until they see it.
Did you look at movies from the early 1950s?
Yes, though I can't remember which ones. On Far From Heaven, I looked at Douglas Sirk's films scene by scene, second by second. There wasn't a particular film that influenced the clothes in Carol. Mostly it was still photography.
Were you influenced by the period's fashion designers, such as Christian Dior, Jacques Fath, and Cristóbal Balenciaga?
Dior was, of course, doing the "New Look", which I didn't use. Dior did design for the kind of shape that Carol wears, but I didn't think his full skirts were right for her – they were too extravagant and too high-fashion. I think it would have been too self-conscious to do something as obvious as that. More than designers, I looked at the work of photographers of the period, such as Gordon Parks, Clifford Coffin, Cecil Beaton, and all the photographers who were working for Vogue and Harper's Bazaar. I looked at all the Vogues from the exact months in which the film was set [mid-December 1952 going into early 1953]. Most of the people in the film, who aren't fashionable and can't afford to buy new clothes every year, still dress like it's the 1940s. I don't think any decade really starts until it's past the middle. Carol and Abby (pictured above, Sarah Paulson) are probably the only characters who are spot-on for '52.
Do you work with the same team of seamstresses each time you make a film?
It depends where I'm working. On Carol, I used one person I'd worked with before, and for the first time with the person who made Cate's clothes. Generally, I try to keep the same supervisors and assistants, the people I'm closest to.
You've said in the past that you didn't want to become a fashion designer because it puts too much emphasis on the clothes. Yet each time you start on a new film, you do in, a sense, have to create a collection for it.
Yes, but what I'm doing is designing for characters, not just items of clothing for anonymous people. I love clothes and I love fashion, but I think costume design gives you more scope to design a variety of things. As a fashion designer, you have to produce so many collections a year.
The men's clothes in Carol are simpler, obviously less to do with finery. Did that make them easier to design or not?
They're not really simple – an awful lot goes into designing the perfect tailored suit. They just don't have so much decoration or accessorising. Though in a way they do – for Harge, I'd have to choose the tie, the shirt, the suit, the gloves, the coat, the hat. Men's clothes have the same number of components as women's – they're just not as pretty. [Pictured below, Kyle Chandler as Harge.]
I was struck by the scene in the New York Times office where Therese is surrounded by men wearing a kind of uniform. They're all wearing white shirts, a couple of them wear black waistcoats.
That's a very un-dressed look, actually. It's not normal for an office, but they're newspapermen who have been working late, and it's how you imagine they would look and how they looked in the visual references. They're pretty conventionally dressed. They'd all have been wearing suits and ties – the ties all the time, except for the younger men. Some of them would have been wearing three-piece suits, which explains the waistcoats.
I was irritated – in a good way – by the fussy bow tie worn by the private detective Harge hires to follow Carol and Therese. It enhances that boy scout vibe he has.
I didn't choose that from reading about the character. It came from meeting the actor [Cory Michael Smith] for the first time and trying different things on him. The bow tie worked with his physicality. That's why I can't design a costume until I know who's wearing it. You can have an idea for a character, but until you know the actor playing that character, it's impossible to do it. When you meet them, they might turn out to have a completely different shape or colouring to what you had in your head. You have to work with the body you've got in front of you.
This must have been a radically different experience to designing for Cinderella?
It was funny because Carol immediately followed Cinderella [laughs] – it was very, very different!
And you're now designing for John Cameron Mitchell's How to Talk to Girls at Parties, starring Nicole Kidman, Elle Fanning and Ruth Wilson. That means alien costumes, right?
Ohhh! Visiting aliens and 1977 punk, which is fun because I don't think it's been done much on film before, strangely.
It certainly hasn't been done accurately.
No. I'm trying to do the punks as real as possible, which is not about brightly coloured hair and huge Mohicans. It's the very early stage of punk where kids are customising their school uniforms with a bit of toilet chain.
