"Gonna Give It To Ya"
Chandra Calloway accumulated no less than thirteen chart appearances, awards or citations in one year, 2008, all generated by the songs compiled in her debut, Gonna Give It To Ya. See Daddy B. Nice's Comprehensive Index.
Her particular specialty is mid-to-up tempo rants. Her sturdy, homespun vocals are always clear and lucid. On "Gonna Give It To Ya," her most brilliant outing, she sounds aggressively young, and it's exhilarating to soak up her "young-in-the-club" attitude.
Listen to Chandra Calloway's "Gonna Give It To Ya" on YouTube while you read.
"But you opened up your mouth."
The couplet is a dazzling condensation of that "in-the-club-hitting-on-women" moment every man dreads. If you don't attempt to talk, you'll be like young LeeRoy singing "Made My Move Too Late." If you do talk, you might screw it up.
"Gonna Give It To Ya" is also the most chitlin-circuit of Chandra Calloway's songs--not only the voice-over, which is perfectly-pitched, but the verses. Chandra's countrified twang on the number meshes effortlessly with the backing band's brisk lead guitar and keyboards. She is effortlessly authentic. She is one with the song.
If Chandra Calloway has a flaw, it's the vibrato-less one-dimensionality of her style, an attribute she shares with her mentor and boss, Mel Waiters. (Calloway is his longtime background singer.) You either like that staccato, Chuck Berry delivery or you don't.
This comes through most clearly on Calloway's collaboration with Waiters, "Look Who's Jody Now," in which the strengths and--yes--even the nuances of that straight-ahead delivery work to perfection.
Listen to Chandra Calloway singing "Look Who's Jody Now" on YouTube.
On one of her most recent singles, "Lose Sleep," it works less well. It's a slick, upbeat rocker in the mode of "Look Who's Jody Now" in which Chandra assumes an older version of the "Gonna Give It To Ya" persona, but her vocal, heavily influenced by Mel Waiters's style, seems ill-suited and at times mechanical.
"Lose Sleep" is all anger, no pain, and you can't help wishing Chandra had tried a more conventional, melodic approach.
What would it have sounded like? A hint is contained in the beautiful rendition Chandra gives "Gotta Find Me Somebody," another song from her impressive debut.
"Gotta Find Me Somebody" begins like a hiphop ballad in the mode of Goodie Mob's "Beautiful Skin," but it gradually builds Southern Soul momentum, with Chandra's voice reflecting a prism of interesting emotions. The lullaby-like rhythm and Chandra's vocal achieve an almost hypnotic power by its final verse.
One of the overlooked songs from her debut disc, "Go Back," features a similarly jazzy, romantic style, almost 180 degrees from the treadmill vocal of "Lose Sleep."
But that's not to say Calloway isn't best-suited to aggressively-sung Southern Soul. On smoother ballads she tends to sound more generic (doesn't everybody?).
Watch the live-concert video, Chandra Calloway Live Singing Betty Wright's "Clean Up Woman" backed by Mel Waiters & Band.
You'll see her in her element, spitting into that microphone with some finely-distilled blues fury.
Like a real woman would do.
Better think before you speak.
Before you jump between the sheets.
Until you opened your mouth.
But the wrong thing came out."
Listen to Chandra Calloway singing "Go Back" on YouTube.
Listen to Chandra Calloway's "Stuck On Stupid" on YouTube.
Chandra Calloway, longtime background singer for Mel Waiters, put out a debut single in 2008 called "Gonna Give It To Ya" .
It had a modest but worthy run on Southern Soul radio. Two other album singles, "Look Who's Jody Now" (with Mel Waiters) and "Gotta Find Me Somebody," also gained airplay and impressed many Southern Soul insiders, including your Daddy B. Nice.
This award took place in December 2008 without any contact whatsoever. Time passed. Then, late in March of 2009, I received a letter of thanks from Chandra, who had finally seen the honor. Her letter stimulated an exchange of e-mails, and we discussed the possibility of doing an interview. But once again, time passed, almost three months, without my having the opportunity to make it happen.
However, Chandra remained patient, and went about doing her thing: making music and singing back-up with Mel Waiters on the weekends through the 1st-quarter "Blues Is Alright" tour and others. At last, on June 15, 2009, your Daddy B. Nice got back, sat down and talked with Chandra Calloway for posterity. The interview--full of fascinating people and stories--follows.
Chandra, ever since your name popped up in Southern Soul music, I've wanted to ask you if you're related to Harrison Calloway? Do you know who he is?
No, I'm not. I used to wish I was related to Cab Calloway.
You have a great bio on CD Baby, by the way, which I'll link to in the article. Did you write it?
It's very good. Very informative, but doesn't run on.
You grew up in Grand Prairie, Texas. The only thing missing--and I know some women don't like to answer this question--may I ask you when were you born?
Ah, the summer of love. I remember it well.
Yeah, I love that 60's and 70's culture. The mood of the people then. And it's basically happening again.
You mean, with Obama and all?
Oh yeah, with Obama. We just needed some kind of inspiration, some "can-do" attitude.
Do you still live in the Dallas-Forth Worth area?
I live in Mansfield, a suburb of Fort Worth. It's about fifteen miles south of Grand Prairie.
You said you grew up in a shotgun house.
Yeah. One-way in. Front door and a back door. Watching Shirley Temple, Lawrence Welk and a lot of country and western gospel quartets.
Did you hear any other music growing up?
My parents were real good, soulful people and we had a lot of good music playing in the house. Above all, for me of course, Betty Wright. "The Clean Up Woman." But there was also some jazz. I remember the first time I heard Ella Fitzgerald.
I was maybe five or six and I asked who it was. My parents said "Ella Fitzgerald" and I couldn't get it right. I said "Elephant" something, and they said, "No, Ella Fitzgerald," and I giggled. And when I finally got it, I was pretty proud of myself. I have many of her albums. but I liked her even then, especially "Cottontail" and all of her earlier songs. And I love Billy Holliday, of course. But the song that got me into R&B was definitely Betty Wright's "Clean Up Woman."
Betty Wright. That's about as good as it gets. Did you--I'm curious--as you were growing up, out in the middle of Texas. You didn't have any Southern Soul radio stations--I'm talking about contemporary Southern Soul--like they have in Mississippi. When did you first have a glimpse that there were people like Mel Waiters and Marvin Sease?
I can tell you the exact date, Daddy. Ironically, it was a Valentine's Day Party at the Nighty-Night Club in Fort Worth.
Nighty-Night. (Daddy B. Nice laughs.) That's cool.
And I went with my mom and everyone was dressed in red and white. I mean dressed to the nines. High heels, make-up, the whole deal.
You're kidding. They don't do stuff like this up north!
Huh-uh. The guys too. Red hats, white shoes.
No. (Chandra laughs.) I had a cape on.
Wow. Now how old were you?
I was probably. . . 25 years old.
They had a well-known local band. But the headliner was Buddy Ace.
Yeah. And Buddy Ace blew my mind. He had his ladies onstage. They were called The Sugar Babies. They all looked like Diana Ross. And that was it for me. I was inspired. And he sang, "It Don't Hurt No More." And then he went around the crowd, from table to table, and up to ours, and he put the microphone to my mouth. And I had been singing around by this time. But when I took that microphone and belted out, "It don't hurt no more!", I couldn't believe what had come out of me. It was something I'd never done. But the crowd loved it. That was my first encounter with Southern Soul music, and I was hooked.
My present boss (Mel Waiters). That's why he dyed his hair white to this day, too.
Mel? I thought he picked that up from Dennis Rodman!
(Chandra laughs.) No. He saw Buddy Ace perform and he was his inspiration, too. Johnnie Taylor and Tyrone Davis were big influences, of course. But he wanted to look and he wanted to perform like Buddy Ace.
Did Buddy Ace have white hair?
Now he had it because he was old, right?
Right. And Mel still goes out into the crowd during his concerts and walks around like Buddy did. That was my first encounter.
Now, when you started singing back-up with Mel, he had--how many?
He had two background singers, and one of them asked me to help her out. I thought it would be just a one or two-night thing.
It was around February 2000. No real audition. I sang a Chaka Khan song for him. "Sweet Thing." He turned his back and listened. And then he allowed me to go onstage with him at Arlington.
But at that point, I imagine, you probably didn't imagine Southern Soul was such a scene.
No. I did not know. I had no idea. Then, as time went on, when I started travelling with Mel, going to all the chitlin' circuit venues, I found out how big it was. You know. . . To be on a show with Clarence Carter?
Or, what's his name, "Turn Back The Hands Of Time".
Right, Tyrone Davis. That was up in Chicago.
When I think of Southern Soul artists out of Texas, there are so few. But they've always fascinated me because of their relative obscurity. There's Mel, of course. Everyone knows him. But after that there's just a few others, and I wanted to ask you about one. Have you ever heard of Gregg A. Smith? He's out of the Dallas area. He had this great song, "Stacked In The Back (With Junk In Her Trunk)" that I put on my Top 100 years ago, before I knew a thing about him. He's a little more well-known now.
Why, yes. I do know him. The same girl that asked me to perform with Mel?
She asked me to go to Alabama--the Mobile, Alabama fairgrounds--in her place.
This was prior to working with Mel?
Right. And her boss was Gregg A. Smith. I also auditioned for him. But that's when I was younger. I could sing, but I didn't dance. You know, I just didn't feel comfortable. But once I got onstage, just improvising and ad-libbing in front of the crowd, Gregg said, "This girl might make it." And I was with him about two years.
Talking about other Texan artists, have you ever run into Erykah Badu? Her last couple of albums have been real disappointing to me, as a Southern Soul guy. She's gone over entirely to hiphop. But she was one of the first, really, to score a traditional R&B hit there in the late nineties, with "Tyrone," and she's still on my Top 100.
I know Erykah also. We both worked in Steve Harvey's Comedy Club.
What did Erykah do there?
She had more of an administrative job. I was singing to myself in the booth one day, and Erykah came in and she started harmonizing with me. And she said, "Do you sing?" And I said, "Yes, I do." And she said, "I do, too," and we became very good friends. We used to do these vocal turns onstage with Steve--blues skits and numbers--Steve would dress up as a blues guy. We would just "improv" on slow nights to bring people in. In fact, Daddy, one night we made a tape in the studio. Erykah was humming this gospel riff and we got to harmonizing, and she told me she still has that on a tape in her studio.
So going back to the hiphop/Southern Soul thing, you've obviously come down on the Southern Soul side. Looking at the first three cuts on your CD, Gonna Give It To Ya , which by the way all made Daddy B. Nice Top 10 Singles, "Gonna Give It To Ya," the title cut, is also the most solidly Southern Soul in the Betty Wright tradition. I remember when I first put it on my Top 10 (Daddy B. Nice's #4 Southern Soul Single, June 2008), I put it like: parentheses "I Was" parentheses "Gonna Give It To Ya" parentheses "Until You Opened Your Mouth" parentheses, because I wanted people to understand the wit behind the song.
(Chandra laughs.) I remember that. I loved that.
And then, "Look Who's Jody Now" (Daddy B. Nice's #8 Southern Soul Single, July 2008) . I listened to that again yesterday. I'd forgotten how great your vocal was, and how great the arrangement was. Just an incredible duet.
And then, "Gotta Find Me Somebody," (Daddy B. Nice's Top Ten Singles, October 2008), which has a very hiphop sound to it. A little more clean, a little more urban.
So how do you see yourself? Hiphop or Southern Soul? You're kind of on the border.
Definitely, Southern Soul. Southern Soul is where it's at with me. That's where I'm going, Daddy. I'm a fan of hiphop. I love Doug E. Fresh. He's from that feel-good era of rap. It's about good times. That's why he's still so popular. But I'm not going to go towards hiphop myself. Doug E. Fresh is on the Southern Soul roster at an upcoming concert, actually, in August, at the Atlanta Motor Speedway. Mel Waiters is on the bill.
(Daddy B. Nice laughs.) Doug E. Fresh. Of course.
So I'm not going anywhere, Daddy. Southern Soul is where it's at for me. I'm forty. I've got my priorities all sorted. In fact, I'm as interested in the blues as hiphop. My heart goes out to the family of Koko Taylor. Once I heard her sing "Wang Dang Doodle" I was hooked on this kind of music.
That's the chitlin'-circuit side of the blues, all right. Who are some of your favorite artists currently?
I don't know her. And I'm probably showing my ignorance because I'm into this Southern Soul thing so far I don't keep up with greater R&B like I used to.
Linda Hopkins sings about the same stuff as Koko Taylor. She's a backwoods kind of blues singer. She reminds me when she performs--I'm not kidding--of Otis Redding. She's powerful. She's only 21, but she's going to be a force to be reckoned with.
Ledisi. She's a beautiful artist. Once you hear the ballads she does, she'll blow you away. I love Jazmine Sullivan. She reminds me of Lauryn Hill and a little of Alicia Keyes.
Going back and talking about your CD, who produced it?
Mel and I collaborated on about four of the nine. Actually, I really wrote the bulk of all of them, but because of contractual stuff they had to be under Mel's name.
So those top three songs basically came out of your life experience?
Well, that's a great sign. I have to say, above all, my favorite is "Gotta Find Me Somebody."
Oh, that means a lot to me. You know, I wrote that one instantaneously.
No kidding. Like how long?
Like about the time it took me to write it down.
We're about to release a real "heater." That's a hot song. "No Sleep." It's kind of in the "Look Who's Jody Now" vein. It has some of the tempo and flavor of "Jody." Mel is doing the background. It goes, "I'm not gonna lose no sleep over you." You know, I'm going to get in my car, put on my lipstick, and move on. It might be a real liberating song, Daddy.
Follow the path of Koko Taylor. To be as well-known. To have people love my artistry the way people love hers. I met her. I experienced the response of her fans, onstage and off. I was observing her with her fans in the green room. It was just overwhelming. That would be my goal.
How does your typical day, your typical week, go?
We had a three-month tour the first part of the year, and after that it's not that different. Working on the weekends, off during the week.
You're talking about the Blues Is Alright Tour.
What an education that must be.
Oh, yeah. Meeting and greeting everybody. The line-up changes from weekend to weekend. This year they sometimes had two different concerts in two different cities at the same time. Just mingling with all the great musicians, eating together and so on.
Were the crowds down this year, with the poor economy?
Let me think. They did have to cancel one show, but that was because an issue with a building, not ticket sales. I'd have to say no. Surprisingly, no.
That's pretty amazing, because those tickets are pretty steep.
We had a few sell-outs. Other than that, we had packed houses. Heritage Entertainment advertises it well. Television spots in all the local markets. Plus people know it's coming. It's every year, and people save up for it.
That's great news. And then, of course, you're touring with Mel through the rest of the year.
Right. I'm here at home during the week, then out with Mel on the weekend. I crochet. I make scarves and hats. I love being busy. I worked for the school district for many years, but it got kind of hard coming in from a weekend away and trying to work the day job during the week. Mel said, "You probably want to let that go." And finally I did. I also maintain Mel's website. I write almost every day. Songs that mean a lot to me. I don't care if I've heard something like it before. If it's good, I just play it the way I see it.
How many years have you been with Mel now?
Since 2000. Almost ten years.
It's a great gig. I mean, it's your "bread and butter," right?
Right. I wouldn't trade it for the world.
And your association with a world-class musician shows in your music.
Thank you so much, Daddy. The one thing you're always talking about is the song. That's one thing Mel has taught me. It all goes back to the studio. If you want three or four stars or whatever on your CD review, that's where you make it happen. And Mel says, "And we have to close." Sell it first of all in the studio work. And then go out and close it in performance and make sure your audience appreciates it.
To automatically link to Chandra Calloway's charted radio singles, awards, citations, CD's and other references on the website, go to "Calloway, Chandra" in Daddy B. Nice's Comprehensive Index.
If you liked Sheba Potts-Wright's "Lipstick On His Pants," you'll love Chandra Calloway's "Gonna Give It To Ya."


