text:
The Oakland Renaissance: A Blessing for Some
By Eric K. Arnold
In February 4 this year, a long-dormant block on Oakland's 14th Street came alive as throngs of people—newly-elected Mayor Jean Quan and City Councilmember Desley Brooks among them—flowed out the doors at the Joyce Gordon Gallery for the opening reception of "Aerosoul 2," a Black History Month event honoring African American urban calligraphers and style writers (otherwise known as graffiti artists).
Down the street, another gallery owned by Gordon was showing blown glass art by Aziz Diagne and further down, the recently reopened Events Center was holding a live rehearsal by the youth group, Pop Lyfe.
At the same time, just over a mile away, members of Oakland's international street dance phenomenon, Turf Feinz, were wowing astonished crowds with gravity-defying moves at the Oakland Museum. And in the Uptown district, a large crowd had gathered to view a 100x100 foot projection installation known as the Great Wall of Oakland. Just south of that, public art and music performances, gallery openings, and burlesque shows were engaging hundreds at Oakland's monthly Art Murmur.
"That was Oakland. That was diversity," Gordon later said, proudly. "There were young Blacks, young whites, Latinos, Asians, families with babies in strollers, seniors like myself. It was truly a gumbo. It was a good mix. And that's what we want to see all over."
These dynamic happenings were all part of the First Friday events, the most visible symbol of Oakland's arts-driven cultural renaissance, which has altered perceptions of a town long associated with high crime rates.
"The energy right now in Oakland around the arts is really exciting," says Evelyn Orantes, Cultural Arts Developer for the Oakland Museum of California (OMCA). Since its re-launch in 2010, OMCA has become the hub for Oakland's arts resurgence—its forward-thinking, multi-faceted programming, a magnet for both local residents and out-of-towners. "We showcase the richness of our community," Orantes says, which in turn brings "positive energy" to Oakland.
Gordon agrees. The First Friday art walk, she says, has had a positive effect on economic development overall because "after the openings, everyone's at the restaurants, or at the clubs."
Oakland Links Arts to Commerce
Oakland has always been home to a large number of artists and grassroots arts organizations but has historically been overshadowed by the San Francisco arts scene. With the emergence of the Art Murmur (featured in the Wall Street Journal, among other publications), Oakland has found its own niche in the national arts scene.
Arts funding in Oakland is directly linked to economic development initiatives, such as redevelopment. According to Steven Huss, the city's Cultural Arts Manager, the $1 million that the city invests in its cultural fund, leverages between $11 and $14 million annually. Hess believes the total economic impact of arts in Oakland is significantly higher, but says his office currently only tracks "nonprofit arts and culture organizations and their audiences," so that figure doesn't reflect the economic impact of the city's public art program or for-profit arts businesses.
"City funding," Huss explains, "allows organizations to find matching monies to produce and generate a lot of private spending on the arts in the city, [which in turn generates] ancillary spending on food... parking... travel and other entertainment."
Because of its sizeable artist community, Huss says, Oakland has a "policy of awarding 51 percent or more of contracts to Oakland artists. We usually exceed that. It's been 60-75 percent in the last few years. I don't know of any other city that requires so much to be spent locally."
In addition to supporting over 100 non-profit arts organizations through its cultural fund, the city also has a public art program whose 2011 budget earmarked over $843,000 for streetscapes and other projects aimed at improving Oakland's image. That figure includes $64,000 for improvements to Cesar Chavez Park, located in the heavily Latino Fruitvale District; $75,000 for the West Oakland Teen Center, which serves a predominantly African American demographic; and $100,000 for a walkway at the 17th St. BART entrance—a gateway to the mostly-white Uptown business district—completing a project whose cost over two years totals $700,000.
Murmurs of Discontent Among the Excluded
The Art Murmur, which started in 2006, was part of the "10k" initiative launched by former Mayor Jerry Brown in 1998 to bring 10,000 new residents to Oakland. Although the initiative was not entirely successful (vacancy rates in some parts of the redeveloped area have been as high as 40 percent) the influx of new residents, combined with a burgeoning nightlife scene anchored by the restoration of the historic Fox Theater and the edgy hipster appeal of the Art Murmur have made the Uptown district an identifiable symbol of a "new" Oakland—less "Chocolate City," more "multi-culti" melting pot.
Despite a 25 percent dip in its African American population over the last decade, Oakland remains extremely diverse compared to other cities in the Bay Area, in California, or the United States. Seventy-four pecent of Oakland is non-white, with Blacks making up the largest ethnic population (27 percent), followed by Latinos (25 percent), and Asians (16 percent), according to the most recent U.S. Census.
The Art Murmur has been a big part of Oakland's rebranding—touted on the city's website as part of its "Sustainable Oakland" initiative. But it has also created a backlash among long-term residents upset by the gentrification of their neighborhoods, and ethnic artists who feel excluded.
The official Art Murmur website map (http://www.oaklandartmurmur.org/) lists galleries from Telegraph and 48th down to Broadway and 22nd—effectively confining the Murmur's boundaries to the North Gate/Temescal and Uptown districts—neighborhoods where gentrification has been the most prominent.
Gordon, who sits on Oakland's Cultural Arts Commission, says African American artists have rarely been featured in First Friday showings. When they do exhibit in Uptown galleries, it is on off days.
Still, Huss characterizes Uptown as "a really good success story," and hopes that the momentum will carry over to other parts of the city. His statement speaks to a common perception in the artist community that in the last decade, much of the city's attention around the cultural arts has focused on funneling resources to the redevelopment zones at the expense of poorer and more ethnically-diverse neighborhoods.
There is a dichotomy in "the way the city funds things in the neighborhoods, as opposed to things which are being used to create more wealth [and] tied to economic development," says Elena Serrano, a founding member of the East Side Arts Alliance (ESAA) collective, a nonprofit arts organization based in the San Antonio neighborhood.
The reality of Oakland is that "the neighborhoods, specifically our neighborhood, deep East Oakland, West Oakland, are so far away from being hubs for economic development," Serrano says. "We feel like our track is being completely ignored."
Art, but No Money In the 'hood
Oakland's Refa One, an African American graphic designer and aerosol artist who co-curated the "Aerosoul2" exhibit, says that it has been a struggle to get city funding for art in the 'hood. In 2010, Refa received a $20,000 commission through the Community Economic Development Agency (CEDA) to do a mural along I-880 facing the freeway. But when he approached city officials for funding to do a project of that caliber in his neighborhood, which is full of urban blight and does not have any edifying or uplifting imagery, they could not spare the resources.
"City officials say they want Oakland to change [but] they do not invest in these neighborhoods for artists to bring about that change," says Refa.
His point is well taken. The controversial and divisive civil litigation against street gangs in North Oakland and Fruitvale pursued by the City Attorney's office has cost upwards of $750,000 (with "mixed results," according to Mayor Quan). But Refa claims that two murals he and other artists created for free at 14th and Campbell—a West Oakland "hotspot"—had the same intended effect: to curb drug activity and increase the perception of public safety.
"This corner was a highly-contested drug zone since the 1980s," Refa explains. "People have been shot and murdered there. Lots of drug traffic, gambling... very disruptive to the neighborhood. There would be 40 dudes there in a dice game. I didn't want to come home some days because I knew at that corner by my house, it was gonna be drama." After the murals were painted, the dope dealers told him, "We respect what y'all trying to do, we gon' leave this block." And they did. Proof that community-oriented cultural arts projects can effectively support youth development and public safety efforts.
Refa's experience is paralleled by that of graffiti artist Desi, whose nonprofit organization, Community Rejuvenation Project, has created a series of murals—both commissioned and illegal—promoting peace and nonviolence in high-crime areas throughout West and East Oakland. Desi secured permission from a building owner and CEDA funds to do a mural at 41st and International Boulevard, in the heart of the Fruitvale District, where graffiti often marks the presence of Norteno street gangs. Over the course of several months he led a team of artists, including aerosol legend Vulcan and numerous neighborhood youth, to create the approximately 4500 sq. ft mural on the side of a Smart & Final building. One key focus of the Community Rejuvenation Project, Desi says, is to further the notion of cultural arts districts and arts corridors throughout Oakland with concentrated works in a specific area, such as the Funktown Arts District they created with murals within a one-block radius of Park Boulevard.
Desi points to the closure of the Parkway Theater and its adverse effect on local business. CRP's murals on the Parkway's building and in surrounding areas, he claims, "bring that neighborhood back to life."
ESAA's Serrano warns against an overly-bureaucratic view of cultural arts that is weighted toward the economic bottom line. She would rather talk about the other bottom line—community health. "That's where the return on investment is. That's where our strength is," she says.
Serrano is also wary of creating a cultural divide along racial, economic, and class lines. "I don't want the city of Oakland to act like arts and culture is some dessert that not everybody deserves," she says. "Everybody deserves art and culture. Everybody comes from culture."
Despite Some Discontent, Mindblowing Changes
"Gentrification is always a charge that's leveled at any place that artists move into and improve, then get priced out of," says Huss. "We're very mindful of the fact that it sometimes seems like all of the focus is on Uptown/Downtown. But we've always been funding all corners of the city where there are any arts groups. And [we] want to start to diversify that too."
However, Huss concedes that securing city funding for art projects is somewhat dependent on the ability of artists and arts organizations to negotiate bureaucratic procedures and protocols and work within the guidelines and inherent limitations of established programs. "There are a lot of exciting ideas which don't always fit into what we do." But it is evident from current and future projects being funded that diversity and outreach to underserved communities are part of the plan. The panels that parcel out arts funding "are very keen [on] things that relate to social justice," Huss says, "we really want art to also make an impact."
An example he points to is a cross-disciplinary food justice project conceived by activist-artist Favianna Rodriguez, which is "all about educating the community in the Fruitvale district about healthy eating and buying locally." Another project, conceived by artist Rennie Young, is an oral history archive at an East Oakland library, which grew out of a public art commission for a stained glass window. Huss also hopes to work with ESAA on an art park in the San Antonio district. The city is in the process of drafting a 10-year plan for cultural arts development, which will involve organizations from all over Oakland, he says.