Read other articles in We Made It, our series on craft in partnership with Bruichladdich
I can't design a costume until I know who's wearing it
We Made It: 'The Revenant' Production Designer Jack Fisk
We Made It: Artist Grande Dame
We Made It: Artist Joseph Popper
We Made It: Art & Makers Collective Garudio Studiage
Wonderstruck review - beautifully designed but emotionally unengaging
more We made it
We Made It: Guitar Maker Brian Cohen The incredible one-man string band
We Made It: Basket-maker Lois Walpole Weaving works of art from 'ghost gear' and the detritus of consumerism
We Made It: Horn Maker Tom Fisher Bespoke horns, handcrafted in a Derbyshire cellar
We Made It: Stufish Entertainment Architects From U2 and Madonna to Chinese theatre and the Martian Fighting Machine
We Made It: 'Carol' Costume Designer Sandy Powell How she brought a melange of styles to Todd Haynes's sublime period romance
We Made It: Stuntwoman Tracy Caudle Forget Evel Knievel: a well-crafted stunt is more about precision than daring
We Made It: 'The Revenant' Production Designer Jack Fisk How he stunningly recreated the authentic American frontier of 1823
We Made It: Double Bass Maker Laurence Dixon Love at first sight, a six-day week and the satisfaction of a job well done
We Made It: The Electric Recording Company Pete Hutchison's quest for musical perfection on vinyl
We Made It: Watchmaker Roger W Smith The world-leading horologist keeping British watchmaking alive, crafting exquisite timepieces by hand
We Made It: Concert hall acoustics The RSNO have a new concert hall. The lead acoustician explains why it sounds so good
We Made It: The Headcaster App Chris Chapman explains the genesis of his animated character app
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Opus Group's subsidiary Systech awarded contract for New York Vehicle Inspection Program (NYVIP) (1)
Opus Group's subsidiary Systech awarded contract for New York Vehicle Inspection Program (NYVIP)
Systech International, LLC ("Systech") has signed an exclusive contract with the New York State Department of Motor Vehicles (DMV) to sell 10,000 OBD inspection analyzers and implement a new data management system for motor vehicle safety and emissions inspections. The new program, the largest in the country, is fully funded by fees collected from the inspection stations with no cost charged to the State of New York.
Under the NYVIP contract, Systech will:
• Develop, install and manage a new data management system including a communications network to connect over 10,000 inspection stations.
• Sell and maintain new NYVIP inspection equipment to all stations.
• Process over 11,000,000 inspections per year.
• Train and support approximately 60,000 certified inspectors statewide.
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• Perform remote inspection data monitoring leveraging Systech's propriertary technology to ensure inspection stations are properly performing inspections.
"We are excited to be working with the DMV and New York's vehicle inspection business community on this vital project," said Lothar Geilen, President of Systech. "The advanced on-board diagnostic equipment designed and built by Systech for the inspection stations, will guarantee the highest vehicle connectivity rate ever required in an inspection program and assure inspection integrity with stringent anti-fraud software. Our latest innovations in data management will connect the stations to the Department with real-time communications and live, interactive applications to streamline the State's oversight responsibilities."
The contract will continue for a period of seven years from the date the NYVIP system is deemed to be operational and may be extended by the DMV for up to two additional years. The contract is expected to be operational on December 1, 2013. The contract is expected to start generating revenues in 2013 with the delivery of NYVIP equipment. The order value of the contract is not disclosed due to competitive reasons.
Gothenburg, Sweden, March 5, 2013
This press info is available in Swedish at www.opus.se.