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Video: Subway worker suspended after disarming and stopping robber with their gun
24 Hour Subway Sign (Willis Lam/Flickr)
September 16, 2021 Liz George
An Illinois Subway employee was suspended from her job after a video went viral showing how she managed to wrestle a pistol away from a gunman during an attempted armed robbery. In the video posted on Twitter, the employee is seen hitting the man on the head with the gun until he fled the scene.
According to the Rockford Register Star, Araceli Sotelo, 20, said the gunman entered the Subway at 1120 E. State Street shortly after 10:30 a.m. on September 5, about a month after Sotelo started her job. She was alone at the location and said she was never trained on what to do in the event of an attempted robbery.
"I was kind of like, I felt like I had no other options, you know?" she said. "I was alone in there, and anything could have happened, you know? So, I did what I thought was right."
Sotelo said she was suspended after video of the struggle between her and the gunman circulated on social media. The store's owner declined the Register Star's request for comment.
Sotelo said the video is from the Subway's own security cameras, and the store owner said she could only return to work once the video was removed from the internet entirely.
"I was really mad because I didn't post it," she said. "I texted him and said, 'How long am I suspended for?' And he said, Until everything is removed offline.' I don't have capability of doing that."
After her suspension, Sotelo shared the video on her personal TikTok under the handle "yadalove07." While the robber was not able to steal any money from the store thanks to Sotelo's determination, he did take her purse. Her phone was also damaged during the confrontation.
The store's owner has not offered to pay for any of her stolen personal items, the damage, or her medical bills.
"We are deeply concerned about the recent incident at a franchised location in Rockford, Illinois," Subway's corporate office said in a statement. "The restaurant owner and management are fully cooperating with the police investigation, and we request patience until that process is complete."
The Register Star reported that the gunman is still at large.
Sotelo is considering suing her employers, and her mother set up a GoFundMe account to help pay for legal bills and lost wages. As of Thursday morning, the GoFundMe has raised just over $19,000.
"My name is Sylvia Oviedo and over the weekend my daughter was robbed while working (alone) and she fought him off and he only took HER purse. Nothing from the store was stolen. Her manager has now suspended her from work leaving her without a job after she heroically defended the store," Sotelo's mother wrote in the GoFundMe description. "My daughter now has a broken phone, no ID, No debit card and no purse and he rufuses to compensate her for any of it."