Unfortunately, Governor Brown's proposal to slash redevelopment funds from California's cities—ironic, given his use of those same funds to steer millions of dollars into Uptown—threatens to kill many proposed streetscape projects in Oakland's underserved neighborhoods and could also have a ripple effect on arts funding overall.
Also unknown at this point is whether Mayor Quan's administration will approach the marriage of arts and economic development with emphasis on establishing cultural arts districts throughout Oakland—as per her campaign slogan, "Block by Block"—or whether a lion's share of resources will continue to be funneled into areas with newer and wealthier residents. At present, there are some hopeful signs. The 14th street corridor is quietly transforming into a cultural arts district that could soon rival Uptown as an entertainment destination. The emergence of new nightclubs, restaurants, art spaces, and cafes on and around 14th, in close proximity to existing centers like the Malonga Casquelord Center for the Arts, has created an increased sense of vibrancy and the once-deserted streets now have foot traffic after nightfall.
D'Wayne Wiggins, a founding member of pioneering neo-soul group Tony Toni Tone and Oakland community activist, recently signed a multiyear lease for the Events Center, which he plans to rename The House of Music. Wiggins envisions a multiuse space housing a café, restaurant, dance studio, music studio, historical and cultural archive, and live performance space. Such a venue fits perfectly into the progressive notion of equally upholding both arts and economic development in Oakland to create true sustainability. "We're gonna make that street so hot!" he says. "This change which is going on now is blowing my mind."
To Wiggins and others, the mix of new energy with Oakland's historical contributions to the arts represents not just a cultural renaissance, but a cultural revolution.
Neighborhood Culture vs. Economic Development: A Question of Priorities
In 2010, two iconic annual events celebrated their 10-year anniversaries in Oakland: the Art & Soul Festival and the Malcolm X Jazz Festival (MXJF). You would be hard pressed to find two events more unlike in scope, approach, and impact than these two.
Art & Soul is held in the Downtown business district, co-sponsored by business associations, receives corporate subsidies, and is marketed to tourists and non-residents. MXJF is a grassroots affair run on a shoestring budget and occurs in a neighborhood where the median income is at or below the poverty line. No two events could better symbolize the notion of two different Oaklands when it comes to cultural arts and economic development.
According to Elena Serrano of the East Side Arts Alliance (ESAA), the non-profit collective that produces MXJF, the festival received just $2,000 in city funding in 2010—barely enough to pay for park rental and police. ESAA had to come up with the remaining $28,000 needed to produce the festival, which is $8,000 more than what the organization receives from Oakland's cultural fund program for a whole year.
On the other hand, Art & Soul has an annual budget of $650,000—90 percent of which comes from "admissions, concessions, booth fees and sponsorships," according to Samee Roberts, Oakland's cultural arts and marketing manager. "We are operating a successful small business/enterprise within a government bureaucracy, which is quite unique and a formidable task," she adds. The 2010 festival website lists hotels, a winery, McDonald's, and a commuter transit program among its major sponsors.
"If the city's response is that the Malcolm X Jazz Festival should be corporate-sponsored, corporations go where the money is," says Serrano. "Everything cannot be based on wealth. There have to be some other priorities that drive action."
ESAA's priority is to "build a sense of unity and community" in the neighborhood by offering "world-class art," supporting youth development, and inviting neighborhood vendors and nonprofits to participate in the MXJF. The highest ticket price for an ESAA event is $10; many events are offered free.
If the cultural arts are only used as a tool to generate wealth, cities like Oakland run the risk of creating a system of haves and have-nots, which only exacerbates existing problems. Producing numbers to justify the allocation of cultural funds to redevelopment is one thing, but "how do you measure community health?" Serrano asks.
"We don't generate a huge amount of revenue," admits Serrano. "However, what we do [produce are] young people who have some sense of how things work in their city or in the world and have invested in their own talent in making things better, if you can measure that. That's a good return on the city's investment."
Eric K. Arnold is a freelance writer and photographer. He has been documenting hip-hop and youth movements since 1994.
Globalization Comes Home | Vol. 18, No. 1 | 2011 | Credits
To order the print edition of "Globalization Comes Home Issue" use the back issues page. To download or view a pdf of this article use the link in the lower left below.
18-1.arnold.pdf 1.18 MB
‹ Los Angeles Coalition Wins Health Clinic and Jobs from Developer up European Living Cities Model Coming to the States ›
Globalization Comes Home
Introduction: Globalization Comes Home
Bringing Back the Black
Los Angeles Coalition Wins Health Clinic and Jobs from Developer
European Living Cities Model Coming to the States
Chicago School Trains Inner City Youth for Manufacturing Jobs
Equitable Growth: Turning Diversity into an Asset
Regionalism: Development and Displacement
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Bus Riders Union
Impacts of the Recession on Public Transportation Agencies - 2011 Update
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Foreclosure in California, A Crisis of Compliance
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Bus Riders Union/LA Strategy Center
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Environmental Injustice in the U.S. and Recommendations for Eliminating Disparities
Lawyers's Committee
Cities in Times of Crisis
Institute of Urban Planning
Opportunities for Affordable Housing and Reliable Transit in Santa Clara County and the Bay Area
The Affordable Housing Resource Sheet
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Building Sustainable, Inclusive Communities
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Getting Home: Transportation Equity and Access to Affordable Housing
The Leadership Conference Education Fund
Fostering Equitable Foreclosure Recovery
PolicyLink
Alameda CTC Introduction to Briefing Book and Transportation Needs
Alameda CTC
Putting Schools on the Map: Linking Transit-Oriented Development, Families, and Schools in the SF Bay Area
Center for Cities & Schools
Without Housing: Decades of Federal Housing Cutbacks, Massive Homelessness, & Policy Failures
Western Regional Advocacy Project
Moving Silicon Valley Forward
Non Profit Housing Associates and Urban Habitat
Getting to Work: Transportation Policy and Access to Job Opportunities
Transit-Oriented Displacement? The San Jose Flea Market and the Opportunity Costs of Smart Growth
The Center for Community Innovation
Where We Need to Go: A Civil Rights Roadmap for Transportation Equity
Transportation, Land Use and Greenhouse Gases A Bay Area Resource Guide
Federal Reserve Bank of SF
Miles From Home: The Traffic and Climate Impacts of Marin's Unaffordable Housing
Nonprofit Housing Association
Brookings Institue
National Council of La Raza
Missed Opportunity: Transit and Jobs in Metropolitan America
Seamless Transit
Job Sprawl and the Suburbanization of Poverty
MPO Reform: A National Agenda for Reforming Metropolitan Governance
Institute on Race and Poverty
Growth & Opportunity: Aligning High-Quality Public Education & Sustainable Communities Planning in the Bay Area
Center for City and Schools
Business Improvement Districts Research Brief
Articles about Urban Justice + Racial and Gender Justice
"We're in This Together" An interview with Danny Glover
Turning Swords into Ploughshares
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Nina Sparks - Photography
Resources for Race and Regionalism
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Mindy Kaling Joins The Cast Of Disney+ Original Series 'Monsters At Work' From Disney Television Animation
Bonnie Hunt Set to Reprise Role from Disney and Pixar's 'Monsters, Inc.' Films, Alongside Returning Cast Members Billy Crystal, John Goodman, Jennifer Tilly and John Ratzenberger and Series Star Ben Feldman
BURBANK, Calif. (March 17, 2021) -- Mindy Kaling has joined the cast of Disney+'s highly anticipated animated series "Monsters At Work." Kaling will voice the role of Val Little, an enthusiastic member of the Monsters, Inc. Facilities Team (aka "MIFT"). Additionally, Bonnie Hunt will reprise her role as Ms. Flint, who was formerly in charge of training new Scarers at Monsters, Inc., but will now manage the department responsible for recruiting and training the funniest monsters to become Jokesters. "Monsters At Work" will begin streaming Friday, July 2, exclusively on Disney+.
Ben Feldman stars as the voice of Tylor Tuskmon in the series, which introduces new monster characters alongside returning favorites, including Mike Wazowski and James P. "Sulley" Sullivan, who will again be voiced by renowned actors Billy Crystal and John Goodman. Starring alongside Feldman and Kaling as part of the MIFT crew is Henry Winkler ("Happy Days") as Fritz, the scatterbrained boss; Lucas Neff ("Raising Hope") as Duncan, an opportunistic plumber; and Alanna Ubach ("Coco") as Cutter, the officious rule follower. New character images were released today.
"Monsters At Work" takes place the day after the Monsters, Incorporated power plant started harvesting the laughter of children to fuel the city of Monstropolis, thanks to Mike and Sulley's discovery that laughter generates ten times more energy than screams. It follows the story of Tylor Tuskmon, an eager young monster who graduated top of his class at Monsters University and always dreamed of becoming a Scarer until he lands a job at Monsters, Incorporated, and discovers that scaring is out and laughter is in. After Tylor is temporarily reassigned to the Monsters, Inc. Facilities Team (MIFT), he must work alongside a misfit bunch of mechanics while setting his sights on becoming a Jokester.
In addition to Crystal, Goodman and Hunt, returning cast members from the original movies include John Ratzenberger as Yeti and Tylor's dad, Bernard, Jennifer Tilly as Celia Mae and Bob Peterson as Roze, twin sister to his original "Monsters, Inc." character, Roz. Voicing additional characters are Stephen Stanton ("Star Wars Resistance") as Smitty and Needleman, the bumbling custodial team at Monsters, Inc., and Aisha Tyler ("Archer") as Tylor's mom, Millie Tuskmon.
Produced by Disney Television Animation, the series was developed and is executive produced by Disney animation veteran Bobs Gannaway ("Mickey Mouse Clubhouse," "Planes: Fire & Rescue"). Academy Award-nominated Sean Lurie ("Inner Workings") is producer, and Kat Good ("Big Hero 6 The Series") and Steve Anderson ("Meet the Robinsons") serve as supervising directors. The late Rob Gibbs ("Monsters, Inc.") also served as director on some of the earlier episodes.
Kaling is represented by CAA, 3Arts, The Lede Company and Ziffren Law. Hunt is represented by WME and Edelstein, Laird & Sobel Law.
Disney+ is the dedicated streaming home for movies and shows from Disney, Pixar, Marvel, Star Wars, National Geographic, and more. As part of Disney's Media and Entertainment Distribution segment, Disney+ is available on most internet-connected devices and offers commercial-free programming with a variety of original feature-length films, documentaries, live-action and animated series, and short-form content. Alongside unprecedented access to Disney's incredible library of film and television entertainment, the service is also the exclusive streaming home for the latest releases from The Walt Disney Studios. Disney+ is available as part of a bundle offer that gives subscribers access to Disney+, Hulu, and ESPN+. Visit DisneyPlus.com to subscribe and/or learn more about the service.
Heather Levine
Heather.Levine@disney.com
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Erica.McCearley@disney.com
Cecilia Johnson
Cecilia.Johnson@disney.com
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About and Legal