For additional information, please contact
Magnus Greko
E-mail: magnus.greko@opus.se
Peter Stenström
E-mail: peter.stenstrom@opus.se
Opus Group's Certified Adviser
Thenberg & Kinde Fondkommission AB
Krokslätts parkgata 4
SE-431 24 Mölndal, Sweden
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Swiss Federal Railways, usually abbreviated in English using the German SBB (German: SBB, Schweizerische Bundesbahnen; French: CFF, Chemins de fer fédéraux suisses; Italian: FFS, Ferrovie federali svizzere; Romansh: Viafiers federalas svizras; VFS (Romansh) is not in official use) is the national railway company of Switzerland headquartered in Bern. Formerly a government institution, since 1999 it is a special stock corporation with all shares held by the Swiss Confederation or the Swiss cantons. The corporation is led in an enterpreneural manner. A performance agreement between Swiss Federal Railways and the Swiss Confederation defines the requirements and is updated every four years. At the same time the compensation rates per train and track-kilometre are defined.
Subsidiary SBB GmbH is responsible for passenger traffic in Germany. It operates the Wiesentalbahn and the Seehas services.
Further subsidiaries are Thurbo, RegionAlps, AlpTransit Gotthard AG, Cisalpino AG and TiLo (the latter in consortium with Italian authorities). The Swiss Federal Railways hold significant shares of the Zentralbahn and Lyria.
To take care of the historical heritage, the Stiftung Historisches Erbe der SBB ("SBB Historic") was founded in 2002. This foundation takes care of the historic rolling stock and runs a technical library in Bern, a historic archive, a photo archive and the SBB poster collection.


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Does the Supreme Court's "Aging Out" Decision Affect your Child?
?My I-526 Petition Was Approved, Now What?
?What to expect at Your EB-5 Green Card Consulate Interview
?Do I Need a Reentry Permit to Travel and Will it Affect my Status?
Earlier this summer, a deeply divided United States Supreme Court issued a disheartening decision for children who have been waiting years to join their parents in the U.S. In a decision closely watched by immigrants and advocates alike, the Supreme Court ruled that immigrant children who turn 21 while they wait to be issued a family-based visa will have to go to the back of the line and start the lengthy process over again.
The case before the Court, Scialabba v. Cuellar de Osorio, revolved around Rosalina Cuellar de Osorio, her son and the Child Status Protection Act. Cuellar de Osorio, a Salvadoran woman, was the principle beneficiary of a family-based visa sponsored by her mother, a U.S. citizen. On the date of filing, Cuellar de Osorio had a 13-year old son who qualified as a derivative beneficiary of the petition. However, by the time visas became available, her son was 21. Cuellar de Osorio was granted her visa in 2005, but her son was not. After waiting many years, her son had "aged out" and would have to start the visa process over again.
U.S. immigrations law only entitles children under the age of 21 to the same status as their parents. Congress, recognizing that many children were aging out due to long processing times and bureaucratic inefficiencies, enacted the Child Status Protection Act ("CSPA"). CSPA states that if after a child's petition is filed, the child turns 21, "the petition shall automatically be converted to the appropriate category and the alien shall retain the original priority date issued upon receipt of the original petition."
However, the U.S. government and the Board of Immigration Appeals interpreted this law very narrowly and applied it only in instances where derivative beneficiaries who, due to aging out, were moved from the family-based category for spouses and unmarried minor children of permanent residents (F2A) to another family-based category for unmarried adult sons and daughters of permanent residents (F2B). Cuellar de Osorio, immigration attorneys and even a group of current and former U.S. Congress members argued that the CSPA should apply to all derivative beneficiaries.
The Supreme Court deferred to the government and accepted its narrow interpretation.
On the surface, this decision is a disappointing setback for many immigrants who were hoping to recapture priority dates of petitions initially filed for their parents through automatic conversion. Although unfortunate from that perspective, Cuellar de Osorio actually changes very little. This narrow reading of the CSPA has been the practice of the United States Citizenship and Immigration Services for several years.
Moreover, it has little impact on the CSPA's application to employment-based petitions. Derivative beneficiary children of employment-based petitions will still be able to take advantage of the freezing of their age at the time of the filing of the petition and be protected from long processing times.