redpajama_set_name: RedPajamaCommonCrawl


text:
Woman Dies Trying To Escape Morgue Freezer After Falsely Being Pronounced Dead
Doug Mataconis · Saturday, April 5, 2014 · 8 comments
Well, this will make one heck of a lawsuit:
The family of a woman who may have frozen to death after being pronounced dead and placed in a morgue is moving forward with a lawsuit against a hospital that claims their family member "struggled unsuccessfully to escape her frozen tomb."
Maria de Jesus Arroyo — an 80-year-old grandmother with more than 50 grandchildren — was pronounced dead in July 2010 after suffering a heart attack. A few days later, she was found in a half unzipped body bag, face-down with a broken nose and cuts and bruises to her face — injuries family members said were not there at the time she was hospitalized, according to court papers.
On Wednesday, a California appeals court ruled that the family's medical malpractice lawsuit alleging the woman's body was mishandled by the hospital can move forward.
"She was put into that body bag while she was alive," said the family's attorney, Scott Schutzman. "The cold from the hospital morgue woke her up and she was fighting her way out when she died."
The lawsuit against White Memorial Medical Center in Boyle Heights alleging wrongful death outlines the family's account of what happened after Arroyo was found unconscious at her home in July 2010. She was transported to the hospital by ambulance and later declared dead.
The lawsuit claims she was "prematurely" declared dead at the hospital and that she was frozen alive at the morgue before mortuary workers who arrived to transport her found Arroyo face-down in a halfway unzipped body bag. Family members said they did not see lacerations and bruises on her face until viewing her remains at the funeral home
Yea this one just seems to scream settlement.
FILED UNDER: Law and the Courts, Quick Takes
Saturday, 5 April 2014 at 11:47
Ugh. I don't really want to get into discussions about terrible ways to die, but this would be pretty close to the top of the list for claustrophobics.
Thank God the Republicans want to pass tort reform so this woman's greedy relatives won't be able to sue. Just because their mother was killed is no reason to allow the transfer of money from a medical corporation to the victim's heirs.
That's the hospital where I was born.
Note to self: go somewhere else to die.
John Peabody says:
Michael- are you sure you were 'born'? How are you feeling? No zombie tendencies, I hope. Say…has anyone ever seen Michael eat food?
@John Peabody:
Oh, people have seen me eat. You can be sure of that. Now, have they ever seen me stop eating?
Gustopher says:
Private death panels are woefully ineffective.
OzarkHillbilly says:
Sunday, 6 April 2014 at 08:36
Maybe they should employ the Monty Python method for declaring death?
Well this is terrifying to ponder.
The Real News From The McChrystal Interview: The Troops Aren't Happy
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Second Dallas Health Care Worker Tests Positive For Ebola
Mayberry and White America II
Mayberry and White America
The Big Lie is Working


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Unbreakable Kimmy Schmidt: Season 1 Review
A-OK
Showrunners: Tina Fey & Robert Carlock
Starring: Ellie Kemper, Tituss Burgess, Jane Krakowski, Carol Kane, Tina Fey
Tina Fey is back with yet another terrific sitcom. After Mean Girls, 30 Rock and her work on Saturday Night Live comes her latest project, Unbreakable Kimmy Schmidt, which carries on her fine and hilarious form.
Unbreakable Kimmy Schmidt tells the torrid, yet uplifting tale of Kimmy Schmidt (Ellie Kemper), who is trying to feel her way back into modern society after having been rescued from a cult in Indiana, where she was being held by a slightly barmy man, who calls himself the Reverend Richard Wayne Gary Wayne. Not wanting to be seen as a 'victim' of said cult, and also wanting to distance herself from what are now known as the 'mole women', Kimmy decides to start afresh by moving to New York City – the big apple.
She finds a place to live (which is basically a cupboard), befriends her nice, if a bit odd, landlady Lillian Kaushtupper (Carol Kane) and her new flatmate, struggling actor Titus Andromedon (Tituss Burgess). She even manages to secure a job, be it as a nanny for one of the most dysfunctional and ridiculously rich families in New York. Kimmy has to learn to survive in this new and unfamiliar world, but with the help of her friends and an almost unnerving 'can-do' attitude she'll do everything within her power to remain unbroken.
Singing in New York
If it rhymes, then it's fines…
All the best sitcoms have fantastically funny characters, this is no different. Kimmy herself is brilliantly portrayed by the wonderful Ellie Kemper; she is always full of energy, has a big bright smile, and an eternal optimism which is incredibly infectious. Fey wrote the character especially for Kemper and it's easy to see why; you couldn't imagine anyone else embodying the infectious spirit of Kimmy.
Yet it's in the supporting characters where the show demonstrates it's true brilliance. With the help of a witty script – what else would you expect from a Tina Fey show? – Titus, Lillian and Jane Krakowski's Jacqueline Voorhees (you've got to love the names in this series) really steal the show.
Titus has many of the standout moments, with his quick wit and penchant for musical humour. He sings one of the funniest songs ever to be heard on the small screen – you'll be rhyming things with 'Pinot Noire' long after you've finished this season.
Fey's social commentary is superb and always spot on. This is evident in all of her work, from Mean Girls to 30 Rock, yet it's very evident in Unbreakable Kimmy Schmidt, mainly due to Kimmy's unfamiliarity with life in the 21st century. It's great to see how excited she gets by things that seem unremarkable to us: brightly coloured shoes, mobile phones, and even new types of sweets she's never tasted.
Say WHHHHAAATTT?
2090 called. You're dead and you wasted your time on Earth.
Another vital part of any sitcom is its theme song; Friends had "I'll Be There For You", Cheers had "Where Everybody Knows You Name", and Unbreakable Kimmy Schmidt has "Unbreakable" by The Gregory Brothers and Mike Britt, who are famous on YouTube for taking funny interviews and auto-tuning them into catchy songs. They've done the same thing here with the Unbreakable Kimmy Schmidt theme song and created a real earworm.
If this first season has one problem, it's that it takes a few episodes to really hit its stride. However, once it does, it steams along nicely, delivering a bucket-load of laughs along the way. The show also incorporates a great cameo in the form of Reverend Richard Wayne Gary Wayne. After many years on a successful dramatic show, and spending most of the season as an unseen character, his reveal demonstrates what an incredible comedic talent he is.
It's unbelievable to think that we almost didn't get to see Unbreakable Kimmy Schmidt, as it was originally supposed to air on NBC, but then spent some time in development hell, until it was eventually picked up by Netflix where it's been a huge hit. It's been so successful that they've just commissioned two more seasons, which is great news. It has that quality that so many other sitcoms lack, that 'go on, just one more episode' quality. Once you've finished the 13 episodes, you'll be dying to watch another. More of the same please.
REVIEWSTV
Carol KaneEdward LauderEllie KemperFeaturedJane KrakowskiNetflixRobert CarlockSeason 1Tina FeyTituss BurgessUnbreakable Kimmy SchmidtUnbreakable Kimmy Schmidt review
Silent Hills P.T. Review
Crimson Peak Review
Philippa on 30 November, 2016 at 17:59
Good luck with your new venture


text:
About Clinks and our members
Sort by Newest first Oldest first Sort by name AscSort by name Desc
Field of Work
attitudes, thinking and behaviour
evaluation and effectiveness
black, asian & minority ethnic people
making every adult matter coalition resource
reducing reoffending third sector advisory group document
the state of the sector
Publications filtered by:
Type: evidence library ×
A bolder cost-benefit approach to capture the contribution of the voluntary sector in criminal justice
In this evidence review, Dr Mary Corcoran, Reader and Director of Postgraduate programmes in Criminology at Keele University provides an in-depth look at the rationale and uses of cost benefit analysis (CBA).
Trauma-informed work with people in contact with the criminal justice system
Patricia Durr, former Director of Operations at One Small Thing has written this evidence review of trauma-informed practice with people in contact with the criminal justice system in England and Wales.
Community empowerment approaches
The key to overcoming institutionalised racism in work with black, Asian and minority ethnic people in contact with the criminal justice system
© Clinks 2021. All rights reserved.
Block C, 5th Floor
Tavistock House
London, WC1H 9JJ
info@clinks.org
Clinks is a registered charity no. 1074546 and a company limited by guarantee, registered in England no. 3562176
Work for Clinks
<?xml version="1.0" encoding="utf-8"??> <?xml version="1.0" encoding="utf-8"??> <?xml version="1.0" encoding="utf-8"??>


Happy new year to you all! thank you to our existing customers for their continued support, we have had some really exciting projects that have been started, finished and some longer ones still in progress. Thank you to our wonderful team that continue to provide a high quality service, that we are truly grateful to have. They always put 110% in and do the best for our business and customers, so thank you!
Here is to 2018 where we will continue to do the same as 2017nworking closely with our stakeholders and producing high quality work and relationships.


text:
Uradiophora longissima is een soort in de taxonomische indeling van de Myzozoa, een stam van microscopische parasitaire dieren. Het organisme komt uit het geslacht Uradiophora en behoort tot de familie Uradiophoridae. Uradiophora longissima werd in 1848 ontdekt door von Siebold in von Kölliker.