redpajama_set_name: RedPajamaCommonCrawl


Martin, G.C., 1904, Petroleum fields of Alaska and the Bering River coal fields, in U.S. Geological Survey, Contributions to economic geology, 1903: U.S. Geological Survey Bulletin 225, p. 365-382.
This publication is part of a larger work. Please see B 225 for more information.


text:
'''
See http://flask.pocoo.org/docs/blueprints/
'''

from code.views.web.web_landing import WebLandingView
from flask import Blueprint

blueprint_webapp = Blueprint(
    'code', __name__, template_folder='../templates')

'''
Landing
'''

blueprint_webapp.add_url_rule(
    '/',
    view_func=WebLandingView.as_view('web_landing'))

redpajama_set_name: RedPajamaGithub


Join me on a 6-day trek to the Plaza De Mulas (4,350m).
Not far from the city of Mendoza, we will enter the Aconcagua provincial park.
In the heart of the Central Andes, you will see some incredible things. Starting with the biggest mountain in the Americas, Mount Aconcagua. Within the Plaza De Mulas base camp, you will have a chance to see this mythical mountain's sleek, 3000 meter high glacial southern face. Besides the amazing views, you will also see the Horcones Superior Glacier. You will also have the chance to meet and talk to other adventures, many preparing to scale the great Mount Aconcagua.
After leaving the city of Mendoza we will go to Penitentes. From there it's off to the Confluencia camp. After that we will trek to the Plaza Francia before reaching the Plaza de Mulas. After 2 days, we will descend to Horcones before returning to Mendoza.
At the Plaza De Mulas you will have a front row seat to one of the greatest shows in the world. The Central Andes. You will see peaks in every direction. You will see the kind of beauty painters spend a lifetime trying to capture. So join me on this amazing journey.
Also, if you are interested in a more challenging expedition in the same area, but for a shorter period of time, you can join me on this trip.
Reception in of group in Mendoza. Private transfer to Penitentes. Stay the night in Ayelen hotel.
Breakfast. Private transfer to entrance of Aconcagua Provincial park. 4 hour trek to Confluencia camp.
Breakfast. Trek to Plaza Francia to see the Mount Aconcagua Southern Face.
Breakfast. Trek to Plaza De Mulas. Tour the area.
Late breakfast. Start descent to Horcones. Private transfer from Horcones to city of Mendoza.
I was born in Patagonia, Argentina and formed at an early age as a climber in the Nahuel Huapi National Park. Currently I completed a large number of rock and ice climbing routes, backcountry skiing and ascents in many mountains around the world such as Mt. Lhotse (8.516 mts.), the 4th highest peak in the world, without using supplemental oxygen (May, 2012).
I'm a certified Mountain Guide from the EPGAMT and a member of the Argentinian Mountain Guides Association (AAGM) and work on Mt. Aconcagua, which I had repeatedly ascended, as well as in other peaks in the Central Andes, Patagonia, Chile, Peru, Bolivia and in The Himalayas in Nepal.
During the winter season, I practice backcountry skiing, mostly on the volcanoes in Patagonia, where I can offer you different adventures, according to your level (beginner, learner or advanced learner).
I feel very privileged to work as a mountain guide, to do the job that I love, and to be able to share it with people that have the same passion.
Join my expeditions and I will provide you a high standard of safety and personal attention!


The tropical harem dream comes to a conclusion! Who will be the girl to finally capture Daisuke's heart? It seems every one of them need to show their affections before they can decide what to do with the ladies man. Stay tuned after the credits for an extra scene!


text:
Home > Events > Latest Events
Finance for Non-Finance Managers
"Finance for Non-Finance Managers" on 25th August, 2012
At : Jagan Institute of Management Studies, Sector-5, Rohini, Delhi.
Jagan Institute of Management Studies, Sector-5, Rohini, and New Delhi organized MDP Programme on 'Finance for Non-Finance Managers' at JIMS Campus, on Saturday 25th August, 2012.
The welcome address was given by Dr J.K Goyal, Director, JIMS. He introduced JIMS as one of the prestigious brands in the education sector to all the participants coming from diverse sectors. Head of MDP Cell Mr. C. George introduced the program and the key resource persons. The resource persons of the session were Mr. Vinod Kumar, Group General Manager, ONGC, Dr. Navneet Joshi, Associate Professor JIMS, and Ms. Dilpreet Kaur, Assistant Professor JIMS.
The programme concentrated on the various aspects of finance which should be known to non finance managers who are not supposed to handle financial matters. The session was highly interactive and included excellent presentations, group activities and exercises. 18 participants from several prominent organizations were present; such as All India Plastic Industries Association, Federation of Indian Export Organization, CM Logistics India Pvt Ltd, Afcon International, MSME, Govt. India, Eureka Forbes, NEX Exuberant Solutions Pvt Ltd.
Our experts gave excellent presentations which included group activities and exercises. The participants shared their experiences and gathered valuable information from the resource persons on the aspect of finance a key driver of any organization. They were given kits for useful information which gave an overview of Finance.
The Vote of Thanks was given by Mr. C. George wherein he congratulated all the participants for their active participation. The programme opened an avenue of cross cultural interactions where managers coming from diverse sectors interacted under one roof.
Overall the session was a fruitful and a Learning experience for all the faculty members as well for the participants and was well appreciated.
Mr. Vinod Kumar
E – Mail: vinod_kumar@ongc.co.in
Born in the Year 1953, Mr. Vinod Kumaris a Postgraduate in science fromBanaras Hindu University and Master ofBusiness Management (MBM) from sameUniversity in 1977. He has an experienceof about 35 Years in various facets of Indian Industries. Hestarted his career in Management Development Institute (MDI) asResearch Associate and subsequently in Bongaigaon Refinery andPetrochemicals, Assam, U.P. Development Systems CorporationLtd., Lucknow, Cement Corporation of India, U.P. State CementCorporation, National Thermal Power Corporation (NTPC) andfinally Oil and Natural Gas Corporation (ONGC).
During his tenure in ONGC Mr. Vinod Kumar has handled variousassignments as Head-Direct Taxation, Chief Commercial, IndirectTaxation and Treasury, Head Finance Mehsana Asset & HeadFinance – Common Finance Services Group. His efforts have beenrecognized by ONGC by awarding CMD's Corporate Awards twicefor his innovative initiatives in the area of Direct Taxation andin Commercial dealing leading to substantial financial savings tothe Corporation.
Apart from his regular assignments, Mr. Vinod Kumar has alwaysshown his keen interest in the areas of training and developmentand has been providing training in the area of finance to theofficers' community of various public sector undertakings.Mr. Vinod Kumar is also an Associate Member of Institute of Cost and Works Accountants of India (ICWAI).
Mr. Vinod Kumar is presently working as Group General Manager in ONGC.
Ms. Dilpreet Kaur
E-mail – dilpreet.kaur@jimsindia.org
Ms. Dilpreet Kaur is a Postgraduate inM.Com from Delhi School of Economics.She has excellent academic record and hasbeen active in organizing various eventsboth in her student and professonal life.She is UGC Net qualified and has been associated with JIMS since2009 as a an Assistant Professor in Management Department.
Ms. Dilpreet Kaur's area of interest include Micro Economics andFinancial Management. She has participated in several seminars and workshops organized by various academic institutions. Shehas also conducted MDP for banking professionlas on, "MicroFinance: Fund Accessibility to Masses with Good BusinessSense"
Dr. Navneet Joshi
E-mail – navneet.joshi@jimsindia.org
Dr. Navneet Joshi has experience of over11 years in the area of academics. He isM.Com from Rohilkhand University. Healso holds Ph.D degree in Commercefrom the same University.
Dr. Navneet Joshi has presented papers in several Nationaland International Conferences and has also published variousarticles in journals. He has also actively participated in variouswork-shops, seminars and quality improvements programmesorganized by leading academic insititutions in India.
Dr. Navneet Joshi is curently associated with JIMS as anAssociate Professor in the management department.
JIMS Rohini Contact Info
info@jimsindia.org
Program Interested in PGDM PGDM-IB PGDM-RM BBA BCA MCA
Download Brochure Apply Online
admissions@jimsindia.org