Some immigration attorneys even believe the decision may offer a seed of hope and an impetus for change. The majority decision provided an enormous degree of latitude for the executive branch to reconsider this interpretation. The Court was careful to point out that while the government's interpretation of the CSPA was permitted, it is not required. Ultimately, the door is wide open for the Attorney General and the Obama Administration to adopt a broader, more humane interpretation.
At the Law Offices of Vaughan de Kirby we understand how important it is for you and your family to have the most up-to-date information on immigration policies and regulations. Our San Francisco EB-5 lawyer can advise you on aging out, derivative beneficiary status and your child's eligibility. Call us today at 415-221-2345 for more information.
EB-5 Extended to September 30th 2020
Obtain a United States Green Card with a qualified investment of $900,000 in a USCIS Approved Regional Center. We have set our clock to September 30th 2020, however Congress is considering new legislation which will increase the qualified investment to $1,000,000. This change could happen at any time and the $1,000,000 could become the law with little or no notice. If a Green Card is important to you and your family please contact our office immediately.


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Home Politics Sen. Mitt Romney: Trump has a 'blind spot' when it comes to...
Sen. Mitt Romney: Trump has a 'blind spot' when it comes to Russia
Sen. Mitt Romney said Sunday that Russia "acted with impunity" in the massive cyberattack on federal government systems but President Trump has a "blind spot" when it comes to Russia, who U.S. officials are pointing to as the likely culprit.
"This demands a response and the response you'd expect to occur would be a cyber response," Mr. Romney. Utah Republican, said on NBC's "Meet the Press." "I don't know if we have the capacity to do that in a way that would be of the same scale or even greater scale than what Russia has applied to us, but this is something we have to address as soon as possible."
He said Russia "acted with impunity."
"They didn't fear what we would be able to do from a cyber capacity," he said. "They didn't think that our defense systems were particularly adequate."
Mr. Romney said people have come to recognize that Mr. Trump has a "blind spot" when it comes to Russia.
On Saturday, the president downplayed the threat and said China might have been the source.
Those comments came a day after Secretary of State Mike Pompeo said officials could say "pretty clearly" that Russia was involved.
Russia has denied involvement.
"The people who really understand how our systems work and how computers work and software and so forth, the thousands upon thousands at the CIA and the NSA and the Department of Defense, have determined that this came from Russia," Mr. Romney said.
He said that Mr. Trump's recognizing Russia as a problem and a bad actor might reflect poorly on the president, "at least perhaps in his own mind."
"I made fun of Hillary Clinton saying that we would have a reset with Russia," Mr. Romney said. "We've got the same problem in this administration, which is we've not been serious enough at the very top about how damaging an adversary Russia can be."
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CityBlue Technologies, LLC, is a total life cycle solutions provider of products and services for the Architectural, Engineering, Manufacturing and Construction industry. The company is a leader in the reprographics industry with its unique services offerings, cutting edge equipment, and a continuing commitment to embrace technologies that are aimed at improving processes for CityBlue's clients.
CityBlue provides its customers with a complete, integrated offering of products and services that range from photocopying to color digital imaging, through bid management services, and long term document archival and retrieval services of completed projects. Its unique approach to total life cycle management of building projects, allows an unmatched vertical bundling of services for each client and an in-depth understanding of the clients work processes.
By combining our extensive knowledge of the A/E/C market place with cutting edge large format out-put devices, complete service and support options, a robust e-commerce solution CityBlue truly fulfills the total life-cycle needs of our clients.


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September 4, 2019 / Angel Alamo
Steven Adler played at M3 festival. Fans didn't know quite what to expect. All the fans knew was we would be hearing some Guns N Roses classics. Fans didn't know quite what to expect from Ari Kamin didn't disappoint fans by the end of the set everyone was wondering who is this guy. It was one of the biggest surprises. Afterwards Ari was nice enough to take pictures and talk to the fans many of them wishing him the best and telling him how much they enjoyed his set. He has a great vocal style. It's good to know that the future of rock n roll is in great hands. What I admire most about Ariel he reminds me of what makes rock n roll fun. He has a great stage presence and charisma
Angel Alamo: Who were your influences growing up?