Myzozoa

redpajama_set_name: RedPajamaWikipedia


The cpc_open() function initializes libcpc(3LIB) and returns an identifier that must be used as the cpc argument in subsequent libcpc function calls. The cpc_open() function takes an interface version as an argument and returns NULL if that version of the interface is incompatible with the libcpc implementation present on the system. Usually, the argument has the value of CPC_VER_CURRENT bound to the application when it was compiled.
The cpc_close() function releases all resources associated with the cpc argument. Any bound counters utilized by the process are unbound. All entities of type cpc_set_t and cpc_buf_t are invalidated and destroyed.
If the version requested is supported by the implementation, cpc_open() returns a cpc_t handle for use in all subsequent libcpc operations. If the implementation cannot support the version needed by the application, cpc_open() returns NULL, indicating that the application at least needs to be recompiled to operate correctly on the new platform and might require further changes.
The cpc_close() function always returns 0.
The version requested by the client is incompatible with the implementation.


text:
Home National News Amosun's offer of last-minute appointment rejected
As the out-going Governor of Ogun State, Senator Ibikunle, continues in his adamant nature to make last minutes appointments to undermine the incoming administration of Prince Dapo Abiodun, a courageous lady has told the governor to keep his appointment to himself.
Senator Ibikunle Amosun
Newsaccross gathered exclusively that the lady, who is a professional, humbly requested that Governor Amosun should excuse her name from the list of intending members of the Governing Council of the Tai Solarin University of Education (YASUED), which Amosun will announce any moment from now.
A source within the government informed Newsaccross that efforts were actually made to persuade the lady to take up the last-minute appointment in other not to be seen as rebuffing the governor, but it was learnt that the lady was resolute in her principled stand, wondering why Amosun will be making such appointments with less than 40 days to handing over to Prince Dapo Abiodun as governor.
The membership of the TASUED Governing Council is of five years tenure. The last Governing Council of the premier University of Education in Nigeria, second in West Africa and eight in Africa, was headed by the former Vice Chancellor of the University of Ibadan, Professor Olufemi Bamiro. Bamiro's tenure ended in July 2018. Since coming into office in 2011, Amosun has refused to appoint a Chancellor for TASUED, an institution he actually wanted to scrap but for the intervention of eminent Ijebu sons and daughters, led by the Awujale and paramount ruler of Ijebu land, Oba Sikiru Kayode Adetona.
READ ALSO: Ogun governor, Abiodun promises to develop all parts of Ogun equally
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SALIVA and RED SUN RISING Live in Akron, Ohio With Photos!
The home-town boys RED SUN RISING kicked off the show at The Rock Factory in downtown Akron. Now if you have been to some concerts before, you are aware that many times (especially at club shows) there will be some garbage local bands that will open the show and will rarely ever be mentioned in a concert review-this is not the case with RED SUN RISING. They may be local, but the members of RED SUN RISING are seasoned musicians with stage presence and touring experience, not to mention and extremely loyal and ravenous fan base.
RED SUN RISING is one of those bands that really don't fit any traditional molds of hard rock and heavy metal. They blend lots of hooks and melodies with slamming riffs and add to it a Myles Kennedy-esque vocal from Mike Protich. They do their own thing-and it works!
The band had to make the best of a very cramped stage due to SALIVA's huge drum riser and extensive lighting, but that didn't stop them from wrecking the place. Once RED SUN RISING took the stage, the scattered crowd grew dense down front. It was the intensity of the band that energized the crowd. The only hiccup of the night came when a beer managed to splash on one of the monitors causing the sound guys to scramble down front and disconnect it. Otherwise, the band was tight and their stage show never managed to suffer due to the tight quarters.
I would recommend RED SUN RISING to any fan of rock, metal, or punk…they have something for everyone and if you get the chance to catch them live, you will not be disappointed.
"Love is all to Blame"
After a set change it was time for the rejuvenated and revamped SALIVA to take the stage. Right off the bat, SALIVA got the crowd going with "Ladies and Gentlemen". Seriously, would you expect them to open with anything else? The newest addition to the band, Bobby Amaru, belted vocals from center stage-adapting songs to make them his own and stirring the crowd into a frenzy. It was easy to see that the new vocalist fit right in as if he had fronted SALIVA all along.
SALIVA plowed through hit after hit without missing a beat. One of the highlights of the night was hearing "Rest in Pieces" followed by a cover of FLEETWOOD MAC's "Gold Dust Woman" The two songs really showed off Bobby Amaru's vocal range. The band also played their newest single "In It to Win It" – a heavy and up-tempo track off of their upcoming release of the same name. If the rest of the album sounds like this, we are all in for a real treat.
Despite the club's size, SALIVA brought with them a full-size stage show, complete with an enormous drum riser and tons of additional lighting. It really made it an excellent show to photograph and it was nice to see a band put so much effort into their large scale production regardless of the size of the venue.
Overall, it was an excellent show and anyone who attended probably felt that they got their money's worth. SALIVA mingled with the crowd afterwards – signing autographs and taking pictures. Look for In It to Win It on store shelves later this year.


Jumper has low armholes, loose-fitting, lined bodice, tie ends and dirndl skirt.
Misses: above ankle, dropped waist bodice.
Children's: below mid-calf, raised waist.
Loose-fitting, pullover top has back button closing and long sleeves with button cuffs. Narrow hem.
Condition: Misses pieces cut. Misses Jumper bodice cut on the Medium cutting lines. The children's pattern is UNCUT.


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Q: MD5 code generation I have a query regarding MD5 code generation. My page has 4 fields, like user name, password.
I need MD5 code generation for password fields. My MD5 code conversion code is perfect, there is no error, but when I run the application, it crashes.
I exactly don't know how to convert my password field with my conversion code. I need help as I am new to iPhone development. Code would be appreciated.

A: I've used this in the past. You might find it helpful.
- (NSString *)stringWithMD5Hash:(NSString *)inStr {
    const char *cStr = [inStr UTF8String];
    unsigned char result[CC_MD5_DIGEST_LENGTH];
    CC_MD5( cStr, strlen(cStr), result );
    return [NSString stringWithFormat: @"%02X%02X%02X%02X%02X%02X%02X%02X%02X%02X%02X%02X%02X%02X%02X%02X",
        result[0], result[1], result[2], result[3], result[4], result[5], result[6], result[7],
        result[8], result[9], result[10], result[11], result[12], result[13], result[14], result[15] ];
}

This requires importing CommonCrypto/CommonDigest.h.

redpajama_set_name: RedPajamaStackExchange


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Two sentenced to prison for heroin overdose death in Fond du Lac
Cara Zech and Anthony Buechel were sentenced Tuesday for their roles in a death caused by a heroin overdose. Earlier this month, Julie Harr was sentenced for her role in the death.(FdL County Jail)
FOND DU LAC COUNTY, Wis. (WBAY) - Two more people have been sentenced to prison for their role in a heroin overdose death in Fond du Lac.
On Dec. 29, Fond du Lac County District Attorney Eric Toney announced Cara Zech had been sentenced to nine years in prison and 10 years on extended supervision. She was found guilty of Reckless Homicide after pleading no contest to the charge.
(WBAY)
Anthony Buechel was sentenced to seven years in prison and five years on extended supervision. He was found guilty of Reckless Homicide after pleading no contest to the charge.
On Dec. 1, Julie Harr was sentenced to six years in prison and six years on extended supervision. She pleaded guilty to Reckless Homicide.
The trio was involved in a July 2018 heroin overdose death. The victim's name is redacted in criminal complaints.
The victim's girlfriend told police that she believed he had obtained heroin from Julie Harr.
Police tracked down Harr who told them how she did heroin with Anthony Buechel. Harr and Buechel got their heroin from Cara Zech.
On July 27, 2018, the trio took a trip to Milwaukee to buy heroin. During the trip, they purchased heroin for the victim.
Later, at Harr's residence, Julie saw Buechel give the victim a bindle of heroin. Harr said it was opened and broken down and the three of them used it together.
The victim was found dead on July 28 at a residence on 8th St.
"Drug overdose deaths are heartbreaking on so many levels and these sentences will not erase the pain and grief families experience when they lose a loved one," said Toney. "I pray as we turn the page into 2021 those experiencing drug addiction will seek help to break their cycle of addiction. We will continue to prosecute those that sustain addiction through drug dealing while also continuing to support our Drug Court and Diversion programs for those that wish to seek treatment."
Man arrested after reportedly driving his car up the stairs of the Wisconsin State Capitol building
Wisconsin grocers push for phase 1B vaccination inclusion