"Thank you for your enthusiasm!", they said in the follow-up email. I thought back on it, and yes, I had been very enthusiastic, maybe too much so. It was not an intentional behavior but rather, a reaction to the relief. The pressure valve had been released slightly and it was almost overwhelming. After being awarded a partial scholarship to attend a new fly-fishing school in Idaho for a week, I bought the plane ticket, packed my personal and borrowed gear and headed to Last Chance, ID. Of the other eleven students, most were men, but I was relieved to see three other women. One of whom was my roommate and savior,as it turns out, when I woke at 5 am with a kidney stone the first full day of class. There is nothing like a crisis to bond people, and Sandy and I started the week with a bang. Another fellow student, and my ride from Idaho Falls, picked me up at the hospital hours later, and risked life and limb getting me to the side of the road when nausea quickly set in. As I raised my (high as hell) head from expelling the water I had just gulped down and saw the Tetons in the distance I had to chuckle at the absurdity of it all. I said, mostly to myself, that at least now I could check another item off of the bucket list: puking within view of the most beautiful mountains I have ever seen! Probably not so sure what to make of me at that moment, John pulled back into traffic and returned us to the lodge in short order.
While the class was fantastic, with top-notch instructors, time fishing one of the most famous trout fisheries in the country, and a excellent companionship from the fellow students, there was so much more to it for me. While I travel for work periodically, and even have multiple days away here and there, this was different. I wasn't teaching a class, surveying in unforgiving weather, attending meetings and in the end, rushing to get back home. This was for me.
Once upon a time this would not have been as impactful as it was now. I spend a great deal of time in my own head. I lurk in the sometimes dark, murky unknown and it is often not a pleasant experience. As much as I am told to do things "for myself" it is such an empty phrase and feels so forced and meaningless. Spending an hour at lunch with a friend is enjoyable, but it not what you need to drag yourself to the surface. The effort required to do that takes time and intention. It takes space and determination. Few people I know, can relate; and if they can, it is not something we speak of openly. Not wanting to chance it with this trip out west, I left a little earlier than required. I need an overnight on my own to acclimate. I walked for five miles around downtown Idaho Falls alone. I had a long overdue phone conversation with my best friend, and went to bed when I was tired. Trivial to most, all of this was required behavior to begin the rise.
Coming up for air for me means completely letting go of the burden of caring for my family, specifically my autistic daughter. While naming her formal diagnosis here may help some make note, that "oh, she has 'extra' stuff to deal with". You could say that. Suffice it to say it is a lot of "extra" and damn if I don't get completely burnt out. As in, I don't want to talk to, be around, or deal with in any manner another human being. This is not a feeling I enjoy and one that I find myself being resentful for being made to feel. I remember a few years back one of my sisters saying "you used to be fun". While the comment was not intended to be hurtful, it definitely struck a chord. She was right, I did. I was a lot of fun. That woman isn't gone, she's just floating in the deep most days. So here's to looking forward to another chance to come on up, sometime soon I hope.
Yea Dani… Bright and honest!!! Keep writing out your truth and I applaud your triumphant trip despite the crazy timing of a kidney stone. Yikes.
I promise you will come up for air January 30-February 5 🙂 Love you!
You make me laugh, you make me cry… you write so beautifully and I think it is great and brave that you take the time to write how you feel.
Don't let that darkness in, you are a much too vivacious, caring, funny, capable, beautiful, supergirl person to let it get the best of you. If you feel it lurking there, count and focus on any of your blessings instead. Sounds way too simple I know, but every tiny little bit helps. Trust me on that!
Love that you got to take that fabulous trip and have such great memories.
Enjoy the upcoming trip too!
I finally got a chance to sit down and read this. I enjoyed reading your truth. I'm so sorry that your long overdue get away was sabotaged by physical illness:( I was just telling my best friend a few days ago that I recently realized I have a criteria for friendship. It needs to be someone who is honest about their lives. I find that "toxic positivity" is misleading and harmful. I hope you get some more time for yourself away from daily stresses soon! Keep writing, your so very good at it !
I'm with you on the "toxic positivity"…I don't believe it helps any of us. Thank you for being so supportive. I miss seeing you. Homeschooling had led to another level of isolation that I need to try harder to fight off.
That is one of my favorite quotes…how true it is.


Ethernet is rapidly spreading across a wide range of industrial environments. This standardized, plug–and–play technology is easy to install and it works 90% of the time. But when it doesn't, it is not so easy to understand why. With more devices being added to the network and fewer people on the floor, most production and maintenance engineers are under a lot of pressure – especially since all plants want to run faster, with minimal downtime. This white paper explores some of the key troubleshooting causes and issues for industrial networks and what you can do to quickly recognize, locate and solve them.


KWIKA founding partner Larry Iser was quoted by ABC News and Forbes magazine on one of his favorite legal points: whether a political candidate can use a song without the permission of the artist.
When singer Adele found out that Donald Trump was using two of her recordings, "Skyfall" and "Rolling in the Deep," without asking her permission, she said she would like him to stop playing them at political rallies. A spokesman for the singer said Adele has not given permission for her music to be used for any political campaigning.
In this case, however, Trump may be within his rights.
See Larry's explanations for both ABC News and Forbes.


text:
Q: grant procedure A batch process run by user U drops and creates a work table T. Simplified setup:
rights for user U
db2 grant dataaccess on database to user U
db2 grant all on table T to user U
db2 transfer ownership of table T to user U

Since the code is called from several places I thought it would be nice to drop and create the table from a procedure P, to avoid that different code creates different looks for the table.
db2 -td@ -f "create procedure P()
   LANGUAGE SQL
   BEGIN
       BEGIN
           -- do nothing if drop table fails
           DECLARE CONTINUE HANDLER FOR SQLSTATE '42704'
           BEGIN
           END;
           execute immediate 'drop table T';
       END;
       execute immediate 'CREATE TABLE T (x int)';
END @"

However, when user U calls this procedure it fails with:
db2 "call P()"
SQL0551N  The statement failed because the authorization ID does not have the
required authorization or privilege to perform the operation.  Authorization
ID: "U". Operation: "CREATE TABLE". Object: T SQLSTATE=42501

Is it possible to grant rights to user U (beside dbadm or other nuclear options :) so that it can successfully execute procedure P?

A: I'll add an answer then. The comment by mustaccio made me realize that U is able to drop T since U owns T. But as soon as T is dropped, U can not recreate it since CREATIN is not granted to U in the schema.
The solution is to create a schema S, GRANT CREATIN/DROPIN ON S to user U, then change the schema of T to S.

redpajama_set_name: RedPajamaStackExchange


Traditionally, schools and colleges use UMRA to keep Active Directory up to date, either by reading information from a CSV file, or by dynamically connecting UMRA to their pupil information system such as SIMS, CMIS or SITS.
Identity and Access Management , UMRA , Active Directory.
Back in July we were contacted by one of the leading Scotch Whisky Distilleries to discuss a project for Single Sign On. Following a brief online demo, the client purchased a small number of ESSOM licenses and entered into an agreement with Tools4ever to conduct a pilot. At this point I was somewhat disappointed that the customer purchased only a handful of licenses, but as the relationship blossomed, it transpired the customer had already been burnt by another vendor!
With UMRA we create a lot of links from HR systems to Active Directory in order to automate user account management. UMRA is able to collect data that is important for creating, updating and disabling user accounts, with one of the 130+ connectors. As an example, we can read from an HR system when new users are employed or changes occur in titles, transfers to other departments and other associated contact data.
Identity and Access Management , UMRA , Lotus Notes.


Exercising is great – no one denies it, the pain that comes from the muscle soaring after: not so great. And while some take this as a positive sign for their body's improvement, for others it's a painful demotivat from getting back to their workouts. But the question that muscle soreness begs is – whether it is a healthy for your body or no. The verdict: yes and no.
Why and when should one worry about muscle soreness?
While immediate post-workout muscle soreness could simply indicate muscle exhaustion, it is the muscle soreness that you feel a day or two after your intense workout, that you have to worry about. This type of soreness is called the Delayed Onset Muscle Soreness, and the more fit you are, the less likely you are to experience this. And while muscle soreness is indeed your body's response to growing stronger, adding excess strain to your body despite the muscle soreness, can lead to severe injury. And while this soreness can't be totally dispensed with, it can be controlled, and appropriate post-exercise recuperation can help your body react better to exercise and improvement. After all, muscle soreness usually indicates small tears in your muscles, and it is the successful recuperation of your body from this damage, which makes your muscles all the more stronger (successful being the key operative word there).
A lot of experts declare that immediately cooling your body after an intense workout, can be immensely beneficial in helping the body prevent inflammation. Direct icing or incredibly cold showers are most effective in this regard, especially in the case of severe muscle pains. This reduction in inflammation, improves blood circulation and allows for areas that are likely to be sore to rapidly heal.
In fact, for the very same reasons, it is advised to keep your body away from heat, immediately after workouts, because it may aggravate existing inflammation. However, having a hot bath or enjoying a steam bath, hours after your workouts and after your body's inflammation normalizes, will help give your blood circulation another boot.
Apart from these heating and cooling methods, a lot of athletes swear by the benefits of post-workout massages, in soothing pain and significantly reducing swelling. If getting regular massages are expensive, you can invest in foam rollers, to relax your joints and to self-massage your sore spots, post-workout as well during your workouts.
Post an intense workout, you have around two hours to most proficiently retain what you eat, in order to recover vitality and repair your body. Additionally, eating ensures you have enough sugar vitality for your next exercise, and if what you eat is rich in protein, it will help facilitate muscle repair. This, apart from the fact that eating generates healthy fats and carbohydrates required to strengthen your joints and maintain your muscles.
After eating comes sleeping, which we know for a fact significantly affects the body's performance and recovery. It is the best time for the body to undergo protein synthesis. The body also releases natural growth hormones during sleep, which help your body repair and eases the increase in muscularity. If you workout during the midday, noon or early evening, quick power-naps are also a great immediate post workout technique, to send your body into n immediate restorative state.
Nothing prepares your body to effectively receive the benefits of a great workout, like giving it a round of good stretching exercises before and after the workout. Exercising forces your muscles to contract, and stretching allows your body to retain its flexibility after the workout, which can significantly reduced Delayed Onset Muscle Soreness.
The most significant advantage for any body before, during and after workouts, is hydration. And no beverage compares to providing your body with long-term and adequate hydration, like water does. Apart from preventing cramping and decreasing inflammation during and post workouts, water is incredibly instrumental in the growth of muscle tissue. Water, being something that the body flushes out and filters, eliminates toxin accumulation that occurs during workouts, which impacts muscle soreness. Also, dehydration is bound to make your muscles tight and prone to injury.
Most importantly, 60% of your body is made up of water, and therefore if you were to treat your body and muscles to a more long-term advantage, it would involve enhancing the quality of the water you drink. While mineral water certainly can add benefit to your water drinking experience, alkaline water is significantly more beneficial, since it involves being enhanced with minerals and the electrolytes which make sports drinks work. After all, if hydration so significantly helps your muscles during and post workout, can you imagine the benefits of super hydration?
So there you have it! Seven tips to not only enhance, but also to help you enjoy your workouts and post-workout experiences, less painlessly. After all, pain doesn't always equal gain, and winners don't always like being remembered as sore.


text:
Q: ssh an Amazon instance permission denied (publickey) I am a user on my local machine (clientuser1). I ssh into a AWS instance server (with ip: server-ip) as . I have the public key of clientuser1 uploaded in my permission settings.
I am able to
ssh <server-user1>@<server-ip>

I, then created a user on the instance,  and tried ssh'ing into the instance:
ssh <server-user2>@<server-ip>

I got a response:
Permission denied (publickey).
I tried creating a public-private key pair on the  on the server and sent the private key of
ssh -i <pvt key of server-user2> <server-user2>@<server-ip>

A: The answer that worked was
ssh-add <id_rsa>

This added the new key to ssh-agent.