Ari Kamin: My first musical influence of all time was Michael Jackson. I was 5 years old when Dangerous album was released and I still can remember me playing that record over and over again thinking "Ok, that's what I wanna do". Then they came Queen, Aerosmith, Extreme and obviusly Guns N' Roses.
AA: How did you get into music?
AK: As I said before, I knew I wanted to be a singer since I was a little child so my parents tried to stimulate that desire taking me to piano lessons and guitar lessons. In elementary school, while kids of my age were playing sports games or trading cards I drawing my band's logo and trying to write songs. But it wasn't till high school that I was able to step on a stage for the very first time. I still remember that night, it was awesome!
AA: How did you get the gig to be the new singer in Adler's Appetite?
AK: Before being Steven's singer I used to play in two bands back in Argentina. "Criaturas Salvajes" and "Son Of a Gun", a GNR cover band. In 2016 Steven went to Argentina to play as a special guest of Guns N' Roses at River Plate stadium and after the show he joined Son of a Gun at The Roxy club for a 3 hours jam where we played the entire "Appetite for Destruction" and a couple of songs from the Use your Illusion albums. Two years after that gig I receive a call from Steven asking me to join his band. How cool is that?
AA: What was the first show like with Adler's Appetite?
AK: Picture yourself as an Argentine guy who never left his country except to go to neighboring countries a couple of times. Suddenly you are sitting on a plane heading Hollywood to play with one of your heroes, the drummer of the most dangerous band in the world. It was mind blowing! I will always be grateful to Steven, he is one of the nicest human being I met in my life and he and his wife Carolina took care of me from the first moment.
AA: Any plans for the band to perform overseas?
AK: Thing's been growing up since last year when I joined the band, we've played in a couple big festivals, we have a couple more ahead and the Kiss Kruise in October. We are writing new material, something really exciting! So I think it's just a matter of time for us to be playing near your area, wherever you live!
AA: Did you take voice lessons?
AK: I had a great teacher named Diego Valdez who taught me how to get the most out of my voice. It's funny, because a few years ago Diego and I took separate paths and we did not see each other again, but while I'm working with Steven I know he's living in Spain and he's been working with hard rock legends like Craig Goldy, Rudy Sarzo and Simon Wright.
AA: Growing up who were your favorite singers?
AK: While growing up my favourite singers were Michael Jackson, Freddie Mercury, Steven Tyler, Axl Rose and Meat Loaf. Then I started listening to Ray Charles, Louis Armstrong, Aretha Franklin. The last few years I've been listening to a lot of southern rock and country music I love Charlie Starr from Blackberry Smoke and Jaren Johnston from The Cadillac Three and I'm also into Kid Rock, Blake Shelton and Alan Jackson. But the only one for me was and will ever be Freddie.
AA: Are there any Guns N Roses songs that you haven't performed yet that you would still like to perform?
AK: In more than 15 years of career I think I have given myself the pleasure of playing almost all GNR songs and I have enjoyed them all but now I'm focused on our originals. It's a very important step in my career and there's nothing more exciting for me than thinking about putting my voice together with Steven's drums on a new album.
AA: How do you wind down after a show?
AK: I would love to tell you, but then, of course, I'd have to kill you. Ha Ha
ari kamin, ballbuster music, guns n roses, M3 festival, steven adler
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How Firm a Foundation
A Novel in the Safehold Series (#5)
Safehold (Volume 5)
David Weber
Tor Science Fiction
READ AN EXCERPT →
Tor/Forge
David Weber's How Firm a Foundation is the latest novel in the New York Times-bestselling Safehold series begun with Off Armageddon Reef, By Schism Rent Asunder, By Heresies Distressed, and A Mighty Fortress.
The Charisian Empire, born in war, has always known it must fight for its very survival. What most of its subjects don't know even now, however, is how much more it's fighting for. Emperor Cayleb, Empress Sharleyan, Merlin Athrawes, and their innermost circle of most trusted advisers do know. And because they do, they know the penalty if they lose will be far worse than their own deaths and the destruction of all they know and love.