text:
AT&T Exec Dishes That He's Not So Hot on Rival-Partner Comcast
News Analysis Mari Silbey, Senior Editor, Cable/Video 4/19/2018
AT&T doesn't like Comcast much. Or at least John Stankey, senior executive vice president at AT&T, doesn't think very highly of his cable competitor.
Trying to make the argument that AT&T Inc. (NYSE: T) is unlikely to collude with Comcast Corp. (Nasdaq: CMCSA, CMCSK) in undermining online video services, Stankey noted during trial testimony yesterday that he's not planning to team up with the cable operator because he doesn't like the company to begin with.
The trial, in this case, is the one between AT&T and the Antitrust Division of the U.S. Department of Justice ; the one that will decide the fate of the telco's acquisition of Time Warner Inc. (NYSE: TWX). (See AT&T Likens DoJ Suit to Shaved Persian Cat.)
As Variety reports, Stankey was making the point that AT&T and Comcast are bitter rivals and that the battles they fight regularly make them unlikely to team up as allies in the future.
But are things really that simple?
Just this morning, Comcast subsidiary NBCUniversal said that it's joining with Fox, Turner and Viacom in a venture that matches audience data with advertising campaigns. Turner is a subsidiary of Time Warner, and it's under the umbrella of assets that Stankey will oversee if the AT&T merger goes through.
In other words, Time Warner and Comcast are already collaborating, and if AT&T wins in court, it will soon be partnering with Comcast too.
You're invited to attend Light Reading's Big Communications Event -- the ONE event that delivers fresh perspective on the rapid transformation of the telecom industry and the road ahead. We'll see you May 14-16 in Austin -- communications service providers get in free!
There's an argument to be made that NBCU partnering with Turner isn't the same thing as AT&T doing side deals with Comcast. But the continued trend toward vertical integration in the pay-TV market makes it harder and harder to distinguish friends from enemies. Where financial incentives demand it, companies that are arch-rivals in one space have shown themselves willing to play nice in another.
The NBCU announcement timing probably isn't what AT&T would have wanted. Stankey has not yet concluded his testimony, and AT&T CEO Randall Stephenson is on the calendar to take the stand at trial later today.
— Mari Silbey, Senior Editor, Light Reading
mendyk 4/19/2018 | 4:07:30 PM
Re: Nothing to see here Of course, not many of these cases actually end up in court. And this one seems particularly silly if for no other reason -- as many others have pointed out -- Comcast/NBC. That said, some of the arguments being advanced by AT&T and Time Warner seem a bit lame.
Phil_Britt 4/19/2018 | 4:02:13 PM
Re: Nothing to see here As you said, the court is supposed to ignore actual ongoing collaboration, but that may or may not have been an issue in the court's eyes -- the courts have allowed all but a very slim number of mergers to go through for several years.
Re: Nothing to see here In this specific case, the court is supposed to ignore actual ongoing collaboration because "we don't like them." Uh huh.
Re: Nothing to see here They will work together if both can profit -- maybe. Remember Supercomm disbanded in part because the partners couldn't agree on revenue split.
Nothing to see here "Those aren't spots," said The Leopard.
High Performance Video Transcoding on ADLINK AdvancedTCA Processor Blades with Intel Media SDK


In this chapter, we will introduce collective intelligence as a form of BI 2.0. Collective intelligence is a form of knowledge that allows applications to be dynamically shaped by the respective users. It is a paramount feature for BI 2.0 applications that you want to tailor to a larger audience (beyond business analysts).
This chapter will introduce the features of collective intelligence and why it is important in today's applications that deal with large amounts of user data. Furthermore, I will guide you through various examples and implementations of collective intelligence you have used hundreds of times on numerous current-generation web sites.


Model 20 Compact Sprayer (No Gun) | Lafferty Equipment Manufacturing, Inc.
The Model 20 Compact Sprayer is a low volume hose-end spray applicator for diluting and applying chemicals to any surface up close or at a distance. This unit uses standard city water pressure to draw chemical concentrate from the attached bottle and blend it into the water stream. This accurately diluted solution is then projected through the recessed fan nozzle. This handy sprayer is offered without a trigger gun and can be used in conjunction with the gun on another compact unit. Use it with a Compact Foamer to easily switch between foam, rinse and spray using a single hose and trigger gun.


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George W. Libert, Jr., formerly of East Palestine, passed away at 1:30 p.m. Wednesday, September 25, 2013, at the Salem Community Hospital, where he had been a patient for the past twelve days.
Mr. Libert was born November 18, 1925, in Youngstown, a son of the late George W. Sr. and Olive Shelton Libert, and had resided in East Palestine for the past thirty-eight years, coming from Negley. Prior to his retirement several years ago, he had been employed with the former Crucible Steel, Midland, PA. He was a World War II U.S. Army veteran.
His wife, the former Ruth Fletcher, whom he married August 10, 1946, preceded him in death on December 8, 2001. A grandson, a granddaughter, a great-granddaughter, four sisters and a brother preceded him in death.
In addition to his daughter, Janet Lindner of Enon Valley, PA, he leaves a son, George Libert, III of Beaver Falls, PA, and two sisters, Mildred of Oregon, and Geraldine of Ohio.
The family will receive friends at the OLIVER-LINSLEY FUNERAL HOME, 644 East Main St., East Palestine, Ohio, from 5 to 7 p.m. Sunday, September 29, 2013, where a memorial service will be held at the conclusion of the visitation. Officiating will be Dewayne Herron of the Enon Presbyterian Church. Military rites will be conducted by the combined units of the American Legion Post 31 and the Veterans of Foreign Wars Post 4579.


text:
Q: No easy run button when using Java in VS Code I am a software developer and am having a problem with Visual Studio Code while trying to run Java. When running other languages (such as python) there is a green triangular button on the top right that allows an easy way to run my code, however, when I trying running Java there arrow is not there and I have to manually select "Run Code" from the "Run" ribbon at the top of the screen. Is there any way that I could get the same green run button when using Java? Thank you for your time.

A: Press crtl+F5 to run without debugging and F5 running with debugger.
You can use the integrated terminal for compiling and executing by using the javac <filename>.java for compiling and java <filename> for executing.
Set your own key bindings.
Preset shortcuts

A: Install Java Extension Pack in extension marketplace will solve your question, also you can install Code Runner which provides button for code running too.


Massive 2 Story with over 4200 sq ft of luxury living space on the finest street in Estates At Baxter Pointe. This beautiful home has been meticulously maintained. Wood Entry Foyer, Separate Dining and great room with marble fireplace. Gourmet Kitchen with Huge Work Station, Center Island, Custom 42in Cabinets, KitchenAid appliances, Ceramic Tile Floors thru-out Kitchen and Breakfast Rm and Main Floor Lndry Rm. Breakfast Rm area overlooking Great Room & beautiful back yard, sliding glass door that opens to expansive composite deck with screened-in gazebo-perfect for outdoor entertaining. Upstairs: large Flex Room & 4 Ensuite Bdrm with Walk-in Closets. Master Bdrm Suite Luxury Bath with Sep. Tub/Shower, 2nd & 3rd Bdrm share a Jack & Jill, 4th Bdrm has Private Sep. Bath, Finished Lower Level includes family room, game room & bath. Truly a beautiful home with everything you could want.
Listing courtesy of BSG Realty.


text:
Gmina Brzostek is an urban-rural gmina (administrative district) in Dębica County, Subcarpathian Voivodeship, in south-eastern Poland. Its seat is the town of Brzostek. (Brzostek gained town status on 1 January 2009 – prior to that the district was classed as a rural gmina.)

The gmina covers an area of , and as of 2006 its total population is 13,022, out of which the population of Brzostek is 2,597.

The gmina contains part of the protected area called Czarnorzeki-Strzyżów Landscape Park.

Villages
Apart from the town of Brzostek, the gmina contains the villages and settlements of Bączałka, Bukowa, Głobikówka, Gorzejowa, Grudna Dolna, Grudna Górna, Januszkowice, Kamienica Dolna, Kamienica Górna, Klecie, Nawsie Brzosteckie, Opacionka, Przeczyca, Siedliska-Bogusz, Skurowa, Smarżowa, Wola Brzostecka and Zawadka Brzostecka.

Neighbouring gminas
Gmina Brzostek is bordered by the gminas of Brzyska, Dębica, Frysztak, Jodłowa, Kołaczyce, Pilzno, Ropczyce and Wielopole Skrzyńskie.

References
Polish official population figures 2006

Brzostek
Dębica County


This section describes how to manage users and Bot usage by those users, and managing groups. As the Bots Admin, you need to invite and enroll users in Kore.ai, then, if desired, select some or all of those enrolled users as managed users. In the Analytics module, you can define reports for auditing events by admins and users assigned custom admin roles.
In the Enrollment module, you can invite users directly by email address, or create a basic .txt file with a list of email addresses, or import a list of users with name and profile information. If your organization uses Active Directory, you can synchronize your Active Directory users, groups, and distribution lists with Kore.ai as well. For more information, see the Enrollment Module Overview.
The following illustration shows an example of the Enrollment module with the Invite page displayed.
The Analytics module provides the history of all administrative tasks with attributes such as User, Date/Time, and Description for an event. You can review the Audit Report page to analyze admin users, custom admins, and user events such as log on, log off, and changes to system settings. For more information, see the Analytics Module Overview.


text:
Das Vollzugsziel definiert den Zweck des Vollzuges einer Freiheitsstrafe. Es ist damit vom Strafzweck zu unterscheiden, bei dem es um den Sinn der Verhängung von Strafen geht.

In Deutschland ist das Vollzugsziel in  Satz 1 des Strafvollzugsgesetzes (StVollzG) festgelegt:
"Im Vollzug der Freiheitsstrafe soll der Gefangene fähig werden, künftig in sozialer Verantwortung ein Leben ohne Straftaten zu führen (Vollzugsziel)".
Das Vollzugsziel ist damit Maßstab und Ausrichtung für alle Bemühungen im Justizvollzug. Dies bedeutet, dass der Häftling während des Strafvollzugs wieder auf das Leben "draußen" (d. h. in Freiheit) vorbereitet werden soll und dass er lernen soll, nicht noch einmal kriminell zu werden. Durch die Resozialisierung soll der Häftling befähigt werden, ein friedliches und arbeitsames Leben innerhalb der Gesellschaft zu führen.

Im NJvollzG (Niedersächsisches Justizvollzugsgesetz) erklärt der § 5 die Vollzugsziele: Satz 1 "Im Vollzug der Freiheitsstrafe sollen die Gefangenen fähig werden, künftig in sozialer Verantwortung ein Leben ohne Straftaten zu führen." Satz 2 "Zugleich dient der Vollzug der Freiheitsstrafe dem Schutz der Allgemeinheit vor weiteren Straftaten."