A: For Googlers:
Other than the common permission-related causes, if the system disk is full, SSH server will also respond "permission denied".


text:
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    {{ partial "navigation.html" . }}

Design first.

                    Goa fornisce un approccio olistico per
                    lo sviluppo di remote API e microservizi in Go.

Genera codice

                        Goa si appoggia alla generazione automatica di codice per
                        alleviare il bisogno delle reflection o del codice ripetitivo.

                        Il tool goa genera vari artefatti tra cui codice, documentazione
                        clients e perfino output personalizzati attraverso i plugin.
                        Il risultato finale è un codice applicativo
                            pulito e conciso.

Design Based

                        Il linguaggio di design di Goa è flessibile e sta fuori
                        dal contesto applicativo – Tu decidi come la tua API funziona.
                        Il design è l'unica fonte di veritá dalla cui costruzione
                        sono derivati sia il comportamente che la documentazione.
                        Il linguaggio di design di Goa è, essendo una DSL in GO, è
                        facile da customizzare e i design risultanti sono facili da condividere.

Basato su Best Practice

                        Goa genera codice che segue le best practice ed è
                        particolarmente adatto per costruire architetture di sistemi
                        basati su microservizi. Il codice è organizzato in modo che
                        problemi specifici di trasporto dati non vadano a impattare sulla
                        logica di business.

Il Life Cycle dello sviluppo dei Servizi

                Progetta

                La creazione di un servizio con Goa parte dal design. Il DSL di Goa
                ti permette di descrivere i cosiddetti "service methods", cosí come
                le sue strutture dati di input e output.
                Il DSL ti permette anche di definire come costruire e serializzare le tue strutture dati
                a partire da e attraverso protocolli specifici, come HTTP Body, HTTP Headers o messaggi gRPC.

                Implementa

                Il tool Goa legge i tuoi design e produce tutto il codice necessario a
                costruire i vari servizi e un client tool. Il codice generato include
                i vari transport layers e la validazione dei vari input.
                L'implementazione di un servizio è quindi semplice come implementare
                delle interfacce Go, non importa quale protocollo di trasporto il servizio decide
                di adottare e seguire. In particolare Goa rende banale implementare un servizio
                che accetta sia richieste HTTP che gRPC.

                Estendi

                La parte migliore del DSL di Goa è che il suo motore di valutazione
                è completamente disaccoppiato. I Plugin possono anche implementare dei
                DSL personalizzati per estendere i concetti descritti nel design.
                I Plugins possono anche generare output arbitrari o modificare quello generato
                dai generatori pre-costruiti nel tool. In particolar modo, il plugin go-kit rende
                possibile generare dei servizi compatibili con Go kit,
                i quali possono trarre vantaggio dal toolkit per necessita operative e infrastrutturali.

Getting Started

                            1

                            Impara le basi con la nostra Getting
                                Started Guide.

                            2

                            Impara di più sul Goa DSL.

                            3

                            Consulta i vari esempi.

                            4

                            Unisciti al nostro canale Slack
                            (puoi iscriverti qui).

    {{ partial "footer.html" . }}


Note: I actually own this sweater. I debated keeping the sweater because it was so bright yellow - but glad I did. It is a bit of sunshine during winter!
I shared the striped version of that sweater in last weeks try on HERE. Both cute (and comfortable) sweaters.
I have looked at the camo denim jacket online for a few weeks - but when I tried it on in the store - I really liked it! I highly recommend it - if you like camo and denim jackets. It is a great combo.
I also love "dayglow" yellow sweater. I think it pairs so well with black. And, it adds a little "sunshine" to the dreary winter, plus it is 60% off! And, that bright yellow puffer jacket - is an additional 70% off!
These are the cutest pink suede slides with pearl accents and they are only $42!
This cute new arrival "flounced" shirt.
This cute striped one shoulder ruffle top is marked down to $15.
This draped faux suede jacket (in three colors) is 50% off and under $50.
The popular suede moto jacket comes in a new "winter white" color.
I like the color of this trench coat - and it's a good price.
I love this structured cargo jacket - and especially how it is styled.
These are cute suede ankle booties - with a fun twist - and they are a great price!
A pretty floral cardigan - perfect for Saturday errands.
This blouse would be so cute styled for spring - but it kind of reminds me of a "candy striper", which does anyone know what I am referring to? Click HERE if you are curious.
Be sure to link up your fashion posts at our TBB Style Link Up on The Blended Blog.
So I love my little camo coat but I've been thinking of cutting it off to be short. Thanks for the inspiration!
I am loving that camo jacket! What a fun piece to have in your closet, especially with Spring hopefully around the corner.
Those pink mules with the pearl accent are super cute! You rounded up such great items, I want everything - even the candy striper top, lol!
Also, what kind of lipstick do you use? It looks perfect on you. I'm on the hunt for a great, long wearing lipstick. Hope you don't mind me asking.
I don't mind you asking at all - I'm glad you did! It is Dangerously Red by MAC - I linked it under the yellow sweater at the top. I got it with the Christmas trio sets.
So many cute finds! Love all the bright colored tops!
Love that yellow puffer jacket and that camo denim jacket.
Great finds! I adore yellow and floral, so I really like the tops here!
I love the poppy top on you and the bright yellow puffer jacket looks great on you! and warm!
I agree with you. The yellow sweater is a nice bit of sunshine in the winter. When I reach this point of winter, I always like to start wearing spring colors to cheer myself up!
You always pick the best items!!


text:
Album Review: J.Lamotta & BudaMunk
Searching Skies
J.Lamotta すずめ BudaMunk
Dimitar
4th November , 2021
J. Lamotta and BudaMunk recently released the first two singles from their highly anticipated collaborative project titled Searching Skies - "Eyes To The Skies" and "Put It Aside". Both songs showcased the chemistry between the two musicians and give us a taste of what they can accomplish together.
The sustained success of J.Lamotta's varied career from her solo releases Brand New Choice (2020) and Suzume (2019) to her features with Suff Daddy and Michael Moshonov has made the Berlin-based / Tel Aviv-born artist a growing international name. Joining forces with Tokyo-based producer-mastermind BudaMunk feels like a match made in heaven.
We won't lie - after the first 2 singles expectations are ace high for the LP and we were not disappointed. J. Buda and the team at Jakarta Records delivered nothing, but pure greatness. Today, just a few hours away from the official release, we're beyond happy to share with you a taste of the 10-track masterpiece titled Searching Skies.
Stream on all major platforms here.
Budamunk and Lamotta by Tomohito Morita
The first track of the album, "Eyes To The Skies", is an airy neo-soul masterpiece. J.Lamotta's soft vocals harmonize perfectly with BudamMunk's ethereal instrumental and soon enough you'll know why this has been chosen as an opener. A majestic song that makes you feel like you're floating in the clouds.
"Eyes to the Skies'' is a song that manages to sound both new and retro. It sounds like the kind of song you could hear on an alternative radio today, but at the same time it has a soulful resonance to it that will remind you of Aretha Franklin's work. This is a song about perseverance and hope - it sounds like something that would be playing in the background of a movie scene set in the 1940s during an after school session when the main character is practicing and dreaming of what they want their future to hold.
"Put It Aside" is the second single off Searching Skies. Lamotta's vocals are tender, lamenting on wondering what life has in store for us and how we can embrace whatever may come. BudaMunk instrumental shines more than ever - he is the perfect producer to compliment Lamotta's delicate vocals. He made a smooth, floating beat that carries you away with it until the very end of the song.
I am really enthralled with the how the instrumentals across the board allow Lamotta's canto to breathe. While it never feels intrusive, it is there, at every moment of the album, playing alongside her beautiful voice. The perfect balance between beat and voice. As a whole, Searching Skies is a perfect blend of soothing synths, angelic vocals and the occasional crescendo of hard staccato snare drums.
While this won't be a track-by-track review, I can't skip album's next composition - "Stay", which feels like a dream-like lullaby, one you can easily find yourself listening to on repeat for days.
For those who love glitchy lo-fi beats, then I've got only two words - "Running Slow". The track merges jazz-meets-Neo-Soul aesthetics with BudaMunk's signature laid-back, off-beat hip-hop production style and it's made for those 420 afternoons.
If you're hopelessly falling in love, "When We Get There" might feel like your personal mantra. Both soothing/sensual and challenging, there's no way around that one question - "are you fully down?".
when we get there, better find a way, because we both care, I bet its easier said than done... gotta know if you're fully down
If I have to summarize the record in just a few words, that would be breath-taking. It's like you take the best of soulful neo-soul, give it a breath of fresh air, and create an experience that will live on for decades to come. The instrumentals are laid back yet driving - perfect to allow Lamotta's vocals to soar and to proclaim - there is a new soul queen in town!
Album Review: Jordan Rakei – What We Call Life
Album Review: Teen Daze – Interior
DCS Lefty, Micah Edwards & Jam'addict - Li Lo
Video: Novo Amor & Ed Tullett - Faux
Human Heat - Fever (feat. Tei Shi)


Under the direction of the Facilities Director, the Service Center Assistant is responsible for providing front-counter service and maintaining the proper processing and distribution of incoming and outgoing mail/packages for students, faculty and staff. This position will also be responsible for assisting the institute schedulers as needed.
•	Track and process all incoming parcels and mail for students, faculty and staff.
•	Proficiency in Microsoft Office, Google and Adobe applications.
•	Critical thinking skills required.
Position is available immediately. If you are interested, please submit a cover letter and resume to facilitiesjobs@calarts.edu. Please indicate in the subject line: Service Center Assistant in order to be considered.