For five years, Charis has survived all the Church of God Awaiting and the corrupt men who control it have thrown at the island empire. The price has been high and paid in blood. Despite its chain of hard-fought naval victories, Charis is still on the defensive. It can hold its own at sea, but if it is to survive, it must defeat the Church upon its own ground. Yet how does it invade the mainland and take the war to a foe whose population outnumbers its own fifteen to one? How does it prevent that massive opponent from rebuilding its fleets and attacking yet again?
Charis has no answer to those questions, but needs to find one...quickly. The Inquisition's brutal torture and hideous executions are claiming more and more innocent lives. Its agents are fomenting rebellion against the only mainland realms sympathetic to Charis. Religious terrorists… More…
Charis has no answer to those questions, but needs to find one...quickly. The Inquisition's brutal torture and hideous executions are claiming more and more innocent lives. Its agents are fomenting rebellion against the only mainland realms sympathetic to Charis. Religious terrorists have been dispatched to wreak havoc against the Empire's subjects. Assassins stalk the Emperor and Empress, their allies and advisers, and an innocent young boy, not yet eleven years old, whose father has already been murdered. And Merlin Athrawes, the cybernetic avatar of a young woman a thousand years dead, has finally learned what sleeps beneath the far-off Temple in the Church of God Awaiting's city of Zion.
The men and women fighting for human freedom and tolerance have built a foundation for their struggle in the Empire of Charis with their own blood, but will that foundation be firm enough to survive?
Safehold Series
1. Off Armageddon Reef
2. By Schism Rent Asunder
3. By Heresies Distressed
4. A Mighty Fortress
5. How Firm A Foundation
6. Midst Toil and Tribulation
7. Like A Mighty Army
8. Hell's Foundations Quiver
9. At the Sign of Triumph
Author Web Site
FEBRUARY, YEAR OF GOD 895
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Castaway Islands, Great Western Ocean; Imperial Palace, City of Cherayth, Kingdom of Chisholm; and Ehdwyrd Howsmyn's Study, Delthak, Kingdom of Old Charis
Nights...
READ THE FULL EXCERPT →
DOWNLOAD EXCERPT →
Praise for How Firm a Foundation
"Combines superb action SF elements and (surprise!) homage to the great novels of the Age of Fighting Sail (by C. S. Forester, Patrick O'Brian, and their ilk). Weber has an enormous audience that welcomes each enormous book. " —Booklist, starred review on A Mighty Fortress
"Highly recommended. " —Library Journal, starred review on By Schism Rent Asunder
"Gripping... Shifting effortlessly between battles among warp-speed starships and among oar-powered galleys, Weber brings the political maneuvering, past and future technologies, and vigorous protagonists together for a cohesive, engrossing whole." —Publishers Weekly, starred review on Of Armageddon Reef
DAVID WEBER is the author of the New York Times bestselling Honor Harrington series and the Safehold series. His many other novels include Mutineers' Moon, The Armageddon Inheritance, Heirs of Empire, Path of the Fury, and Wind Rider's Oath. He lives in South Carolina.
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Triopetra Beach Greece
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For lambda inaccessible, we may consider (< lambda)-support iteration of some specific (< lambda)-complete lambda^+-c.c. forcing notion. But this fails a ``preservation by restricting to a sub-sequence of the forcing, we ``correct'' the iteration to regain it. This is used in another paper in the consistency of cov(meagre) < gd_lambda .


In last twenty years, as nascent offshore IT services market evolved and forayed into the mainstream, evolving client expectations and competitive realities are now forcing Indian IT companies to change. NASSCOM – the representative industry body has also evolved with the changing industry dynamics and is also now facing the urgent need to transform gain. Given massive structural changes in industry composition, market economics, and changing role of overall IT itself, the challenge this time, however, is of mammoth scale than ever in the past.