Nach  Abs. 1 Satz 1 StVollzG wirkt der Gefangene an der Gestaltung seiner Behandlung und an der Erreichung des Vollzugsziels mit.  Abs. 1 Satz 2 StVollzG ordnet an, dass die Bereitschaft des Gefangenen hierzu zu wecken und zu fördern ist.

Strafvollzugsrecht (Deutschland)
Gefängniswesen (Deutschland)
Rechtspsychologie


What an exciting time in your life! My approach to weddings is a little different and more personalized. It's your day. Your story. I will capture all the details and moments that you will want to remember.
All Packages can be tailored to fit your special day! Price may vary based on location of wedding venue. Images will be delivered 6-8 weeks through private online gallery (easy to share with friends and family!) Non refundable deposit due at booking.


Thank you to all of our customers, friends, and family for an outstanding 2017!
We wish you all a Happy New Year and cannot wait to see what 2018 brings.
All Christmas product is 50% OFF! From stunning ornaments to holiday decorations enjoy our Christmas collection at a 50% DISCOUNT. The sale is on NOW until January 8th. Don't miss these amazing offers!
What surprise will you unwrap? From January 10th to 17th spend $75 or more on Pilgrim Jewelry and receive a pair of Pilgrim Mystery Earrings for FREE. Each pair of earrings were hand selected and are valued at $24 - $42. We only have 14 mystery earrings available!
Refresh Your Look for 2018!
Join us for our week-long Kameleon giveaway and jewelry cleaning event! From January 18th to 25th spend $100 or more on Kameleon Jewelry and we will clean your jewelry for FREE. We will also gift you with a FREE scarf (valued at $18.99). Tis' the season to be sparkly!
Tai Knots Jewelry is Back!
Have you been searching for that special accessory to make your outfit stand out? Our Tai Knots jewelry collection is BACK and it looks better than ever. This rare jewelry is handcrafted in Ontario and hard to find. Shop now before it's too late!
Have fun in the tub!
Unique soap creations that will get your kids excited about being clean! We have soap shaped like a store bought fish baggy and soap that looks like a delicious cupcake! Or, treat yourself with our bath bombs.
The Functional and Stunning Key Finder!
Tired of digging through your purse in -30.C to find your keys? Check out our stunning Key Finder! It's Canadian-made, only $26.99 and you'll never lose your keys again.
On January 15th we are launching our Chamilia Spring Collection! Start 2018 on a strong note. Upgrade your jewelry with stunning charms that tell your story.
From January 28 - 29th, 2018 we will be attending the Toronto Gift Show to look for inspiration and new product to bring to the boutique. Stay tuned on our Facebook Page for live updates and sneak peeks!
The Perth Soap Company creates luxurious liquid soaps and cleaning bars that our family loves!
The soap is made locally in Perth, Ontario.
Inox stainless steel designs for that special gentleman. The designs ranging from classic to urban are available at very affordable price points.
This Christmas was particularly tough for our family. We lost Gino's Mother, Lillian, who passed away in her sleep on December 7th, 2017. Lillian was mother to seven, grandmother to thirteen, and great-grandmother to fourteen. Spending time with family and friends was especially important and needed this holiday season. With the new year upon us, we are taking this time to look back and appreciate what we have and look forward to spending more quality time with our loved ones.


Here is the ultimate list of beauty products every working woman must keep at her desk!
After braving hair-raising steam levels and makeup-melting temperatures en route to a office, we arrive safely – to a sub-zero air-conditioning fit for a cryotherapy chamber. The outcome is dry skin, chapped lips, and strands that are all over the place. Add to that some accidental nail-chipping or nail polish wearing off and we are the perfect illustration of a beauty slump. In the midst of the whirlwind that can be mid-week madness at work, being aesthetically challenged is the last thing we could want.
To help you out, here is an arsenal of beauty products for quick touch-ups throughout the day. We like to keep these stashed in our desk drawers or within arm's reach for ultimate workday beauty perfection. Each one is as essential as Post-Its, staplers and a 4:00 p.m. shot of espresso.
From making your face a clean slate for redoing some glam look or correcting lipstick smears or liner smudges to instantly freshening you up, wipes (you can also make use of baby wipes) are the most important essential to have in your handbag and office drawer. To enhance the multitasking abilities, buy the ones that have moisturizing qualities too.
There is nothing that conceals the storm under the calm like a hairspray. Be the cool cucumber who appears (and probably is) in control in the midst of a hurricane. It is good to do your hair once as soon as you reach work. Use a hair spray to keep the strands in place and give you a professional and polished look.
For those that work in humid areas or need to be on the field, a pressed powder to keep the shine away is a must. Choose a powder that doesn't clog pores, and has sun-protection as well. If you are wearing a bold lipstick, set it in place by putting a tissue over your lips and using a powder brush to dab the powder on your lips with the tissue as a barrier.
It's amazing how much scent influences our mood and the way those around us perceive us. A well-chosen perfume applied correctly can brighten your day (and disguise the smell of that tuna sandwich you had for lunch). But don't be the girl who sprays the perfume out in the air the rest of your co-workers have to breathe. Instead, keep a compact roller-ball in your desk so you can discreetly apply a little perfume to your pressure points as needed during the day. Also, keep the fragrance light and fresh.
Any makeup aficionado knows that the quickest way to bring life to a tired face is a swipe of lip color. However, in the middle of a workday, the perfectly applied berry lip may be a little too time intensive for your schedule. Instead, try a moisturizing tinted lip balm in a peachy neutral shade. It's easy to apply because it's such a light shade. Also, if you want to add a pinch of color to your cheeks, the creaminess of the balm will double perfectly as a cream blush!
There is nothing more unsightly that nail polish that is wearing off the edges or one that is chipping. You may not have the luxury of applying nail polish at work, but you can spare a minute or two and remove it completely. Use an acetone-free polish remover so that your nails do not become brittle and also feel moisturized after that mini clean-up.


text:
Alexander Grobman () este un evreu basarabean, agronom, om de știință în domeniul fiziologiei plantelor și botanist peruvian, cunoscut pentru lucrările sale în domeniul geneticii și selecției porumbului.

Biografie
S-a născut în târgul Lipcani (acum oraș din raionul Briceni, Republica Moldova) din județul Hotin, Regatul României, în familia lui Gerșon Grobman (1899-1981) și Freema Tverskaia (1905-2003). La vârsta de trei ani, familia a emigrat în Peru (1930). A studiat la Colegio San Andrés ("Colegiul San Andrés") și la Escuela Nacional de Agricultura ("Școala Națională Agricolă"), ulterior a absolvit Departamentul de agronomie al Universității de Ohio și la Universitatea Harvard, unde și-a susținut doctoratul în biologie cu o specializare în genetică (1962). A fost șef al Departamentului de cercetare și dezvoltare pentru America Latină la Northrup-King Seed Breeding and Seed Company (ulterior parte din Syngenta), a lucrat și ca consultant agricol pentru Banca Mondială în diferite țări ale lumii (inclusiv Turcia, China și Rusia).

A predat la  (1978). A fondat Institutul Național de Cercetări Agricole (Instituto Nacional de Investigación y Promoción Agraria de Perú) din Lima, fiind și primul său director. Este președinte al firmei de biotehnologie PeruBiotec (Lima).

A efectuat lucrări științifice majore în domeniul geneticii, biologiei moleculare și creșterii porumbului, precum și a soiei, leguminoaselor, a altor plante cultivate și tropicale (yucca).

A fost decorat cu Orden del Mérito Agrícola del Perú ("Ordinul de Merit Agricol"). Este un membru al Asociației Americane pentru Avansarea Științei.

Monografii
 Variedades e hibridos de maiz para la costa del Peru (în portugheză). Programa Cooperativo de Investigacions en Maiz, Fundacion Rockefeller.  Cuzco, 1960.
 Races of Maize in Peru: Their Origins, Evolution and Classification. National Academy of Sciences-National Research Council, 1961. — 374 p.
 Maíz precerámico de Huarmey, costa nor central del Perú. Lima: Instituto Nacional de Investigación y Promoción Agropecuaria, 1982. — 179 p.
 El desarrollo del agro peruano: situación, posibilidades y propuestas. Lima: Konrad Adenauer Stiftung, 2003. — 288 p.
 Temas de instituciones politicas y Gobernabilidad, el desarrollo del agro peruano: situación, posibilidades y propuestas. Instituto Peruano de Economía Social de Mercado. Lima: Konrad Adenauer Stiftung, 2003. — 288 p.
 Las ciencias agrarias en el Perú. Lima: Banco Central de Reserva del Perú, 2005. — 421 p.