There is now a children,s play area and an off leash area for dogs.
3. Dogs must be on leads at all times, unless in the designated "off leash area"
Some idiots are ruining this site by dumping Human Waste, and abusing the local facilities.
Some are Catching fish and leaving the carcass to rot, as they are too lazy to dispose of their unwanted catch properly. Its people like this, that are ruining it for the rest of us. IF YOU SEE SOMEONE DOING SOMETHING WRONG: Grab a photo and their vehicle registration, and notify the local police. If we don't act responsibly we will have nowhere to free camp.


text:
extern "C" {
#endif

int fusion_tiramisu(halide_buffer_t *_b_input_buffer, halide_buffer_t *_b_output_f_buffer, halide_buffer_t *_b_output_g_buffer, halide_buffer_t *_b_output_h_buffer, halide_buffer_t *_b_output_k_buffer);
int fusion_tiramisu_argv(void **args);
int fusion_ref(halide_buffer_t *_b_input_buffer, halide_buffer_t *_b_output_f_buffer, halide_buffer_t *_b_output_g_buffer, halide_buffer_t *_b_output_h_buffer, halide_buffer_t *_b_output_k_buffer);
int fusion_ref_argv(void **args);
// Result is never null and points to constant static data
const struct halide_filter_metadata_t *fusion_tiramisu_metadata();
const struct halide_filter_metadata_t *fusion_ref_metadata();

#ifdef __cplusplus
}  // extern "C"
#endif
#endif


What Is Financial Risk Modeling?
Financial risk modeling is the process of determining how much risk (measured in volatilityVIXThe Chicago Board Options Exchange (CBOE) created the VIX (CBOE Volatility Index) to measure the 30-day expected volatility of the US stock market, sometimes called the "fear index". The VIX is based on the prices of options on the S&P 500 Index) is present in a particular business, investment, or series of cash flows. The process also includes assessing which independent variablesIndependent VariableAn independent variable is an input, assumption, or driver that is changed in order to assess its impact on a dependent variable (the outcome). Think of the independent variable as the input and the dependent variable as the output. In financial modeling and analysis, an analyst typically performs sensitivity analysis make the greatest impact on dependent variables in a model. Financial analysts will attempt to model riskSystemic RiskSystemic risk can be defined as the risk associated with the collapse or failure of a company, industry, financial institution or an entire economy. It is the risk of a major failure of a financial system, whereby a crisis occurs when providers of capital lose trust in the users of capital as a means of comparing the attractiveness of different investment opportunities.