Before debating on what it needs to do to transition itself to the new role, NASSCOM should address a core issue– answer in an unambiguous way exactly whom it represents and whose cause it is expected to fight. While a large section of its 1250+ members are from its core constituency – IT services and software companies, a large number of its new members are not from the same pack. These new members such as online retailers/travel agencies and MNC's back offices surely do business leveraging IT, but are not in business of IT outsourcing, software or BPO. They have started pulling NASSCOM's agenda in multiple directions. A close review of its apex governing body (Executive Council), various forums it runs like internet working group and captives, its top sponsors at events it hosts, and NASSCOM's own commentary on these various subjects clearly indicate NASSCOM's multiplicity of goals. To remain relevant to its core constituency, it is of utmost importance that NASSCOM nails down its focus.
At the moment, I would like to assume that this top industry body – NASSCOM (that stand for National Association of Software and Services Companies – will primarily concentrate on its core territory- "Software and Services". I feel there are six issues it needs to focus on as key objectives of its transformation.
Extend its initiative of industry-academia collaboration. Irrespective of the hype around intellectual property based solutions, more than 95% of work India does today is people centric. Skills of college freshers are not aligned with industry requirements. Companies invest in training for almost six months before assigning the person on a client engagement. NASSCOM should work with technical colleges to align syllabus to newer requirements, ensure they have quality facilities and high standard faculty. The initiative needs to be continues and result oriented.
Redefine its government interaction. While policy advocacy, working with authorities for industry benefits like tax benefits are important and should continue, NASSCOM should work with government to encourage, facilitate, and accelerate eGov or citizen services projects. It will not only create more opportunities for its members and help society, but will also boost the technology appreciation and penetration across country.
Develop many more delivery locations within India. I know some steps are taken in this area. But looking at a few over-crowded locations like Bangalore, Delhi, or Pune, it is clear that much more needs to be done to develop several other locations like Nagpur, Mohali, Mangalore, Coimbatore, Ahmedabad, Bhubaneswar, etc. This will not only help in reducing costs of operation, but also help to manage staff attrition at lower levels.
Help overall industry to upgrade their brand and international communication. While IT companies believe that the industry is moving up the value chain and the future lies in high end services and IP led solutions, most clients and governments abroad still look at the offshore industry as job stealers. The industry needs to be much more proactive to educate clients on the value it delivers and the innovation can bring to help companies become efficient. Today one sees weak arguments and limited branding exercises by industry and the association.
Encourage small/medium sized member companies to build core functions like strategic marketing, corporate planning and international business operations. 'Client-pushed' business has stopped. There is intense competition for every dollar. Firms need to think more strategically and sophistication of value articulation needs to scale up. But there are limited trained resources and experienced executives available today. NASSCOM should take initiatives like creating marketing and strategy peer groups for building best practices (at least in non-competing areas) and leverage international institutions for producing business focused resources (and not mere technical resources).
Create a new structure that meets aspirations of its key stakeholders, and build a model that allows partnerships with relevant groups that leverage IT, rather than trying to do it within NASSCOM. The association should play a role of an apex body and promote these new-age companies, back offices of MNCs, and other technology firms to create their own organizations. Rather than trying to serve every industry – be it US/European bank's back office or online retailer, anyone that uses technology – it should collaborate with newer associations and working groups. This will allow NASSCOM to serve its core constituency better, while benefiting from working with these new-age companies which, strictly speaking, are not IT services/BPO or software companies.
NASSCOM's signature event and AGM is around the corner, its election process to form new executive council is on, and study groups are submitting their recommendations on what shape the country's top IT body should take. At the same time, its most core constituents are looking for more transparent debate on the subject and expect representation in decision making. Recent announcement of a group of 30 product companies (iSpirt) or rising aspirations of city level initiatives like HICC in Hyderabad or SEAP in Pune has clearly indicated that all their needs are not being addressed by NASSCOM in today's form and function, and need to transform.
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