Referințe

Nașteri în 1927
Oameni din Lipcani
Evrei din Basarabia
Basarabeni
Oameni de știință peruani
Agronomi
Botaniști peruani
Geneticieni peruani
Absolvenți ai Universității de Ohio
Membri ai Asociației Americane pentru Avansarea Științei
Absolvenți ai Universității Harvard


text:
Royal Enfield: handmade culture
Bruce Brown interview
Fiat Dino Concept
"The Fiat Dino is the fruit of a match made in heaven. The late sixties was a heyday of edgy design. Some of the most interesting concepts of the period were produced in Turin around this time. These concepts are "
Homage to the Fiat X1/9
The Fiat X1/9 was, like the Lancia Monte Carlo, one of those supremely aspirational mini supercars of the eighties that made anyone of a certain age believe they could achieve.
The Bertone – penned two seater had the whiff of the exotic – mid mounted engine, rear wheel drive, it was light and it handled.
When we think of the car we always associate it with the decade that bought Margaret Thatcher and shoulder pads, but by the time that decade began it had already been available for eight years.
Such was the forward thinking nature of the Bertone design – with targa top and an acreage of period correct black plastic – it's hardly surprising that come the eighties it was actually manufactured by the Carrozzeria itself.
Our fave manifestation is the Dallara racing version (below), that came with hugely flared arches and the rear wing.
And, of course, that Lovely brown paint job.
Ferrari 308 GT Rainbow Concept
Justified Homage to the Miura
New Fiat 500 Campaign
"[gallery link="file" columns="2" orderby="title"] Spanish agency Leo Burnett Iberia have come up with an interesting, colourful print campaign designed to hammer home the message that consumers can design their own cinquecento. Brazilian Illustrator and Art Director Bruno Nakano "
"Sometimes a street spot deserves a little more airtime than others. This Fiat Dino is such a street spot. In the cold light of a Shoreditch afternoon the car looks shockingly other than this time and place. The car kind "
Bertone Ramarro Corvette Concept
"[gallery link="file"] In a piece of quintessential 1980s expansionism, Bertone, kings of angular audacity, decided to hit up the American market with the Ramarro concept (that's 'Green Lizard' to you and I). The Ramarro was based on a bog-standard 83 "
Homage to the Winged Warrior…
" These pics of the homologation special from Dodge in 1969 really evokes the difference in approach to car design and marketing over these last forty years. The Dodge was an extreme machine, but still (almost) accessible. Race specials of our current "
Fiat Turbina
" When you think of Automotive futurism, its easy to believe that GM and other American company's attempts to style the future in a kind of disney-flavoured, jetson-type image. But the truth is about futurism that it was primarily an early 20"
Knockhill Circuit
"If you're a devotee of the BTCC, BSB or a fan of the Kaiser Chiefs (we'll return to that) then you'll be familiar with Knockhill, the highest (at around 800 feet above sea level) and most northerly permanent racing circuit in "
Barbon Hill Climb – Influxposure
"2019's Influxposure competition was open to students in the UK, with a chance to not only scoop a £2000 prize but also get the winning video shown to hundreds of thousands of viewers in the UK. After the final three films "


We're in the ninth year – whoops, my mistake, ninth week – of this trial and, in the longueurs of mid-afternoon as some underwhelming attorney combs the fine print of the 2001 10K SEC filing for the umpteenth time, one's mind naturally wanders to more congenial topics, and often alights on the very pronounced differences between US courts and our own tradition. In the United Kingdom, the routine criticism of the robes and wigs and whatnot is that they can be "intimidating" to the ordinary citizen. Really? I would have thought Joe Public might just as often be reassured by the anachronistic garb: the dress code signals that he is in a system that operates to ancient and enduring legal principles immune to the passing fancies of the age. In the British West Indies, the silk and wing collars and jabots and horsehair wigs exemplify the difference between a genuine rule of law and what passes for justice in Haiti and Cuba.
We remain hopeful that Lord Black will be found innocent since he surely is.