text:
Korean Community Services of Metropolitan New York, Inc. (KCS) Records
Creator: Korean Community Services of Metropolitan New York, Inc. (KCS)
History: A community-based social service agency, the Korean Community Services of Metropolitan New York, Inc. (KCS) was founded in 1973 to serve New York's Korean population. Focused on addressing the needs of immigrant and low-income individuals and families, KCS provides aging, community, and public health services.
Through the efforts of a board of directors, staff members (30 full-time and 40 part-time), and hundreds of volunteers, it is estimated that KCS currently serves over 1,100 individuals each day. Approximately 75% of the organization's clients are of Korean heritage. Of the remaining 25%, the large majority is made up of clients of Chinese heritage. KCS mainly provides services and programs at five sites in three boroughs: the two-building main office complex in Flushing (Queens); the Public Health and Research Center (Manhattan); a liaison office (Brooklyn); the Korean American Senior Center of Flushing (Queens); and the Korean American Senior Center of Corona (Queens).
To address the needs of its aging clients, KCS runs two separate senior centers. At the Korean American Senior Center of Corona, services include a hot lunch plan, home delivered ethnic meals for homebound seniors, educational and recreational classes , a general information and referral service, and assistance with using healthcare and social programs. At the KCS Korean American Senior center of Flushing, services include providing multiple meals and an array of educational and recreational services for seniors, case assistance for social and health services, information and referral services, programs to engage homebound elderly ("Friendly Visiting" and "Telephone Assurance"), and a van service for seniors using the center. An Adult Day Care Center provides services, including meals, activities, and classes to seniors who have physical or mental disabilities.
KCS's community programs include the Asian American Adult Center, which provides job-related training and job-matching services to low-income and older Asian American adults. In addition, KCS runs a range of English language and civics programs through its ESOL/Civics Adult Literacy Program. The Youth Community Action Project offers community-based volunteering opportunities to young Asian Americans. Educational programs aimed at newly immigrated young Asian Americans strive to assist their transition into American society. Other community programs include an assistance program for immigrants who need guidance with policies and procedures in-house and at a Brooklyn-based outpost. The community center also includes an after-school program, a Summer program and Saturday School for elementary & junior high school students.
KCS offers fourteen health-related programs under its Public Health and Research Center (PHRC). These are concentrated under seven key areas of concern: Hepatitis B, Diabetes, Tobacco, Immunization, Social Services, and Advocacy. To address Hepatitis B, PHRC partners with the Center for the Study of Asian American Health of NYU's School of Medicine in a health communication program funded by the Center for Disease Control. KCS is also involved in testing and treatment and comprehensive survey and focus group research. Addressing diabetes, PHRC works with a number of institutional partners in educational and research projects. With funding from the Susan G. Komen Foundation, PHRC offers culturally and linguistically appropriate educational programs, workshops, and health fairs focused on early detection and prevention of breast cancer. PHRC works to reduce tobacco use through a campaign that reduces retail advertisements that target children and administering nicotine replacement therapy. In response to data suggesting financial, cultural and language barriers are a deterrent for many Korean immigrants seeking immunizations, PHRC has a program coordinating and administering flu vaccines. In order to improve access to social services, PHRC provides information, screening, counseling, and facilitation services with respect to government health insurance plans. Finally, KCS has an advocacy division dedicated to helping disadvantaged immigrants overcome obstacles to medical care through educational programs, organizing, and public discussion.
KCS has relied on a number of funding sources over the years. In 1986, KCS secured its first government contract. The organization has received support from the New York City Department of Youth and Community Development, the National Asian Pacific Center on Aging, and the New York City Department for the Aging.
KCS is preparing to meet some specific and significant challenges, including, especially, the growing needs of a rapidly aging population. Toward the goal of building bridges between first and second generation Korean Americans, a second generation Associate Director was hired to focus on strategies to reach out to second generation Korean Americans. To address its financial needs, KCS has launched an asset development and major capital campaign.
Sources: The Korean Community Services of Metropolitan New York, Inc. 2010. KCS Annual Report. New York.
The Korean Community Services of Metropolitan New York, Inc. 2010. "Programs." Accessed February 3, 2015. http://www.kcsny.org/.
Summary: Measuring approximately 190 linear feet, the Korean Community Services of Metropolitan New York, Inc. records at its main office complex in Flushing, Queens consist of the organization's programmatic, personnel, fiscal, and resource files from 1973-2010.
Time sheets, meeting minutes, caller in-take forms, physical exam records, waiver forms, training materials, and documentation of funding and support from the National Asian Pacific Center on Aging (NAPCA) comprise KCS's job placement records and are contained in 41.5 linear feet. Files relating to KCS's English as a Second Language to Other Speakers (ESOL) program measure 41.0 feet and span the date from 1973 to 2010. Records of the organization's efforts to assist clients with immigration and citizenship issues measure 15.0 linear feet and span the years 2004-2010, while materials relating to Medicaid and Family Heath Plus programs total 10.5 linear feet.
KCS's fiscal records, spanning the dates 2002-2010, consist of 46.5 linear feet and contain annual fiscal reports, tax returns, credit card statements, workers' compensation and health insurance documentation, cash disbursement and payroll records, timesheets, contracts, and bank statements. These records are kept for 7 years and then discarded. Personnel records measure approximately 27.0 linear feet.
Other resources such as non-fiction books – including reference materials on non-profit organizations and the history of Queens – and VHS tapes in Korean and English total 8.0 linear feet. Also included in this measurement are several awards that KCS has received for their efforts including one from the Korean American Youth Foundation.
Flyers and brochures in English and Korean outline KCS's services and other resources available for their clients and measure 0.5 linear feet.
Total Size: 190 linear ft.
APA-related Size: 190 linear ft.
Languages of materials: English and Korean
Bibliographic Control: inventory
Conditions Governing Access: Inaccessible to the public.
Activists, Asian, Asian American, East Asia, Korea, Korean, Korean American, New York (state), Social service agencies, United States Leave a comment
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text:
Bijan's Oriental Rugs
Hand-made Oriental Rugs, selected with care and sold with Integrity.
Oriental Rugs - A buyer's Guide
What is an Oriental rug?
The term "oriental rug" can be a source of some confusion to those unfamiliar with the subject. It literally means a rug manufactured in the Orient, and could legitimately be applied to any rug of oriental origin, regardless of its appearance or how it was made. In practice, however, the term is normally used only to describe hand-made rugs produced by traditional methods in the ancient weaving regions of Persia (Iran), Anatolia (Turkey), Afghanistan, the Caucasus, Baluchistan, Turkistan, China, India, Pakistan, the Balkans, and parts of North Africa.
An oriental rugs, in order to be truly authentic within the generally accepted meaning of the term, must be either hand-knotted or hand-woven, originate from one of the traditional weaving regions and also follow certain ancestral patterns of composition and design.
How rugs get their names?
Place of origin or tribe. Most oriental rugs derive their names either from their place of origin or, in the case of nomadic items, the weving tribe. A rug made in the Persian town of Kashan is therefore known as a Kashan, and a rug woven by the belouch nomads is called a Belouch. With Nomadic rugs, it is not uncommon for a rug to be known by both the name of the specific weaving tribe, or sub-tribe, and overall tribal grouping. It is also quite normal for the the rugs of small villages to be marked under the name of the nearest large rug producing town, providing of course that there are strong similarities between their rugs.
Design. Some of the more famous names in oriental rugs, in particular Herati and Mir (Seraband) refer to the design, rather than the place where they were made. There are also a tendency in the carpet and rug trade to market rugs from certain parts of world under the name of the weaving group whose design has been used, rather than that of the group who actually made the rug. This is particularly true of the rugs from China, India, and Pakistan, which are often sold under the names of famous Persian or Turkoman weaving groups, and it is sometimes a matter of confusion whether the name Isphahan, for example, refers to a rug made in Persian town of Isphahan or whether it is an Chinese, Indian, and Pakistani rug composed in a traditional Isphahan scheme. It is extremely important, because of the price and resale differences between rug from various countries, to ask specifically whether the name used refers to the rug's place of origin or its design.
Classifying oriental rugs
Oriental rugs can be classified according to a number of criteria; design, colors, materials, price, etc.; but arguably the most useful, and certainly the most widely employed, methods of classification are by country of origin, weaving group and general weving category.
Country of Origin. Classifying rugs according to their country of origin is both logical and necessary, particularly as discrepancies in exchange rates, important tariffs and production costs can make a considerable difference to the prices asked in the retail stores for very similar rugs from different countries; but this method has its limitations. National boundaries have changed, sometimes dramatically, over the last hundred years, and some traditional rug producing countries have since been absorbed into modern states
Weaving Group. The term "weaving group" can be applied to any town, village or tribe within the oriental weaving region, which produces its own hand-made rugs, but it is normally only used in the context of the older, more traditional weaving centers in which rugs possess their own distinctive characteristics. Consequently, very few weaving centers in China, India, or Pakistan can be said to constitute individual weaving groups.
Weaving Category. Oriental rugs can also be split into four broad categories which relate to their overall characteristics and appearance, rather than to where or by whom they were made. Each of these categories; nomadic, village, workshop, and masterworkshop; has its own special qualities and appeal. A basic knowledegeof the specific characteristics of each category is crucial first step in the understanding and appreciation of oriental rugs.
Nomadic rugs. Produced by nomadic and semi-nomadic tribesmen (semi-nomads spend part of the year in villages or settled camps) whose life has traditionally revolved around breeding sheep, weaving rugs. The rug they make today remain faithful to their ancestors' methods of weaving and repertoire of designs. In nomadic cultures, rug weaving is a female preserve, and prowess at weaving is a major factor in determining personal status, as well as being an expression of the artistic, religious and cultural heritage of the tribe. Young girls are taught the skills from an early age, and it is customary in most tribes for them to display their first solo works as proof of their eligibility for marriage and elevation to the status of womanhood. Authentic nomadic weaving is confined to Persia, Afghanistan, and Turkey, although its influence can be found in the rug workshops of other regions.
Nomadic designs are woven from memory and usually characterized by their overall compositional boldness, simplicity of coloring (sometimes employing only 3 or 4 hues to create a dramatic yet dignified effect) and the use of mainly geometric motifs and forms. Curved lines are rare, and even in the most intricate and subtle of patterning an essence of angularity usually underpins the scheme.
When Assessing a nomadic rug, do not be too concerned with technical perfection, variations in coloring (abrashes) or a lack of symmetry in the overall composition. Occasional discordancies in the form of individual motifs are relatively commonplace and often help to give the rug its particular charm. The pile wool, however, is usually of extremely good quality.
Village rugs. The term is not used in its literal sense to describe rugs produced in villages as opposed to cities or towns, but is applied more specifically to broad category of rugs sharing common features of construction, character and design.
When assessing a village rug, first take into account the nature and complexity of the design. As a general rule, rugs employing bolder, more overtly geometric compositions should be judged be the same criteria as nomadic rugs, particularly if they are also dyed in a limited palette of austere or primary shades. In contrast, the finest and most prestigious village rugs should be judged but the same standards as workshop rugs.
Workshop rugs. Rugs made in workshops of varying sizes and degrees of sophistication throughout the entire weaving area. They are distinguished from village and nomadic rugs in both their overall character and appearance, and in the way they are made. This normally involves working either from a design laid out on squared paper or under the direction of an overseer (or Salim in Persian), who systematically calls out the color of each knot as it is required. This process of manufacture is inevitably leads to a certain loss of spontaneity in the design but, as compensation, makes it possible for far more technically exacting compositions to be achieved. Unlike village and nomadic weaving, which is normally the sole preserve of woman and carries with it no personal prestige outside the village or tribe, workshops employ both men and woman, and exceptionally talented weavers can earn more widespread acclaim and far greater financial rewards. There is generally a more systematic and business like approach to making and selling rugs in the rug workshops. This does not mean that the rugs are in any way less authentic than those produced by village or nomadic groups. Many of the rugs produced during last 50 - 70 years, particularly those from the major weaving centers of Persia and Turkey, rank among the finest ever made.
Workshop designs are generally more finely knotted and elaborate than those found on village of nomadic rugs, and can be roughly divided into two overall types: those that are geometric in character and those that employ more flowing, curvilinear forms. The geometric compositions are derived from traditional village and nomadic designs. Curvilinear designs are found in rugs produced throughout the entire oriental rug weaving area and usually employ naturalistic floral elements, which range from the essentially floral Shah Abbas, garden or vases compositions, to the incorporation of flower, leaf or stem motifs into the infill decorations or border arrangements of allover and medallion designs.
In Persia and Turkey each workshop group (Isphahan, Kashan, Hereke, etc.) has evolved its own characteristics style and with little experience, people relatively new to the subject should be able to distinguish the most typical examples of on e group from those of another. In contrast, rugs made in Pakistan and India are often extremely difficult to distinguish from one another because they are usually based on the same range of traditional Persian, Turkoman, or Caucasian designs; often the only difference in their appearance is the fineness of the knotting and the skill with which the composition has been achieved. The same is true of Chinese rugs, which are made in both Persian and traditional Chinese designs.
When assessing a workshop rug judge each rug on its individual merit; more so than with any other category, because of the extremes in quality found in this range. At the lower end of the scale the rugs may be far shoddier than even the cheapest village or nomadic rug; at the higher end, one can find work of the most outstanding caliber and sophistication. Therefore, the main criterion is value for money. A coarsely knotted Mori Bokhara or Indo Mir, for example can be perfectly acceptable provided that its inferior quality is reflected in the price. More expensive rugs in the same range should be finely knotted and possess cleanly articulated and symmetrically arranged decorative forms. A useful guide is to apply the following criteria:
(A) Fineness of knotting
(B) Quality of materials
(C) Intricacy and symmetrical balance of designs.
Masterworkshop rugs. The most prestigious and expensive of all contemporary examples of oriental textile art. The term is often loosely applied to any workshop rug of outstanding caliber, but more specifically refers to rugs produced in a handful of exceptional workshops in one of the major weaving centers of Persia and Turkey.
Consequently, there will always be some debate amongst rug scholars as to the number and location of rug masterworkshops at any given time. It is, however , generally accepted that Isphahan, Nain, Hereke, Kashan, Tabriz, Meshad, Kerman, and Ghoum possess workshops worthy of inclusion in this category. Despite the fact that there are a number of top quality workshops in other countries, none can as yet be considered worthy of a place in the masterworkshop class.
Masterworkshop designs are extremely elaborate and sophisticated interpretations of classical Persian schemes. In addition to opulent versions of the designs associated with their weaving group, most master workshops also produce rugs in a number of universal designs, particularly pictorial and garden schemes.
When assessing a masterworkshop rug, look primarily for technical and aesthetic perfection. The knotting should be extremely fine and even throughout; patterns and motifs should be even and consistent in tone. Flaws are unacceptable, and only the very finest materials should have been used.
The range of oriental rugs on offer in a dealer's showroom, department stores, or online stores is overwhelming, and you may feel yourself to be at the mercy of the salesman. This buyer guide has systematically organized to answer all your immediate questions, as well as to provide the one source of long term reference you will ever need.
How Oriental rugs are made?
Buying an oriental rug.
Rugs of major producing countries
Oriental Rugs Weaving Groups
[Home] [Show Room] [Contact Us]


Daniel M. Scott III, 58, died unexpectedly on Friday, April 12, 2019. He had battled multiple myeloma for two years. He is survived by his partner of twenty-five years, James Schlageter, of Providence, RI; his mother, Doris Scott-Martinez; his brother, David Scott; his sister, D'Anna Scott, all of Georgia; and his sister, Daphne Scott-Henderson of California. He also leaves behind an extended family of nieces and nephews, three stepdaughters, and a grandchild.
Dr. Scott first joined Rhode Island College twenty-five years ago after earning his Ph.D. in Comparative Literature at the University of Illinois and completing a post-doctoral fellowship at the University of North Carolina-Chapel Hill. He coedited The Collected Writings of Wallace Thurman: A Harlem Renaissance Reader (Rutgers University Press) and has published widely on African-American literature and on gay literature, with essays on Wallace Thurman, Zora Neale Hurston, Rudolph Fisher, Charles Johnson, Walter Mosley, Gerard Barrax, Robert Deane Pharr, Mark Doty, and John Rechy. Other publications include articles on Wole Soyinka, Marlon Riggs, Wilson Harris, André Breton, and Aimé Césaire. He taught for English, Africana Studies, First Year Seminar, and the Honors Program, particularly courses in African American literature, postcolonial literature, Western literature, and non-Western literature. He was long active in the Preparatory Enrollment Program (PEP) and the Dialogue on Diversity at Rhode Island College. He served multiple terms as Director of the Africana Studies Program and was finishing his second term as Chair of the Department of English. Off-campus, he was long an officer of the Rhode Island branch of the ACLU, recently serving as its Treasurer. He was an early board member of Youth Pride and a generous supporter of many organizations that serve local youth, including New Urban Arts and School One.
To describe Dr. Scott as much beloved by his family, students, friends, and colleagues is a woeful understatement. He was a genuinely good person who inspired respect and affection in everyone he met. No other person could be as witty, wry, and brilliant while still being so incredibly kind and humble. He never dominated a room, but his presence always sustained and enhanced conversation. Warm, welcoming, calming, sincere, empathetic are all adjectives that describe Daniel. He was also amazingly knowledgeable about a huge variety of topics, which made him a sought-after teammate for department trivia nights and our favorite Jeopardy! contestant of all time.
Calling hours will be Wednesday, April 17, 4-7 pm at Monahan Drabble Sherman Funeral Home, 230 Waterman St., Providence. The burial service will be private. All are invited to a celebration of Daniel Scott's life and a tribute to his career at Rhode Island College, Alger Hall 110, on Friday, April 19, at 2 pm.
To send flowers or a remembrance gift to the family of Daniel M. Scott, III, Ph.D, please visit our Tribute Store.
"Email Address" would like to share the life celebration of Daniel M. Scott, III, Ph.D. Click on the "link" to go to share a favorite memory or leave a condolence message for the family.


Retail sales of jewellery in China remained positive. October 2018 figures registered a 4.7 percent year-on-year increase, wrote JNA in a press release.
Sales rose 8.3% from January to October to RMB226 billion (US$32 billion) compared to the same period last year, showed latest data from the National Bureau of Statistics of China.
Total retail sales in China grew 8.6%.
The World Gold Council said in its Gold Investor Report for October 2018 that China's jewellery market is poised for further growth, provided the industry continues to innovate and adapt to changing consumer tastes.
Chow Tai Fook Jewellery Group also noted that jewellery demand remains strong as the economy becomes more consumption driven. The retailer also expects to benefit from China's expanding middle-class consumers and rising income levels.


text:
module TrackableJob
  extend ActiveSupport::Concern

  class Job < ApplicationRecord
    enum status: [:submitted, :completed, :errored]

    after_save :signal_finished, unless: :submitted?

    validates :redirect_to, absence: true, if: :submitted?
    validates :error, absence: true, unless: :errored?
    validates :status, presence: true
    validates :redirect_to, length: { maximum: 255 }, allow_nil: true

    private

    def signal_finished
      return unless saved_change_to_status?

      execute_after_commit { signal }
    end
  end

  included do
    before_enqueue :save_job
    rescue_from(StandardError) do |exception|
      rescue_tracked(exception)
    end
  end

  # @!attribute [r] job
  #   The Job object which tracks the status of this job.
  attr_reader :job

  # Waits for the asynchronous job to finish.
  #
  # @param [Integer] timeout The amount of time to wait.
  # @raise [Timeout::Error] If the timeout was elapsed without the condition being met.
  def wait(timeout = nil)
    wait_result = job.wait(timeout: timeout, while_callback: -> { job.tap(&:reload).submitted? })

    raise Timeout::Error if wait_result.nil?
  end

  # Implements +initialize+, creating or loading the job from the database.
  def initialize(*args)
    super

    @job = Job.find_or_initialize_by(id: job_id)
  end

  def perform(*args)
    logger.debug(message: 'Perform job', id: @job&.id)
    perform_tracked(*args)
    logger.debug(message: 'Finish performing job', id: @job&.id)
    @job.status = :completed
    @job.save!
  end

  def job_id=(job_id)
    super.tap do
      next unless @job
      @job = find_job(job_id)
    end
  end

  protected

  def perform_tracked(*)
    raise NotImplementedError
  end

  def rescue_tracked(exception)
    @job.status = :errored
    error = { class: exception.class.name, message: exception.to_s, backtrace: exception.backtrace }
    error.merge!(exception.try(:to_h) || {})

    @job.error = error
    @job.save!
  end

  private

  # Saves the job to the database.
  #
  # The job is not saved until queueing because the job ID might not be decided.
  def save_job
    @job.save!
  end

  # Specifies that the job should redirect to the given path.
  def redirect_to(path)
    @job.redirect_to = path
  end

  # Find the job with retries.
  # The retry is needed because the transaction to create the trackable job might not have finished.
  def find_job(job_id)
    tries ||= 5
    @job = Job.uncached { Job.find(job_id) }
  rescue ActiveRecord::RecordNotFound => e
    tries -= 1
    raise e if tries < 1

    sleep 0.1
    retry
  end
end


If you've been a client of mine, you know the business aspect of my studio is really not my favorite part. I love interacting with my clients and capturing beautiful portraits. However, the business side is something I have to keep in mind.
"A $125, non-refundable retainer fee is due upon scheduling your session and is directly applied to your session fee. Session fees are as follows: $125 for our Signature Session, $325 for our Elite Session, $500 for our Newborn Session, or $1500 for our Watch Me Grow Collection. A fee of $45 will be charged for each additional half hour of session time. The session fee covers time, travel, and talent of Geno Photography."
While it doesn't happen often, no-call, no-show appointments take away from my other amazing clients. The client who missed their session loses out on beautiful portraits, and our studio loses time preparing and waiting for a client who doesn't show up.


Rawfrücht was a powerful trio from Brussels, based on two guitars : Hugues Warin and Teuk Henri (Sharko), and a drums : Thomas Van Cottom (Venus), d. Debut album published in 1997.
"As a trio [guitars plus percussions], Rawfrücht tends to redefine the rules of the secular guitarist's world. Described as a weird avant garde noisy soundscape jazz rock trio... with a groovy approach, one might say that eclecticism is a much better and convenient description for this unique Belgian band. A not to-be-classified universe now completed with some timid voice appearances, floating over the unusual rock-but-not-postrock field of guitars. After the release of their first untitled album names like Marc Ribot, Sonic Youth, Tortoise, and King Crimson were tossed around frequently. Seemingly aware of these echoes, the trio seems to have achieved a new level of guitaristic blend and 'unclassical' elements. Their new opus 2, is unabashedly presumptuous and presented as a 'conceptual' object, evolving like a landscape observed through a windscreen while driving in an unknown country under permanent misty weather. Music for an introspective journey toward the far limits of one's subconscious, with as a guide the 13 minute long opening track 'Suite 2', and the subtle murmured vocals on 'Forythia Pt. 1 & 2'."


There exists a clear distinction between a musician and an artist. Take one listen to singer-songwriter Joey Ray and you are introduced to the difference. A true triple threat, the pianist who plays by ear has a gift for capturing melody, channeling ambience, telling love stories, and putting his signature smooth croon on a tune. The result is music to the ears.
The former basketball standout turned soul stirring singer nearly chose hoops over harmony. Originally from Long Island, Joey and his family relocated to the sleepy suburb of Washingtonville in upstate New York during his youth. Moving from the b-ball crazed borough to a "one light town covered in woods" proved pivotal in his development as both a person and professional. A city kid at heart, Joey's gift for making quick moves and fast decisions helped him lead his local varsity team on the court as a point guard. But music, at that stage a hobby, was gradually becoming a daily practice; quickly taking place of his hardwood beginnings.
This all changed after a crucial encounter with record executive Tony Martin, President and CEO of Manhattan-based Dublin Music Group. The seasoned industry veteran heard Joey's music, met the budding entertainer in person, and signed him to his ever-expanding 360 imprint soon after. Since then, the two have teamed up, concentrating their efforts on making music history.
A bartender's blend of God given talent, a genuine love for music, and an athlete-like dedication to continuously improving at his craft are what makes Joey Ray a potential star. No stranger to either arts or hard work - his mother owns a dance studio, his father worked on Wall Street for over 20 years – Joey was first drawn to the urban-romance ballads of Donell Jones. Now with the songwriting of a lyrical poet, the musicianship experienced in an organic jam session, and the raw emotions of engaged thinkers, the 25-year-old sees his career taking the early steps of paths such as Grammy holders John Mayer, Adele, and Maroon 5.


Hanro "Day & Night" knit shirt.
FRAME frayed flannel shirt. Spread collar; button front. Long sleeves; button cuffs. Raw edge, frayed hem. Classic fit. Polyester/cotton. Imported.
FRAME frayed flannel shirt. Spread collar; button front. Long sleeves; button cuffs. Raw edge, frayed hem. Classic fit. Polyester/cotton. Imported. Model's measurements: Height 6'1"/185cm, waist 32"/81cm, typically wears size M.
J Brand denim sport shirt in precipios design Spread collar; button front. Button-down flap chest pockets. Long sleeves. Barrel cuffs.
J Brand denim sport shirt in precipios design Spread collar; button front. Button-down flap chest pockets. Long sleeves. Barrel cuffs. Shirttail hem. Cotton. Imported.
John Varvatos Star USA henley shirt in splatter print detail. Crew neckline; four-button placket. Chest patch pocket. Short sleeves. Pullover style. Cotton. Imported. Model's measurements: Height 6'1"/185cm, waist 32"/81cm, typically wears size M.
Loro Piana "Andrew" lightweight shirt. Spread collar; button front. Rounded barrel cuffs. Chest patch pocket. Yoked back shoulders. Shirttail hem.
Loro Piana "Andrew" lightweight shirt. Spread collar; button front. Rounded barrel cuffs. Chest patch pocket. Yoked back shoulders. Shirttail hem. Linen. Made in Italy. Model's measurements: Height, 6'1"/185cm, waist 32"/81cm, suit 40L, shirt 15x34, inseam 32"/81cm.


text:
UP assembly polls: Bhim Army chief stitches alliance with Bhagidari Sankalp Morcha
Lucknow, Jan 9 (PTI) Bhim Army chief Chandrashekhar Azad on Saturday met Suheldev Bhartiya Samaj Party president Om Prakash Rajbhar and agreed to contest the upcoming assembly elections in Uttar Pradesh as part of the Bhagidari Sankalp Morcha.
Suheldev Bhartiya Samaj Party general secretary Arun Rajbhar in a statement said their coalition will contest on all 403 seats in the state and the Bhim Army chief agreed to be part of it.
We are trying to form the government in the state on issues of education, health, electricity and employment, he said.
"In the 2022 assembly elections, we will form government in the state and give free education and power,' Arun Rajbhar said, adding that 'whosoever wants to stop the BJP, they are welcome in the Morcha'.
In December, AIMIM president Asaduddin Owaisi announced his party's intention to fight the next state elections in Uttar Pradesh as part of a front led by Om Prakash Rajbhar, a former BJP ally.
'We are now part of Mr Rajbhar's morcha,' he said after meeting the Suheldev Bhartiya Samaj Party (SBSP) chief here. PTI NAV RDK RDK