No firearm in history has enjoyed the fame or popularity of the assault rifle known as the AK-47, or Kalashnikov. Created by a Soviet weapons designer at the dawn of the Cold War, it was mass-produced and distributed worldwide in the millions, leading to its canonization in the revolutionary Third World of the 1950s and 1960s. Indeed, far beyond its utility, the AK-47 became a Cold War icon, appearing on revolutionary flags, in songs and poems, and in televised insurgencies as proof of communist fervor and supposed martial superiority. And it continues to play a major role in warfare today, most visibly in guerrilla conflicts in Africa and the Middle East.
The AK-47 has succeeded so wildly because it is almost an ideal realization of the personal firearm: where most weapons have had to contend with tradeoffs between accuracy, lethality, speed of fire, reliability, cost of production, and ease of carrying and use, the AK-47 managed to find a sweet spot maximizing these traits. In fact, the weapon is so reliable, effective, and easy to use by untrained operators that its advent made it widely possible for just about any group, even with little money, modern technology, or formal military training, to mount significant, deadly assaults against a much larger and more advanced force — a fact that has transformed the face of warfare and created a revolutionary romance that still surrounds the weapon.
Since gunpowder is not static in power in the way that human muscle is, once fiery arms were invented in the fourteenth century, they would in theory constantly improve in a way that bows, slings, and swords could not. But in reality, centuries of technological stagnation followed the invention of the first gun: for example, the eighteenth- and nineteenth-century "Brown Bess" flintlock musket remained almost unchanged during its use by the British Empire over the course of more than a century. Early muskets and their predecessors had slow rates of fire and poor accuracy and reliability, and thus did not always ensure battlefield superiority over arrows, edged weapons, and hand-launched missiles. Benjamin Franklin famously advocated the use of bows by the cash-strapped Continental Army, arguing that they were cheaper, easier to use, and could send more arrows per minute than the musket could fire balls.
The problem was that the various qualities of a good handheld weapon were often mutually exclusive. Increased lethality, for instance, was usually attained by increasing the weight of the firearm and bullets, which often reduced reliability and mobility, and made weapons too expensive to outfit an entire army. So the development of personal firearms was often haphazard, especially during periods of general peace. Black-powder, muzzle-loading, smoothbore (unrifled) firearms were the norm for centuries. Only in the mid-nineteenth century did sophisticated metallurgy and techniques of mass production at last begin to usher in rear-loading models, cartridge ammunition, more powerful and smokeless gunpowder, rifled barrels, and interchangeable, machined parts. The result was a giant leap in the ability of soldiers to kill one another on a mass scale, as the ancient science of effective body armor was unable to keep pace. By the nineteenth century, the personal arms race was on.
The watershed years were those of the American Civil War, which created a race for more rapidly firing and lethal arms. The war that began with the use of muskets and Minié balls ended with the Henry repeating rifle, which allowed a skilled single shooter to load and fire up to twenty-eight times per minute. The war also saw the development of the Gatling machine gun, and, somewhat later, the Maxim, the first fully automatic weapon. The more advanced models of these machines could in theory spit out six hundred rounds per minute, allowing two-man teams to lay down a volume of fire greater than what was possible from a whole company of riflemen. The new machine guns proved revolutionary, especially in the colonial wars in Africa, Asia, and Latin America, in which small numbers of Westerners could trump numerically superior foes, sending a chilling message of technological superiority. The venerable traditions of the mounted lancer, the cavalryman, and the skilled swordsman slipped into decline with the advent of the machine gun.
But the early machine guns, though rapid-fire and quite lethal, were heavy and they often jammed, leaving their operators defenseless. And they were costly and difficult to move and maneuver. Nevertheless, during World War I, improved mobile Maxim, Vickers, and Colt-Browning machine guns reigned supreme across the trenches, overpowering the firing rates of bolt-action, clip-fed rifles. In response to the machine gun's lethal tyranny on the battlefield, early twentieth-century tacticians began dreaming of an everyman's mini-machine gun that would diffuse such killing power into the hands of millions of combatants.
The result was the generation of the so-called submachine gun, most prominently the German MP-18, the Italian Villar Perosa and Beretta Model 1918, and the American Thompson (or Tommy Gun). These weapons fired pistol cartridges, allowing for the employment of existing stocks; they were relatively light at around ten pounds; and they could in theory be shot at astounding rates of fire of well over 400 rounds per minute. Whereas World War I was defined by heavy machine guns battling each other in antipodal fashion across clearly defined fields of fire, battles of World War II were frequently fought in jungles, forests, and urban streets, in which the enemy was typically near and highly mobile. Submachine guns proved popular during this war — and spawned a number of cheaper imitations — thanks to their adaptability to a situation in which constant streams of bullets were directed at soldiers from every direction by constantly moving enemies, and enemies were more likely to be stopped by sudden, rapid fire than by precisely aimed shots from small, longer-barrel weapons.
Yet, for a variety of reasons, the new submachine guns could still not entirely replace clip-fed repeating rifles. While they delivered far more bullets per minute, their short barrels allowed only for poor accuracy and limited range. The less powerful pistol cartridges and greater recoil from near-continuous fire also meant that few submachine guns were deadly beyond two hundred yards — a potentially fatal limitation at the times when rifle sharpshooters had clear fields of fire at over a thousand yards. The constant rapid firing, together with the grime, heat, and filthy conditions of battle, made the submachine guns jam far too frequently. And another problem developed during the war that transcended the weapons' advantage of rapid firing: heavily-laden soldiers simply could not carry enough additional bullets — often larger-caliber .30 and .45 ammunition — to take advantage of their guns' voracious appetites.
On the other hand, repeating rifles, even when semi-automatic and equipped with enlarged clips and improved barrel and stock designs that allowed a good chance of hits at great distances, did not allow enough shots per minute for the increasingly close-order combat in which enemy soldiers might appear suddenly en masse, and in all conceivable landscapes. Their longer barrels and clumsy shoulder stocks certainly proved a hindrance during close-in fighting. Other tradeoffs arose as millions of combatants joined the Allies or Axis powers in a global war, allowing little time to ensure traditional marksmanship training for men from such widely disparate backgrounds. The advantages that could be gained from employing a more accurate, slower-firing, traditional semi-automatic rifle were often lost by the inexperience of the users. There had been design attempts during World War I to bridge these differences, the most successful of which was the American Browning Automatic Rifle. It was almost as accurate as a rifle, but with a weight of over fifteen pounds and a small magazine of just twenty rounds, riflemen often had to shoot from a prone position, with a barrel tripod and plenty of available magazines nearby.
But in the post-World War II era, a true breakthrough addressed the apparently irreconcilable advantages of submachine guns and repeating, clip-fed rifles. The brilliant compromise became known as the "assault rifle," the most prominent of which was the Russian Mikhail Kalashnikov's AK-47 (for automatic Kalashnikov, model 1947), which came into wide use in the early 1950s. Kalashnikov, who benefited from the designs of earlier German and Russian prototypes, seemingly at last solved the six-hundred-year-long dilemma of providing an accurate rifle that was not only capable of firing hundreds of rounds per minute, but was still deadly at ranges of 300-400 yards and beyond. And at under ten pounds, the AK-47 was easy to carry, simple to operate, and highly dependable. Moreover, by using a medium-sized bullet (the 7.62x39mm cartridge, equivalent to about .31 caliber) rather than larger .40 caliber rounds, the AK-47 achieved a deadly muzzle velocity of over 2,300 feet per second. In short, Kalashnikov seemed to have squared the circle by creating a light, cheap, rapid-firing, accurate, reliable, and lethal weapon that was neither rifle nor submachine gun. The gun proved perfect for revolutionaries in Third World countries, and the Kremlin would gleefully reward its new friends with mass deliveries of their wondrous weapon.
The sudden ubiquity of the AK-47 stunned the United States and Europe, and seemed to turn the so-called First World's advantages in marksmanship and weapon craftsmanship on their heads. Illiterate insurgents, amply equipped with cheap AK-47s — now produced even more inexpensively by an array of Soviet satellite countries — suddenly had at their disposal more firepower than American soldiers. And what did it matter if Western riflemen were in theory better trained or shot a better calibrated and more accurate weapon, when mere teenagers in the tens of thousands could pepper Western troops with bullets?
The widespread export of the AK-47 marked yet another Sputnik-like moment in which state communism seemed to outpace Western entrepreneurialism. And just as the Soviets' Sputnik success would set off the space race, and as there were other rivalries between the Soviet T-34 tank and its American counterparts, and between MiG-15 and F-86 jet fighters in the skies of Korea, so too was there a competition in assault rifle technology. Not until the early 1960s did the Americans accept that their old reliable M1 and its replacement M14 were woefully wrong for the new non-traditional theaters of the Cold War.
If a new American assault weapon were to follow in the Kalashnikov model, it would have to trump its Russian competitor with greater accuracy and lethality. This goal was seemingly accomplished with the M16 rifle, invented in the 1950s by the legendary arms designer Eugene Stoner. The sleek black assault rifle employed plastic and aluminum alloys to reduce the weight to two pounds less than the rival AK-47. And it used even smaller ammunition — the 5.56x45mm high-velocity bullet that was to become the standard NATO round.
The result was that, by all accounts, the M16 proved to be an exceptionally reliable and accurate assault rifle. Its smaller-caliber bullet was in some ways as lethal as the AK-47's larger ammunition, as it had a muzzle velocity of over 3,000 feet per second, and the bullet tended to break up after penetrating flesh. The M16 also proved somewhat easier to handle and had less recoil than the AK-47. And soldiers could carry far more of the lighter-weight ammunition. The ensuing shoot-off between the two weapons in the Vietnam War was supposed to make clear the American gun's advantages in rates of fire, accuracy, and lethality.
But just the opposite proved to be true — at least in the first four years of the M16's wide use. Jamming was chronic, apparently due to initial design flaws in the gun, manufacturing problems with the gunpowder, and soldiers' frequent failure to clean the weapon regularly amid the humidity and dirt of the jungle. In contrast, the AK-47 seemed nearly indestructible, in part due to its simpler construction and greater tolerances. In Vietnam, at least, the verdict favored the notion of an uncomplicated assault rifle that compensated for lost accuracy by achieving greater reliability, simplicity of use, and a larger bullet.
The AK-47 further exasperated Westerners by its cheap fabrication from stamped metals and its brilliant operation with just a few working parts. By the late 1960s, soldiers were taking apart, cleaning, and reassembling the weapon in about half the time required for the M16. Something that felt and looked so "cheap," and that was produced by the Communist Bloc notorious for its shoddily manufactured products, surely, it seemed, could not be comparable to a rifle designed by the Americans, the British, or the Germans, with their far more distinguished firearms pedigree.
Yet the Communist Bloc continued to meet world demand with millions of AK-47s. And when the Soviet Union collapsed, its former republics and clients often sought to unload their stockpiles at discounted prices. Ironically, the United States eventually became the largest purchaser of the AK-47 in its efforts to supply poorer allies — such as some areas of the former-Yugoslavia, post-Saddam Iraq, and Afghanistan — with cheap, reliable assault rifles without its own large fingerprints on the arm sales. The result today is that some 75 million AK-47s have been produced, with most still in circulation, making it the most ubiquitous weapon in the history of firearms — dwarfing the M16's eight million.
The debate between exponents of the AK-47 and the M16 has never been resolved, in part because both guns continued to evolve with subsequent improved models and have now both been superseded by more recent designs; in part because ideology and national chauvinism were inseparable from dispassionate analysis; and in part because the relative value of accuracy versus reliability is so subjective. In any case, NATO troops in general felt that their improved models of M16s by the 1980s had proved superior, even as some of the old problems of jamming and insufficient stopping power sometimes reappeared during the harsh conditions of sand and heat during the most recent Iraq War.
The story of the AK-47, amid the ongoing saga of rifle evolution, has in recent years spawned a number of popular books. The best is C. J. Chivers's scholarly The Gun. Chivers takes a properly skeptical view of many of the claims by Mikhail Kalashnikov surrounding the birth of AK-47, and offers a sober and fair account of the acrimonious rivalry between the M16 and AK-47. In dispassionate fashion, Chivers concludes that few inventions of the twentieth century have done so much to kill so many through "war, terror, atrocity, and crime." But after such a clear-headed analysis of the AK-47, he surprisingly offers the emotional hope that eventually the seasons, aging, and wear and tear will finally rid the world of this nearly indestructible menace — and with it the bestowing into the hands of untrained near-children the world over the power to kill indiscriminately and en masse. To this hope, one might rejoin that the fault is not in our stars, but in our selves.
Larry Kahaner's book AK-47: The Weapon that Changed the Face of War is a lighter but nevertheless engaging story of the contemporary AK-47 as a cultural phenomenon. He too reminds us that many of the terrorist movements and insurgencies in Asia, Latin America, and especially Africa would have been impossible without the widespread dispersion of the AK-47, the ideal weapon for impoverished, poorly trained mercenaries. He points out that the acrimonious controversy between the AK-47 and the M16 resurfaced again forty years after Vietnam during the post-Saddam Hussein insurgency, when improved versions of both assault rifles collided in the streets of urban Iraq. And the verdict was again ambiguous, as U.S. troops still largely preferred their own weapons but developed a grudging respect for the insurgents' "bullet hoses," which shot streams of deadly large-caliber bullets at close ranges and seemed impervious to the sand and heat of the Iraqi landscape.
Then there is the book by Mikhail Kalashnikov himself. Now a nonagenarian, Kalashnikov was presented in 2009 with the title Hero of the Russian Federation, the country's highest honor. With the help of his daughter Elena Joly, Kalashnikov wrote an autobiography, first published in French in 2003 and available in a 2006 English translation. Kalashnikov fought during the worst months of the German invasion of Russia; in 1941, in a failed counter-offensive, he was almost killed when his Red Army tank regiment was cut off and overwhelmed.
During a long subsequent illness and recovery, Kalashnikov's innate gun-making talents were noticed. And so, despite his lack of formal design training, he was soon promoted to work with a team of Soviet engineers, quickly emerged as a senior designer, and was mostly responsible for the AK-47. The most fascinating chapters in Kalashnikov's story are about the nightmare of life in Stalin's Soviet Union, in which any achievement, commercial or intellectual, earned envy that in turn might translate into accusations of being a counter-revolutionary, would-be elite, often with deadly repercussions.
So what in the end are we to make of the AK-47, given that people ultimately kill one another and design weapons that do it so effectively? A perfect storm of events explains the gun's lethal role in eroding civilization over the last six decades. The impoverished post-colonial world was eager for the sort of advanced weapons that had characterized a near-century of endemic warfare in the more advanced West, and the Soviet Union was eager to fan liberationist movements against the West. It took the postwar glamour of international communism, the industrial muscle of the Soviet Union, and a Russian genius with no higher education but great practical savvy to at last provide millions with such parity, meeting the requirements of a new arms lethality at very little cost. The result was the tragedy of a global assault rifle that has been crucial to self-described liberationists in furthering so often the cause of tyranny.
Victor Davis Hanson is a senior fellow in classics and military history at the Hoover Institution, and is the author, most recently, of The Father of Us All: War and History, Ancient and Modern (Bloomsbury, 2010) and the novel The End of Sparta (Bloomsbury, 2011).
Victor Davis Hanson, "The Most Popular Gun in the World," The New Atlantis, Number 32, Summer 2011, pp. 140-147.